{"id":12918,"date":"2024-08-29T11:13:59","date_gmt":"2024-08-29T04:13:59","guid":{"rendered":"https:\/\/arkipel.org\/?p=12918"},"modified":"2024-08-29T23:32:51","modified_gmt":"2024-08-29T16:32:51","slug":"curatorial","status":"publish","type":"post","link":"https:\/\/arkipel.org\/curatorial\/","title":{"rendered":"Curatorial Program: The Escalation of Taiwanese Documentaries"},"content":{"rendered":"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Program Kuratorial: Eskalasi Dokumenter Taiwan” css=”.vc_custom_1724948115564{margin-bottom: 0px !important;}”]Eskalasi isu unifikasi antara Taiwan dan Cina baru-baru ini marak di media sosial. Ketika saya membuka aplikasi Tiktok, saya tidak sengaja menonton video seorang anggota parlemen Taiwan membawa kabur dokumen rapat dan secara dramatis melarikannya ke luar ruang parlemen. Komentar-komentar pun bermunculan merespon video ini, ada yang berusaha menjelaskan apa yang terjadi, ada yang menertawakan, dan ada yang tidak peduli. Usut punya usut ternyata dokumen itu adalah dokumen yang berisi pengurangan kuasa parlemen yang akan disepakati KMT (Kuomintang) yang mulai pro-unifikasi. KMT atau Partai Nasionalis Tiongkok yang didirikan oleh Sun Yat-Sen merupakan partai politik tertua dalam sejarah modern Tiongkok.<\/span><\/p>\n

KMT memiliki histori pemisahannya dengan Cina dan pembangunan identitas anti komunis di Taiwan. Ketika filem-filem Taiwan mulai bermunculan di tahun 1960-an, pemerintah di bawah KMT juga mulai membuat propaganda anti komunis lewat filem-filem yang diproduksinya. Pemerintah juga mengatur bagaimana penduduk Taiwan digambarkan dalam filem yang mana dapat mengancam kedudukan mereka dalam status geopolitik.<\/span><\/p>\n

Di ARKIPEL <\/span>Garden of Earthly Delights \u2013 11<\/span><\/i>th<\/span><\/i> Jakarta International Documentary and Experimental Film Festival <\/span><\/i>pada hari Minggu, 25 Agustus 2024, tepatnya pukul 19:00 WIB Program Kuratorial: Refleksi Sinema Taiwan tahun 1960-an ditayangkan untuk membaca kembali kehidupan penduduk Taiwan dan bagaimana sensor filem pemerintah Taiwan bekerja di dalam filem-filem yang mereka produksi kala itu. <\/span>Alifah Melisa<\/b> selaku kurator membuka program ini dengan menjelaskan kuratorial filem yang akan ditayangkan. Filem-filem ini adalah filem dokumenter sutradara Taiwan yang menunjukkan kehidupan masyarakat Taiwan dengan beberapa agenda yang berusaha ditunjukkan namun dibatasi sensor yang diselenggarakan pemerintah.<\/span><\/p>\n

Filem pertama adalah filem favorit saya dan menjadi pembuka yang tepat untuk filem-filem selanjutnya berjudul <\/span>Liu Pi-Chia<\/span><\/i> (1967) karya <\/span>Richard Chen<\/b>. Filem ini menceritakan kehidupan seorang eks-tentara bernama Liu Pi-Chia yang mengerjakan proyek pembangunan pemerintahan bersama kawan-kawannya. Liu Pi-Chia menceritakan memorinya tentang kehidupan tentaranya dan ketenangannya hidup bersama kolektif yang saling menguatkan satu sama lain. Bahasan-bahasan personal Liu Pi-Chia memantik penonton untuk melihat kebutuhan romansa di sisi lain yang terlepas dari institusi pernikahan.<\/span><\/p>\n

Filem selanjutnya masih dengan sutradara yang sama yaitu Richard Chen dengan filem yang diproduksi lebih lama, yaitu <\/span>The Mountain<\/span><\/i> (1966). Dengan estetika seperti <\/span>Jules and Jim<\/span><\/i> (1962) karya <\/span>Francois Truffaut<\/b>, filem ini adalah wawancara tiga sekawan yang memiliki hobi yang sama, yaitu naik gunung dan bersenang-senang di sana layaknya remaja pada umumnya. Sesi wawancara tersebut cukup menarik dimana sutradara berusaha membawa obrolannya ke dalam situasi politik dengan menanyakan pendapat mereka tentang apa yang terjadi di Vietnam. Pertanyaan tersebut menggugah si tiga sekawan dan mereka dengan sopan meresponnya dengan hal-hal yang ringan.\u00a0<\/span><\/p>\n

