{"id":5663,"date":"2016-08-16T23:27:59","date_gmt":"2016-08-16T16:27:59","guid":{"rendered":"http:\/\/arkipel.org\/?p=5663"},"modified":"2017-08-02T19:29:46","modified_gmt":"2017-08-02T12:29:46","slug":"special-presentation-politics-of-form","status":"publish","type":"post","link":"https:\/\/arkipel.org\/special-presentation-politics-of-form\/","title":{"rendered":"Special Presentation: Politics of Form"},"content":{"rendered":"

Politik Bentuk<\/strong><\/h3>\n

Curator: Shai Heredia (Experimenta)<\/em><\/p>\n

 <\/p>\n

Politik sebuah filem tercermin dalam bentuk visual, struktur naratif, dan proses produksinya. Kuratorial ini berusaha menginvestigasi bagaimana proses pembuatan filem bergabung dengan radikalisme politis untuk mempromosikan ideologi-ideologi baru yang berkontribusi kepada tatanan dunia baru, sehingga memberlakukan suatu politik bentuk. Bercermin pada salah satu periode terkelam independen India di dalam sejarah, kedua filem yang berlawanan ini membongkar politik yang kompleks dari India sosialis, menawarkan suatu konteks historis menuju pemahaman India hari ini\u2014sebuah negara di mana ruang-ruang terbuka, intelektual dan artistik mulai berkurang dan kebebasan individu sedang dibatasi atas nama globalisasi, pembangunan, dan nasionalisme.<\/p>\n

A film’s politics is reflected in its visual form, narrative structure and production process. This curatorial attempts to investigate how filmmaking combines with political radicalism to promote new ideologies that contribute to a new world order, thus enacting a politics of form.\u00a0 Reflecting on one of independent India\u2019s darkest periods in history, these two contrasting films expose the complex politics of socialist India, offering a historical context towards understanding the India of today \u2013 a country where open, intellectual and artistic spaces are diminishing and individual freedoms are being curtailed in the name of globalisation, development and nationalism.<\/span><\/p>\n

 <\/p>\n

–<\/p>\n

The New Wave
\n<\/strong>Chandrashekhar Nair, India, 1976, 9mins<\/p>\n

\"The<\/p>\n

“Pada tahun 1975, Emergency<\/em> dideklarasikan di India. Sebuah gelombang baru disiplin dan ketertiban memasuki kehidupan bangsa. \u201cProgram 20\u201d yang ditujukan untuk menghapus korupsi, nepotisme, dan pelanggaran hukum di universitas dan perguruan tinggi kampus sehingga perdamaian dan pengikutnya dapat menang, dan pemeriksaan dapat dilakukan dalam suasana yang bebas dan adil. Filem ini menguraikan kebaikan-kebaikan yang disebabkan oleh Emergency<\/em> yang dibawa ke kehidupan mahasiswa.” (Diambil dari katalog Film Divisi India)<\/p>\n

Chandrashekhar Nair <\/strong>merupakan angkatan pertama lulusan dari Film & Television Institute of India, tahun 1974. Ia telah membuat beberapa filem dokumenter untuk Film Divisions dan bahkan memenangkan Penghargaan Nasional.<\/p>\n

\u201cIn 1975, Emergency was declared in India. A new wave of discipline and order entered the nation\u2019s life. The 20-point Programme aimed at removing corruption, nepotism and lawlessness on the university and college campuses so that peace and disciple may prevail, and examinations may be conducted in a free and fair atmosphere. The film outlines the benefits that the state of Emergency brought to the student community.\u201d (Retrieved from Films Division India catalogue)<\/span><\/p>\n

Chandrashekhar Nair<\/strong> is one of the first graduates from the Film & Television Institute of India in 1974. He has made several documentary films for Film Divisions and even won a National Award.<\/span><\/p>\n

 <\/p>\n

–<\/p>\n

Prisoners of Conscience
\n<\/strong>Anand Patwardhan, India, 1978, 41mins<\/p>\n

\"prisoners\"<\/p>\n

Sebuah rekaman historis penting tentang satu periode traumatik dalam sejarah politik India belakangan ini, filem ini fokus tentang State of Emergency<\/em> yang dilaksanakan Indira Gandhi dari Juni 1975 sampai Maret 1977. Selama itu, media diberangus, lebih dari 100.000 orang ditangkap tanpa tuntutan dan dipenjarakan tanpa pengadilan. Tapi tahanan-tahanan politik ada sebelum Emergency<\/em>, dan mereka terus ada bahkan setelah itu semua berakhir.<\/p>\n

Anand Patwardhan<\/strong> lahir di Bombay, Maharashtra, India tahun 1950. Dia sutradara dan editor, terkenal karena karyanya, antara lain Ram Ke Naam<\/em> (1992), Pitra, Putra Aur Dharamyuddha<\/em> (1994), dan Jai Bhim Comrade<\/em> (2011).<\/p>\n

An important historical record of a traumatic period in India\u2019s recent political history, this film focuses on the State of Emergency imposed by Indira Gandhi from June 1975 to March 1977. During the Emergency the media was muzzled, over 100,000 people were arrested without charge and imprisoned without trial. But political prisoners existed before the Emergency, and they continue to exist even after it is over.<\/span><\/p>\n

Anand Patwardhan<\/strong> was born in 1950 in Bombay, Maharashtra, India. He is a director and editor, known for Ram Ke Naam (1992), Pitra, Putra Aur Dharamyuddha (1994) and Jai Bhim Comrade (2011).<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

This curatorial attempts to investigate how filmmaking combines with political radicalism to promote new ideologies that contribute to a new world order, thus enacting a politics of form.<\/p>\n","protected":false},"author":1,"featured_media":5664,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"@ARKIPEL Special Presentation: Politics of Form. Curator: Shai Heredia. 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