{"id":5763,"date":"2016-08-20T20:58:51","date_gmt":"2016-08-20T13:58:51","guid":{"rendered":"http:\/\/arkipel.org\/?p=5763"},"modified":"2017-08-02T19:23:13","modified_gmt":"2017-08-02T12:23:13","slug":"festival-forum-panel-4","status":"publish","type":"post","link":"https:\/\/arkipel.org\/festival-forum-panel-4\/","title":{"rendered":"Festival Forum: Panel 4"},"content":{"rendered":"[vc_row][vc_column][vc_column_text]\n

Perkembangan Bahasa Sinema di Asia<\/h2>\n

Hantu Masa Lalu dan Inovasi Digital Masa Depan<\/h3>\n

 <\/p>\n

Jika sinema ialah bahasa dan filem ialah tulisan, maka mungkinkah Asia merumuskan bahasa bagi sinemanya sendiri?<\/p>\n

Usaha awal ARKIPEL melacak perkembangan bahasa sinema di Asia berlanjut pada Forum Festival ARKIPEL tahun ini. Fenomenanya, bahasa sinema justru kerap muncul hanya dari institut kuratorial di Eropa sehingga menimbulkan kegelisahan di kalangan pengamat filem Asia tentang \u201cbahasa ibu\u201d sinema di Asia. Namun, di era kontemporer ini, agaknya peluang Asia, khususnya Asia Tenggara, sangat terbuka dalam menentukan bahasa sinemanya sendiri. Terutama ketika bahasa baku dalam sinema dunia kini kian runtuh. Setidaknya, begitulah pembuka diskusi Forum Festival, Panel 4, yang dilakukan oleh Akbar Yumni, kritikus seni dan pegiat budaya, selaku moderator pada panel tersebut.<\/p>\n

\"_ABE6795\"<\/p>\n

Berlokasi di Goethe Institute pada 19 Agustus, 2016, diskusi Panel 4 di Forum Festival ARKIPEL social\/kapital – 4th<\/sup> Jakarta International Documentary and Experimental Film Festival itu mengangkat sebuah tema, yakni \u201cPerkembangan Bahasa Sinema di Asia\u201d. Hsu Fang-Tze, Hikmat Darmawan, dan Manshur Zikri, sebagai pengamat sinema Asia, hadir di GoetheHaus dalam rangka menjajaki kemungkinan proposisi-proposisi yang mengkarakterisasi kekhasan Asia dalam bahasa sinemanya.<\/p>\n

\"_ABE6799\"

Dari kiri ke kanan: Akbar Yumni (moderator), Manshur Zikri (salah satu kurator di ARKIPEL), Hikmat Darmawan (Ketua Komite Film, DKJ), Fang-Tze Hsu (salah satu Kurator Asia Muda di ARKIPEL).<\/p><\/div>\n

Panel diawali oleh presentasi dari Hsu Fang-Tze. Ia merupakan pengamat filem serta kandidat Doktor Kajian Budaya di program Asia, National University of Singapore.<\/em> Kajian filem yang ia bawa kali ini berjudul Seniman sebagai Kritik; Sejarah Perkembangan Bahasa Sinema di Taiwan melalui Karya Kao Chong-Li.<\/em> Menurut Fang-Tze, gambar merupakan suatu hal yang sangat politis terutama bagi sebuah komunitas yang pernah atau tengah mengalami penjajahan. Bagi negara-negara dunia Selatan yang pernah mengalami kolonialisasi, keberadaan bahasa asli sinema lokal menjadi hal yang terus dipertanyakan dan diperdebatkan. Di Taiwan, wacana mengenai sejarah sinema beserta kritik terhadap kultur sinema Taiwan dapat dikuak melalui karya-karya Kao Chong-Li.<\/p>\n

Kao Chong-Li merupakan seorang jurnalis fotografer yang berpengaruh di Taiwan. Fang-Tze memaparkan bahwa konteks karya Kao banyak terkait dengan estetika gambar pasca perang yang menjadi kesepahaman bersama secara diam-diam antara tatanan dunia dan keberadaan kekuatan militer. Imaji dalam filem menjadi semacam hantu dari era kolonialisme yang terus beraksi melalui kapital. Kao kerap mempertanyakan kembali apakah \u2018sinema baru\u2019 yang tengah berlangsung di Taiwan kini cukup hanya dengan pencapaian sinema di ranah internasional saja tanpa menghiraukan kegelisahan akan estetika yang khusus dari sebuah bahasa sinema.<\/p>\n

