{"id":7153,"date":"2017-08-21T09:00:22","date_gmt":"2017-08-21T02:00:22","guid":{"rendered":"http:\/\/arkipel.org\/?p=7153"},"modified":"2017-08-22T15:22:46","modified_gmt":"2017-08-22T08:22:46","slug":"cinema-medium-resistance","status":"publish","type":"post","link":"https:\/\/arkipel.org\/cinema-medium-resistance\/","title":{"rendered":"Cinema as a Medium of Resistance"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503387438-1-81″][vc_column_text title=”Sinema sebagai Medium Perlawanan: Catatan Program Kuratorial \u201cAparatus Garib: Momok Koloni Pidana\u201d”]Logika aparatus adalah logika koloni. Di dalam Koloni Pidana, kita diminta untuk hidup di bawah seperangkat logika mengerikan yang tak pernah kita pahami. Sinema di sini memiliki peran ganda: sebagai penjaga keberlangsungan Koloni Pidana sekaligus sebagai pembongkar koloni tersebut. Dalam rangka melakukan produksi pengetahuan mengenai logika aparatus di dalam Koloni Pidana, ARKIPEL Penal Colony<\/em> menggelar sebuah program kuratorial dengan tema \u201cAparatus Garib: Momok Koloni Pidana\u201d pada Minggu, 20 Agustus 2017.<\/p>\n
\"\"

Para penonton mengantri tiket masuk ke Kineforum.<\/p><\/div>\n

Bertempat di studio pemutaran Kineforum, George Clark, sang kurator untuk program ini, membuka sesinya dengan sebuah pertanyaan: \u201cApa itu aparatus garib? Apakah ia mesin penyiksaan dan hukuman? Atau justru sebuah logika yang menciptakan penerapan hukuman?\u201d Clark kemudian menerangkan alasan di balik pemilihan filem yang akan diputar dalam program ini: Sea of Clouds <\/em>(2016), The Penal Colony <\/em>(1970), Dysfunction No. 3 <\/em>(1983), Eyemo Rolls #87-92 <\/em>(2017), dan Journey Around A Hand <\/em>(1985).<\/p>\n

\"\"

Poster-poster filem ARKIPEL yang tayang di Kineforum.<\/p><\/div>\n

Melalui lima filem tersebut, Clark berusaha menunjukkan interkonektivitas antara dua orang sutradara di dua wilayah geopolitik berbeda: Chen Chieh-Jen dari Taiwan dan Raul Ruiz dari Cile. Kedua wilayah yang sangat berbeda ini terkoneksi melalui kesamaan pengalaman kekuasaan di bawah rezim militer pada masa lampau.<\/p>\n

\"\"

Suasana di teras Kineforum, sesaat sebelum pemutaran filem.<\/p><\/div>\n

Sea of Clouds <\/em>merupakan karya George Clark yang menggambarkan situs-situs penyiksaan di masa kekuasaan rezim militer Kuomintang dan kolonialisme Jepang dengan narasi dari Chen Chieh-Jen. Gambar-gambar yang ditampilkan merupakan imej Taiwan di masa kini, lengkap dengan kehidupan sehari-hari warganya yang menjenuhkan. Namun secara subtil, George Clark menggunakan permainan warna dan sudut kamera untuk memperlihatkan kekejian yang tersembunyi di balik gambar-gambar tersebut.<\/p>\n

The Penal Colony <\/em>merupakan karya Raul Ruiz yang menceritakan tentang kunjungan seorang jurnalis ke sebuah negara fiktif yang pernah menjadi pulau penjara. Jurnalis tersebut dibingungkan oleh pernyataan-pernyataan kontradiktif yang dihasilkan oleh penduduk. Pada akhirnya, sang jurnalis menyadari bahwa berita palsu merupakan komoditi utama dari negara fiktif tersebut. The Penal Colony <\/em>merupakan alegori mengenai kegemaran bangsa Barat dalam menikmati berita-berita tentang penindasan di negara berkembang.<\/p>\n

Dysfunction No. 3<\/em> merupakan karya Chen Chieh-Jen yang mendokumentasikan aksi demonstrasi oleh lima pemuda Taiwan di distrik teater Jalan Ximending di Taipei Pusat. Kelima pemuda tersebut berjalan ke tengah kerumunan warga dengan mengenakan topeng tahanan politik. Kesunyian yang merata di keseluruhan filem tersebut memberikan pengalaman imersif akan horor yang dihadirkan oleh masa darurat militer Taiwan yang lebih dikenal sebagai White Terror.<\/p>\n

