{"id":7208,"date":"2017-08-23T15:00:54","date_gmt":"2017-08-23T08:00:54","guid":{"rendered":"http:\/\/arkipel.org\/?p=7208"},"modified":"2017-08-23T16:49:48","modified_gmt":"2017-08-23T09:49:48","slug":"becoming-subversive-watching-film","status":"publish","type":"post","link":"https:\/\/arkipel.org\/becoming-subversive-watching-film\/","title":{"rendered":"Becoming Subversive by Watching Film"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503479574-1-49″][vc_column_text title=”Menjadi Subversif dengan Menonton Filem”]Selepas lulus kuliah, saya sempat dihadapkan pada situasi kejenuhan yang mungkin pernah dirasakan banyak orang. Tidak ada pekerjaan, tidak ada uang, tidak ada pasangan. Bukan, saya bukannya jenuh dengan kondisi tersebut. Saya hanya jenuh pada orang tua saya yang terus-menerus mempertanyakan kondisi saya, mempermasalahkan bahwa saya terlihat tidak punya tujuan hidup. Saya punya tujuan hidup tentunya: saya ingin duduk bersantai di sofa sambil menonton filem seharian. Sayangnya, kita tidak dapat bersepakat soal apakah itu merupakan tujuan yang baik.<\/p>\n

Viru Sahastrabudhhe dalam filem 3 Idiots<\/em> (2009) pernah berkata: \u201cHidup adalah sebuah balapan, jika kamu tidak berlari kencang maka kamu akan terinjak-injak<\/em>.\u201d Inilah realita dunia hari ini. Menghadapi perkembangan teknologi yang semakin cepat, manusia dituntut untuk berlari lebih cepat. Mereka yang lambat akan ditinggalkan sebagai pecundang, sebagai orang yang tidak pantas untuk berbaur dalam masyarakat. Layaknya seekor hamster di atas treadmill<\/em>, kita dipaksa untuk terus berlari, berlari, dan berlari.<\/p>\n

\"\"

Riar Rizaldi (kanan, kurator) dan Adythia Utama (sutradara Existence) di sesi diskusi usai pemutaran filem.<\/p><\/div>\n

Lewat program kuratorialnya yang diputar di studio Kineforum pada Selasa, 22 Agustus 2017, Riar Rizaldi mencoba mengajak kita untuk \u2018beristirahat sejenak\u2019 dari dunia yang semakin gila ini. Empat filem yang diputar pada malam itu: Movement Arising from Different Relationships <\/em>(2015), Origin of the Dreams <\/em>(2015), Existence <\/em>(2017), dan The Moderators<\/em> (2017) mengangkat tema yang sama: estetika kecepatan dan keajaiban visual. Di hadapan sekitar 40 penonton yang memenuhi studio Kineforum, Riar Rizaldi berujar bahwa di tengah dunia yang semakin cepat dan tidak lagi mengizinkan kita untuk bernafas, satu-satunya cara untuk menjadi subversif adalah dengan duduk dan bermeditasi untuk mengapresiasi estetika kecepatan itu sendiri.<\/p>\n

Filem pertama yang diputar pada malam itu, Movement Arising from Different Relationships<\/em>, memberikan gambaran visual mengenai partikel sel otak tikus yang menari-nari dalam kegelapan. Sambil diiringi oleh musik orkestra yang menenangkan, visual yang ditampilkan oleh sang sutradara, Mashiro Tsutani, menjadi sangat hidup dan menyejukkan pikiran. Hampir tidak ada jeda yang diberikan oleh filem ini. Setiap frame<\/em> yang ditampilkan meminta kita untuk mengagumi dan terus mengagumi keindahan visual yang ditawarkannya<\/p>\n

Movement Arising from Different Relationships<\/em> pada dasarnya merupakan representasi dari kemajuan teknologi di dunia. Produksi filem ini tidak mungkin dapat dilakukan tanpa menggunakan teknologi perfileman termutakhir. Hampir mustahil membayangkan bagaimana kerja keras yang harus dilakukan oleh Mashiro Tsutani untuk membuat filem ini. Namun dengan duduk di kursi empuk dari studio Kineforum sambil ditemani kegelapan, saya dapat mengapresiasi keindahan yang diciptakan oleh Tsutani dengan sepenuh hati.<\/p>\n

