![\"IMG_4667\"](\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/IMG_4667.jpg?resize=1024%2C681\")
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Keyakinan ini pula yang membawa Shai Heredia dari Experimenta, India, untuk hadir di Kineforum pada 20 Agustus, 2016, pukul 16.00 untuk menyajikan program kurasi bertajuk \u201cPolitik Bentuk\u201d. Dua filem yang disajikan dalam program ini berasal dari India: The New Wave <\/em>dan Prisoners of Conscience.<\/em><\/p>\n Filem pertama merupakan karya Chandrashekar Nair di tahun 1976. Dalam filem yang berdurasi 9 menit ini, kebijakan Emergency <\/em>yang diterapkan pada mahasiwa di India tampak sebagai suatu kebajikan yang musti dilaksanakan. Berkebalikan dengan filem pertama, filem kedua yang merupakan karya Anand Patwardhan di tahun 1978 menunjukkan represi dan kekerasan politik kepada para revolusionis di India. Dalam filem berdurasi 41 menit itu, kehidupan para narapidana politik terlihat mengenaskan, penuh kekerasan, dan ketidakadilan.<\/p>\n Keduanya tak dipungkiri merupakan filem politik yang bercerita mengenai kondisi internal India. Jika pada filem pertama kita bisa merasa kagum pada ketegasan pemerintah India saat itu, maka dari filem kedua justru muncul rasa ngeri <\/em>seolah baru menyaksikan tragedi. Sebagai kurator program ini, Shai Heredia memaparkan bahwa kedua filem tersebut menunjukkan bagaimana represi pemerintahan Hindhu fundamentalis membatasi kebebasan individu di India. Filem pertama merujuk pada kebebasan kaum pelajar sementara filem kedua tentang kebebasan aspirasi masyarakat secara umum.<\/p>\n Shai Heredia memberikan penjelasan mengenai ide kuratorial programnya. \/ Shai Heredia explained her curatorial idea of the program.<\/p><\/div>\n Program yang dihadiri 40 penonton ini menuai banyak respon dan pertanyaan. Nischal Oli yang merupakan tamu kurator dan produser seni asal Nepal, bertanya tentang situasi pada saat kedua filem itu dibuat. Menurut tuturan Shai, ada ratusan orang yang dipenjara pada tahun-tahun tersebut dan kebanyakan dari mereka kekurangan akses pengetahuan dan fasilitas akan pengacara atu pun mekanisme hukum yang adil. Reformasi aturan memang sudah dilakukan, namun perubahan itu sendiri masih belum cukup signifikan. Terutama bagi kalangan minoritas.<\/p>\n Sebuah pertanyaan mengenai gaya pembuatan filem disampaikan oleh Zimu Zhang yang merupakan sutradara dan kurator undangan asal Tiongkok. Menurut Zhang, gaya pembuatan filem Anand terlihat seperti sebuah propaganda. Sedangkan Hsu Fang-Tze menggarisbawahi tema aktivisme yang begitu kental pada filem kedua. Ia menanyakan bagaimana pendapat Shai mengenai imaji dalam industri filem India yang saling bertentangan. Menanggapi ini, Shai menyatakan bahwa sasaran pembuatan filem menjadi hal yang sangat krusial. Bagi siswa yang Shai ajar, filem Anand telah menjadi referensi yang penting. Ia membangkitkan kesadaran tentang apa yang terjadi di pinggiran India pada tahun 70-an. Filem ini juga menciptakan suatu kesadaran tentang tanggung jawab pegiat seni agar tak hanya terlibat protes, tetapi juga bergerak bersama secara praktik untuk perubahan sosial. Melalui filem Anand, banyak orang yang awalnya tidak tahu mengenai kondisi pinggiran di India, menjadi tahu. Sebagaimana suatu kesadaran yang lahir akibat sebuah cerita.<\/p>\n Menyinggung tema presentasi, Ruth Noack menanyakan pula bentuk politik yang ingin disajikan lewat kedua filem tadi. Shai menanggapi bahwa secara spesifik tidak ada bentuk politik tertentu. Hanya saja, dengan menayangkan dan membicarakan kedua filem tadi pun sebetulnya sudah menjadi suatu bentuk tindakan politis. Sinema menjadi media yang bisa menyampaikan pilihan personal pembuatnya, termasuk pilihan politik.<\/p>\n Suasana Kineforum sesaat sebelum penayangan program “Politik Bentuk” dimulai. \/ The atmosphere at the Kineforum shortly before the screening program of “Politics of Form ” began.