{"id":2616,"date":"2014-09-10T23:21:26","date_gmt":"2014-09-10T16:21:26","guid":{"rendered":"http:\/\/arkipel.org\/?p=2616"},"modified":"2017-08-02T20:35:50","modified_gmt":"2017-08-02T13:35:50","slug":"di-luar-sinema-ketiga","status":"publish","type":"post","link":"https:\/\/arkipel.org\/di-luar-sinema-ketiga\/","title":{"rendered":"Di Luar Sinema Ketiga"},"content":{"rendered":"<p><small>curator<\/small>\u00a0<em><strong>Ronny Agustinus<\/strong><\/em><\/p>\n[divider type=&#8221;space&#8221; height=&#8221;20&#8243; no_border=&#8221;1&#8243; \/]\n[accordion auto=&#8221;0&#8243;][accordion_item title=&#8221;Foreword&#8221;]\n[column type=&#8221;1\/2&#8243; last=&#8221;0&#8243; class=&#8221;&#8221;]\n<h1><strong>Di Luar Sinema Ketiga<\/strong><\/h1>\n<p>&nbsp;<\/p>\n<p>Melihat konteks situasi sosial-politik di Indonesia belakangan, yang diperjelas oleh tema besar Arkipel 2014 \u201cElectoral Risk\u201d, memang terbersit godaan untuk memilih filem-filem bernafaskan Sinema Ketiga dalam program kuratorial Amerika Latin ini (katakanlah demi relevansi, demi pembelajaran politik, atau apapun). Tapi pada akhirnya, kurasi ini justru memilih yang di luar itu. Bukan apa-apa. Pilihan ini sebenarnya ingin mengatakan bahwa tidak hanya ada satu cara tunggal dalam berkesenian, berpolitik, atau berkesenian yang politis. Sama seperti \u201crealisme magis\u201d, apabila Sinema Ketiga telah menjadi wacana dominan, kita perlu menengok keluar darinya untuk melihat realitas yang lebih luas. Bukan sekadar \u201cingin tampil beda\u201d atau keangkuhan-keangkuhan <em>hipster <\/em>lainnya yang semacam itu, tapi ini krusial: di luar Sinema Ketiga, sebelum dan sesudahnya, ada banyak karya dokumenter Amerika Latin yang sungguh perlu ditengok secara estetis dan politis.<\/p>\n<p>Dua film pilihan dalam program kuratorial ini mengandung perbedaan-perbedaan mencolok: <em>Araya <\/em>(1959, sebelum Sinema Ketiga) karya Margot Benacerraf difilmkan dalam hitam-putih, dengan suara narator layaknya dokumenter umumnya, sementara <em>Suite Habana <\/em>(2003, jauh sesudah Sinema Ketiga) karya Fernando P\u00e9rez difilmkan dalam warna, tanpa narasi atau dialog apapun. Tapi keduanya juga punya kesamaan tematik penting: bercerita tentang satu hari dalam kehidupan orang-orang dalam kelompok masyarakat tertentu\u2014dalam <em>Araya<\/em>: masyarakat pesisir ladang garam di semenanjung terpencil Venezuela; dalam <em>Suite Habana<\/em>: warga kota Havana pasca runtuhnya Uni Soviet dan komunisme. Dalam beberapa hal keduanya bisa dibilang serupa. Di Araya, kehidupan nyaris tak berubah selama hampir 5 abad. Di Havana, saat Kuba harus mandiri di tengah embargo AS yang tak masuk akal, penduduk kota itu sepertinya bertahan dengan apa yang ada. Tak maju dan tak mundur. Laut dengan segenap hempasan ombaknya, yang di mana pun adalah sarana bagi datangnya progresi maupun destruksi, di Araya dan di Havana justru tampak bagaikan tameng yang mengucilkan dan mengebalkan mereka dari perubahan.<\/p>\n<p>Ada satu kesamaan lain dari keduanya yang jelas merupakan poin terpenting dari kurasi ini: kedua film ini adalah puisi. Puisi menjadi puisi karena ia tidak bisa dibahasakan dengan cara lainnya. Dalam prosa, seseorang bergerak dari gagasan, lalu mengisinya dengan gambaran-gambaran, adegan-adegan, yang dirasa pas untuk menebalkan, mengisi, dan memberi daging bagi gagasan itu. Tapi puisi bermula dari gambaran \u2013konkret maupun kelebatan\u2014lalu bergerak sebaliknya. Penulis kira, ini berlaku untuk <em>Araya <\/em>dan <em>Suite Habana<\/em>. Tak terbayang rasanya, dengan materi gambar yang diambilnya, Benacerraf atau P\u00e9rez bisa membuat karya lain selain apa yang mereka buat ini. Dan inilah simpul kuratorial untuk kategori Amerika Latin kali ini: memberikan kemungkinan lain dalam mengaitkan estetika filem dengan komitmen sosial-politik, di luar apa yang sudah lazim dikenal selama ini sebagai Sinema Ketiga.