A Morning in Taipei <\/span><\/i>(1964) karya <\/span>Pai Ching-Jui<\/b> menampilkan berbagai kegiatan yang mulai hidup ketika fajar menyingsing di Taipei. Orang-orang tua mulai berolahraga, anak-anak masuk sekolah, dan bagaimana aktivitas ekonomi di Taipei mulai hidup. Filem ini seperti rekaman etnografis kehidupan masyarakat di sana dan bagaimana perputaran ekonomi Taipei bekerja dari individu masyarakat kelas menengah ke bawah.<\/span><\/p>\n

Filem terakhir adalah <\/span>Life Continued<\/span><\/i> (1966) oleh <\/span>Chuang Ling<\/b> yang berusaha merekam keseharian istrinya yang sedang hamil menjalani aktivitasnya sebagai ibu rumah tangga, pekerja lab pertanahan, dan juga perannya di dalam masyarakat Taiwan. Dengan sudut pandang seorang perempuan, filem ini menyodorkan kekuatan perempuan dalam isu gender dan ruang-ruang maskulin yang berkelindan di sekelilingnya.<\/span><\/p>\n

Setelah sesi penayangan selesai, diadakan sesi diskusi bersama <\/span>Pei Hua<\/b> dan <\/span>Alexandre Huang <\/b>dari Taiwan Film and Audiovisual Insitute (TFAI) yang mengelola beberapa filem yang ditayangkan. TFAI juga menyelenggarakan Taiwan International Documentary Festival (TIDF), sebuah festival dokumenter internasional yang diselenggarakan di Taiwan. Di sesi diskusi, Pei Hua menjelaskan situasi sinema Taiwan di tahun 1960-an dimana ada dua produksi filem di bawah pemerintah di dua departemen berbeda. Selain itu, semua filem yang beredar dan diproduksi dikontrol negara untuk propaganda dan <\/span>newsreel<\/span><\/i>.\u00a0<\/span><\/p>\n

Banyak dari para <\/span>filmmaker <\/span><\/i>bukanlah sutradara profesional, melainkan sekelompok orang yang menyukai filem dan ingin mencoba membuat filem independen. Akses filem internasional yang bisa mereka tonton hanyalah dari sebuah agen berita AS di Taiwan.\u00a0\u00a0<\/span><\/p>\n

Ia menjelaskan filem <\/span>A Morning in Taipei <\/span><\/i>adalah filem yang belum sepenuhnya selesai dan belum ada <\/span>scoring<\/span><\/i> sehingga diisi oleh seniman elektronika Taiwan. Intensi sutradara di filem ini hanya untuk menyorot apa yang riil dan temporer dari aktivitas masyarakat Taiwan. Filem ini baru ditemukan lagi pada tahuan 2000-an dan didigitalisasi.<\/span><\/p>\n

Filem Liu Pi-Chia adalah filem dokumenter yang muncul di saat jarang sekali filem dokumenter independen yang diproduksi. Sutradara memilih aktor orang biasa, seorang tentara yang baru kembali dari Cina dan diakui memang beberapa menggunakan skenario. Film ini sempat membuat ketar-ketir pemerintah kala itu, sampai-sampai mereka meminta konfirmasi kepada pihak AS demi meyakini bahwa ini filem yang aman untuk pemerintahan Taiwan.<\/em><\/strong>\u00a0<\/span><\/p>\n

Di filemnya <\/span>The Mountain<\/span><\/i>, Richard Chen hanya ingin mendokumentasi kawannya yang naik gunung dan mewawancarai mereka secara organik. Dari wawancara tersebut terselip bahasan politik dimana beasiswa pendidikan hanya untuk anggota partai. Selain itu, konflik AS-Vietnam yang ditunjukkan dirasa cukup aneh karena si sutradara mengambil studinya di AS. Salah satu teman Richard Chen dalam film ini memiliki minat terhadap filem. Ia pun pergi ke Hong Kong lalu menjadi sutradara filem-filem cult <\/i>dengan estetika hardcore <\/i>yang menunjukkan eksploitasi kekerasan dan seksual secara ekstrim.<\/span><\/p>\n

Pei Hua juga menjelaskan bahwa filem terakhir <\/span>Life Continued<\/span><\/i> juga merupakan filem yang semuanya merupakan skenario karena proses syuting di hari Minggu. Namun si sutradara, Chuang Ling, meminta istrinya untuk berkegiatan seakan hari biasa. Sebenarnya filem ini ingin menggambarkan perempuan hamil di ruang-ruang pekerjaan, namun banyak penonton yang salah paham mengatakan ini filem yang menghangatkan hati.\u00a0<\/span><\/p>\n

