{"id":2829,"date":"2014-09-13T14:35:34","date_gmt":"2014-09-13T07:35:34","guid":{"rendered":"http:\/\/arkipel.org\/?p=2829"},"modified":"2017-08-02T20:27:57","modified_gmt":"2017-08-02T13:27:57","slug":"dokumenter-sebagai-gerakan-dan-keberpihakan","status":"publish","type":"post","link":"https:\/\/arkipel.org\/dokumenter-sebagai-gerakan-dan-keberpihakan\/","title":{"rendered":"Dokumenter Sebagai Gerakan dan Keberpihakan"},"content":{"rendered":"[divider type=”space” height=”20″ no_border=”1″ \/]\n

\"\"<\/a><\/p>\n[accordion auto=”0″][accordion_item title=”Foreword”]\n[column type=”1\/2″ last=”0″ class=””]\n

Dokumenter Sebagai Gerakan dan Keberpihakan<\/h1>\n

 <\/p>\n

Untuk sekilas memperkenalkan karya-karya sutradara dokumenter Ogawa Shinsuke, setidaknya kita dapat mulai dengan menarik tiga fokus naratif pada masing-masing dari tiga filemnya yang akan ditayangkan dalam program khusus ini. Ketiga filem berikut boleh disebut merupakan dokumenter epik dari antropologi politik perlawanan massa. Antropologis, karena dalam setiap filem itu kita tidak hanya mengiyakan politik sebagai satu-satunya faktor determinan yang mendominasi struktur ketiga filem, tetapi juga terjajakinya suatu pendekatan tentang manusia beserta lingkungannya dalam situasi perubahan sosial yang menjelang. Pada intinya, tiga \u2014dari lima dokumenter seluruhnya\u2014 yang mengungkap radikalisme Sanrizuka antara 1967-1977, itu merupakan studi mengenai keberpihakan kolektif dari sinema politis yang menyongsong perlawanan masyarakat tani yang ditindas oleh kolusi kepentingan korporasi dan penguasa. Poin penting dari hipotesis di atas ialah, fakta bahwa dokumenter tentang gerakan sosial ini tidak berlangsung dalam latar peristiwa dan dengan subjek masyarakat kota, melainkan komunitas warga dari desa-desa resisten di Sanrizuka yang bergerak mengadakan penentangan kolektif terhadap pembangunan Bandara Internasional Narita antara tahun 1967-1973.<\/p>\n

Melalui pola naratifnya, kita amati bahwa fokus pertama adalah aksi demontrasi atau politik perlawanan itu sendiri; fokus kedua ialah komunitas warga tani sebagai massa terorganisir yang dimobilisasi; dan fokus ketiga ialah perenungan atas seluruh aksi kolektif yang dijalankan. Ketiga fokus ditempatkan ke dalam suatu struktur montase melalui berbagai faset dari adegan-adegan nyata, yang berganti-ganti sudut pandang dan subjek, dalam hal mana penerapan metode interupsi pada setiap filem, selain memuat informasi teknis dan penggambaran visual desa resisten, di satu sisi juga menawarkan realitas sinematik dengan nuansa puitis revolusioner tentang gerakan kaum tani. Ketiga dokumenter ini menunjukkan konsep dan praktik sinema konfrontasi dalam artinya yang paling nyata, yang memproduksi sebentuk provokasi keberpihakan manakala representasi medan konflik itu demikian gamblangnya mengungkapkan massa protes versus musuh bersama mereka (wakil-wakil negara dan korporat) saling berhadapan secara frontal di lapangan. Di situlah, barang tentu, simpati, empati, dan aksi keberpihakan sinema terlibat sepenuhnya dengan perjuangan keras warga desa petani Sanrizuka dalam mempertahankan tanah tradisional mereka melawan pembangunan ekonomi raksasa Jepang dengan dalih kemakmuran.<\/p>\n

