{"id":2861,"date":"2014-09-15T01:55:07","date_gmt":"2014-09-14T18:55:07","guid":{"rendered":"http:\/\/arkipel.org\/?p=2861"},"modified":"2017-08-02T20:17:49","modified_gmt":"2017-08-02T13:17:49","slug":"media-aktivisme-dan-sekolah-filem","status":"publish","type":"post","link":"https:\/\/arkipel.org\/media-aktivisme-dan-sekolah-filem\/","title":{"rendered":"Media, Aktivisme dan Sekolah Filem"},"content":{"rendered":"[divider type=”space” height=”20″ no_border=”1″ \/]\n[accordion auto=”0″][accordion_item title=”Foreword”]\n[column type=”1\/2″ last=”0″ class=””]\n

Media, Aktivisme dan Sekolah Filem<\/h1>\n

 <\/p>\n

Agaknya kita perlu menegaskan kembali bahwa upaya-upaya promosi dan pengarahan perubahan sosial, politik, budaya, ekonomi \u2014dan teruntuk sektor-sektor yang lebih spesifik, seperti HAM, lingkungan, gender, LGBT, perempuan dan anak, dan buruh\u2014 yang semuanya itu berkumpul dalam satu terma, aktivisme, memanglah domain yang dititahkan kepada kelompok masyarakat yang mengusung gerakan sipil, dalam kemasan civil society organization<\/i> (CSO). Kehadiran dan perkembangannya di dalam dinamika pasar global yang semakin maju, menjadi demikian penting dalam aksi menyalingselaraskan berbagai aspek kegiatan dari masing-masing isu (sosial, politik, budaya, eknomi) dengan prioritas-prioritas yang terdapat di dalamnya.<\/p>\n

Dalam hal ini, media menjadi topik yang tak boleh lupa dipersoalkan karena pengaruhnya bagi perkembangan aktivisme itu sendiri. Penggunaan media berbasis teknologi internet, terutama, mengalami peningkatan yang signifikan. Yanuar Nugroho, dalam tesis doktoralnya, menunjukkan bahwa penggunaan internet membawa implikasi yang penting bagi organisasi-organisasi aktivis, baik bagi kinerja manajerial internal maupun lingkup kerja eksternal dalam hal perluasan jaringan gerakan sosial dan keterlibatan sosial-politik di negaranya. Selain itu, penyerapan teknologi media ke dalam ranah aktivisme juga semakin berkembang di tataran lokal: gerakan sipil muncul dalam wajah komunitas yang melek media, yang menegosiasikan kembali nilai-nilai lokal sebagai strategi bagi pembangunan peradaban global. Bahkan, komunitas-komunitas ini mendatangkan gelombang \u201cpenyalahgunaan secara kreatif\u201d (creatively misused<\/i>) atas media, inisiatif dan perlakuan yang terbilang menyimpang dari sudut pandang kelahiran media itu sendiri, dan hadir sebagai suatu kesegaran yang belum pernah terbayangkan sebelumnya.<\/p>\n

Namun, dalam konteks Indonesia, adakah implikasi penting dari hubungan antara media dan aktivisme serta \u201cpenyimpangan-penyimpangan\u201d ini telah mendapatkan rumusan dan bentuknya yang mantap sebagai kekuatan struktural yang mampu mempengaruhi kebijakan secara konkret? Bagaimana pandangan atas aktivisme media nan organik itu dapat berkembang secara merata di seluruh wilayah, sebagai suatu tanggapan atas kegagapan negara dalam memfasilitasi masyarakat? Bagaimana kita melihat keunikan lokal dalam menyikapi media tersebut sebagai bagian dari perkembangan baru di wilayah estetika, khususnya filem, dengan mempertimbangkan dugaan akan minimnya kecenderungan eksploitatif atas medium di lingkungan masyarakat kita?<\/p>\n

Sementara itu, di sisi lain, terdapat permasalahan yang tidak kalah penting dalam kaitannya dengan wacana media dan aktivisme itu, yakni pendidikan media. Secara lebih pesifik, dalam wacana filem dan media, ialah pendidikan filem.<\/p>\n

Pendapat bahwa sistem pendidikan kita gagal mengembangkan wacana perfileman Indonesia, agaknya, tak bisa lagi ditanggapi dengan main-main. Rendahnya produktivitas akademik (filem) dalam merumuskan atau memunculkan gagasan-gagasan baru mengenai estetika dan strategi sosial-politik filem tak hanya menyebabkan sebagian besar masyarakat kita tetap terjebak dalam hegemoni Hollywood dan anggapan tentang produksi-distribusi pengetahuan audiovisual yang berorientasi modal dan keuntungan, tetapi juga semakin merapuhkan jati diri masyarakat kita yang merupakan masyarakat plural dan multikultural. Hal ini ditandai dengan sikap \u2018mengasingkan\u2019 (dan \u2018mengeksotiskan\u2019) kehadiran wacana eksperimental di bidang filem. Hingga detik ini, tak banyak pelaku-pelaku kebudayaan kita yang mampu menanggapi wacana (yang seharusnya bukan lagi baru) itu tanpa terbata-bata mengartikulasikan bahasa (filem) yang berbeda-beda.<\/p>\n