Sesi ini pun ditutup setelah para penonton menyaksikan diskusi yang sangat informatif mengenai kurasi filem yang dihadirkan. Program dilanjut dengan acara <\/span>lounge <\/span><\/i>malam dengan DJ Set oleh Catra. Orang-orang kembali memperbincangkan diskusi lebih lanjut dan meminum bir bersama diiringi musik Catra yang mengundang semua orang untuk berdendang.<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”English” tab_id=”1672356843702-2655322e-0974″][vc_column_text title=”Curatorial Program: The Escalation of Taiwanese Documentaries” css=”.vc_custom_1724949162335{margin-bottom: 0px !important;}”]The escalation of the unification issue between Taiwan and China has recently been trending on social media. When I opened my TikTok app, I accidentally watched a video of a Taiwanese parliamentarian taking away a meeting document and dramatically running it out of the parliament room. There were lots of comments in response to this video, some trying to explain what happened, some laughing, and some not caring. It turned out to be a document containing a reduction in parliamentary powers that would be agreed upon by the KMT (Kuomintang), which began to be pro-unification. KMT or the Chinese Nationalist Party founded by Sun Yat-Sen is the oldest political party in modern Chinese history.<\/span><\/p>\n

KMT has a history of separation from China and the construction of an anti-communist identity in Taiwan. When Taiwanese films began to appear in the 1960s, the Taiwanese government under the KMT also began to make anti-communist propaganda through the films it produced. In addition, the government also regulated how Taiwanese people were portrayed in films which threatened their position in geopolitical status.<\/span><\/p>\n

ARKIPEL <\/span>Garden of Earthly Delights – 11th Jakarta International Documentary and Experimental Film Festival<\/span><\/i> presented a curatorial program on Sunday, 25 August 2024, at 7pm entitled \u201cReflection on Taiwanese Cinema in the 1960s\u201d to reappraise the lives of Taiwanese people and how the Taiwanese government’s film censorship worked in the films they produced at that time. <\/span>Alifah Melisa<\/b> as the curator opened this program by explaining the curatorial films that would be screened. These documentaries made by Taiwanese directors show the lives of Taiwanese people with several agendas that they tried to show but were limited by government censorship.<\/span><\/p>\n

The first film – <\/span>Liu Pi-Chia<\/span><\/i> (1967) by <\/span>Richard Chen<\/b> – is my favorite and a perfect opening for the following films. It portrays the life of an ex-soldier named <\/span>Liu Pi-Chia<\/b> who worked on a government construction project with his friends. He recounted his memories of his army life and the serenity of living with a collective that strengthens each other. Liu Pi-Chia’s personal discussions provoked the audiences to see the need for romance on the other side apart from the institution of marriage.<\/span><\/p>\n

The next one, still with the same director, <\/span>Richard Chen<\/b>, was a longer film, <\/span>The Mountain<\/span><\/i> (1966). With an aesthetic similar to <\/span>Francois Truffaut<\/b>‘s <\/span>Jules and Jim<\/span><\/i> (1962), the film is an interview with three friends who have the same hobby, which is climbing mountains and having fun there like teenagers in general. The interview session was quite interesting where the director tried to bring the conversation into a political situation by asking their opinions about what happened in Vietnam. The question intrigued them and they politely responded with light conversation.\u00a0<\/span><\/p>\n

Pai Ching-Jui<\/b>‘s <\/span>A Morning in Taipei<\/span><\/i> (1964) shows the various activities that come to life when the dawn breaks in Taipei. Old people start exercising, children go to school, and how economic activity in Taipei comes to life. It’s like an ethnographic record of people’s lives and how Taipei’s economy works from the middle to lower class individuals.<\/span><\/p>\n

The last film was <\/span>Life Continued<\/b> (1966) by <\/span>Chuang Ling<\/span><\/i>, which captured his pregnant wife’s daily activities as a housewife, land lab worker, and her role in Taiwanese society. With a woman’s point of view, this film presents the power of women in gender issues and the masculine spaces that are intertwined around them.<\/span><\/p>\n

After the screening, there was a discussion session with <\/span>Pei Hua<\/b> and <\/span>Alexandre Huang<\/b> from Taiwan Film and Audiovisual Institute (TFAI) who organized some of the screened films. TFAI also organizes the Taiwan International Documentary Festival (TIDF), an international documentary festival held in Taiwan. In the discussion session, Pei Hua explained the situation of Taiwanese cinema in the 1960s where there were two film productions under the government in two different departments. In addition, all films circulated and produced were state-controlled for propaganda and newsreels.\u00a0<\/span>Many of the filmmakers were not professional directors, but rather a group of people who loved films and wanted to make their own independent films. Their only access to international films was from a US news agency in Taiwan.<\/span><\/p>\n

