{"id":7197,"date":"2017-08-21T15:00:34","date_gmt":"2017-08-21T08:00:34","guid":{"rendered":"http:\/\/arkipel.org\/?p=7197"},"modified":"2017-08-23T15:22:02","modified_gmt":"2017-08-23T08:22:02","slug":"situation-turned-around","status":"publish","type":"post","link":"https:\/\/arkipel.org\/situation-turned-around\/","title":{"rendered":"What “The Situation Turned Around” Is"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503475834-1-83″][vc_column_text title=”Apa yang disebut sebagai \u201cBerbaliknya Situasi\u201d: Catatan tentang Penayangan Filem di Program International Competition 1″]Pukul 19:00 menjadi sesi pemutaran filem terakhir pada hari Minggu, 20 Agustus 2017, di GoetheHaus, Jakarta. Pada sesi ini, ARKIPEL menayangkan 4 filem terkait dengan temanya itu sendiri, yakni \u201cBerbaliknya Situasi\u201d. Tema \u201cBerbaliknya Situasi\u201d dalam konteks ini dapat didefinisikan sebagai penggambaran terhadap sejarah yang berulang, namun dengan pembalikan. Pembalikan yang dimaksud adalah pemaknaan adanya perpindahan dramatis dari ruang-ruang kehidupan. Melalui keempat filem yang telah diseleksi, pengunjung dapat melihat adanya perubahan realitas di tatanan sosial maupun politik yang merefleksikan adanya penempatan porsi keberpihakan. Menurut saya, keempat filem ini menggunakan pendekatan utama \u201cjurnalisme investigatif\u201d, menggunakan peranan media, untuk menyingkapi isu-isu yang muncul seiring perkembangan komposisi sosial baru.<\/p>\n

Sebelum filem dimulai, Akbar Yumni memberi kata sambutan kepada 14 pengunjung yang datang. Pada sesi pemutaran filem kali ini, semua filem-filem tersebut dihadirkan dari negara-negara di Eropa. Filem pertama yang dibawa adalah filem yang berasal dari Jerman berjudul Tiefensch\u00e4rfe<\/em> (atau Depth of Field<\/em>, 2017) karya Alex Gerbaulet & Mareike Bernien. Filem ini mengambil tempat di Nuremberg, Jerman, tempat serangkaian pembunuhan dan serangan bom dilakukan oleh National Socialist Underground<\/em> (NSU). Kontekstualitas adegan kejahatan dipaparkan melalui penyampaian narasi. Filem yang berdurasi 17 menit ini agaknya mencoba menginterpretasi kembali sejarah melalui ingatan sepihak tentang kaitan nasionalisme, superioritas ras, dan radikalisme global yang dibingkai melalui pola penyuntingan kamera statis, tapi dengan visual dinamis, di tiap scene<\/em>-nya.<\/p>\n

Dilanjutkan dengan filem kedua dari Portugal, berjudul Terceiro Andar<\/em> atau Third Floor <\/em>(2016) karya Luciana Fina. Filem yang berdurasi 62 menit ini menceritakan kisah Fatumata dan Aissato, ibu dan anaknya yang memiliki identitas bahasa berbeda yang mencoba untuk membahas mengenai makna cinta dan kebahagiaan. Pemaparan tiga bahasa yang muncul dalam filem ini memperlihatkan adanya keterbatasan terhadap bahasa itu sendiri yang menyulitkan serta membatasi individu-individu dalam mengekspresikan istilah cinta atau kebahagiaan itu. Terpapar dari scene<\/em> saat Aissato yang mencoba mengungkapkan perasaanya kepada seorang laki-laki dengan menggunakan bahasa Inggris. Menyoroti sudut pandang terhadap setiap aktor, tampak jelas adanya pembagian dari bahasa pertama yang harus berkompromi dengan bahasa kedua warisan kolonial serta kemunculan bahasa ketiga. Hal ini tentu memunculkan adanya konstruksi bahasa yang muncul akibat pengaruh dari pasca-kolonial.<\/p>\n

Filem yang ketiga berasal dari Perancis, berjudul Estate<\/em> (2016) karya Ronny Trocker. Adegan di awal filem dimulai dengan penampakan masyarakat pengunjung di pantai yang terperangkap dalam ruang dan waktu. Kemudian, adegan dilanjutkan hingga pada satu scene<\/em> di mana kamera menyoroti seorang imigran kulit hitam yang terdampar dipantai dengan representasi hiper-riil. Filem berdurasi 9 menit ini mencoba mengangkat tentang isu keberagaman yang masih sulit diterima.<\/p>\n

