![\"panel](\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/panel-3-6.jpg?resize=1140%2C760\")
<\/p>\n
Pada sesi panel 3 itu, Hafiz dan Salahuddin memaparkan pandangan mereka mengenai filem dokumenter dan eksperimental lewat pengalaman membuat karya, sedangkan Sow-Yee Au mencoba menawarkan satu pemikiran mengenai perkembangan sinema eksperimental di Asia Tenggara.<\/p>\n
![\"Salahuddin](\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/panel-3-1.jpg?resize=1140%2C759\")
Salahuddin Siregar (sutradara Negeri di Bawah Kabut<\/em>).<\/p><\/div>\n Salahuddin menyatakan salah satunya bahwa dalam proses berkaryanya, banyak hal yang ia temukan sehubungan dengan cara-cara bagaimana menyiasati keterbatasan medium dan juga interaksi dengan orang-orang lokal yang terlibat dalam pembuatan filemnya. Dalam konteks ini, menurut pengamatan saya, aspek eksperimentasi dalam proses produksi memainkan perannya. Hal itu sejalan dengan pernyataan Hafiz bahwa, baginya, eksperimentasi filem tidak hanya berhenti pada bahasa (atau gaya ungkap) visual filem, tetapi juga merambah ke ranah produksi, terutama terkait dengan negosiasi-negosiasi yang dilakukan si pembuat filem dengan segala kemungkinan yang tidak terprediksi selama proses pembuatan flem itu berlangsung. Lebih luas, ekserimentasi ini juga dapat terjadi dalam tataran yang lebih advance<\/em>, misalnya pengelolaan pengetahuan sinema itu sendiri dalam konteks kerja-kerja komunitas atau organisasi filem.<\/p>\n Hafiz Rancajale (Ketua Forum Lenteng dan Direktur Artistik ARKIPEL).<\/p><\/div>\n Dalam kaitannya dengan estetika sebuah filem, Hafiz tidak berbicara banyak. Alih-alih, dia menayangkan salah satu karyanya, yang berjudul Menggali Buaya<\/em> (2015).<\/p>\n Sow-Yee Au (seniman berbasis di Taiwan).<\/p><\/div>\n Sementara itu, pembacaan yang dilakukan oleh Sow-Yee Au mengenai apa itu filem eksperimental lebih mengacu ke pengertian dasar dari eksperimental itu sendiri, terutama dalam bahasa Inggris. Sow-Yee Au juga menyinggung sedikit tentang sebuah festival filem di masa lalu di yang menggunakan kategori \u201cAsia Tenggara\u201d sebagai fokus bingkaiannya, tetapi beberapa kali mengalami perubahan tata cara pengelolaan dan susunan negara yang berpartisipasi di dalamnya, bahwa ternyata festival filem yang fokus terhadap \u201cAsia Tenggara\u201d dikelola oleh negara yang justru bukan berasal dari kawasan tersebut. Hal ini, bagi Sow-Yee Au justru menjadi menarik karena membuka kemungkinan untuk mendapatkan pembacaan yang lain terkait definisi sinema Asia Tenggara.<\/p>\n <\/p>\n Polemik yang ditawarkan oleh para pembicara ini, sayangnya, belum mendapatkan respon yang menarik dari para peserta forum, terutama anggota komunitas-komunitas yang menjadi tamu undangan festival. Perhatian para pegiat komunitas filem di Indonesia, nyatanya, masih berkutat pada pengertian dan perbedaan dasar antara dokumenter dan eksperimental.[\/vc_column_text][mk_divider style=”thin_solid” thin_single_color=”#f1f1f1″ margin_top=”40″ margin_bottom=”40″][vc_column_text]\n There were three speakers in Panel 3 of Forum Festival ARKIPEL 2016 moderated by Akbar Yumni; Hafiz Rancajale (Head of Forum Lenteng and Artistic Director for ARKIPEL), Sow-Yee Au (Malaysia-born artist based in Taiwan), and SalahuddinSiregar (director of Negeri di BawahKabut<\/em>). Thursday afternoon, August 18th<\/sup> 2016 at 3.30 pm, GoetheHaus, twenty participants from various backgrounds gathered in discussion.<\/span><\/p>\n Each of Hafiz and Salahuddin elaborated their experience in making documentary and experimental films, while Sow-Yee Au offered two-cent regarding the experimental cinema developmentin Southeast Asia.<\/span><\/p>\n In his creative process, Salahuddin said, there were many things to get away from the limitation of medium and interaction with local people involved in filmmaking. In that context, I argued that experimentation in filmmaking played its role. Hafiz also stated that film experimentation didn\u2019t stop in its visual language, but also in production process especially in the negotiation process that the filmmaker did, along with the endless probability that might occurred as a film was being made. More than just its visual language, film experimentation could develop to something advance, for example how cinema situated itself in the context of film communities work.<\/span><\/p>\n On film aesthetics, Hafiz didn\u2019t explain further, but rather he showed one of his work titled \u201cMenggaliBuaya\u201d<\/em> (2015).<\/span><\/p>\n Meanwhile, Sow-Yee Au focused on the very basic definition of experimental itself, especially in its English term. She also discussed one film festival that used to have \u201cSoutheast Asia\u201d category as its focus framework, but in as time went, how this festival handled that category kept changing through out the years. Its committee was barely Southeast Asian \u2013 and for Au, this could be seen as interesting opportunity to explore the many possibilities of cinema definition in Southeast Asia.<\/span><\/p>\n Polemics given by the three speakers unfortunately didn\u2019t received expected or insightful responses from audience, especially from invited communities. The audience main concerns still dealt with the confusion over how to differentiate documentary or experimental films.<\/span><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":" Hafiz also stated that film experimentation didn\u2019t stop in its visual language, but also in production process especially in the negotiation process that the filmmaker did, along with the endless probability that might occurred as a film was being made. <\/p>\n","protected":false},"author":44,"featured_media":5758,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[369,384,307],"tags":[292,165,298,399,407,293,408],"jetpack_publicize_connections":[],"yoast_head":"\n![\"Hafiz](\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/panel-3-3.jpg?resize=1140%2C759\")
![\"Sow-Yee](\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/panel-3-2.jpg?resize=1132%2C800\")
![\"panel](\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/panel-3-4.jpg?resize=1140%2C760\")
<\/p>\nDocumentary & Experimental: The Latest Development of World Cinema<\/span><\/h2>\n