{"id":3813,"date":"2015-06-24T22:51:27","date_gmt":"2015-06-24T15:51:27","guid":{"rendered":"http:\/\/arkipel.org\/?p=3813"},"modified":"2017-08-02T20:06:30","modified_gmt":"2017-08-02T13:06:30","slug":"arkipel-grand-illusion-international-competition","status":"publish","type":"post","link":"https:\/\/arkipel.org\/arkipel-grand-illusion-international-competition\/","title":{"rendered":"Arkipel: Grand Illusion, International Competition"},"content":{"rendered":"

Merayakan manusia, tetapi juga merayakan media. Begitulah, tantangan sinema sekarang, yaitu publik dan media dalam situasi terpolemisnya. Di situ, saya baru bisa dikenali sebagai seseorang\/sesuatu di dalam publik hanya melalui media, setelah berada dalam media. Maka kita tidak mungkin berpihak terhadap salah satu entitas guna memenangkan, misalnya, salah satu kepentingan kita sendiri, terkecuali dengan merengkuh keduanya.<\/p>\n

Sinema menyadari bahwa kehidupan kini tak lagi bisa terceraikan dari aparatus cyborgian<\/em> yang telah membentuk eksistensi setiap pribadi dan semua orang di segenap penjuru. Sinema sudah bukan satu-satunya diskursus yang menentukan, bahkan, di tempatnya sendiri, kini. Ia begitu nyaris sekadar nama dibandingkan ketika ia dengan gemilang mencapai kejayaannya di masa-masa silam penemuan.<\/p>\n

Karenanya, saat ini ia seperti sedang terus-menerus mencari lokus bahasa termutakhirnya yang mungkin belum terjelajah. Sebuah bingkai artikulasi untuk memastikan kode-kode tatapan yang tak pernah terbayangkan presedennya sepanjang sejarah gambar bergerak. Sebuah lokasi jelajah yang sepenuhnya ada karena stimulasi citraan-citraan di segala tempat dan waktu, di mana intepretasi atas tantangan di atas amat memerlukan kecanggihan dan kepekaan, sekaligus strategi untuk mengukuhkan suatu tatanan penciptaan pada level<\/em> yang paling taktis. Itulah upaya terakhir sinema untuk menemukan kembali jiwanya dan semangat zamannya. Sudah tak ada lagi kini jembatan, akan tetapi malahan penyeberangan-penyeberangan kian marak dibayangkan.<\/p>\n

–<\/p>\n

Commemorating humans, but also commemorating media. Thus, the challenge of cinema now, which is public and media at their most polemical situation. Therefore, we could only be recognized as someone\/something amongst public only through media, after being in the media. Then we can not take side against one entity in order to win, for example, one of our own interests, except by embracing both.<\/span><\/p>\n

Cinema realizes that life is no longer able to be separated from the cyborgian apparatus that has established the existence of each individual and people in all directions. Cinema is not the only discourse that determines, even, in its own place, now. It so nearly just a name than when it was in its glorious days being discovered in the past.<\/span><\/p>\n

Therefore, nowadays it is like constantly seeking the locus of its most actual language which may be unexplored yet. A frame of articulation to make sure the emergence of gazing codes that precedently were never imagined before in the history of moving image. A roaming location that is entirely due to the stimulation of images in all places and times, where interpretation on the above challenges greatly require sophistication and sensitivity, as well as a strategy to establish an order of creation in the most tactical level. That is the last effort of cinema to rediscover its soul and its zeitgeist. No more bridge now, instead crossovers are prevalently imaginable.<\/span><\/p>\n[mk_padding_divider size=”40″]\n[mk_fancy_title tag_name=”h2″ style=”true” color=”#393836″ size=”14″ font_weight=”inhert” margin_top=”0″ margin_bottom=”18″ font_family=”none” align=”left”]Filem. \/ Films.<\/span>[\/mk_fancy_title]\n

\"Cinza

Cinza<\/em><\/strong><\/span> \/ Ashes<\/strong><\/span> (Micael Espinha<\/strong>, Portugal, 2014)<\/p><\/div>\n