Eyemo Rolls #87-92 <\/em>merupakan montase gambar-gambar Green Island, Taiwan, yang diambil oleh George Clark antara tahun 2011-2017. Green Island merupakan pulau yang pernah menjadi penjara bagi narapidana Taiwan, baik karena kejahatan kriminal maupun politik. Hari ini, Green Island telah menjadi destinasi pariwisata, namun jejak-jejak kekejian yang pernah terjadi di sana masih tertinggal. Filem ini berusaha menggambarkan hal tersebut dan juga kehidupan orang-orang yang tinggal di sana, sebagai konter atas aparatus representasional yang diciptakan oleh Kuomintang.<\/p>\n

Journey of A Hand <\/em>merupakan filem absurd dari Raul Ruiz yang menceritakan sejarah alternatif perjalanan orang Eropa Abad ke-19 menjelajah dunia untuk memenuhi fantasi eksotis mereka akan Dunia Baru. Dengan naskah yang ditulis sembarangan dan struktur filem yang nyaris tidak ada, Journey of A Hand <\/em>berhasil membuat 42 penonton di ruang studio merasa heran dan tergelitik. Pada intinya, filem ini mengisahkan tentang perjalanan seseorang menuju ketidakwarasan (descent into madness<\/em>).<\/p>\n

\"\"

Suasana sesaat sebelum pemutaran filem.<\/p><\/div>\n

Secara keseluruhan, tema yang muncul berulang-ulang dalam filem yang ditayangkan di program ini adalah: misrepresentasi. Sea of Cloud <\/em>mengkontraskan narasi kekejaman era kekuasaan Kuomintang dengan gambar-gambar Taiwan hari ini yang begitu damai. Sementara The Penal Colony <\/em>menggambarkan bagaimana informasi palsu mampu mempengaruhi dinamika politik internasional.<\/p>\n

\"\"

George Clark (kanan, kurator ARKIPEL) didampingi oleh Yuki Aditya (Direktur ARKIPEL) menjelaskan tema kurasi program hari itu.<\/p><\/div>\n

Kedua filem di atas juga memberikan pandangan yang berbeda mengenai relasi sinema dan logika kekuasaan. Jika di The Penal Colony<\/em>, informasi palsu (melalui sinema) dapat digunakan untuk mengendalikan perilaku masyarakat di dalam dan luar negeri, Sea of Cloud <\/em>justru menunjukkan bagaimana informasi palsu digunakan untuk melawan otoritas.<\/p>\n

Chieh-Jen menerangkan dalam Sea of Cloud<\/em> bahwa di masa kolonialisme Jepang, filem-filem Taiwan harus diputar melalui penerjemah agar pemerintah Jepang dapat memahami kontennya. Namun melalui translasi palsu, filem Taiwan kemudian dapat menjadi media untuk menyampaikan informasi perlawanan dan ajakan untuk berorganisasi.<\/p>\n

Pada akhirnya, saya memandang bahwa program kuratorial ini berupaya untuk mengajak kita agar lebih cermat dalam memperhatikan sekat-sekat dari koloni pidana. Aparatus koloni pidana senantiasa hidup di sekitar kita, memaksa kita untuk menerima logika mereka, dan membuat kita menjadi patuh. Adalah sebuah keharusan bagi individu yang tercerahkan untuk melawan segala bentuk kekuatan yang menghilangkan kebebasan. Melalui program kuratorial ini, sudah jelas bahwa sinema merupakan salah satu instrumen esensial dalam upaya perlawanan tersebut. ***[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503387438-2-22″][vc_column_text title=”Cinema as a Medium of Resistance: Notes on Curatorial Program \u201cA Peculiar Apparatus: Spectres of the Penal Colony\u201d”]The logic of apparatus is the logic of colony. In the Penal Colony, we are asked to live under set of horrifying logics we could never understand. Cinema in this situation has a double role: as a keeper to preserve the existence of Penal Colony as well as a demolisher to break that colony. As a part of knowledge production about the logic of apparatus inside the Penal Colony, ARKIPEL Penal Colony<\/em> held a curatorial program with theme \u201cA Peculiar Apparatus: Spectres of the Penal Colony\u201d on Sunday, August 20th<\/sup>, 2017.<\/p>\n

\"\"

Audiences were queueing up for tickets.<\/p><\/div>\n

Located inside the screening studio Kineforum, George Clark, the curator for this program, opened his session with a statement; \u201cWhat is a peculiar apparatus? Is it a machine of torture and punishment? Or is it a logic which creates punishment?\u201d Clark then explained the reason behind his choice in movies which will be screened in the program: Sea of Clouds <\/em>(2016), The Penal Colony <\/em>(1970), Dysfunction No. 3 <\/em>(1983), Eyemo Rolls #87-92 <\/em>(2017), and Journey Around A Hand <\/em>(1985).<\/p>\n