\"_ABE6793\"<\/p>\n

Menanggapi presentasi Fang-Tze, Sow-Yee Au yang merupakan pegiat seni kelahiran Malaysia mengatakan bahwa karya Kao Chong-Li cenderung ingin menunjukkan hubungan antara bangsa bekas jajahan dengan bangsa penjajahnya terdahulu. Dalam hal ini, ialah hubungan antara Taiwan dan Jepang. Esther Lu yang merupakan kurator dan Direktur Taipei Contemporary Art Centre<\/em> pun mengamini bahwa sinema Taiwan tak bisa dilepaskan dari konteks politik dari era kolonialisme. Suatu hal yang barangkali juga dialami oleh negara lain di Asia yang merupakan negara bekas jajahan.<\/p>\n

Sementara itu, kritikus filem dan pakar komik yang kini juga menjabat sebagai Ketua Komite Film Dewan Kesenian Jakarta, Hikmat Darmawan, memaparkan tentang relasi sinema dengan kenyataan, terutama kaitannya dengan kehadiran teknologi dalam sinema. Ia menyatakan bahwa karya pun bisa memberi kritik atau malah \u2018memasalahkan\u2019 kenyataan itu sendiri. \u00a0Apa itu kenyataan? Bagaimanakah sesungguhnya kenyataan?<\/p>\n

Menurut Hikmat, kehadiran perkembangan teknologi mampu membuat sekat antara layar dan realitas menjadi kian tipis. Dengan menggunakan kamera yang lebih kecil yang lahir lewat perkembangan teknologi, \u00a0maka realitas bisa didekati secara lebih mendalam. Berbeda halnya dengan kamera besar yang kerap kali membawa efek staging<\/em> pada gambar yang diambil. Dengan menghadirkan benda-benda secara apa adanya maka sekat antara frame<\/em> dan realitas menjadi runtuh. Seolah-olah benda itu memang nyata. Contohnya, video-video ISIS yang dihadirkan lewat YouTube<\/em>. Tiba-tiba saja kejahatan dan kebengisan ISIS seolah hadir di antara kita. Gambar yang diambil dengan kamera digital dan diunggah ke YouTube<\/em> tersebut terasa lebih dekat dengan penontonnya.<\/p>\n

Sementara itu, Manshur Zikri\u00a0mengupas posisi kritik terhadap sinema. Anggota Forum Lenteng dan pengurus harian AKUMASSA ini menekankan bahwa, \u201cliterasi media\u201d dan \u201cliterasi sinema\u201d menjadi dua hal yang sangat penting dalam perkembangan sinema. Kesadaran terhadap media, mekanisme kerja media dalam memengaruhi cara berpikir masyarakat, serta bagaimana cara informasi dan pengetahuan diproduksi oleh media, adalah aspek-aspek dari kajian literasi media yang semestinya mulai dipahami khalayak. Sedangkan terkait literasi sinema, memahami referensi sejarah sinema dunia menjadi keperluan utama untuk memahami bahasa visual. Dalam hal ini, Forum Lenteng menekankan bahwa sinema berbicara dalam bahasa visual tersendiri. Sedangkan pada praktiknya, kebanyakan pembuat filem sering terjebak bagaimana menciptakan jalan cerita dan karakter yang mendramatisir dalam karyanya. Padahal, sinema tak hanya sekadar menawarkan hal-hal (kisa cerita) tersebut.<\/p>\n