\"Beep

Beep<\/strong><\/em><\/span> (Kim Kyungman<\/strong>, South Korea, 2014)<\/p><\/div>\n

\"Que

Que Dia \u00e9 Hoje?<\/strong><\/em> <\/span>\/ What Day is Today?<\/strong><\/em><\/span> (Colectivo Fotograma 24<\/strong>, Group of Young People from Montemor-o-Novo, Portugal, 2015)<\/p><\/div>\n

\"Krieg

Krieg der L\u00fcgen<\/strong><\/em><\/span> \/ War of Lies<\/strong><\/em><\/span> (Matthias Bittner<\/strong>, Germany, 2014)<\/p><\/div>\n

\"Les

Les Tourmentes<\/strong><\/em><\/span> \/ For the Lost<\/strong><\/em><\/span> (Pierre-Yves Vandeweerd<\/strong>, France\/Belgium, 2014)<\/p><\/div>\n

\"All

All That is Solid<\/strong><\/em><\/span> (Eva Kolcze<\/strong>, Canada, 2014)<\/p><\/div>\n

\"A.D.A.M.

A.D.A.M.<\/strong><\/em><\/span> (Vladislav Kne\u017eevi\u0107<\/strong>, Croatia, 2014)<\/p><\/div>\n

\"Paisaje

Paisaje con Perro Roto<\/strong><\/em><\/span> \/ Landscape with Broken Dog<\/strong><\/em><\/span> (Orazio Leogrande<\/strong>, Italy, 2014)<\/p><\/div>\n

\"Thing

Thing<\/strong><\/em><\/span> (Anouk de Clercq<\/strong>, Belgium, 2013)<\/p><\/div>\n

\"Sarah(k.)

Sarah(k.)<\/strong><\/em><\/span> (Christophe Bisson<\/strong>, France, 2014)<\/p><\/div>\n

\"Meio

Meio Corte<\/strong><\/em><\/span> \/ Half-Cut<\/strong><\/em><\/span> (Nikolai Nekh<\/strong>, Portugal, 2013)<\/p><\/div>\n

\"Continuous

Continuous Lines<\/strong><\/em><\/span> (Diana Pacheco<\/strong>, Hungary\/Ecuador, 2014)<\/p><\/div>\n

\"Binario

Binario<\/strong><\/em><\/span> \/ Binary<\/strong><\/em><\/span> (Giuseppe Riccardi<\/strong>, Spain, 2014)<\/p><\/div>\n

\"Infrastructures

Infrastructures<\/strong><\/em><\/span> (Aur\u00e8le Ferrier<\/strong>, Switzerland, 2014)<\/p><\/div>\n

\"Killing

Killing Time<\/strong><\/em><\/span> (Rafi Shor<\/strong>, Israel, 2015)<\/p><\/div>\n

\"A

A Place I\u2019ve Never Been<\/strong><\/em><\/span> (Adrian Flury<\/strong>, Switzerland, 2014)<\/p><\/div>\n

\"I

I Dance with God<\/strong><\/em><\/span> (Hooshang Mirzaee<\/strong>, Iran, 2013)<\/p><\/div>\n

\"A

A Barca<\/strong> <\/em><\/span>(Pablo Briones<\/strong>, Switzerland, 2015)<\/p><\/div>\n

\"Je

Je Suis le Peuple<\/strong><\/em><\/span> \/ I Am the People<\/strong><\/em><\/span> (Anna Roussillon<\/strong>, France, 2014)<\/p><\/div>\n

\"El

El Corral y el Viento<\/strong><\/em><\/span> \/ The Corral and the Wind<\/strong><\/em><\/span> (Miguel Hilari,<\/strong> Bolivia, 2014)<\/p><\/div>\n

\"Dark

Dark Matter<\/strong><\/em><\/span> (Karel Doing<\/strong>, The Netherlands, 2014)<\/p><\/div>\n

\"Little

Little Girl with Iron Fist<\/strong><\/em><\/span> (Luca Mandrile<\/strong>, Claudio di Mambro<\/strong>, & Umberto Migliaccio<\/strong>, Italy, 2013)<\/p><\/div>\n

