<\/a><\/p>\n[accordion auto=”0″][accordion_item title=”Foreword”]\n[column type=”1\/2″ last=”0″ class=””]\nMarxisme itu Sesuatu yang Filemis<\/h1>\n <\/p>\n
Filem merupakan medium yang mampu membahasakan kompleksitas sosial-ekonomi-politik masyarakat secara serentak. Sinema sebagai bahasa, khususnya dalam asas montase, yakni kemampuannya membawa penonton kepada usaha untuk mengatasi kompleksitas rentang waktu dan situasi dalam lokasi-lokasi yang berbeda. Potensi revolusioner pada filem bukan sekadar pada mediumnya yang bisa direproduksi dan menjangkau masyarakat luas. Potensi bahasa filem, khususnya pada montase, sesungguhnya adalah cara pandang terhadap realitas yang sanggup memperlihatkan secara serentak kontradiksi dari kesatuan bahasanya. Kodrat gerak pada sinema yang memungkinkan asas montase, dalam hal ini, adalah cara pandang yang berkemampuan untuk menyingkap selubung-selubung \u2018magis\u2019 dari realitas. Menjukstaposisikan gambar, berarti menampilkan realitas yang bisa ditransformasikan ke dalam realitas lainnya.<\/p>\n
Filem News from Ideological Antiquity: Marx\u2013Eisenstein\u2013Das Kapital<\/em> adalah karya Kluge yang diilhami oleh proyek sutradara Rusia ternama, Sergei Eisenstein, yang di tahun 1927\/28 berniat membuat filem berdasarkan buku Das Kapital<\/em>. Proyek Eisenstein rencananya menciptakan kisah satu hari seorang kelas pekerja sebagaimana gaya sastra dalam karya James Joyce, \u201cUlysses\u201d, karena bagi Eisenstein sendiri, Das Kapital<\/em> hanya mungkin diwujudkan secara filemis melalui pendekatan \u2018formal\u2019 gaya Joyce, dan oleh Eisenstein, karyanya ini secara estetis memang ditujukan bagi Joyce. Proyek Eisenstein ini urung terwujud. Berdasarkan arsip-arsip berupa sketsa dan catatan Eisenstein, Kluge berusaha meneruskan proyek sang sutradara Russia itu secara \u2018arkeologis\u2019 dengan gaya sinemanya sendiri.<\/p>\nSemangat Kluge untuk melanjutkan proyek Eisenstein, guna membuat filem berdasarkan buku Das Kapital<\/em> Karl Marx, sebenarnya bukan dimaksudkan sebagai usaha untuk memfilemkan \u201cDas Kapital\u201d an sich<\/em>. Namun, yang coba digagas dan dikonsepsikan Kluge yaitu meneliti bagaimana seorang harus menemukan image<\/em> guna mewujudkan kitab Marx itu secara filemis. Artinya, bagaimana Marxisme ditafsir berdasarkan image<\/em>. Pada wawancara dalam Das Kapital<\/em> Kluge, Oskar Negt menyebut bahwa pada prisipnya, gambaran Marx bisa diterjemahkan dengan baik secara imaginal<\/em>. Kisah tentang perbudakan anak di satu penambangan, tentunya, akan menyentuh hati kala dijelaskan melalui image<\/em>. Jika \u201cDas Kapital\u201d diartikulasi secara imaginal<\/em> atau melalui image<\/em>, bagi Oskar Negt, hal itu tentu akan menggetarkan. Ini bisa dijelaskan melalui pengamatan terhadap Das Kapital<\/em>: mana bagian yang berlandaskan analisis ilmiah dan mana penjelasan yang berbau sastrawi.<\/p>\nBerbeda dengan Eisentein yang cenderung menggerakkan estetika dalam kerangka montase didaktis dan amat meyakini formalisme bahasa sinemanya, Kluge lebih memilih bahasa sinema yang cair untuk berdamai dengan latar pengalaman visual penonton. \u201cFilem bukanlah suatu kepengarangan, melainkan dialog antara pengarang dan penonton. Ini merupakan langkahan konflik pada puncaknya, karena penonton melalui seluruh pengalaman sebelumnya dengan sinema adalah pra-program\u2026 dan filem terwujud bagiku, bukan di atas layar tetapi di kepala penonton.\u201d (Lutze, 1998: 21-22). Kluge menyatakan bahwa ia tidak ingin mendorong segala intepretasi yang partikular pada penonton, hal yang berbeda dari apa yang dipikirkan oleh Eisensetin yang menitikberatkan hasil pada layar. \u201cKluge menyatakan bahwa filemnya adalah provokasi, semata-mata berdasarkan \u2018filem di kepala penonton. Eisenstein, sebaliknya, meniatkan pengantaran tokoh sebagai \u2018percakapan batin\u2019 pada penonoton.\u201d (ibid<\/em>., 129).<\/p>\n[\/column]\n[column type=”1\/2″ last=”1″ class=””]\nMarxism is Something Filmic<\/span><\/h1>\n <\/p>\n
