Eksperimentasi adalah hal yang mendasari penemuan atas alat-alat dan teknik bagi<\/i> awal sinema, sebuah dunia baru penglihatan yang mulai memandang dan mencoba meniru alam dengan merekam berbagai gejala (alamiah maupun disengaja) yang tampak di depan lensa. Sifat eksperimentasi yang mula-mula ini tentu semata menghasilkan representasi dalam maknanya yang sangat sederhana, yaitu bagaimana dunia nyata dapat ditampilkan secara \u2018hidup\u2019, sembari mengetahui tanggapan orang saat menonton gambaran dunia yang baru itu pada lebih seabad lalu. Hasilnya, ternyata mengakibatkan reaksi yang luar biasa dari penonton awam meskipun kaum cerdik-cendikia menganggapnya sebagai dunia yang tidak benar-benar eksis alias sekadar bayangannya. Namun, setidaknya, Lumiere Bersaudara telah menghantarkan apa yang di kelak waktu merupakan hakikat dasar sinema melalui peristiwa \u201cefek kereta\u201d yang bersejarah itu. Reaksi tersebut adalah wujud pertama komunikasi antara sinema dan publiknya, akan tetapi yang lebih penting lagi adalah mulai tumbuhnya satu budaya representasi baru via penemuan teknologi yang mengungkapkan kehadiran budaya tersebut. Sebuah pola hubungan mental yang berlangsung antara bayangan murni di layar, dan representasi di benak publik inilah yang sepanjang berbagai sejarah turut berpengaruh terhadap perkembangan sinema itu sendiri, lantas menjadi modus produksi sinematik di tangan kapital maupun ideolog yang masing-masing berkepentingan untuk mencitrakan sebuah dunia\u2014tapi terutama, justru pandangan dunia di baliknya\u2014sebagai kenyataan atau kebenaran menurut versinya.<\/p>\n
Produk awal sinema berbasis kenyataan yang difilemkan ini, pada akhirnya, sebagian menjadi tulang-rangka gagasan dan konsepsi dokumenter bagi yang percaya bahwa dokumenter adalah induk dari sinema. Dari keyakinan-keyakinan semacam itu, namun terlebih lagi dari luarnya, tampillah para jenius dan petualang yang bereksperimentasi dengan berbagai pencarian teknik serta bahasa sinematik, baik untuk tujuan fungsional maupun pencapaian artistik. Kedua prosedur tersebut pada intinya memiliki target komunikasi dalam rangka mencapai khalayak yang lebih luas atau audiens yang lebih spesifik. Sinema, yang mulanya secara asasi merupakan seni hiburan publik dan terbebas dari beban-beban historis kebudayaan kanonik, pada akhirnya sampai pada sebuah titik di mana nilai-nilai tertinggi (yakni estetika dan konten) dapat juga dicapai melalui medium yang baru ini sejauh terus-menerus dilakukan eksperimentasi terhadapnya. Kesadaran akan eksperimentasi inilah yang kemudian telah meleburkan batas-batas fiksi dan dokumenter dalam representasi sinema. Dalam gemuruh pencarian dan pencapaian tersebut, muncul bentuk-bentuk dan berbagai percobaan bahasa, mulai bentuk hingga konten yang sangat eksperimental di tangan sebagian kecil seniman avant-garde<\/i>. Pada subjek ketiga, yakni para protagonis dari sejarah sinema itulah segenap tatanan, estetis sampai politis, bakal dijungkirbalikkan. Setidaknya, begitu jargon mereka, dan begitulah sejarah sinema telah memberitahu kita.<\/p>\n
Lebih daripada semata-mata meneruskan efek \u2018alamiah\u2019-nya yang hingga saat ini tetap tereksploitasi (yakni reduksi fungsional atas daya komunikatif filem arus utama), sinema kini sampai pada satu posisi yang menuntut penemuan lanjut akan bahasanya. Maka, melalui penjelajahan terhadap segenap teknik, naratif, genre, gaya, konteks, realitas, imajinasi, waktu, dan berbagai hal terkait perubahan-perubahan medium, bahasa sinema sekarang harus berani menempuh risiko dari beragam kemungkinan dalam diri sinema sendiri, bersama perkembangan global yang menyertai dan mempengaruhinya. Pada titik itulah tepatnya, tantangan bagi gagasan, konsep, wacana dan praktik-praktik eksperimentasi dalam sinema untuk secara menakjubkan menampilkan bahasanya di tengah tuntutan bagaimana karya-karya sinematik dalam berbagai kemungkinan ragam mediumnya dapat selalu kontekstual dan menjadi bermakna. Kelima filem kompetisi yang masuk dalam program ini kuat memunculkan upaya-upaya semacam itu. Agaknya, suatu kenyataan yang tidak terelakkan bahwa pada sebagian ekspresi sinematik komtemporer sebagaimana tersusun dalam program ini, terdapat dorongan yang kuat untuk menghamparkan sebuah dunia suram yang aneh, ganjil, mitis, surel, tak teridentifikasi, antara setengah nyata-setengah khayali, sebagai wacana dasar tentang masa depan, ketika setiap hal dan kejadian dalam kehidupan kita sekarang, masing-masing tampak menunjukkan saling keterhubungan.<\/p>\n[\/column]\n[column type=”1\/2″ last=”1″ class=””]\n
