{"id":6996,"date":"2017-08-19T08:19:21","date_gmt":"2017-08-19T01:19:21","guid":{"rendered":"http:\/\/arkipel.org\/?p=6996"},"modified":"2017-08-22T14:22:58","modified_gmt":"2017-08-22T07:22:58","slug":"menelaah-jejak-sejarah-pada-sinema-hari-ini-catatan-tentang-pidato-kunci-fang-tze-hsu","status":"publish","type":"post","link":"https:\/\/arkipel.org\/menelaah-jejak-sejarah-pada-sinema-hari-ini-catatan-tentang-pidato-kunci-fang-tze-hsu\/","title":{"rendered":"Inspecting the Trace of History on Contemporary Cinema: notes on Keynote Speech at Forum Festival"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503223588-1-14″][vc_column_text title=”Menelaah Jejak Sejarah Pada Sinema Hari Ini”]\n

\u201cThe complex effects of the war, mediated through our bodies, have been inscribed into our national, family, and personal histories. In short, the cold war is still alive within us\u201d<\/em><\/p>\n

Kuan-Hsing Chen on Asia as Method: Toward Deimperialization (2010) page 118.<\/span><\/p>\n

 <\/p>\n

Kutipan di atas agaknya memang merangkum kondisi umum dunia kontemporer yang Hsu Fang Tze paparkan pada Pidato Kunci-nya di Festival Forum ARKIPEL Penal Colony<\/em> \u2013 5th<\/sup> Jakarta International Documentary and Experimental Film Festival.<\/p>\n

Sekitar 70 orang peserta, baik dari peserta undangan, tamu pembicara dan kurator maupun peserta umum, hadir di Goethehaus, Goethe Institut Jakarta pada 18 Agutus 2017 pukul 09.00 WIB untuk mendengarkan Pidato Kunci tersebut. Dengan makalah berjudul When Dead Labor Speaks: Subjectivity, Subjugation, and Meta-Cinema<\/em>, Fang-Tze memaparkan praktik-praktik seniman dan pembuat filem yang terkait dengan permasalahan-permasalahan yang merupakan bagian dari warisan sejarah pasca Perang Dingin. Kurator independen, translator, dan kandidat Ph.D di bidang Cultural Studies<\/em> di National University of Singapore<\/em> ini mengeksplorasi mengapa dan bagaimana praktik-praktik sejumlah pembuat filem dan seniman, seperti Takamine Go, Kidlat Tahimik, Nick Deocampo, Lin Hsin-I, Soni Kum, dan Nguyen Trinh-Thi menghadirkan kembali isu-isu kekerasan pada era perang pada konteks hari ini melalui sinema.<\/p>\n

\"\"

Fang-Tze Hsu.<\/p><\/div>\n

Pada paparannya, Fang-Tze mengulas karya-karya para seniman dan sutradara tersebut dalam kerangka meta-cinema menurut seorang akademisi filem, William Siska, yang menggarisbawahi refleksifitas\u2014yang diartikan sebagai ‘kesadaran yang kembali pada dirinya sendiri’\u2014atas bentuk serta atas personal pengkarya dalam karyanya.<\/p>\n

Menurut Fang-Tze, terdapat tiga isu utama yang bisa digarisbawahi dari karya-karya pengkarya tersebut di atas. Isu mengenai subjektivitas menurutnya dapat ditelaah pada filem karya Kidlat Tahimik, pembuat filem asal Filipina, dan dalam karya Takamine Go, yang merupakan pembuat filem dari Okinawa. Keduanya meletakkan bagaimana proses pengkaryaan dan bentuk pengkaryaan muncul juga dari bagaimana situasi sosial membentuk tak hanya konteks sosial itu sendiri tapi juga kehidupan personal orang-orang termasuk pembuat filem. Dalam hal ini, kondisi sosial yang dimaksud ialah Revolusi Politik Rakyat di Filipina dan situasi Okinawa paca okupasi Jepang sebelum perang dan okupasi militer Amerika pasca perang.<\/p>\n

Fang-Tze, yang mengembangkan minat penelitiannya, antara lain, pada pengetahuan kontemporer, estetika Perang Dingin, memori, filosofi teknologi, dan perwujudan praktik artistik dalam kehidupan sehari-hari, kemudian mengeksplorasi isu subjugasi pada karya Nick Deocampo. Sebagaimana menit sebelumnya, sembari memaparkan materi, Fang-Tze juga menayangkan potongan-potongan bagian filem yang ia bahas. Namun, dari semua potongan filem yang ia tayangkan, menurut saya, potongan gambar dari filem Oliver<\/em> karya Nick Deocampo-lah yang paling mencengangkan dan masih tertinggal di kepala saya. Fang-Tze menayangkan karya pembuat filem asal Filipina tersebut yang secara lugas menghadirkan subjugasi atas subjektivitas-subjektivitas tertentu, khususnya dalam konteks gender dan rezim negara di Filipina. Ia memaparkan, dalam filem Oliver<\/em>, kita bisa melihat bagaimana Deocampo menggunakan bahasa visual cin\u00e9ma v\u00e9rit\u00e9<\/em>, atau kebenaran sinema, untuk menyampaikan kritik dan kontribusinya pada jenis doktrin budaya, <\/em>\u201cthe true, the good, and the beautiful,\u201d (<\/em>“<\/em>yang benar, yang baik, dan cantik,”) yang dipromosikan oleh aparatus media di bawah rezim Marcos kala itu.<\/p>\n

