![\"IMG_4677\"](\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/IMG_4677.jpg?resize=1024%2C710\")
Esther Lu.<\/p><\/div>\n
Filem pertama yang diputarkan berjudul The Pig. <\/em>Ia bercerita tentang suatu komunitas masyarakat di Taipei yang tengah mengalami proses penggusuran. Seekor babi menjadi simbol pengorbanan dan penderitaan yang dialami komunitas tersebut. Karya Singing Chen ini menghadirkan sisi emosional masyarakat yang tergusur melalui jukstaposisi mitologi dan realitas yang terasa begitu ironis.<\/p>\n Seorang penonton bertanya mengapa pendekatan yang dipakai adalah fiksi ketimbang dokumenter. Menurut tuturan Singing Chen, pembuatan filem dokumenter sudah banyak dilakukan ketika menyoal masyarakat yang tergusur. Dalam filem ini, Chen ingin menghadirkan sisi emosional komunitas tersebut ketimbang gambaran situasi opresif di sana. Adegan mengenai ritual agama pun dihadirkan sebagai potret bahwa dalam pertumbuhan kota metropolitan yang material, aspek-aspek mistis pun turut dipinggirkan.<\/p>\n Dari kiri ke kanan: Esther Lu (kurator), Singing Chen (sutradara The Pig<\/em>), Su-Yu Hsien (sutradara The Chair<\/em>), dan Wu, Chi-Yu (sutradara Tu-Di Temple<\/em>). \/ From left to right: Esther Lu (curator), Singing Chen (film director of The Pig<\/em>), Su-Yu Hsien (film director of The Chair<\/em>), dan Wu, Chi-Yu (film director of Tu-Di Temple<\/em>).<\/p><\/div>\n Kontras dengan filem pertama, filem kedua yang berjudul The Chair<\/em> karya Su Yu-Hsien justru menimbulkan gelak tawa. Sebuah impian kanak-kanak tentang penciptaan mesin waktu dihadirkan kembali melalui filem dokumenter yang nostalgis terutama karena sang kanak kini telah dewasa dan penggunaan kamera tua yang sederhana. Kegelian akan filem ini mungkin juga merupakan suatu ironi di mana seringkali hal remeh-temeh menjadi terpinggirkan ketika kita beranjak dewasa.<\/p>\n Ruth Noack yang dalam pemutaran filem kedua kerap kali tertawa terpingkal menanyakan mengapa kursi tersebut musti bergerak-gerak di galeri seni kontemporer. Adegan itu memang muncul berkali-kali di dalam filem ini. Su Yu-Hsien, sang sutradara yang hadir di Kineforum, mengungkapkan bahwa galeri yang ada di filem tersebut sebetulnya adalah Taipei Fine Art Museum<\/em>. Ia merupakan salah satu institusi seni terpenting di Taiwan sekaligus tempat Su kini bekerja. Jadi kondisi ini seolah menghubungkan impian masa lalu Su dengan pencapaiannya di masa kini. Menurut Nischal Oli dari Nepal, penggunaan kamera video rumahan memberi kesan yang sangat nostalgis. Su pun menyepakati hal ini. Ungkapnya, suara-suara dari latar belakang dan segala percakapan yang muncul dalam filem tidak diskenario sama sekali. Bahkan, noise <\/em>yang selalu muncul sebetulnya pun insidental tapi malah memberikan kesan romantisme masa lalu.<\/p>\n Pada filem ketiga yang berjudul Tu-Di Temple<\/em>, kita dibawa untuk menyaksikan rangkaian foto-foto yang dibingkai dalam sebuah filem. Wu Chi-Yu menyajikan kisah tentang suatu kuil yang berdiri di tengah reruntuhan wilayah tergusur. Foto-foto tersebut disusun menjadi sebuah dongeng sekaligus puisi visual. Aksen animimalisme menambahkan kesan magis sekaligus tragis dalam filem ini. Diam-diam, saya menahan napas karena miris ketika melihat bangunan kuil yang berdiri sepi sendiri dan anjing-anjing yang diumpamakan sebagai warga yang menghuni kawasan sekitar kuil.<\/p>\n Secara lebih lanjut, Zhang Zimu yang merupakan sutradara independen asal Tiongkok menanyakan tentang konteks campuran realita dan imajinasi pada filem ini. Wu Chi-yu menjelaskan bahwa desa tempat kuil Tu-Di berdiri telah digusur dan segalanya hancur. Namun, sebetulnya tidak segala hal menghilang. Ada aspek-aspek kehidupan yang sebetulnya masih tertinggal di sana. Hal yang paling ironis ialah bahwa kuil Tu-Di berarti kuil pelindung, namun pada kenyataannya kini kuil tersebut tegak berdiri tanpa mampu melindungi apa-apa di sekitarnya.<\/p>\n Namun, setelah kesenduan di filem ketiga, kita bisa langsung kembali tertawa ketika menyaksikan filem keempat yang berjudul\u00a0 The Welcome Rain Falling From The Sky<\/em> karya Tsui Kuang-Yu. Filem yang hanya berdurasi 1 menit 1 detik ini menampilkan seorang pria yang terus menerus harus menghidari berbagai barang yang berjatuhan. Pria dalam filem tersebut secara harfiah melompat untuk menghindari benda-benda keras yang jatuh. Singkat, namun begitu memberi kesan tentang orang-orang yang musti terus beradaptasi dengan realitas hidup yang kian keras.<\/p>\n Filem terakhir yang diputarkan berdurasi cukup lama, yaitu 60 menit. Bo-Ai Market<\/em> yang merupakan karya Kao Jun-Honn menampilkan wajah-wajah berbagai kelompok masyarakat yang terpinggirkan dalam satu kerangka besar transformasi sosial-ekonomi. Karya ini begitu lekat dengan kehidupan pribadi pembuatnya. Sebab, menurut tuturan Esther Lu, kelompok-kelompok yang ditampilkan dalam filem ini sebetulnya adalah bagian dari lingkungan terdekat sang sutradara. Bisa dibilang mereka adalah tetangga bagi Kao Jun-Honn.