Position and Discourse of the Present Cinema Experimentation<\/span><\/h1>\n <\/p>\n
by\u00a0<\/small>Andrie Sasono<\/span><\/a><\/em>\u00a0&\u00a0Ugeng T. Moetidjo<\/span><\/em><\/span><\/a><\/span><\/p>\nExperimentation is one thing underlying the invention of equipments and techniques for cinema, a new world of vision that started to view and imitate the nature by recordings various phenomena (naturally or deliberately) appearing in front of the lens. This first character of experimentation of course results merely in representation in its simple meaning, that is how the real world can be displayed \u2018alive\u2019, while we can learn the people\u2019s responses when watching the pictures of that new world over a century ago. The reaction from the lay spectators were extraordinary while the intellectuals considered it as a non-existent world, or merely its shadow. However, at least, the Lumiere Brothers has delivered what would be the basic of cinema later on through that historical event of \u201ctrain effect.\u201d That reaction was the first realization of communication between cinema and its public, but more importantly it was the initial growing of a new representation culture via technological invention revealing the emergence of the culture. A pattern of mental relation that emerged between a pure shadow on the screen and the representation in the mind of public influenced the development of cinema itself along the history, and then became a mode of cinematic production in the hands of capitalists and ideologists, each with their own vested interests to portray a world\u2014but especially the worldview beyond that\u2014as reality or truth according to their versions.<\/span><\/p>\nThe early reality-based products of cinema eventually became, in part, the framework of idea and conception of documentary for those who believed that documentary is the mother of cinema. From those convictions, and moreover from the outside, there emerged the geniuses and adventurers who conducted experimentation using various quests of technique and cinematic language, whether for functional purpose or artistic achievement. Both these procedures essentially have their communication targets in order to reach the wider public or a more specific audience. Cinema, which was originally a public entertainment and free from historical burdens of canonic culture, in the end arrived at a point where the highest values (aesthetics and content) could also be reached through this new medium as long as experimentations continue to be performed. This awareness of experimentation then merged the limits between fiction and documentary in cinematic representation. In rumbling quests and achievements, various forms and language experiments appeared, starting from very experimental formats to experimental contents in the hand of some avant-garde artists. It is on the third subject, which are the protagonists of that history of cinema, that the entire order, aesthetical and political, would be turned upside down. At least, that was their jargon, and so the history of cinema has told us.<\/span><\/p>\nMore than just carrying on its \u201cnatural\u201d effect which until today is still exploited (that is the functional reduction of mainstream film\u2019s communicative force), cinema has now reached a position that demands advanced innovations for its language. Thus, through explorations into the entire techniques, narratives, genres, styles, contexts, realities, imaginations, time and all the things related to the medium changes, the cinematic language now has to be brave to go through the risks of every possibility of the cinema itself and the global developments accompanying and influencing it. It is exactly at that point that challenges for the notions, concepts, discourses and practices of experimentation in cinema will amazingly show its language amid all demands on how the cinematic works with all possibilities of its various mediums can always be contextual and meaningful. The five films in the competition program strongly raise those kinds of attempt. It seems an inevitable reality that some contemporary cinematic expressions put together in this program have a strong tendency to expose a world that\u2019s gloomy, strange, weird, mystic, surreal, unidentified, half real-half fantastic, as a basic discourse about the future as everything in our life today seems to show interconnectivities.<\/span><\/p>\n[\/column]\n[\/accordion_item]\n[accordion_item title=”Films”]\n