Kita seakan sudah tak percaya lagi pada \u2018sekolah filem\u2019. Dalam perkembangan sepuluh tahun terakhir, wacana perfileman justru melakukan pengembangan dirinya di luar wilayah akademik, memulai kembali benih-benih pemahamannya di lingkungan komunitas (yang mengusung indepedensi dalam hal produksi), atau bahkan acap kali \u2018menumpang\u2019 pada aksi-aksi sosial-politik-budaya yang pada niat awalnya menomorduakan filem itu sendiri. Situasi ini seakan menjadi PR dengan tenggat waktu yang semakin sempit, harus segera ditangani, mengingat filem tak lagi dapat dilihat sebagai ranah yang ekslusif, melainkan sebagai suatu wacana lintas disiplin.<\/p>\n

Dengan demikian, topik mengenai \u2018sekolah filem\u2019 masih sangat relevan untuk didiskusikan, bahkan diperdebatkan. Apakah masih ada harapan bagi pembangunan dan pengembangan sistem pendidikan (filem) yang mengalami kebuntuan? Apakah memang benar akademisi filem benar-benar melarikan diri dari kenyataan bahwa filem bukanlah sekedar persoalan profesi, melainkan juga menyangkut soal pengetahuan etik dan estetik? Atau, jangan-jangan adalah langkah yang tepat untuk melemparkan saja perkembangan estetika dan strategi sosial-politik filem itu ke dalam kecenderungan otodidak warga melalui kerja-kerja komunitasnya? Paling tidak, kita bukan sedang berbicara \u2018sekolah filem\u2019 pada penempatan teknisnya belaka, tetapi justru sebagai kerangka berpikir kritis terhadap sistem pendidikan di Indonesia secara umum.<\/p>\n[\/column]\n[column type=”1\/2″ last=”1″ class=””]\n

Media, Activism and Film School<\/span><\/h1>\n

 <\/p>\n

It seems that we need to reassert that attempts to promote and encourage social, political, economic and cultural changes \u2014and for specific sectors such as human rights, environment, gender, LGBT, women and children, and workers\u2014all of which gather in the term activism are indeed the domain of civil society. Indonesian civil society in particular has gained stronger presence and a fast growing development in the midst of global market development. The importance of civil society has been noted especially in the said social, political, cultural and economic transformations and its insistence in defending and promoting civil political economic rights.\u00a0<\/span><\/p>\n

In this context, media become a topic that cannot be forgotten thanks to its important role in activism itself. The use of internet-based technology in particular has had a significant implication for civil society\u2019s organizations and activists\u2019 groups in term of its internal managerial systems as well as externally in their broadening scope of works and expanding networks of social movements and the socio-political engagement in the country. Beside, the use of media technology for activism has spread to local communities: civil movements emerge from highly media literate communities, those who negotiate their values as a strategy to build a more global network. Moreover, these communities invite a wave of \u201ca creatively misuse\u201d of media. They creatively use media for their purposes, sometimes against their intended use. This creative \u2018abuse\u2019 offers a new and fresh perspective of media uses that never have been imagined before.\u00a0<\/span><\/p>\n

However, in the context of Indonesia, have the significant implications of the relationship between media and activism generated a conceptualization and an established form that can function as a structural force that can influence decision-making processes concretely? How about a potential and possibility of the distribution of media-based activism across regions in Indonesia thanks to the state\u2019s failure to protect and promote its citizens\u2019 rights? How can we see unique local responses to media as a new development in the film aesthetics, given the lack of experimentations of film medium in our society?\u00a0<\/span><\/p>\n

On the other hand, there is a problem that is no less important in relation to the activism and media discourse, that is the education of media. Specifically, in film and media discourse, it is the education of film.<\/span><\/p>\n

The opinion that our education system has failed to develop Indonesian cinema probably should be responded seriously. The failure of Indonesian film academics to formulate or conceptualize new ideas of film aesthetic and social political strategy of filmmaking not only makes most Indonesians trapped in the Hollywood\u2019s hegemony as well as enforces a view that filmmaking is merely a commercial enterprise, but also jeopardizes Indonesian national identity as a plural and multicultural society. This is marked by some attitude to \u2018alienate\u2019 (and \u2018exoticize\u2019) experimental discourse in Indonesian cinema. Up until today, not many of our intellectuals are able to respond critically to that discourse (which is supposedly not new) let alone to appreciate a variety of film languages outside the maintstream ones.<\/span><\/p>\n

We seem to lose faith in film schools. In the last ten years, film scholarship instead takes place outside academia, growing its seed from communities of filmmakers and film lovers (who believe in in the relative freedom and independence of non-mainstream filmmaking), or sometimes scholarship comes from social political and cultural movements which initially placed films as secondary. This situation has raised our concern given the fact that we have not much time to wait. Film as an art form itself has gained more currency in Indonesian society and it demands our urgent response. In addition, film cannot be considered as a high art limited to academia thanks to the emergence of new interdisciplinary approach to filmmaking and film studies.\u00a0<\/span><\/p>\n