\"Time

Time and Place<\/strong><\/em><\/span> (Martijn Veldhoen<\/strong>, The Netherlands, 2014)<\/p><\/div>\n

\"Grace

Grace Period<\/strong><\/em><\/span> (Caroline Key<\/strong> & Kim Kyung-mook<\/strong>, South Korea, 2014)<\/p><\/div>\n

\"Tom

Tom and Jerry<\/strong><\/em> (Ekkaphob Sumsiripong<\/strong>, Thailand, 2014)<\/p><\/div>\n

\"The

The Private Life of Fenfen<\/strong><\/em><\/span> (Leslie Tai<\/strong>, China\/USA, 2013)<\/p><\/div>\n

\"Entre

Entre ici et l\u00e0-bas<\/strong><\/em><\/span> \/ Between Here and There<\/strong><\/em><\/span> (Alexia Bonta<\/strong>, Belgium, 2014)<\/p><\/div>\n

\"Mutasalilun

Mutasalilun<\/strong><\/em><\/span> \/ Infiltrators<\/strong><\/em><\/span> (Khaled Jarrar<\/strong>, Palestine\/United Arab of Emirates\/Lebanon, 2013)<\/p><\/div>\n

\"El

El Juego del Escondite<\/em><\/strong><\/span> \/ Hide and Seek<\/strong><\/em><\/span> (David Mu\u00f1oz<\/strong>, Spain, 2015)<\/p><\/div>\n

\"state-theatre

state-theatre #5 BEIRUT<\/strong><\/em><\/span> (Daniel K\u00f6tter<\/strong> & Constanze Fishbeck<\/strong>, Lebanon\/Germany, 2014)<\/p><\/div>\n

\"One

One Blue Bird<\/strong><\/em> (Hasumi Shiraki<\/strong>, Japan, 2015)<\/p><\/div>\n

\"Fractions

Fractions<\/strong><\/em><\/span> (Guillaume Mazloum<\/strong>, France, 2014)<\/p><\/div>\n

\"Endless,

Endless, Nameless<\/strong><\/em><\/span> (Mont Tesprateep<\/strong>, Thailand, 2014)<\/p><\/div>\n

\"Flor

Flor Azul<\/strong><\/em><\/span> (Raul Domingues<\/strong>, Portugal, 2014)<\/p><\/div>\n

\"The

The Nation<\/strong><\/em><\/span> (Pieter Geenen<\/strong>, Belgium, 2014)<\/p><\/div>\n[mk_padding_divider size=”40″]\n[mk_fancy_title tag_name=”h2″ style=”true” color=”#393836″ size=”14″ font_weight=”inhert” margin_top=”0″ margin_bottom=”18″ font_family=”none” align=”left”]Daftar Filem. \/ Films List<\/span>.[\/mk_fancy_title]\n