Setelah bermeditasi bersama Mashiro Tsutani di filem pertama, penonton diminta untuk menggali mimpi buruk mereka dalam filem kedua, Origin of the Dreams<\/em>. Takashi Makino, sutradara dari filem ini, pantas dianugerahi gelar arsitek mimpi buruk. Filem ini tidak memberikan kesempatan pada penonton untuk hanya duduk sebagai pengamat. Dengan dibantu oleh alunan biola yang mencekam dan visual yang kuat, penonton seakan dipaksa untuk ikut mengalami kengerian yang ditampilkan dalam Origin of the Dreams<\/em>.<\/p>\n

Salah satu bagian dari Origin of the Dreams <\/em>seakan menempatkan saya di palung terdalam di dunia. Saya merasakan tangan saya menggapai-gapai ke atas untuk mencapai permukaan. Bukannya mencapai permukaan, saya justru jatuh semakin dalam menuju neraka. Keringat dingin dan tangan saya yang mencengkeram kursi begitu kuat menjadi bukti betapa imersifnya pengalaman mimpi buruk yang dihadirkan oleh Origin of Dreams<\/em>. Filem ini menunjukkan bahwa kecepatan, selain dapat diapresiasi dari segi estetika, juga dapat menarik kita ke sebuah kengerian tanpa batas.<\/p>\n

Habis sudah pengelanaan kita ke alam abstrak, filem ketiga, Existence<\/em>, mengajak kita untuk menginjakkan kaki di Bumi yang kita kenal dan mengapresiasi kecepatan yang kita lihat sehari-hari. Adythia Utama, sutradara dari filem ini, menghadirkan montase kehidupan masyarakat modern di Jepang. Kecepatan yang dihadirkan oleh filem ini umumnya hanya dikhususkan pada gambar-gambar yang menampilkan kehidupan di perkotaan. Namun di sudut-sudut kota yang terlupakan, filem ini kembali melambatkan diri, seolah menunjukkan bahwa masih ada bagian-bagian dunia yang menolak logika berpikir masyarakat modern.<\/p>\n

Filem terakhir yang diputar, The Moderators<\/em>, menawarkan visual yang paling berbeda, namun tetap mempertahankan tema utama dalam mengapresiasi estetika kecepatan. Filem yang dibuat dengan gaya dokumenter semi-konvensional ini menceritakan pengalaman para moderator konten internet. Orang-orang ini dapat dikatakan sebagai tulang punggung dari internet. Setiap harinya, mereka memfilter jutaan gambar yang bersirkulasi di internet dan menghapus gambar-gambar yang \u2018tidak senonoh\u2019. Tanpa kehadiran moderator ini, internet mungkin sudah menjadi pabrik pornografi.<\/p>\n

Ciaran Cassidy & Adrien Chen, sutradara dari The Moderators<\/em> berusaha menunjukkan bagaimana manusia masih dibutuhkan dalam mengatasi kecepatan sirkulasi informasi di internet. Kecerdasan buatan dan algoritma khusus mungkin dapat diciptakan untuk menjadi moderator, namun mereka tidak akan sempurna. Hanya manusia yang memiliki nilai dan ideologi yang mampu menjaga agar internet tetap digunakan sebagaimana mestinya.<\/p>\n

Di akhir program kuratorial ini, Riar Rizaldi mengemukakan bahwa menonton filem merupakan salah satu kegiatan paling subversif yang dapat dilakukan untuk melawan rezim kapitalisme kontemporer. Dengan mengasingkan diri selama kurang lebih dua jam di kotak hitam bernama bioskop, seseorang dapat beristirahat sejenak dari banalitas dunia kontemporer.<\/p>\n

\"\"

George Clark, salah satu kurator ARKIPEL Penal Colony, memberikan pertanyaan di sesi diskusi di program Riar Rizaldi.<\/p><\/div>\n

\"\"