Ko-kurator iNegative Horizon: 5th<\/sup> Taiwan International Video Art Exhibition<\/em> tersebut kemudian mengartikulasikan isu gender yang menurutnya terjadi dalam berbagai level dimulai dari domestifikasi pada representasi perempuan dalam sinema, kekerasan oleh negara hingga warisan kolonialisme yang pada akhirnya mensunyikan narasi perempuan. Ia menyatakan argumennya mengenai kondisi ini melalui representasi aktivitas berduka yang cenderung hanya meletakkan perempuan sebagai sosok yang berduka dan dengan kebajikan femininnya harus merawat apa yang ditinggalkan sang pahlawan yang umumnya dilekatkan pada sosok lelaki. Ia mengumpamakan hal ini seperti huruf-huruf diam dalam kosa kata Bahasa Inggris, mereka tetap ada tetapi tidak diperdengarkan. Isu yang serupa juga hadir kembali dalam Foreign Sky<\/em> karya Soni Kum, seorang keturunan Korea-Jepang, yang melalui kisahnya tentang diskriminasi rasial dan pelecehan seksual juga menghadirkan kembali bagaimana peninggalan kekerasan di era perang oleh Jepang kepada Korea pun tetap berlangsung bahkan ketika perang tersebut usai. Baik dalam konteks sosio-historis maupun politik gender, konsep perempuan, menurut Fang-Tze, merupakan sebuah konstruksi politik dan ini secara khusus sejatinya pun hadir dalam arena kultur layar.<\/p>\n

\"\"<\/p>\n

Sebuah pertanyaan kemudian muncul dari peserta setelah Pidato Kunci usai dibacakan. Gaston Suhadi bertanya mengenai pendapat Fang-Tze tentang perbedaan pada generasi pembuat filem di Asia. Fang-Tze kemudian menanggapinya dengan mempertanyakan kembali apa itu Asia<\/em>. Ia mengungkapkan bahwa konteks Asia <\/em>itu sendiri perlu diperjelas dan untuk mengungkapkan tentang rekam jejak perbedaan generasi adalah hal yang pelik sebab melibatkan sejarah yang sangat panjang. Namun perlu dicatat bahwa sinema Asia Tenggara misalnya, memiliki konteks yang begitu lekat dengan kapitalis negara dan bagaimana kemudian negara menggunakan sinema sebagai media untuk memahatkan ideologi dan subyektivitas tertentu kepada warganya. Barulah kemudian aksesibilitas terhadap aparatur dan kelengkapannya yang juga bisa dicatat sebagai pembeda karya dari satu generasi ke generasi lainnya.<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

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\"\"<\/p>\n

Dalam hal ini, kutipan dari penulis Filipina, Nick Joaquin, yang juga dihadirkan Fang-Tze pada presentasinya sangat relevan. \u201cSejarah, ketika ia bukanlah berita dunia atau barisan waktu namun serangkaian kunci tentang peristiwa, ialah budaya yang dalam makna murninya \u2013 yaitu sebuah penciptaan, sebuah proses produksi, sebuah pengurusan, sebuah penggambaran, sebuah bukaan.\u201d Sehingga patutlah turut digarisbaahi bagaimana sebetulnya narasi sejarah tentang Perang Dingin, dilafalkan melalui berbagai situasi kekerasan, bukan hanya pada kisah masa lalu namun juga pada drama masa kini. Maka sejarah pun bisa dimaknai sebagai budaya yang nilai-nilainya menjadi warisan yang dimediasikan melalui tubuh orang-orang dan akhirnya turut pula hadir pada sinema hari ini. ***[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503223588-2-60″][vc_column_text title=”Inspecting the Trace of History on Contemporary Cinema”]\n

\u201cThe complex effects of the war, mediated through our bodies, have been inscribed into our national, family, and personal histories. In short, the cold war is still alive within us\u201d<\/em><\/p>\n

Kuan-Hsing Chen on \u201cAsia as Method: Toward Deimperialization\u201d (2010) page 118.<\/p>\n

 <\/p>\n

It’s likely, the quotation above summarizes straightly the general conditions of contemporary world that Hsu Fang-Tze expressed on her Keynote Speech at the Festival Forum ARKIPEL Penal Colony – 5th Jakarta International Documentary and Experimental Film Festival<\/em>.<\/p>\n