Thus, the topic of \u2018film school\u2019 is still of utmost importance. Is there any hope for the development and establishment of Indonesian (film) education system? Is it correct to assume that film academicians have run away from a reality that filmmaking is not only about a profession but also about knowledge production, ethical as well aesthetics? Or, wouldn\u2019t it be correct to let film scholarship grow naturally in community levels, with their self-taught ethos? We will discuss film schools in Indonesia not merely in the framework of limited film education but broadly in the context of popular and critical education in the country.<\/span><\/p>\n[\/column]\n[\/accordion_item]\n[accordion_item title=”Speakers”]\n

\n

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

Otty Widasari<\/p>\n<\/div>\n

Otty Widasari<\/b>: Seorang seniman, pembuat dokumenter, penulis dan aktivis media, yang aktif terutama di bidang pemberdayaan masyarakat, khususnya literasi media dan jurnalisme warga melalui kerja kolaboratif bersama komunitas-komunitas lokal. Manajer Program di Forum Lenteng.<\/div>\n
Otty Widasari<\/b>: is an artist, filmmaker, writer and media activist, who is active primarily in the fields of community development, particularly media literacy and citizen journalism through collaborative work with local communities. She is the Program Manager at Forum Lenteng.<\/span><\/div>\n[divider type=”space” height=”20″ no_border=”1″ \/]\n
\n

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

Edwin<\/strong><\/p>\n<\/div>\n

Edwin<\/b>: Menyelesaikan Diploma (D3) Desain Grafis di Universitas Kristen Petra Surabaya, dan tidak menyelesaikan pendidikan filemnya di Institut Kesenian Jakarta. Tahun 2005, karyanya berjudul Kara, Anak Sebatang Pohon<\/i>, masuk dalam sesi Director\u2019s Fortnight<\/i> pada Festival Film Cannes di Perancis. Pernah menjadi partisipan dalam Berlinale Talent Campus<\/i>, Berlin Film Festival, Jerman. Menyutradarai filem, berjudul Postcards From The Zoo<\/i> (2011), yang masuk ke dalam sesi Kompetisi Utama, International Competition,<\/i> Berlinale 2012 (Berlin International Film Festival).<\/div>\n
\n

Edwin<\/b>: He completed his Diploma (D3) in Graphic Design at Universitas Kristen Petra Surabaya, then went to study filmmaking at Jakarta Institute of Arts. He didn\u2019t finish his studies but his work Kara, Anak Sebatang Pohon<\/i> made it to Director\u2019s Fortnight<\/i> session at the Cannes Film Festival in France. He has participated in Berlinale Talent Campus<\/i>, Berlin Film Festival, Germany. He started his feature career with film Postcards From The Zoo<\/i> (2011), which made it to the Main Competition session, International Competition,<\/i> Berlinale 2012 (Berlin International Film Festival).\u00a0<\/span><\/p>\n<\/div>\n[divider type=”space” height=”20″ no_border=”1″ \/]\n

\n

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

Makbul Mubarak<\/strong><\/p>\n<\/div>\n

Makbul Mubarak<\/b>: Penulis\/kritikus filem sekaligus pengembang dan pelesteri majalah online<\/i> Cinema Poetica. Tahun 2009-2011, dia aktif sebagai pengurus literasi dan lokakarya di bioskop Komunitas Kinoki. Tulisannya pernah muncul di beberapa media, seperti The Jakarta Post<\/i>, filmindonesia.or.id<\/i>, Fovea Magazine, <\/i>dan publikasi Udine Far East Film Festival<\/div>\n
\n

Makbul Mubarak<\/b>: Film writer\/critic as well as a developer and caretaker of online magazine, Cinema Poetica. In 2009-2011, he was active as administrator of film literacy program and workshop in the community Kinoki. His writings can be found in several medias such as The Jakarta Post<\/i>, filmindonesia.or.id<\/i>, Fovea Magazine, <\/i>and a publication in Udine Far East Film Festival.<\/span><\/p>\n<\/div>\n[divider type=”space” height=”20″ no_border=”1″ \/]\n

\n

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

Manshur Zikri<\/strong><\/p>\n

Moderator<\/em><\/p>\n<\/div>\n

Manshur Zikri<\/b> (moderator<\/i>): Lulusan Departemen Kriminologi, Universitas Indonesia, yang saat ini menjadi penulis dan peneliti di Forum Lenteng, khususnya pada Program akumassa<\/i>.<\/div>\n
\n

Manshur Zikri<\/b> (moderator<\/i>): Graduated from the Department of Criminology, University of Indonesia. Now he becomes a writer and researcher at Forum Lenteng, especially in the akumassa <\/i>program.<\/span><\/p>\n<\/div>\n[\/accordion_item]\n[\/accordion]\n","protected":false},"excerpt":{"rendered":"

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