Bentuk dari fokus pertama, secara umum, terbentang sebagai lanskap-lanskap, dan dalam kesempatan itu, terpampang kontur desa-desa yang menjadi ladang pertempuran, sebagai bagian dari latar sejarah setiap wilayah. Fokus kedua terkonsentrasikan pada berbagai bidikan dekat (close up<\/i>) wajah-wajah individual para demonstran dan penggerak massa aksi, dalam upaya mendekatkan profil para pelaku demonstrasi. Akan halnya fokus ketiga, mewujud sebagai pantulan batin yang menilai ulang sebagian aksi maupun isu yang menjadi inspirasi maupun strategi perlawanan. Pada bagian inilah, sesungguhnya, terletak momen-momen renungan bagi sinema, utamanya mengenai hakikat dokumenter yang menjadi pijakan estetiknya. Dalam hal ini, struktur montase ketiga filem sungguh diniatkan sebagai bentuk ungkapan sinematik yang memetaforkan alur naratif ke dalam: badan\u2013tindakan\u2013jiwa dari dokumenter itu. Karenanya, kita tidak hanya menyaksikan masifnya perlawanan dan kekerasan di antara dua pihak yang bertikai, tetapi juga nilai-nilai sosio-moral yang dapat dipetik dalam momen-momen yang menawarkan sejenis transendensi untuk memberi alasan mengapa radikalisme, di satu pihak, dan kekerasan, di lain pihak, harus terjadi. Di balik segenap upaya mewujudkan suatu strategi dokumenter yang menggetarkan keterlibatan, ini, tak boleh diabaikan peranan media sebagai alat yang, dalam ketiga documenter, tidak ditutup-tutupi. Bahkan, dalam filem yang pertama, kamera yang dituduh turut berfungsi memprovokasi oleh pemerintah, adalah aspek tak terpisahkan dari struktur montase dokumenter ini. Keberpihakan kamera dalam radikalisme ini menghadapi konsekuensi tentang objektifitas sudut pandang suatu dokumenter, ketika bahkan sebenarnya representasi kekerasan itu belum lagi terlihat. Akan tetapi, seperti dinyatakan asisten sutradara Matsumoto Takeaki, posisi objektif kamera juga menuntut argumen yang sama objektifnya atas penggunaan kekerasaan dalam menangani peristiwa demontrasi yang sedang direkam.<\/p>\n

Dengan demikian, teranglah, ketiga fokus naratif tersebut pada pokoknya menjelaskan semacam prosedur strategis akan bentuk representasi yang dipilih untuk membunyikan sinyal-sinyal pesan pada aspek dalaman (internal<\/i>) setiap filem, tanpa perlu mengabaikan aktualitas dari seluruh proses radikalisasi itu. Dengan kata lain, filem-filem ini menjadi berarti, bukan hanya lantaran secara cemerlang berhasil menggerakkan kembali fakta-fakta mendasar dari adegan-adegan nyata yang menegaskan sikap politik atas dokumenter, melainkan juga karena di dalam filemnya sendiri, secara estetik, tersimpul renungan tentang penegasan sikap itu dari suatu mahakarya seni.<\/p>\n

– Ugeng T. Moetidjo<\/em><\/p>\n[\/column]\n[column type=”1\/2″ last=”1″ class=””]\n

Documentary as a Movement\u00a0and Alignments<\/span><\/h1>\n

 <\/p>\n

To introduce the works of the documentary director Ogawa Shinsuke in brief, at least we can start by drawing three narrative focuses on each of the three films which will be screened in this special program. The following three films may be called as epic documentaries from the political anthropology of the mass resistance. It\u2019s anthropological, because in each film we do not merely approve of politics as the only determinant factor to dominate the three films\u2019 structure, but also there\u2019s also the exploration of an approach on human beings and the environment in the emergence of social transformation situation. In a nutshell, this three (of five documentaries) express the Sanrizuka\u2019s radicalism between 1967-1977 are a study about a collective act from political cinema that welcomes peasantry resistance whose people were being repressed through a collusion of interests of corporations and rulers. The important point of this hypothesis is the fact that this documentary is about social movement, which does not occur in a city background of event with city inhabitants as its subjects, but communities from villages in Sanrizuka that express their collective resistances to the development of Narita International Airport in 1967-1973.<\/span><\/p>\n