He explained that <\/span>A Morning in Taipei<\/span><\/i> was an unfinished film and had no score hence it was filled in by Taiwanese electronic artists. The director intended to highlight what was real and temporary from the activities of Taiwanese society. It was discovered again in the 2000s and then digitalized.<\/span><\/p>\n

Liu Pi-Chia<\/span><\/i> was a documentary film that emerged at a time when independent documentary films were rarely produced. The director chose an ordinary actor, a soldier who had just returned from China and admittedly used a screenplay. This movie made the government nervous at the time, so they asked for confirmation from the US to make sure that this was a safe film for the Taiwanese government. <\/span><\/p>\n

In <\/span>The mountain<\/span><\/i>, he simply wanted to document his friends who climbed the mountain and interviewed them organically. From the interviews, there was a political discussion where educational scholarships were only for party members. In addition, the US-Vietnam conflict shown was quite strange because the director took his studies in the US. One of Richard Chen’s friends in this film also had a passion for film. He went to Hong Kong and became a director of cult films with a hardcore aesthetic that showed extreme violence and sexual exploitation.<\/span><\/p>\n

Pei Hua also explained that <\/span>Life Continued <\/span><\/i>was also a film that was entirely scripted because it was filmed on a Sunday. However, the director, Chuang Ling, asked his wife to work as if it was a normal day. Actually, the film wanted to depict pregnant women in workplaces, but many viewers misunderstood it as a heartwarming film.<\/span><\/p>\n

This session was closed after the audiences listened to a very informative discussion about the curation of the films presented. The program continued with an evening lounge with a DJ set by <\/span>Catra<\/b>. People returned to discuss further and drink beer together as Catra’s music invited everyone to groove.<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”12900,12898,12897,12896,12895,12894,12901,12892″ img_size=”full”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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Komentar-komentar pun bermunculan merespon video […]<\/p>\n","protected":false},"author":168,"featured_media":12900,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[687,672,345,384,1,385,344,359],"tags":[747,674,675,744,745,746,743,748,750,742,749],"jetpack_publicize_connections":[],"yoast_head":"\nCuratorial Program: The Escalation of Taiwanese Documentaries — ARKIPEL<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arkipel.org\/curatorial\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Curatorial Program: The Escalation of Taiwanese Documentaries — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Program Kuratorial: Eskalasi Dokumenter Taiwan” css=”.vc_custom_1724948115564{margin-bottom: 0px !important;}”]Eskalasi isu unifikasi antara Taiwan dan Cina baru-baru ini marak di media sosial. 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Lulusan Geologi Universitas Indonesia, ia mendalami diskursus antroposen dan geologi kuarter, serta dampak aktivitas antropogenik di lanskap urban. Syarifa menginisiasi platform alternatif 'Geology Made Punk' untuk mendekonstruksi pengetahuan geologi modern yang lekat dengan semangat kolonialisme serta merespon krisis iklim dengan semangat pro-ekologi. Di luar keilmuan, ia tertarik pada diskursus post-human di era digital, seni kontemporer, musik, dan film, serta penggemar The Strokes dan David Bowie. --- Syarifa Amira Satrioputri, based in Depok and Jakarta, is an earth and art activist with an interdisciplinary approach. A graduate of Geology, University of Indonesia, she studies anthropocene discourse and Quaternary geology, as well as the impact of anthropogenic activities in urban landscapes. Syarifa initiated an alternative platform 'Geology Made Punk' to deconstruct modern geological knowledge that is closely related to the spirit of colonialism and respond to the climate crisis with a pro-ecological spirit. Outside of science, she is interested in post-human discourse in the digital era, contemporary art, music, and film, and is a fan of The Strokes and David Bowie.\",\"url\":\"https:\/\/arkipel.org\/people\/syarifaamira\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Curatorial Program: The Escalation of Taiwanese Documentaries — ARKIPEL","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/arkipel.org\/curatorial\/","og_locale":"en_US","og_type":"article","og_title":"Curatorial Program: The Escalation of Taiwanese Documentaries — ARKIPEL","og_description":"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Program Kuratorial: Eskalasi Dokumenter Taiwan” css=”.vc_custom_1724948115564{margin-bottom: 0px !important;}”]Eskalasi isu unifikasi antara Taiwan dan Cina baru-baru ini marak di media sosial. 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