<\/p>\n Hafiz Rancajale, Direktur Artistik ARKIPEL, menanyakan perihal filem terakhir. Menurutnya, filem ini memaksanya untuk serius, namun di saat yang sama mengapa filem ini harus membawa teori yang begitu rumit. Menanggapi ini, Esther bercerita bahwa sebetulnya filem ini telah dibuat dalam waktu yang sangat lama oleh sutradaranya. Sebuah manuskrip menjadi acuan bagi pembuatannya. Narasi besar yang dibawa dalam filem ini kemungkinan adalah gaya penyutradaraan dari Kao Jun-Honn sendiri.<\/p>\n Jumlah penonton bertambah ketika proses tanya jawab dimulai. Dengan lima filem yang begitu apik dan menarik, proses tanya jawab pun berlangsung sangat dinamis dan antusias. Ada hal yang sangat menarik ketika filem terakhir ditayangkan. Sebuah lagu yang diputar berkali-kali dalam filem tersebut terdengar memiliki melodi yang persis seperti lagu Ibu Pertiwi<\/em>. Dalam kesempatan tanya jawab, Otty Widasari menanyakan perihal lagu tersebut. Beberapa audiens sebetulnya pun sangat penasaran dengan hal ini, termasuk saya. Menurut tuturan Esther, lagu tersebut berasal dari era kolonialisme Jepang dan bercerita tentang piknik. Fang-Tze Hsu dan Shai Heredia menambahkan bahwa sebetulnya lagu tersebut membawa makna relijius dari agama Kristen Protestan.<\/p>\n Menurut Esther Lu, filem-filem yang diputar kali ini menjadi representasi perjuangan masyarakat Taiwan akibat opresi neoliberalisme global. Banyak simbol-simbol yang dihadirkan sebagai pemaknaan atas kondisi masyarakat yang terpinggirkan di Taiwan. Baik melalui fiksi atau pun dokumenter, kelima filem tadi tampaknya mampu membahasakan represi dan marjinalisasi yang dialami subjek-subjek dalam filem.<\/p>\n Suasana pasca penayangan filem-filem dari Taiwan. \/ The atmpspher after the screening of Taiwanese films.<\/p><\/div>\n Keluar dari ruang pemutaran filem, saya mulai mencatat apa-apa saja yang didapati dari program kurasi tersebut. Satu hal yang menurut saya patut diingat: bentuk visual filem boleh jadi berbeda-beda, namun selama bahasa visual dilakoni dengan apik maka pesannya pun akan tersampaikan dengan baik. Seperti halnya kelima filem tadi yang berbicara lewat beragam bentuk visual, namun sanggup bercerita dan menghadirkan apa yang ingin ia sampaikan, secara emosional maupun konseptual.[\/vc_column_text][mk_divider style=”thick_solid” border_color=”#f1f1f1″ margin_top=”40″ margin_bottom=”40″][vc_column_text]\n <\/p>\n Sitting quietly in the middle row of the audience in Kineforum, I read again the catalog of ARKIPEL for the screening tonight. The program that will be screened in August 20th<\/sup> at 07.00 PM present the films were curated by Esther Lu. All of them were films from Taiwan; The Pig <\/em>(2013), The Chair <\/em>(2012), Tu-Di Temple <\/em>(2013), The Welcome Rain Falling From the Sky <\/em>(1997) and Bo-Ai Market <\/em>(2016). <\/em>Together with 40 audiences who also entered Kineforum screening room, I waited for Esther Lu with three directors of the films that will be screened.<\/p>\n The first film screened was The Pig. <\/em>It narrates a community in Taipei who will be demolished by the government. A pig symbolizes sacrifice and the suffering experienced by that community. This work of Singing Chen presenting the emotional aspect of demolished community through the juxtaposition of mythology and reality which feels so ironic.<\/p>\n An audience asked why fictional approach used in this film instead of documentary one. According to Singing Chen, many documentary films have been made on the issues of evicted community. Through this film, Chen wishes to convey the emotional aspect of that community instead of the oppressive situation occurred there. The scene of religious ceremony appears also to disclose the portrayal of metropolitan city\u2019s growth that tends to dispose and give up the mystical aspects of the communities there.<\/p>\n Contrary to the first film, the second one entitled The Chair <\/em>successfully made the audience laughed. This work of Su Yu-Hsien presented a childhood dream in creating a time machine. It was a documentary film made by using an old home video camera. A strong nostalgic sense emerged from this film especially because the dream belongs to the filmmaker that has grown up. The amusement we sensed when watching this film indeed is an irony where we often underestimate trivial matters once we grow up.<\/p>\n Ruth Noack who laughed a lot during the screening asked for the reason why the chair needs to move around the gallery of contemporary art. That scene did appear several times in the film. Su Yu-Hsien, the director of this film who attended ARKIPEL explained that the gallery in the film is actually Taipei Fine Art Museum<\/em>. It is one of the most important art institutions in Taiwan and also the place where Su works. This condition connects his childhood dream and his achievement today. Nischal Oli from Nepal gave his opinion that the use of home video camera did give nostalgic effect on the film. Su also agreed on it. He said that the voices and all of the conversations in the film were unscripted. Even the noises were also incidental but constantly gave romanticism upon the past.