Saya pun turut memberikan pertanyaan di sesi diskusi di program Riar Rizaldi.<\/p><\/div>\n

\"\"

Rega, salah satu penonton ARKIPEL Penal Colony, memberikan pertanyaan di sesi diskusi di program Riar Rizaldi.<\/p><\/div>\n

\"\"

Panji, salah satu penonton ARKIPEL Penal Colony, memberikan pertanyaan di sesi diskusi di program Riar Rizaldi.<\/p><\/div>\n

Kembali pada anekdot yang saya tulis di awal, orang-orang mungkin akan mengatakan bahwa menonton filem merupakan sesuatu yang kontra-produktif. Kepada orang-orang semacam itu, saya ingin mengatakan: Apa yang Anda maksud dengan produktif? Kenapa menjadi produktif harus selalu dikaitkan dengan menghasilkan uang? Apa artinya memiliki uang jika kita tetap terpenjara dalam koloni pidana?<\/p>\n

Pada akhirnya, perkenankan kami untuk beristirahat sejenak. Biarkanlah kami bermalas-malasan. Ikutlah bersama kami mengapresiasi keindahan dunia ini. Lupakan semua kesibukanmu. Semua orang pasti akan mati tapi tidak semua orang benar-benar hidup. Cobalah untuk benar-benar hidup. Hidup sebagai manusia yang bebas. ***[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503479574-2-95″][vc_column_text title=”Becoming Subversive by Watching Film”]After graduating from the college, I had time facing a tiring situation that many probably have experienced. No jobs, no money, no spouse. No, I\u2019m not tired with that condition. I was only tired with my parents\u2019 constant nagging of my condition, saying stuff like I have no direction in life. I had a direction, of course: I wanted to lie on the couch and watch films all day long. Unfortunately, we can\u2019t seem to agree on whether it was a good thing or not.<\/p>\n

Viru Sahastrabudhhe in the film 3 Idiots<\/em> (2009) once said: \u201cLife is a race, if you don\u2019t run fast you\u2019ll get trampled<\/em>.\u201d This is the reality of the world today. Up against the advancement of technology which keeps getting faster, human are demanded to run even faster. Those who are slow will be left behind as a loser, as someone who has no right to live in the society. Just like a hamster on a treadmill, we are forced to run, run, and run.<\/p>\n

\"\"

Riar Rizaldi (right, the curator) and Adythia Utama (fillmaker of Existence) led the discussion session.<\/p><\/div>\n

Through his curatorial program screened in studio Kineforum on Tuesday, August 22nd<\/sup>, 2017, Riar Rizaldi tries to invite us to \u2018rest a while\u2019 from this batshit<\/em> crazy world. The four films screened that night: Movement Arising from Different Relationships <\/em>(2015), Origin of the Dreams <\/em>(2015), Existence <\/em>(2017), and The Moderators<\/em> (2017), emphasize on a single theme: the aesthetics of speed and visual spectacles. In front of about 40 audience who filled the studio Kineforum, Riar Rizaldi said that in a world that keeps getting faster and won\u2019t let us to take a breath, the only way to be subversive is by sitting and meditating to appreciate the aesthetics of speed itself.<\/p>\n

The first film screened at that night, Movement Arising from Different Relationships<\/em>, presented a visual image of a mouse\u2019 brain cell dancing in the darkness. While being accompanied by soothing orchestra music, the visuals presented by the director, Mashiro Tsutani, becomes very lively and put our mind at peace. There is almost no pause in this film. Every frame of it asked us to admire and keep admire the visual spectacles it offered.<\/p>\n

Movement Arising from Different Relationships <\/em>is basically a representation of the advancement of technology in the world. The production of this film would be impossible without the help of the most sophisticated filming technology. It is almost impossible to imagine the hard work Mashiro Tsutani gave to create this film. But by sitting in the comfy couch of studio Kineforum while being accompanied by darkness, I managed to appreciate the beauty Tsutani created with all of my heart.<\/p>\n