Kemudian, filem yang keempat berjudul Watching the Detectives<\/em> (2017) karya Chris Kennedy menjadi penghujung sesi pemutaran filem di GoetheHaus malam itu. Filem yang berdurasi 24 menit ini mengangkat tentang isu Bom Maraton Boston. Filem ini memaparkan upaya penginvestigasian amatir yang dilakukan untuk mengidentifikasi secara acak pelaku pengeboman di maraton Boston. Melalui penggunaan media sosial seperti Reddit dan 4Chan, mereka mencoba mencari rincian guna memecahkan teka-teki pelaku pengeboman melalui foto-foto yang di-upload<\/em>. Komentar dan argumen pun tidak kurang oleh publik yang seakan ikut serta dalam mengidentifikasi pelaku pengeboman di Boston maraton. Segala rincian fakta demi fakta pun dipaparkan sehingga menceritakan proses yang rumit.<\/p>\n

Sejauh saya menonton keempat filem ini, saya menikmati bagaimana keempat filem ini menghadirkan objektivitas di masing-masing plotnya. Setelah filem selesai diputar, tepuk tangan 14 pengunjung mengakhiri acara malam itu. ***<\/p>\n[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503475834-2-96″][vc_column_text title=”What “The Situation Turned Around“ Is: Notes on Films Screeing of International Competition Program 1″]At 19:00 GMT+7, the last screening session of ARKIPEL was held in Goethe, Jakarta, on Sunday, August 20, 2017. At the screening this time, ARKIPEL featured 4 films related to a curatorial theme “The Situation Turned Around”. The context of “The Situation Turned Around” here can be defined as a depiction of recurrent history but with reversals. The reversal meant is the dramatic displacement of the living spaces. Through those four selected films, the audience can see a change in reality in the social and political order that reflects the placement of portions in alignments. Using the main approach of “investigative journalism”, these four films use the media’s role to address the issues that along with the development of new social compositions.<\/p>\n

Before the film was started, Akbar Yumni gave a speech to the 14 visitors who came. In this session, the films presented are from European countries. The first film was a German-based film entitled Tiefensch\u00e4rfe<\/em> \/ Depth of Field<\/em> (2017) by Alex Gerbaulet & Mareike Bernien. The film was taken in Nuremberg, Germany where a series of murders and bomb attacks were carried out by the National Socialist Underground<\/em> (NSU). Contextuality of crime scenes was expressed through narrative delivery. This 17-minute film tries to reinterpret history through unilateral recollection of the connection of nationalism, racial superiority, and global radicalism framed through a static camera editing pattern with dynamic visuals in each scenes.<\/p>\n

The next film was by the second film from Portugal entitled Terceiro Andar \/ Third Floor<\/em> (2016) by Luciana Fina. The 62-minute film tells the story of Fatumata and Aissato, a mother and her daughter who have different language identity trying to discuss the meaning of love and happiness. The exposure of the three languages appearing in this film shows the limitations of language itself which complicates and limits individuals in expressing the termrs of love or happiness itself. This was exposed from the scene when Aissato tries to express her feelings to a man using English. Highlighting the point of view of each actor, it seems clear that the division of the first language had to compromise with the second language of colonial inheritance and the emergence of the third language. This certainly led to the existence of language construction arising from the influence of the post-colonial.<\/p>\n

The film screening was continued to the third film originating from France entitled Estate (2016) by Ronny Trocker. The scene at the beginning of film begins with the appearance of a visitor community on a beach trapped in space and time. Then the scene continued up to a scene where the camera highlighted a black immigrant who washed ashore on the beach with a hyper-realistic representation. This 9 minute film tries to raise the issue of diversity that is still difficult to accept.<\/p>\n

Then the fourth film entitled Watching the Detectives (2017) by Chris Kennedy became the end of this screening session in Goethe, Jakarta. The 24-minute film is about the issue of Boston Marathon Bomb. This film describes an amateur investigation effort undertaken to identify randomly the bombers in the Boston marathon. Through the use of social media such as Reddit and 4Chan, they try to find details to solve the bombers’ puzzles through uploaded photos. The argument of comments is not by public that seems to participate in identifying the bombers in the Boston marathon. All details for the sake of fact were explained so it can tell the complicated process.<\/p>\n

As far as I’m watching these four films, I enjoy how these four films present the objectivity in each of their plots. After the films were finished, the applause of 14 audiences closed the screening session in GoetheHaus, Jakarta. ***[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

As far as I’m watching these four films, I enjoy how these four films present the objectivity in each of their plots. 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