Berbicara mengenai bahasa sinema di Asia dan bagaimana bahasa Sinema di Asia menanggapi perkembangan global, Zikri memberi rujukan pada karya Peter Snowdon yang berjudul The Uprising<\/em> (2013). Karya ini bercerita tentang Revolusi Arab di tahun 2010-2011-an. Snowdon mengumpulkan video-video di YouTube yang diunggah para revolusioner lalu menyatukannya menjadi sebuah karya filem. Metode yang sama juga dilakukan oleh sineas Asia, Park Chan-kyong dan Park Chan-wook dalam karyanya yang berjudul Bitter, Sweet, Seoul <\/em>(2014). Menurut tuturan Zikri, keduanya mengumpulkam video dari khalayak Korea melalui sebuah petisi lalu merangkai video-video tersebut menjadi sebuah puisi visual. Potensi digital semacam ini membuat kita tahu bahwa medium yang berbeda akan menciptakan sikap yang bebeda pula, bahkan terhadap medium itu sendiri. Peluang semacam inilah yang masih jarang ada pada sinema Indonesia sehingga belum ada tawaran kemungkinan-kemungkinan baru dalam penggunaan teknologi digital yang terlepas dari pakem baku pembuatan filem. Dalam hal ini, ketika medium berubah maka semestinya kultur pun berubah.<\/p>\n

\"_ABE6811\"<\/p>\n

Diskusi yang dihadiri oleh sekitar 38 peserta termasuk berbagai kurator internasional ini berjalan sangat dinamis. Baik peserta lokal maupun tamu kurator internasional tak jarang melontarkan tanya dan komentarnya. Dag Yvenson, seorang peneliti filem, mempertanyakan tentang konsep Barat yang mungkin telah ada pada sinema lokal hanya dalam istilah yang berbeda. Seperti halnya \u201crealisme traumatik\u201d, yang sempat disinggung oleh Hikmat, yang barangkali dapat pula tercermin dalam konsep \u2018latah\u2019 di filem karya Anggi Noen.<\/p>\n

Manshur Zikri merespon ini dengan meminjam kata-kata Ronny Agustinus. “Perkembangan pengetahuan seni (dan kultural) di Indonesia cenderung melompat-lompat dan tak pernah runut,” demikian kalimat yang diucapkan Zikri. Hal ini membuat pemikiran dan teknologi Barat sering kali masuk tapi tidak dengan wawasan yang lengkap dan juga tak runut. Selalu ada celah kultural untuk mengulik sendiri pemikiran tersebut meski dengan pengetahuan yang terbatas. Hal ini malah membuka kemungkinan untuk eksperimen baru. Seperti halnya yang terjadi pada seni rupa dan video di Indonesia. Namun, ranah filem Indonesia cenderung belum sampai pada tahap eksperimen tersebut. Yang kemudian dapat diharapkan adalah inovasi apa yang bisa ditawarkan untuk perkembangan sinema Indonesia terkini.<\/p>\n

Sow-Yee Au juga sempat mempertanyakan sifat paradoks yang ada dalam perkembangan teknologi di dunia sinema. Menanggapi ini, Fang-Tze mengumpamakan bahwa sebagaimana halnya pengguna internet yang menggunakan berbagai browser <\/em>yang berbeda, pada saat yang sama berbagai browser<\/em> ini berkompetisi satu sama lain dengan sistem kapitalisme yang hadir di baliknya. Begitu pula penggunaan teknologi dalam sinema. Yang kemudian terus menjadi pertanyaan bagi Fang-Tze ialah, bisakah kita melakukan emansipasi melalui kondisi ini? Hal ini pun sebetulnya tak hanya menyoal teknologi, tetapi justru tentang bagaimana kita menggunakannya lebih dari sekadar alat.<\/p>\n

Bagi Hikmat, paradoks adalah hal yang memang sering muncul dalam kehidupan manusia. Namun, yang terpenting juga adalah potensi yang mungkin dimunculkan. Terutama, dalam bahasan saya tadi, ialah potensi kritik. Berbeda dengan Fang-Tze dan Hikmat, Zikri secara tegas mengatakan bahwa kondisi ini tidaklah paradoks. Sebab inovasi dan kebebasan adalah sesuatu yang sebetulnya tak terhindarkan. Pun pada akhirnya inovasi akan muncul justru dengan keterbatasan yang ada. Ketakutan terhadap inovasi adalah kegagapan yang muncul karena kurangnya akses terhadap pengetahuan. Atau sebetulnya, bisa kita ciptakan sendiri pengetahuan tersebut. Potensi semacam ini, menurut Zikri, sebenarnya sangat kuat di akar rumput.<\/p>\n

