![\"\"](\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2015\/08\/scenario-du-film-passion-1024x576.jpg?resize=1024%2C576\")
Sc\u00e9nario du Film Passion<\/i>, Jean-Luc Godard<\/p><\/div>\n
ARKIPEL sebagai sebuah festival, merupakan sebuah perhelatan atau perayaan yang berusaha untuk selalu membangun suasana yang mendekatkan jarak sekaligus dan mencairkan komunikasi antara pihak pelaku festival dan para partisipan penontonnya. Ruang dialog dalam sesi program kuratorial pada dasarnya bukan saja kita andaikan sekadar berdasarkan pengertian teknis, semacam forum tanya jawab, tetapi lebih bagaimana melihat respon dan animo penonton dalam menyikapi sebuah pilihan filem yang diputuskan oleh pihak kurator. Dalam menayangkan program kuratorial Sinema Antara Kesadaran dan Ketidaksadaran<\/em>, pihak kurator bukan hanya bertanggung jawab untuk merumuskan kebutuhan para penonton dalam konteks budaya tontonan di Indonesia, tetapi juga produktif dan proaktif menyapa dan berdialog dengan para penonton di luar sesi program sebagai usaha membaca impresi dan animo para penonton yang telah hadir. Adalah sebuah momen yang tetap penting meskipun respon masyarakat masih minor, karena kebudayaan adalah sebuah momen kesadaran. Meskipun secara kuantitatif respon yang ada masih minor, lebih utama sejauh respon tersebut hadir dalam kesadaran untuk terbuka terhadap sebuah karya, ketimbang respon dalam jumlah besar yang muncul di momen ketidaksadaran yang mengandaikan karya hanya sebagai postulat sekunder.<\/p>\n L\u00e0-Bas<\/em>, Chantal Akerman<\/p><\/div>\n –<\/p>\n Curatorial program, besides becoming a kind of education to the audience of a festival indirectly, a more substantive function is that curatorial program also comes to be a space for dialogue between the festivals organizers-in this case, the curator-and the audience in addressing the themes and specific film, chosen by the curator. The choices of themes and film in curatorial program session, is indeed, cannot avoid the subjectivity of the curator, though he departed from objective considerations from a discourse that evolved from the history of ideas that takes place in a particular film genre corridor. In this context, the biggest challenge of subjectivity that is built into the curatorial program idea is the objective conditions of the audience or the practitioners of the film culture that took place, which mostly the understandings of experimental is still a minor subject in the objective conditions of film society in Indonesia.<\/span><\/p>\n At this ARKIPEL Grand Illusion – 3rd<\/sup> Jakarta International Documentary & Experimental Film Festival 2015, one of the programs brought the theme of Cinema Between Consciousness and Unconsciousness. The curatorial program presents two films that are considered important, that the subjectivity of the curator is a necessity of the discourse and possibility of new approaches and language of documentary and experimental cinema in Indonesia. Two of these works are Sc\u00e9nario du film Passion<\/em> (1982) by the famous French director, Jean-Luc Godard and L\u00e0-Bas<\/em> (2006) by a quite important woman director, Chantal Akerman. Both works were showed on 25 August, at. 17.30 and 19.00 at the Institut Fran\u00e7ais d’Indon\u00e9sie (IFI), Jl. Thamrin, Jakarta.<\/span><\/p>\n ARKIPEL as a festival, is an event or celebration that strives to always build the atmosphere to close the gap at once and dilute the communication between the festival organizer and audience. Space for dialogue at the curatorial program session, basically, we assume not just based on mere technical sense, like a question and answer forum, but rather how to see the response and interest of the audience in response to a selection of films to be decided by the curator. In presenting the curatorial program, Cinema Between Consciousness and Unconsciousness<\/em>, the curator is not only responsible for formulating the needs of the audience in the context of spectacle culture in Indonesia, but also to be productive and proactive to greet and have a dialogue with the audience outside the program session in an attempt to read the impressions and the interest of the spectators who were present. It is a moment that is still important even though the public response was minor, because culture is a moment of consciousness. Although quantitatively there were still minor responses, it is more important that the response is present in the consciousness to have an open mind to an artwork, rather than a response in large numbers that appear at the moment of unconsciousness which presupposes works only as a secondary postulate.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":" Curatorial program, besides becoming a kind of education to the audience of a festival indirectly, a more substantive function is that curatorial program also comes to be a space for dialogue between the festivals organizers-in this case, the curator-and the audience in addressing the themes and specific film, chosen by the curator. <\/p>\n","protected":false},"author":3,"featured_media":4798,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"[NEWS] The Cinema Between Consciousness and Unconsciousness: An Attempt to Fill a Space in the Documentary and Experimental Cinema Vocabulary Discourse in Indonesia (25\/8)","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[368,345,385],"tags":[229,279,228],"jetpack_publicize_connections":[],"yoast_head":"\n![\"L\u00e0-Bas,](\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2015\/08\/10_youmansfigure-3labas-press-image-1024x576.jpg?resize=1024%2C576\")