Experimentation is one thing underlying the invention of equipments and techniques for cinema, a new world of vision that started to view and imitate the nature by recordings various phenomena (naturally or deliberately) appearing in front of the lens. This first character of experimentation of course results merely in representation in its simple meaning, that is how the real world can be displayed \u2018alive\u2019, while we can learn the people\u2019s responses when watching the pictures of that new world over a century ago. The reaction from the lay spectators were extraordinary while the intellectuals considered it as a non-existent world, or merely its shadow. However, at least, the Lumiere Brothers has delivered what would be the basic of cinema later on through that historical event of \u201ctrain effect.\u201d That reaction was the first realization of communication between cinema and its public, but more importantly it was the initial growing of a new representation culture via technological invention revealing the emergence of the culture. A pattern of mental relation that emerged between a pure shadow on the screen and the representation in the mind of public influenced the development of cinema itself along the history, and then became a mode of cinematic production in the hands of capitalists and ideologists, each with their own vested interests to portray a world\u2014but especially the worldview beyond that\u2014as reality or truth according to their versions.<\/span><\/p>\n The early reality-based products of cinema eventually became, in part, the framework of idea and conception of documentary for those who believed that documentary is the mother of cinema. From those convictions, and moreover from the outside, there emerged the geniuses and adventurers who conducted experimentation using various quests of technique and cinematic language, whether for functional purpose or artistic achievement. Both these procedures essentially have their communication targets in order to reach the wider public or a more specific audience. Cinema, which was originally a public entertainment and free from historical burdens of canonic culture, in the end arrived at a point where the highest values (aesthetics and content) could also be reached through this new medium as long as experimentations continue to be performed. This awareness of experimentation then merged the limits between fiction and documentary in cinematic representation. In rumbling quests and achievements, various forms and language experiments appeared, starting from very experimental formats to experimental contents in the hand of some avant-garde artists. It is on the third subject, which are the protagonists of that history of cinema, that the entire order, aesthetical and political, would be turned upside down. At least, that was their jargon, and so the history of cinema has told us.<\/span><\/p>\n More than just carrying on its \u201cnatural\u201d effect which until today is still exploited (that is the functional reduction of mainstream film\u2019s communicative force), cinema has now reached a position that demands advanced innovations for its language. Thus, through explorations into the entire techniques, narratives, genres, styles, contexts, realities, imaginations, time and all the things related to the medium changes, the cinematic language now has to be brave to go through the risks of every possibility of the cinema itself and the global developments accompanying and influencing it. It is exactly at that point that challenges for the notions, concepts, discourses and practices of experimentation in cinema will amazingly show its language amid all demands on how the cinematic works with all possibilities of its various mediums can always be contextual and meaningful. The five films in the competition program strongly raise those kinds of attempt. It seems an inevitable reality that some contemporary cinematic expressions put together in this program have a strong tendency to expose a world that\u2019s gloomy, strange, weird, mystic, surreal, unidentified, half real-half fantastic, as a basic discourse about the future as everything in our life today seems to show interconnectivities.<\/span><\/p>\n[\/column]\n[\/accordion_item]\n[accordion_item title=”Films”]\n
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