{"id":5671,"date":"2016-08-17T13:46:55","date_gmt":"2016-08-17T06:46:55","guid":{"rendered":"http:\/\/arkipel.org\/?p=5671"},"modified":"2017-08-02T19:29:22","modified_gmt":"2017-08-02T12:29:22","slug":"curatorial-program-nawis-comedy-revealing-social-criticism","status":"publish","type":"post","link":"https:\/\/arkipel.org\/curatorial-program-nawis-comedy-revealing-social-criticism\/","title":{"rendered":"Curatorial Program –\u00a0Nawi\u2019s Comedy: Revealing Social Criticism"},"content":{"rendered":"

Yang Kritikal dari Komedi Nawi<\/strong><\/h3>\n

Curator: Bunga Siagian<\/em><\/p>\n

 <\/p>\n

Program kuratorial ini menyajikan dua karya Nawi Ismail, berjudul Benyamin Tukang Ngibul<\/em> (1975) dan Ratu Amplop<\/em> (1974). Dua karya tersebut diangkat dengan dasar pemikiran kuratorial ini tentang filem komedi\u2014sebuah genre<\/em> yang di dalam sejarah pemikiran sinema Indonesia sempat dituduh tak bernilai ideologis apa-apa selain motif dagang. Menyoroti estetika dan gaya ungkap dalam dua filem tersebut, kuratorial ini mengajukan argumen bahwa Nawi, melalui caranya sendiri, mampu menghadirkan filem komedi yang melontarkan kritik tersembunyi yang tajam atas kondisi sosial masyarakat. Kuratorial ini dengan demikian menawarkan ide tentang kebutuhan bagi kita untuk tiada henti mengusik\u2014bahkan, mendekonstruksi\u2014cara pandang sejarah sinema nasional.<\/p>\n

This program presents two works of Nawi Ismail, Benyamin Tukang Ngibul<\/em> (1975) and Ratu Amplop<\/em> (1974). Two works presented here are both comedy-a genre in the history of Indonesian cinema was accused not worth anything ideological other than pure commercial purpose. Highlighting the aesthetics and style revealed in both films, this curatorial argues that Nawi, through his own way, is able to present a comedy that subtly and harshly criticizes on social condition in the society. This program is offering ideas about the need for us to endlessly tease\u2014even, deconstruct\u2014the perspective of the national history of our cinema.<\/span><\/p>\n

 <\/p>\n

–<\/p>\n

Benyamin Tukang Ngibul
\n<\/strong>Nawi Ismail, 1975, 90mins<\/em>
\n Country: Indonesia | Language: Indonesian<\/em><\/p>\n

\"220px-Benyamin_Tukang_Ngibul\"<\/p>\n

Cerita filem ini berpusat pada hubungan-hubungan di dalam konflik hasil perbedaan antara realitas dan perspektif. Harapan dan kenyataan material di ruang nyata dikonfrontir melalui elemen naratif, polemik antara seorang warga yang pergi merantau meninggalkan desanya menuju Jakarta\u00a0 untuk mewujudkan mimpi-mimpi mengenai masa depan. Diracik sebagai filem komedi dengan pilihan visual dan naratif yang ilusif terhadap realitas yang ditinggali, filem yang diperankan oleh Benyamin dan Gombloh ini, mampu dengan leluasa menyublimkan kritik tajamnya terhadap persoalan paling mutakhir dari Orde Baru, yaitu isu pembangunan (urbanisasi) serta\u2014mungkin\u2014militer. Sebuah kejeniusan ketika ditempatkan di dalam konteks zamannya.<\/p>\n

The story focuses on the relations of conflicts caused by reality and perspective differences. Hope and reality in the realm confronted through narrative elements, polemic on urbanization when the main character went to the big city\u00a0 following his dream. As comedy film using illusive elements on the visual and narration, this film that played by Benyamin and Gombloh could penetrate its hidden criticism toward New Order regime, especially on the issues of developmental economics (urbanization) and perhaps issue on militarism as well. Brilliant work for the context during that time. <\/em><\/span><\/p>\n

\u00a0<\/em><\/p>\n

–<\/em><\/p>\n

Ratu Amplop
\n<\/strong>Nawi Ismail, 1974, 111mins<\/em>
\n Country: Indonesia | Language: Indonesian<\/em><\/p>\n

\u00a0<\/em>\"Sampul_CD_Ratu_Amplop\"<\/p>\n

Filem ini mengeskplorasi kepentingan-kepentingan serta mimpi-mimpi individu yang saling berkelindan dengan tipu muslihat, hingga mewakili dunia sosialnya kala itu. Berbagai peristiwa yang merupakan hasil interaksi manusia-manusia di dalam suatu\u00a0 kelompok atau sistem masyarakat, dikonstruksi ke dalam layar hingga menimbulkan efek kelucuan yang mampu melampaui persepsi penonton atas potensi-potensi kritik yang disampaikan baik melalui dialog maupun adegan di dalamnya.<\/p>\n

This film explores characters interests and dreams that deceptive and represent social order at that time. Affairs in the scenes were the result of characters interaction with their society, constructed in the screen, depicted as a hidden criticism through dialogues and scenes\u00a0 that beyond audiences\u2019 perception. <\/span><\/p>\n

\u00a0<\/em><\/p>\n

Nawi Ismail<\/strong> (1918) adalah seorang pegiat filem, aktor, dan sutradara Indonesia yang produktif sejak periode 1940-an. Telah bekerja, menyutradarai, dan membintangi lebih dari 100 filem sepanjang karirnya. Puncak karirnya adalah ketika ia menyutradarai seri filem-filem yang dibintangi oleh Benyamin Sueb dan Warkop DKI.<\/p>\n

Nawi Ismail<\/strong> (1918) was an\u00a0 Indonesian filmmaker, actor, and director who made films since 1940s. He worked for more than 100 film productions during his career. He was prominently known when directing Benyamin Sueb and Warkop DKI. <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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