\"\"

All film posters which are going to be screened at Kineforum during ARKIPEL Festival.<\/p><\/div>\n

Through those five movies, Clark tries to show the interconnectivity between two directors from different geopolitical area: Chen Chieh-Jen from Taiwan and Raul Ruiz from Chile. The two different area is connected by a same experience of authoritarian rule under military regime in the past.<\/p>\n

\"\"<\/em><\/p>\n

Sea of Clouds<\/em> by George Clark tells about torture site in the era of military rule by Kuomintang and Japanese colonization, narrated by Chen Chieh-Jen. The pictures shown in the movie is an image of contemporary Taiwan, complete with the mundane everyday life of Taiwanese. But subtly, George plays with colors and camera angle to show the atrocity hidden behind those pictures.<\/p>\n

The Penal Colony <\/em>by Raul Ruiz tells about the visit of a journalist to a fictious country which used to be a jail island. The journalist was confused by the inhabitant\u2019s contradicting statement. In the end, the journalist realized that fake news is the main commodity of the fictious country. The Penal Colony <\/em>is an allegory of western nation\u2019s penchant on news about oppression in development countries.<\/p>\n

Dysfunction No. 3 <\/em>by Chen Chieh-Jen documented the act of protest by five Taiwanese teenagers in the theatre district of Ximending in Central Taipei. The five teenagers walked into the crowd of people wearing a mask of political prisoner. The silence which is prevalent throughout the entire movie gives an immersive experience of the horror presented by the era of martial law in Taiwan, better known as the White Terror.<\/p>\n

Eyemo Rolls #87-92 <\/em>is a montage of the pictures depicting Green Island in Taiwan, taken by George Clark between 2011-2017. Green Island used to be a jail for law-breaker in Taiwan, either because of criminal activity or political views. Today, Green Island has become a tourism destination, but traces of atrocity in that island still remains. This movie tries to illustrate those atrocity as well as the lives of the inhabitants of that island, as a counter for representational apparatus created by the Kuomintang.<\/p>\n

Journey of A Hand <\/em>is an absurd film by Raul Ruiz that tells about an alternative history of European voyage in 19th<\/sup> century to explore the world in order to fulfill their exotic fantasy about the New World. With a script that seems to be written at random and the almost nonexistent structure of the film, Journey of A Hand <\/em>succeed in making the 42 people inside of the studio feel astonished and tingled. Basically, the movie depicts a descent into madness.<\/p>\n

\"\"

The atmosphere in the studio just before the screening.<\/p><\/div>\n

Overall, the theme that appears repeatedly in the films screened in this program is: misrepresentation. Sea of Cloud <\/em>contrasts the narrative of atrocity in the era of Kuomintang with pictures of mundane and peaceful contemporary Taiwan. While The Penal Colony<\/em> illustrates how fake news can influence the international political dynamics.<\/p>\n

\"\"

George Clark (right) and Yuki Aditya (left).<\/p><\/div>\n

The two films above also gives different view in regard of the relation between cinema and logic of power. If in The Penal Colony<\/em>, fake information (through cinema) can be used to control the behavior of people inside and outside of the country, Sea of Cloud <\/em>instead shows how fake information can be used to resist authority.<\/p>\n

Chieh-jen in Sea of Cloud <\/em>explains that during Japanese colonization, Taiwanese films must be screened with a translator so the Japanese government can understand its content. But by using fake translation, Taiwanese movie managed to become a media to convey information of resistance and invitation to self-organize.<\/p>\n

In the end, I see that this curatorial program tries to invite us to be more critical to observe the septum of penal colony. Apparatus of penal colony always lives around us, forcing us to accept their logic, and causes us to be docile. It is an obligation for each enlightened individuals to resist any form of power that abolishes freedom. Through this curatorial program, it is clear that cinema is one of an essential instrument in that effort of resistance. ***[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

This curatorial program tries to invite us to be more critical to observe the septum of penal colony. Apparatus of penal colony always lives around us, forcing us to accept their logic, and causes us to be docile. It is an obligation for each enlightened individuals to resist any form of power that abolishes freedom. Through this curatorial program, it is clear that cinema is one of an essential instrument in that effort of resistance.<\/p>\n","protected":false},"author":136,"featured_media":7156,"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":[370,345,1,385],"tags":[338,330,463,340],"jetpack_publicize_connections":[],"yoast_head":"\nCinema as a Medium of Resistance — ARKIPEL<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arkipel.org\/cinema-medium-resistance\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cinema as a Medium of Resistance — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"This curatorial program tries to invite us to be more critical to observe the septum of penal colony. 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