Film is a medium that is able to address the complexity of social-economy-politics of the society in an instance. Cinema as a language, particularly within montage principles, has an ability to take the viewers to an attempt to overcome the complexity of time span and situtation in different locations. The revolutionary potential of film lies not only in its medium that is able to be reproduced and reach the wider public. The potential of film language, especially its montage, actually is a way of thinking toward reality which is capable to instantly show the contradiction of its language unity. The nature of movement in cinema which allows the principles of montage, in this case, is a way of thinking that is capable to uncover \u2018magical\u2019 veils from reality. Juxtaposing the image means to present reality that can be transformed to another reality.<\/span><\/p>\nNews from Ideological Antiquity: Marx\u2013Eisenstein\u2013Capital <\/em>is a work of Kluge which was inspired by the project of the celebrated Russian director, Sergei Eisenstein, who in 1927\/1928 attempted to make a film based on the book Capital<\/em>. The Eisenstein project was planned to create a new story about a day of a worker class as in the literature style in the work of James Joyce, Ulysses<\/em>, because for Eisenstein, Capital <\/em>is only possible to be realized filmically through the \u2018formal\u2019 approach of Joyce, and by Eisenstein, this work was aesthetically addressed in particular to Joyce. However, this Eisenstein project failed to realize. Based on the archives in the form of sketches and notes of Eisenstein, Kluge sought to continue the project of the Russian director \u2018archaeologically\u2019 in his own cinematic style.<\/span><\/p>\nKluge\u2019s spirit to continue Eisenstein\u2019s project, making a film based on Karl Marx\u2019s Capital<\/em>, in fact was not intended as an effort to film Capital<\/em> an sich<\/em>. What Kluge tried to do is examine how one finds an image to realize Marx\u2019s book filmically. It means how Marxism can be interpreted based on image. In the interview from Kluge\u2019s Capital<\/em>, Oskar Negt mentioned that, in principle, Marx\u2019s image could be well interpreted in an imaginary way. The story about child slavery in a mining, of course, will be compelling when explained through image. If the book Capital<\/em> is articulated in an imaginary way or through image, for Oskar Negt, it will be thrilling. This can be explained through an examination on Capital<\/em>: which part is based on scientific analysis and which part of the explaination that suggests an element of literature.<\/span><\/p>\nQuite different from Eisenstein who tended to move aesthetic in a didactic montage framework and has so much belief in his cinematic language formalism, Kluge preferred to choose a fluid cinematic language to make peace with visual experience background of the spectators. \u201cFilm is not a thing of authors, but a dialogue between author and spectator. That is a very high conflict step, because the spectator through all of his previous experience with the cinema is preprogrammed\u2026and the film realized for me, not on the screen but in the head of the spectator.\u201d (Lutze, 1998: 21-22). Kluge asserted that he did not want to push any particular interpretation to the spectator, unlike what Eisenstein thought of, in which he emphasized the result on screen. \u201cKluge claims that his films are merely provocations for \u2018the film in the viewer\u2019s head\u2019. Eisenstein, in contract, wanted to deliver the character\u2019s \u2018inner monologue\u2019 to the audience.\u201d (ibid<\/em>., 129).<\/span><\/p>\n[\/column]\n[\/accordion_item]\n[accordion_item title=”Films”]\n\n
<\/a><\/p>\nNews from Ideological Antiquity: \nMarx\u2013Eisenstein\u2013Das Kapital \n<\/b><\/span>Alexander Kluge (Germany)<\/span><\/p>\n<\/div>\n[\/accordion_item]\n[\/accordion]\n","protected":false},"excerpt":{"rendered":"This curatorial discusses about how the colonial practices always leave traumatic collective memories for ex-colonial societies.The memories are present at every action, be it by the state or the people.<\/p>\n","protected":false},"author":3,"featured_media":2686,"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":[362,1],"tags":[279,122],"jetpack_publicize_connections":[],"yoast_head":"\n
Marxisme itu Sesuatu yang Filemis — ARKIPEL<\/title>\n \n \n \n \n \n \n \n \n \n \n \n \n\t \n\t \n\t \n \n \n \n \n \n\t \n\t \n\t \n