    \n
  1. Cinza \/ Ashes<\/span><\/strong><\/em> (Micael Espinha, Portugal, 2014)<\/li>\n
  2. Beep<\/strong><\/em> (Kim Kyungman, South Korea, 2014)<\/li>\n
  3. Que Dia \u00e9 Hoje?<\/strong><\/em> \/ What Day is Today?<\/strong><\/em><\/span> (Colectivo Fotograma 24, Group of Young People from Montemor-o-Novo, Portugal, 2015)<\/li>\n
  4. Krieg der L\u00fcgen<\/strong><\/em> \/ War of Lies<\/strong><\/em><\/span> (Matthias Bittner, Germany, 2014)<\/li>\n
  5. Les Tourmentes<\/strong><\/em> \/ For the Lost<\/strong><\/em><\/span> (Pierre-Yves Vandeweerd, France\/Belgium, 2014)<\/li>\n
  6. All That is Solid<\/strong><\/em> (Eva Kolcze, Canada, 2014)<\/li>\n
  7. A.D.A.M.<\/strong><\/em> (Vladislav Kne\u017eevi\u0107<\/span>, Croatia, 2014)<\/li>\n
  8. Paisaje con Perro Roto<\/strong><\/em> \/ Landscape with Broken Dog<\/strong><\/em><\/span> (Orazio Leogrande, Italy, 2014)<\/li>\n
  9. Thing<\/strong><\/em> (Anouk de Clercq, Belgium, 2013)<\/li>\n
  10. Sarah(k.)<\/strong><\/em> (Christophe Bisson, France, 2014)<\/li>\n
  11. Meio Corte<\/strong><\/em> \/ Half-Cut<\/strong><\/em><\/span> (Nikolai Nekh, Portugal, 2013)<\/li>\n
  12. Continuous Lines<\/strong><\/em> (Diana Pacheco, Hungary\/Ecuador, 2014)<\/li>\n
  13. Binario<\/strong><\/em> \/ Binary<\/strong><\/em><\/span> (Giuseppe Riccardi, Spain, 2014)<\/li>\n
  14. Infrastructures<\/strong><\/em> (Aur\u00e8le Ferrier, Switzerland, 2014)<\/li>\n
  15. Killing Time<\/strong><\/em> (Rafi Shor, Israel, 2015)<\/li>\n
  16. A Place I\u2019ve Never Been<\/strong><\/em> (Adrian Flury, Switzerland, 2014)<\/li>\n
  17. I Dance with God<\/strong><\/em> (Hooshang Mirzaee, Iran, 2013)<\/li>\n
  18. A Barca<\/strong><\/em> (Pablo Briones, Switzerland, 2015)<\/li>\n
  19. Je Suis le Peuple<\/strong><\/em> \/ I Am the People<\/strong><\/em><\/span> (Anna Roussillon, France, 2014)<\/li>\n
  20. El Corral y el Viento<\/strong><\/em> \/ The Corral and the Wind<\/strong><\/em><\/span> (Miguel Hilari, Bolivia, 2014)<\/li>\n
  21. Dark Matter<\/strong><\/em> (Karel Doing, The Netherlands, 2014)<\/li>\n
  22. Little Girl with Iron Fist<\/strong><\/em> (Luca Mandrile, Claudio di Mambro, & Umberto Migliaccio, Italy, 2013)<\/li>\n
  23. Time and Place<\/strong><\/em> (Martijn Veldhoen, The Netherlands, 2014)<\/li>\n
  24. Grace Period<\/strong><\/em> (Caroline Key & Kim Kyung-mook, South Korea, 2014)<\/li>\n
  25. Tom and Jerry<\/strong><\/em> (Ekkaphob Sumsiripong, Thailand, 2014)<\/li>\n
  26. The Private Life of Fenfen<\/strong><\/em> (Leslie Tai, China\/USA, 2013)<\/li>\n
  27. Entre ici et l\u00e0-bas<\/strong><\/em> \/ Between Here and There<\/strong><\/em><\/span> (Alexia Bonta, Belgium, 2014)<\/li>\n
  28. Mutasalilun<\/strong><\/em> \/ Infiltrators<\/strong><\/em><\/span> (Khaled Jarrar, Palestine\/United Arab of Emirates\/Lebanon, 2013)<\/li>\n
  29. El Juego del Escondite<\/strong><\/em> \/ Hide and Seek<\/strong><\/em><\/span> (David Mu\u00f1oz, Spain, 2015)<\/li>\n
  30. state-theatre #5 BEIRUT<\/strong><\/em> (Daniel K\u00f6tter & Constanze Fishbeck, Lebanon\/Germany, 2014)<\/li>\n
  31. One Blue Bird<\/strong><\/em> (Hasumi Shiraki, Japan, 2015)<\/li>\n
  32. Fractions<\/strong><\/em> (Guillaume Mazloum, France, 2014)<\/li>\n
  33. Endless, Nameless<\/strong><\/em> (Mont Tesprateep, Thailand, 2014)<\/li>\n
  34. Flor Azul<\/strong><\/em> (Raul Domingues, Portugal, 2014)<\/li>\n
  35. The Nation<\/strong><\/em> (Pieter Geenen, Belgium, 2014)<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

    Cinema realizes that life is no longer able to be separated from the cyborgian apparatus that has established the existence of each individual and people in all directions. Cinema is not the only discourse that determines, even, in its own place, now. 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