<\/p><\/div>\n Kedua filem ini sangat relevan dengan konteks Indonesia di mana pada era kepemimpinan Soeharto, sinema pun dijadikan media propaganda. Menurut wawancara dengan Manshur Zikri dari AKUMASSA, filem Pengkhianatan G 30S\/PKI<\/em> (Arifin C. Noer, 1984) bisa menjadi contoh filem propaganda dari pemerintah Indonesia yang hingga kini dapat menjadi rujukan pembelajaran bagi para sineas. Meskipun terdapat pro-kontra mengenai kebenaran sejarah yang dinarasikan di dalam filem itu, keapikannya sebagai sebuah karya filem (Zikri menegaskan kata \u201ckarya filem\u201d) tidak dapat dipungkiri menuai keberhasilan dalam menyampaikan pesan atau pengaruh kepada masyarakat luas. Oleh karena itu, menurut Zikri, menjadi penting bagi kita semua untuk memahami konteks sebuah filem agar dapat membangkitkan kesadaran akan suatu situasi sosial: memahami \u201ckerja suatu karya filem\u201d dan dampaknya di tengah masyarakat.<\/p>\n Hafiz Rancajale, Direktur Artistik ARKIPEL, pun sempat memberikan pandangannya tentang ini saat saya diwawancarai. Menurutnya, filem propaganda akan berhasil jika ia pun telah berhasil memenuhi syarat estetikanya. Filem propaganda seringnya menampilkan kebenaran yang bersifat hitam-putih. Imajinasi semacam itulah yang harus dihadirkan untuk meyakinkan penonton. Seperti halnya dalam filem The New Wave <\/em>dan Prisoners of Conscience<\/em> yang secara keseluruhan menampilakan dua sisi dari propaganda. Filem pertama merupakan legitimasi terhadap suatu institusi, sedangkan filem yang kedua adalah kritik keras atas institusi yang sama. Kontradiktif namun sama-sama berbicara lewat bahasa visual dengan baik. Oleh karenanya, keduanya pun termasuk jenis filem propaganda yang efektif.[\/vc_column_text][mk_divider style=”thick_solid” border_color=”#f1f1f1″ margin_top=”40″ margin_bottom=”40″][vc_column_text]\n <\/p>\n As a human being, artists also possess sensitivity toward what they believe in. This is what finally turns into the foundation of their artworks. It is also in line with what Ruth Noack quoted from Emma Goldman at her Festival Forum key note speech, \u201cIf I can\u2019t dance, I don\u2019t want to be part of your revolution.\u201d<\/span><\/p>\n This kind of faith also has brought Shai Heredia from Experimenta India to come to Kineforum in August 20th<\/sup>, 2016, to present her curatorial program themed \u201cPolitics of Form\u201d. <\/em>The two films presented in this program come from India: The New Wave <\/em>and Prisoners of Conscience.<\/em><\/span><\/p>\n The first film is a work from Chandrashekar Nair in 1976. In this 9 minutes film, the policy of Emergency<\/em> applied to the college students in India seems to be a virtue that must be implemented. Contrary to it, the second film made by Anand Patwardhan in 1978 reveals the repression and political violence toward the revolutionists in India at that time. In this 41 minutes film, the life of political prisoners seems so dreadful, full of violence and injustice.<\/span><\/p>\n There is no doubt that both of them are political films about the internal conditions in India. If at the first film we were amazed to the assertiveness of the government of India at that time, at the second one we were cringed as if we faced a tragedy right in front of our eyes. As a curator for this program, Shai Heredia explained that both films show how the repressions of Hindhu fundamentalist government limited the individual freedom in India. The first film refers to the freedom of the students while the second one refers to the freedom of the society in general.<\/span><\/p>\n The program was attended by 40 audiences and there were many responses as well as questions. Nischal Oli from Nepal questioned the situation at the time the films were made. According to Shai, there were hundreds people being imprisoned around those years. Most of them were lack of access to the knowledge regarding the use of lawyers and fair legal system. The reformation toward the regulation has occurred but the change itself is not quite significant yet, especially for the minority.