Approximately 70 participants, both invited participants, guest speakers and curators and public participants, were present at Goethehaus, Goethe Institut Jakarta on 18 August 2017 at 09.00 WIB to listen to the Keynote Speech. With a paper and presentation entitled When Dead Labor Speaks: Subjectivity, Subjugation, and Meta-Cinema<\/em>, Fang-Tze elaborated the practices of artists and filmmakers relating to the problems, which are also part of the historical legacy of the Cold war. This independent curator, translator and Ph.D candidate in Cultural Studies at National University of Singapore<\/em> explores the why and how practices of some filmmakers and artists, such as Takamine Go, Kidlat Tahimik, Nick Deocampo, Lin Hsin-I, Soni Kum and Nguyen Trinh-Thi represent the issues of violence in the era of war in the contemporary context through cinema.<\/p>\n

\"\"

Fang-Tze Hsu.<\/p><\/div>\n

On her elaboration, Fang-Tze reviewed the works of those artist and filmmakers in the framework of meta-cinema according to film scholar, William Siska, which underlines the reflexivity, which means \u2018consciousness turning back on itself,\u2019 on form and personal of the makers in their works.<\/p>\n

According to Fang-Tze, there are three main issues highlighted in the works of those makers above-mentioned. The issue about subjectivity, she said, might be inspected on films made by Kidlat Tahimik, a filmmaker from Philippines, and in the works of Takamine Go, an Okinawan filmmaker. Both put how the process of filmmaking appears also from how the social situation forms not only the social context itself but also the personal lives of people including the filmmakers. In this regard, the social condition referred is the People Power Revolution in Philippines and the situation in Okinawa on post-war Japanese occupation and post-war American military occupation.<\/p>\n

Fang-Tze, who develops her research interests around contemporary knowledge formation, Cold War aesthetics, memory, philosophies of technology, and the embodiment of artistic praxis in everyday life, then explores the issue on subjugation through the works of Nic Deocampo. As the minutes before, while elaborating the material, Fang-Tze also screened the footages of film she discussed. However, among other footages she screened during the presentation, in my opinion, the footage of the film Oliver<\/em> by Nick Deocampo was the most startling one and still dwelling on my mind. Fang-Tze screened the work of the Philippines filmmaker which straightforwardly bring the subjugation on certain subjectivities, especially in the context of gender and state regime in Philippine. She explained, in Oliver<\/em>, we can see how Deocampo used the visual language of cin\u00e9ma v\u00e9rit\u00e9<\/em>, truthful cinema, to convey his critics on a kind of cultural doctrine, \u201cthe true, the good, and the beautiful,\u201d promoted by the media apparatus under the Marcos regime at that time.<\/p>\n

This co-curator of iNegative Horizon: 5th<\/sup> Taiwan International Video Art Exhibition<\/em> then articulated the issue of gender which according to her occurs in various levels started from domestification on the representation of women in cinema, violence by regime of state until the legacy of colonialism which in the end mutes the narration of women. She stated her arguments on this condition through the representation of commemoration which tends to locate the women as the figures who mourn and by her feminine virtue must nurture what the heroes left, which generally embedded to the figures of men. She used the analogy of silent letters<\/em> in English vocabulary, they are there but unheard. Similar issue also exists in the work Foreign Sky<\/em> by Soni Kum, a Korean-Japanese artist, who through her story about racial discrimination and sexual harassment also represents how the legacy of violence in the era of war by the Japanese to the Korean is still going on even until the war has ended. Both in socio-historical and gender-political context, the concept of woman, according to Fang-Tze, is a political construction and it is particularly true in the screen culture.<\/p>\n

Later, a participant asked a question after the Keynote Speech was read out. Gaston Suhadi asked Fang-Tze’s opinion on differences in the generation of filmmakers in Asia. Fang-Tze responded this by questioning again what Asia<\/em> is.<\/em> She expressed that the context of Asia<\/em> itself needs to be clarified and to answer about the generation differences is a complicated thing because it involves a very long history. It should be noted, however, that Southeast Asian cinema, for example, has a very close context to the capitalist state and how the state then uses cinema as a medium to inscribe certain ideologies and subjectivities to its citizens. It was only then that accessibility to the apparatus which could also be noted as the source of difference of works from one generation to another.<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

In this case, the quote from Philippine writer Nick Joaquin, who was also presented by Fang-Tze in her speech, was very relevant. “History, when not just news of the world or march of time but a key sequence of events, is culture in its pure meaning \u2013 that is a creating, a producing, a husbandry, a drawing forth, an opening.” Thus it is important to underline how exactly the historical narrative about Cold War, is pronounced through the situations of violence, not only on the story of the past but also in today’s dramas. So history can be interpreted as a culture whose values become a legacy mediated through the bodies of people and eventually also present at the contemporary cinema. ***[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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