Jika menyoal bahasa sinema bagi kawasan Asia, Fang-Tze mengungkapkan bahwa hasrat sinema nasional yang berjalinan erat dengan sinema global tak bisa dilupakan. Sebab bagaimanapun juga, pencapaian sinema nasional masih mengikuti acuan baku internasional. Sedang menurut Zikri, hal ini tergantung bagaimana mengartikulasikan kebutuhannya saja. Sebab estetika merupakan konsekuensi dari praktik, dan sebalinya. Cara kita mengartikulasikannyalah yang kemudian menjadi kunci eksekusi dari perkembangan bahasa sinema itu sendiri.[\/vc_column_text][mk_divider style=”thick_solid” border_color=”#f1f1f1″ margin_top=”40″ margin_bottom=”40″][vc_column_text]\n

The Development of Cinema Language in Asia<\/span><\/h2>\n

Ghost from the past and future digital innovation<\/span><\/h3>\n

 <\/p>\n

If cinema is a language and film is writing, then is it possible for Asia to state the language of its own cinema?<\/span><\/p>\n

The early attempt of ARKIPEL to track down the development of cinema language continued in the Festival Forum of ARKIPEL this year. The phenomenon where cinema language comes often only from the curatorial institute in Europe creates anxiety among observers of Asian cinema upon the \u201cmother language\u201d of Asian cinema. But in this contemporary era, the chance for Asia especially Southeast Asia to decide the language of its own cinema is open widely. Especially as the formal language in world cinema starts to collapse. At least, that\u2019s how Akbar Yumni, an art critic and cultural activist, opened today\u2019s panel as its moderator.<\/span><\/p>\n

Located in Goethe Institute at August 19th<\/sup> 2016, the 4th<\/sup> panel of Festival Forum, ARKIPEL social\/kapital – 4th<\/sup> Jakarta International Documentary and Experimental Film Festival brought up issues upon \u201cThe Development of Cinema Language in Asia\u201d. Fang-Tze Hsu, Hikmat Darmawan and Manshur Zikri as Asian cinema observers came to explore what kind of propositions that characterizes Asia in its cinema language.<\/span><\/p>\n

The panel was started with a presentation from Fang-Tze Hsu. She\u2019s an independent researcher and a Ph.D candidate of the Cultural Studies in Asia program of the National University of Singapore. For this panel, she presented a study entitled Artist as Critic; Historicizing the Development of Cinema Language in Taiwan through the Work of Kao Chong-Li<\/em>. According to Fang-Tze, image is a very political matter especially for a community who once or still subjugated to colonialism. For the nations in the global South who once being colonized, the existence of mother language in local cinema is still questionable and debatable. The discourse about the cinema history in Taiwan as well as critics to its cinema culture might be revisited through the works of Kao Chong-Li.<\/span><\/p>\n

Kao is an influential journalist photographer in Taiwan. His works often discuss post-war machine-image aesthetics as a tacit mutual understanding of world order and the immovable presence of military force. Images in the film represent the ghost of the colonialism era that continues to operate through the capital. Kao also questions whether the \u2018new cinema\u2019 in Taiwan today can comprehend solely through the recognition from international cinema while neglecting the anxiety upon particular aesthetic of cinema language in Taiwan.<\/span><\/p>\n

Responding to the presentation, Sow-Yee Au as an art activist from Malaysia explained that the works of Kao Chong-Li tend to reveal the relation between the colonized nation and its colonizer. In this case is the relation between Taiwan and Japan. The curator and Director of Taipei Contemporary Art Centre, Esther Liu, also agreed that cinema in Taiwan cannot be separated from its political context of colonialism. A matter that probably also happens in other Asian nations who once colonized.<\/span><\/p>\n

Meanwhile, a film critic and comic expert as well as the Head of Film Committee, Jakarta Art Council, Hikmat Darmawan explained the relation between cinema and reality, especially with the emergence of technology in cinema. He mentioned that even an artwork can criticize and \u201cproblematize\u201d the reality. What is reality? How is reality?<\/span><\/p>\n

According to him, the presence of technology development might decimate the border between the screen and the reality. By using smaller camera brought by technology development, the approach to reality might be closer and deeper than before. The case will be different if we use big camera which often gives a hint of \u201cstaging\u201d in the image. By presenting the objects as they are, the border between frame and reality might fall down. As if the image was real. For example, the video of ISIL presented through Youtube<\/em>. Suddenly, their evil and brutality seem so real as if they were right here among us. The images taken by digital camera and uploaded to YouTube<\/em> become closer for the viewers.<\/span><\/p>\n