<\/p>\n[\/column]\n[column type=&#8221;1\/2&#8243; last=&#8221;1&#8243; class=&#8221;&#8221;]\n<h1><span style=\"color: #666699;\"><strong>Outside The Third Cinema<\/strong><\/span><\/h1>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #666699;\">Looking at the Indonesian socio-political contexts today, which Arkipel 2014 has made it explicit with its grand theme \u201cElectoral Risk\u201d, it may be tempting to choose films from the Third Cinema for its Latin America&#8217;s curatorial program (considering its relevance, political lessons, or whatever). Yet this program selects films outside the dominant purview of Third Cinema. Here is the thing. This curatorial position wishes to suggest that there is no single approach to exercise arts, politics, or politically committed arts. The same goes with magical realism. If the Third Cinema has become a dominant discourse in Latin American cinema, we need to look outside the canon to see the wider realities of Latin America. This is not merely about &#8220;being different&#8221; or a sort of hipster\u2019s pretense, but this is crucial: outside the Third Cinema, there are lots of Latin American documentary works that need to be regarded, politically as well as aesthetically.<\/span><\/p>\n<p><span style=\"color: #666699;\">Two selected films in this program possess striking differences: <em>Araya <\/em>(Margot Benacerraf, 1959, was made before the Third Cinema manifesto) was filmed in black and white. It uses a narration like in a conventional documentary, while <em>Suite Habana <\/em>(Fernando P\u00e9rez, 2003, wascmade long after the Third Cinema manifesto) was filmed in color, without a narration or dialogue whatsoever. Yet both works share a similar theme: one day in a life of a certain community\u2014in <em>Araya<\/em>: a salt fields\u2019 coastal community in a Venezuelan secluded peninsula; in <em>Suite Habana<\/em>: Havana&#8217;s city dwellers after the collapse of Soviet Union and communism. In Araya, life hasn&#8217;t changed much for about five centuries. In Havana, when Cuba has to stand on their feet amidst the ludicrous US embargo, the city dwellers seem to survive with whatever they have. Not going forward nor backward. In the films, the sea with its pounding waves, the sea by which progressions or destructions arrive, has functioned as a shield that isolates and safeguards them from changes.<\/span><\/p>\n<p><span style=\"color: #666699;\">There is one more similarity which is indeed the most crucial point of this program: both films are poetry. Poetry becomes poetry because it cannot be expressed in another forms. In prose, one departs from an idea, and then fills it with images, scenes that are considered fit to give flesh to the idea. But poetry begins from images \u2013in a concrete form or simply a glimpse\u2014and then moves the other way around. We think this assessment is valid for <em>Araya <\/em>and <em>Suite Habana<\/em>. With the materials they had taken, it is unimaginable that Benacerraf or P\u00e9rez would make other works than these ones. In conclusion, this is what the Latin American program has to offer: to provide other possibilities in connecting film aesthetics with socio-political commitments beyond what is known as the Third Cinema.<\/span><\/p>\n[\/column]\n[\/accordion_item]\n[accordion_item title=&#8221;Films&#8221;]\n<div class=\"column col-14\">\n<p><a title=\"Araya\" href=\"http:\/\/arkipel.org\/araya\/\" target=\"_blank\"><img decoding=\"async\" class=\"alignnone wp-image-2611 size-full\" src=\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2014\/09\/Araya-A.jpg?resize=1140%2C685\" alt=\"\" width=\"1140\" height=\"685\" data-recalc-dims=\"1\" \/><\/a><\/p>\n<p><strong><i>Araya<br \/>\n<\/i><\/strong><span style=\"color: #666699;\">Margot Benacerraf (Venezuela)<\/span><\/p>\n<\/div>\n<div class=\"column col-14 last\">\n<p><span style=\"color: #666699;\"><a title=\"Suite Habana\" href=\"http:\/\/arkipel.org\/suite-habana\/\" target=\"_blank\"><img decoding=\"async\" class=\"alignnone wp-image-2614 size-full\" src=\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2014\/09\/SUITE-HABANA-E.jpg?resize=1140%2C691\" alt=\"\" width=\"1140\" height=\"691\" data-recalc-dims=\"1\" \/><\/a><\/span><\/p>\n<p><strong>Suite Habana<\/strong><br \/>\n<span style=\"color: #666699;\">Fernando P\u00e9rez \u00a0(Cuba)<\/span><\/p>\n<\/div>\n[\/accordion_item]\n[\/accordion]\n","protected":false},"excerpt":{"rendered":"<p>Looking at the Indonesian socio-political contexts today, which Arkipel 2014 has made it explicit with its grand theme \u201cElectoral Risk\u201d, it may be tempting to choose films from the Third Cinema for its Latin America&#8217;s curatorial program (considering its relevance, political lessons, or whatever).<\/p>\n","protected":false},"author":90,"featured_media":2391,"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":"<!-- This site is optimized with the Yoast SEO plugin v22.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Di Luar Sinema Ketiga &#8212; 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