Through its narrative pattern, we can observe that the first focus is the act of rally or the political resistance itself; the second focus is the peasant communities as a mobilized and organized mass; the third focus is a reflection on the entire organization of the collective act. The three focuses are placed in a montage structure through various facets of real scenes, with their changing perspectives and subjects, in a way that the application method of interruption in each film, in addition to containing the technical information and visual description of the resistance villages, also offers a cinematic reality, on the one hand, with a revolutionary poetic nuance about the peasants\u2019 movement. The three documentary works show the concept and practice of confrontative cinema in their most actual meanings, which produce a sort of siding provocation when the representation of the conflict arena is so explicit in expressing the protesting mass versus their common enemies (the state and corporation representatives) as they stand face to face in the battlefield. At that point, of course, sympathy, empathy and cinematic act of siding are fully involved in the firm struggles of Sanrizuka peasants in defending their traditional lands against the gigantic economic development of Japan with its pretense to accelerate prosperity.<\/span><\/p>\n

The form of the first focus, in general, stretches out as landscapes, and in that likelihood, displaying the contours of villages that become the battlefields, as part of the history background of each region. The second focus concentrates on various close-up shots of individual faces of the demonstrators and the rally leaders, in order to make familiar the demonstrators\u2019 profiles. As for the third focus, it is realized as an inner reflection that reviews some of the actions or issues that become inspirations or resistance strategy. In this very part, actually, lies moments of contemplation for cinema, especially about the nature of documentary as the foundation of its aesthetics. In this case, the montage structure of the third film is fully intended as a cinematic expression form to symbolize the narrative plot into: body-act-soul of the documentary. Because of that, not only we witness the massive resistance and violence between the two parties in conflict, we also learn about the socio-moral values that can be captured in moments that offer a sort of transcendence to provide with reason why radicalism, on the one hand, and violence, on the other hand, have to happen. Behind the entire effort to realize a documentary strategy which vibrates with participation, we cannot ignore the role of media as a tool which, in the three documentaries, is disclosed. In fact, in the first film, the camera that was being accused by the government of taking part to create provocation is an integral aspect of the montage structure of this documentary. The act of camera in this radicalism faces consequences of objectivity of a documentary perspective, when actually the violence has not seemed to appear yet. However, as stated by the assistance director Matsumoto Takeaki, the objective position of the camera also demands the the same objective argument over the use of violence in handling the recorded events of rally.<\/span><\/p>\n

Thus, it is clear; the three narrative focuses basically explain a sort of strategic procedure about the form of representation that is selected to deliver the message signals at the internal aspects of each film without necessarily ignoring the actuality of the whole process of radicalization. In other words, these films are important, not only because they brilliantly succeed to elevate again the basic facts from the real scenes that confirm a political stance of documentary, but also because in the films themselves, aesthetically, there drawn a reflection of that confirmation of stance of an art masterpiece.<\/span><\/p>\n

– Ugeng T. Moetidjo<\/em><\/span><\/p>\n[\/column]\n[\/accordion_item]\n[accordion_item title=”Films”]\n

\n

\"\"<\/a><\/p>\n

The Battle Front for the Liberation of Japan \u2013 Summer in Narita<\/strong>
\nShinsuke Ogawa (Japan)<\/span><\/p>\n<\/div>\n

\n

\"\"<\/a><\/p>\n

Narita \u2013 Peasants of the Second Fortress<\/strong>
\nShinsuke Ogawa (Japan)<\/span><\/p>\n<\/div>\n

\n

\"\"<\/a><\/p>\n

Narita \u2013 Heta Village<\/strong>
\nShinsuke Ogawa (Japan)<\/span><\/p>\n<\/div>\n[\/accordion_item]\n[\/accordion]\n","protected":false},"excerpt":{"rendered":"

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