After meditating together with Mashiro Tsutani in the first film, the audience was asked to delve into their worst nightmare in the second film, Origin of the Dreams<\/em>. Takashi Makino, the director of this film, deserves the title architect of nightmare. This film does not give an opportunity for the audience to act merely as an observer. With the help of agonizing sound of violin and strong visuals, the audience is forced as if to enter the world of Origin of Dreams<\/em> and experiencing the horror of this film.<\/p>\n

One part of Origin of the Dreams <\/em>managed to put me as if in the deepest trench in the world. I felt my hands desperately move to reach the surface. But instead of reaching the surface, I was thrown deeper into hell. The cold sweat and my hands gripping the couch becomes a proof of how immersive the nightmarish experience presented by Origin of Dreams<\/em>. This film shows how speed, other than can be appreciated from the aesthetical point of view, can also drag us to a never ending dread.<\/p>\n

Finished with the journey to the realm of abstract, the third film, Existence<\/em>, tries to invite us to put our feet on the earth that we know very well to appreciate the speed exists in our everyday life. Adythia Utama, the director of this film, presented a montage of modern people life in Japan. The speed in this film notably presents in scenes depicting life in a big city. But in the forgotten corner of the city, the film slowed down, as if to show how there are still some parts of the world that refuse the logic of modern society.<\/p>\n

The last film to be screened, The Moderators<\/em>, offered the most different visual, but retain its main theme in appreciating the aesthetics of speed. This film made in a semi-conventional documenter tells an experience of internet content moderator. This people can be said as the backbone of the internet. Every day, they must filter millions of images circulated in the internet and erase the \u2018unappropriate\u2019 pictures. Without the existence of these moderators, the internet might ended up being a porn factory.<\/p>\n

Ciaran Cassidy & Adrien Chen, the director of The Moderator <\/em>attempts to show how human is still needed in dealing with the fast circulation of information in the internet. Artificial intelligence and special algorithm could be made to act as a moderator, but they will not be perfect. Only human who has values and ideology can keep the internet from being used in a wrong way.<\/p>\n

At the end of this curatorial program, Riar Rizaldi stated that watching films can be one of the most subversive action to resist contemporary regime of capitalism. By retreating into a black box called cinema for more or less two hours, one can take a break from the banality of contemporary world.<\/p>\n

\"\"

George Clark, one of the curator of ARKIPEL Penal Colony, asked a question to Riar Rizaldi and Adythia Utama.<\/p><\/div>\n

\"\"

I also gave a question to Riar Rizaldi and Adythia Utama.<\/p><\/div>\n

\"\"

Rega, one of the audiences at ARKIPEL Penal Colony, asked a question to Riar Rizaldi and Adythia Utama.<\/p><\/div>\n

\"\"

Panji, one of the audiences at ARKIPEL Penal Colony, asked a question to Riar Rizaldi and Adythia Utama.<\/p><\/div>\n

Back to the anecdote I wrote in the beginning, people might say that watching film is something counter-productive. To those kind of people. I would like to say: What do you mean by productive? Why does being productive must always be related to generating money? What is even the meaning of having money if we are still trapped in the penal colony?<\/p>\n

In the end, let us take a break for a while. Let us laze around. Join us in appreciating the beauty of this world. Forget all of your activity. Every man dies but not every man really lives. Why don\u2019t you try to really live. To live as a free man. ***[\/vc_column_text][\/vc_tab][\/vc_tabs][vc_gallery type=”flexslider_slide” interval=”3″ images=”7219,7218,7217,7216,7215,7214,7213,7212,7211,7210,7209″ img_size=”full” title=”Gallery”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

At the end of this curatorial program, Riar Rizaldi stated that watching films can be one of the most subversive action to resist contemporary regime of capitalism. By retreating into a black box called cinema for more or less two hours, one can take a break from the banality of contemporary world.<\/p>\n","protected":false},"author":136,"featured_media":7216,"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":[370,346,1,385],"tags":[338,287,340,413],"jetpack_publicize_connections":[],"yoast_head":"\nBecoming Subversive by Watching Film — 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\/becoming-subversive-watching-film\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Becoming Subversive by Watching Film — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"At the end of this curatorial program, Riar Rizaldi stated that watching films can be one of the most subversive action to resist contemporary regime of capitalism. 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