Furthermore, Manshur Zikri explained the position of critics on cinema. This member of Forum Lenteng and daily organizer of AKUMASSA emphasized that \u201cmedia literacy\u201d and \u201ccinema literacy\u201d are two urgent matters in the development of cinema. People should be more aware towards media, the working mechanism of media that gives influence on how society think and develop better understanding on how information and knowledge are produced. While regarding the cinema literacy, understanding the history of world cinema becomes a need especially in understanding the language of visual. In this case, Forum Lenteng emphasizes that cinema speaks through its own visual language. In practice, most of filmmakers stumble on how to create a story or characters that can dramatize the work. While cinema doesn\u2019t only offer such matters.<\/span><\/p>\n

Talking about cinema in Asia and how the language of cinema in Asia response the global development, Zikri gave reference to the work of Peter Snowdon called The Uprising <\/em>(2013). This work is about the Arab Spring occurred in 2010-2011s. Snowdon compiled YouTube videos uploaded by the revolutionists and made it into a film. The same method also used by Asian filmmaker Park Chan-Kyong and Park Chan-wook in their work entitled Bitter, Sweet, Seoul <\/em>(2014). According to Zikri, both of them compiled the videos from Seoul residents through a petition and combining them into one visual poem. Such digital potential makes us realize that different medium will make different attitude even to the medium itself. Such opportunity is still very rare in the cinema of Indonesia. The offers on the new possibilities of digital technology utilization apart from the formal filmmaking standard are still very hard to find too in Indonesia. In this case when the medium changes, the culture ought to change too.<\/span><\/p>\n

The discussion was attended by 38 participants, including the foreign curators. It was very dynamic, whether local and foreign participants kept giving questions and responses. Dag Yvenson, a film researcher, questioning the possibility of Western concept existed in local cinema but in different terms. Just like traumatic realism concept that probably well reflected in the concept of latah<\/em> in the film created by Anggi Noen.<\/span><\/p>\n

Zikri responded the question by quoting words from Ronny Agustinus. \u201cThe development of cultural art knowledge in Indonesia tends to be discursive and never coherent,\u201d Zikri said. Western ideas entered Indonesia without its complete concept and it\u2019s not coherent. There is always a cultural gap to study the idea with limited knowledge. This opens the possibility for new experiments. Just like what happened to Indonesia\u2019s fine arts and video arts. But the cinema of Indonesia has not reached such experiments state yet. What we can expect is the innovation that can develop current Indonesia cinema.<\/span><\/p>\n

Sow-Yee Au also questioned the paradox of technology growth in cinema. Responding this, Fang-Tze gave imagery on how different internet users use different browsers. At the same time, those browsers compete for each other with capitalism system behind it all. It\u2019s just the same with technology in cinema. The question will be on how we can emancipate with this. This also becomes a question for Fang-Tze too, personally. But the issue is not only about technology; more important is on how we utilize it beyond the term as a tool merely.<\/span><\/p>\n

For Hikmat, this paradox appears often in human\u2019s life. But the most important thing is what potency that can be revealed from it all. Especially regarding what he’s been talking related to the potential of critics. But for Zikri, this condition is not a paradox at all. Innovation and freedom are inevitable. Innovation might emerge from limitation. Fright toward innovation is an impediment caused by the lack of knowledge. We actually can create the knowledge itself. This potency, according to him, is actually really strong in the grass root.<\/span><\/p>\n

When it comes to the language of cinema in Asia, Fang-Tze said that we cannot forget the desire of national cinema that goes hand in hand with global cinema. Therefore the achievement of national cinema still follows the formal reference of global cinema. While according to Zikri, this matter depends on how we articulate the needs. The aesthetic is a consequence of practice, vice versa. Thus, the way how we articulate it becomes the execution key for the development of cinema language itself.<\/span><\/p>\n

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When it comes to the language of cinema in Asia, Fang-Tze said that we cannot forget the desire of national cinema that goes hand in hand with global cinema. 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