<\/p>\n In the third film entitled Tu-Di Temple,<\/em> we were brought to witness a series of snapshots framed into a film. Here, Wu Chi-Yu presents a story about a temple standing in the midst of ruins from an evicted area. Those snapshots were compiled into one tale; a poetic visual. Animalism in this film adds magical and tragic traces. It make me silently held my breath while feeling melancholy by seeing the temple that stands alone and the wandering dogs depicted as the denizens of the area around the temple.<\/p>\n Furthermore, Zimu Zhang from China questioned the mix of reality and imagination contexts in this film. Wu Chi-Yu explained that the village where Tu-Di temple stands had been evicted and everything was demolished. But actually not everything was gone. There are some living aspects that still left there. The most ironic thing about Tu-Di temple is the meaning of its name. It literally means land guardian <\/em>temple. But in reality, the temple stands protecting nothing now.<\/p>\n After the grief from the third film, we can laugh in an instance by watching the fourth film; The Welcome Rain Falling from the Sky<\/em> by Tsui Kuang-Yu. This 1 minute 1 second film exposed a man who keeps jumping to avoid the falling stuffs from above. It was very short but deeply impressing a story about people who must adapt to the changing reality that keeps getting harder.<\/p>\n The last film was quiet long, it\u2019s about 60 minutes. Bo-Ai Market <\/em>is the work of Kao Jun-Honn that reveals the figures of various marginalized communities in one big frame of social-economy transformation. It is a very personal work for the director. According to Esther Lu, the communities showed in the film are part of the director\u2019s closest environment. They are literally his neighbors.<\/p>\n The artistic director of ARKIPEL Hafiz Rancajale questioned the style used by Kao Jun-Honn in the film. He said that the film pushed him to be serious and wondered why the director needs to bring such complex theory to the film. Responding this, Esther Lu explained that the film took some long time for the director to create it. A manuscript became the main reference for the making of the film. The big narration which frames the film probably is Kao Jun-Honn\u2019s style in directing this film.<\/p>\n The number of the audience was increased when the Q & A was started. With those five fine and interesting films, the Q & A turned so dynamic and full of enthusiasm. There was a captivating matter when the last film was screened. A song which was played repeatedly in the film sounded so similar to Ibu Pertiwi (Motherland) <\/em>song. Otty Widasari took her chance to ask this matter in Q & A. Several audiences including me were actually very curious about the song too. Esther Lu replied that the song was actually from Japanese era and it was about a picnic. But Hsu Fang-Tze and Shai Heredia added an explanation that the song has religious meaning related to Christian Protestant.<\/p>\n According to Esther Lu, the films screened this time were the representation of Taiwanese community\u2019s struggle due to the oppression of global neoliberals. Many symbols were invested in the films as the representation of the marginal society\u2019s condition in Taiwan. Whether through fiction or documentary, the five films were able to express the repression and marginalization experienced by the subjects in the films.<\/p>\n Stepping outside from the screening room, I started to take notes on what I\u2019ve gained through the curatorial program I just watched. One thing that must be remembered; the visual form of the films might be different but as long as the visual language was conducted well, then the messages will be delivered well too. Just like those five films that speak through various visual forms but still able to tell and present their messages emotionally and conceptually.[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":" The films screened this time were the representation of Taiwanese community\u2019s struggle due to the oppression of global neoliberals. Many symbols were invested in the films as the representation of the marginal society\u2019s condition in Taiwan. Whether through fiction or documentary, the five films were able to express the repression and marginalization experienced by the subjects in the films.<\/p>\n","protected":false},"author":131,"featured_media":5850,"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":[369,345,385],"tags":[292,165,395,293],"jetpack_publicize_connections":[],"yoast_head":"\n![\"14027117_508780765977503_998610531_1\"](\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/14027117_508780765977503_998610531_1.jpg?resize=1024%2C767\")
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<\/p>\n![\"Suasana](\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/IMG_4670.jpg?resize=1024%2C680\")
Marginal Matters: Story in Various Forms<\/h2>\n