<\/span><\/p>\n A question about directing style was addressed by Zimu Zhang from China. She said that the style of Anand in directing this film looks like a propaganda. While Hsu Fang-Tze underlining thick activism theme in both films. Fang-Tze also questioned the opinion of Shai on India\u2019s cinema that showing two very contrary images about India. Responding this, Shai explained that the targets of the film do become a crucial matter. For the students she teaches, Anand\u2019s films become an important reference. It triggers the awareness upon what happened in rural India back in 70\u2019s. Films also possess the potency to create awareness on the responsibility of the artists to get involve practically in social change. Through Anand\u2019s film, many people realize the reality in rural India. An awareness rose through a story.<\/span><\/p>\n Mentioning the theme of this program, Ruth Noack questioned the form of the politics that Shai wishes to convey through both films she curates. Shai responded that there are no forms specifically. But just by presenting and talking about both films, she actually has made a form of political act. Cinema becomes a medium to express the personal choice of its makers, including political choice.<\/span><\/p>\n The two films are very relevant to the context of Indonesia where in the era of Soeharto, cinema became a medium for propaganda. According to the interview to Manshur Zikri from AKUMASSA who also watched the program, Pengkhianatan G 30S\/PKI<\/em> (Arifin C. Noer, 1984) might become a good of example of propaganda film made by Indonesia government. It becomes a good reference to many filmmakers in Indonesia until now. Despite there are pros and cons about the truth of the history narrated in the film, its intensity as a work of film (Zikri assert the word “film work”) cannot be denied to reap success in conveying the message or influence to the general public. Thus in his opinion, it\u2019s important for us to understand the context of the film in order to raise the awareness of the social situations: understanding how the film works and its impact to the society.<\/span><\/p>\n The artistic director of ARKIPEL Hafiz Rancajale also gave his opinion through a brief interview. In his opinion, propaganda films will be successful if it can fulfill the aesthetic conditions of good films. Propaganda films often display a black and white truth. That kind of imagination must be showed to convince the viewers. Just like in The New Wave <\/em>and Prisoners of Conscience<\/em> films that gave the whole picture of the propaganda. The first film legitimates a certain institution while the second one heavily criticizes it. They are contradictive but speak in the same good visual language. Thus, both of them are also fine and effective propaganda films.<\/span>[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":" Propaganda films will be successful if it can fulfill the aesthetic conditions of good films. Propaganda films often display a black and white truth. That kind of imagination must be showed to convince the viewers. Just like in The New Wave and Prisoners of Conscience films that gave the whole picture of the propaganda. The first film legitimates a certain institution while the second one heavily criticizes it. They are contradictive but speak in the same good visual language. Thus, both of them are also fine and effective propaganda films.<\/p>\n","protected":false},"author":131,"featured_media":5844,"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":[369,385,349],"tags":[292,165,397,396,293],"class_list":["post-5837","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-festival-theme-arkipel-2016-social-kapital","category-film-screening-reviews","category-special-presentation-program","tag-292","tag-arkipel","tag-experimenta","tag-shai-heredia","tag-socialkapital"],"jetpack_publicize_connections":[],"yoast_head":"\n![\"Shai](\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/IMG_4666.jpg?resize=1024%2C681\")
![\"IMG_4665\"](\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/IMG_4665.jpg?resize=1024%2C774\")
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<\/p>\n![\"Suasana](\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/IMG_4659.jpg?resize=1024%2C730\")
Politics of Form: Understanding Cinema, Digesting Reality<\/span><\/h2>\n