{"id":7223,"date":"2017-08-22T09:00:01","date_gmt":"2017-08-22T02:00:01","guid":{"rendered":"http:\/\/arkipel.org\/?p=7223"},"modified":"2017-08-23T17:59:11","modified_gmt":"2017-08-23T10:59:11","slug":"reading-minor-group-films","status":"publish","type":"post","link":"https:\/\/arkipel.org\/reading-minor-group-films\/","title":{"rendered":"Reading the “Minor Group” through Films"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503484377-1-0″][vc_column_text title=”Membaca “Kaum Minor“ Lewat Filem”]Kaum minor menjadi salah satu topik yang dikurasi dalam subprogram ARKIPEL Penal Colony<\/em>. Lewat medium-medium yang ada, kaum minor sering kali direpresentasikan secara politis; ada penguasa dan yang dikuasai. Dari dua filem yang ditayangkan pula, representasi kaum minor itu memang sangat terlihat. Namun, yang menarik bagi penulis adalah, dua filem yang ditayangkan seolah-olah ingin menunjukkan kekuatan komunal dari para minoritas untuk menunjukkan eksistensi dirinya lewat cara-caranya tersendiri. Mereka ingin identitas mereka terlihat dari kekuatan mereka, bukan dari adanya penguasa yang, baik secara langsung maupun tidak, telah menguasai bahkan menjajah hidup mereka. Bertempat di GoetheHaus, Jakarta, pada 21 Agustus 2017, pukul 16.00 \u2013 17.50, dua puluh penonton diajak untuk menangkap identitas kaum minor ini–dalam kekuatannya untuk menunjukkan eksistensinya\u2014dan mendengar suara serta pengharapan mereka.<\/p>\n
\"\"

Wicaksono Wisnu Legowo (kiri, sutradara Turah) dan Syaiful Anwar (kanan, salah satu anggota tim selektor Kompetisi Internasional ARKIPEL Penal Colony).<\/p><\/div>\n

Filem pertama yang ditayangkan di subprogram Kompetisi Internasional ini juga merupakan filem yang ditayangkan di acara pembukaan ARKIPEL Penal Colony<\/em>. Filem Dadyaa<\/em> (atau The Woodpeckers of Rotha<\/em>) karya Pooja Gurung dan Bibhusa Basnet dari Nepal diawali dengan bunyi-bunyian musikal yang terasa sangat magis. Penonton begitu terbawa pada suasana yang gelap, sunyi, dan dingin lewat musik yang dihasilkan oleh alat-alat tiup. Sepasang suami-istri yang hidup sebatang kara di sebuah desa di pegunungan bersalju Nepal menjadi benang merah dari filem ini. Penonton dibiarkan begitu saja berimajinasi dan mengira-ngira sendiri, kenapa penduduk di desa tersebut semuanya pergi, kecuali pasangan suami istri ini.<\/p>\n

Hal yang pasti dari tujuh belas menit filem ini diputar adalah representasi pasangan suami-istri itu sebagai sebuah kaum minoritas dengan cara yang berbeda\u2014tapi tidak dalam artian politik-praktis. Tidak ada penguasa di sana dan mereka juga tidak dikuasai oleh siapa-siapa. Dalam pandangan penulis, representasi minoritas mereka terlihat pada kesendirian mereka di desa tersebut. Mereka bisa jadi adalah minoritas di desa mereka sehingga mereka ditinggalkan begitu saja di desa tersebut oleh warga-warga lain. Namun, sisi mayoritas mereka keluar ketika mereka sepakat untuk membuat patung-patung manusia dengan alat dan dari bahan seadanya, untuk diletakkan di desa, sehingga seolah-olah desa itu ramai kembali. Dengan suasana yang magis berkat musik yang sangat ciamik, sebuah kengerian terlihat di wajah para penonton, yakni ketika patung-patung itu bergerak mengikuti alunan musik yang dibunyikan oleh pasangan suami-istri tersebut. Dengan wajah-wajah yang seram, patung itu ikut melantunkan alat musik, bergerak, dan menimbulkan kesan horor yang teramat sangat. Semacam panggilan kepada jiwa-jiwa untuk ikut bergabung, menari, dan memainkan alat musik bersama mereka.<\/p>\n

\"\"

Sesi diskusi usai pemutaran filem.<\/p><\/div>\n

Filem kedua adalah filem karya anak bangsa, Wicaksono Wisnu Legowo, yang berjudul Turah<\/em>. Durasi filem ini cukup panjang, yakni 83 menit, dan memang ini adalah filem panjang pertama Wisnu sebagai seorang sutradara. Dalam Turah<\/em>, representasi politis kaum minor benar-benar terlihat. Berlatar di sebuah desa kumuh di Tegal, Turah dan Jadag sebagai pemeran utama, serta warga-warga sekitar tinggal dan bekerja di atas tanah seorang tuan bernama Darso. Logat Tegal yang kental pada setiap percakapan pemainnya membuat penonton tak jarang tertawa terpingkal-pingkal. Alur yang ditulis juga membuat gemas terhadap Jadag, satu-satunya orang yang memilih untuk melawan penguasa yang telah membuat hidup mereka kian sengsara, Pakel namanya.<\/p>\n

Apa yang tampak dari kaum minoritas di sini adalah kepasifan dan keapatisan mereka di hadapan kondisi sulit yang sudah mencekik leher mereka. Mereka lebih memilih untuk hidup mengikuti arus dan tunduk saja pada penguasa, daripada harus mengorbankan kehidupan mereka yang sudah terlalu banyak pengorbanan. Turah pun termasuk di dalamnya; seorang pria yang sebenarnya tahu bahwa ia telah diinjak-injak oleh Pakel, tangan kanan Darso, namun memilih untuk apatis saja. Berbeda dengan Jadag, yang berusaha mengompori satu desa untuk melawan Pakel, hidupnya justru berakhir pada ketragisan yang membuat penonton bergidik ngeri dan berpikir bahwa begitulah kisah hidup sang pejuang kebenaran. Wisnu membawa penonton pada suatu gambaran kemiskinan dan minoritas yang hakiki pada filem tersebut, yakni identitas mereka yang tidak bisa lepas dari sosok penguasa. Wisnu juga secara terbuka menyatakan bahwa ia menggambarkan dirinya seperti Pakel di filem tersebut; berpendidikan dan menjadi biang kerok dari segala permasalahan di desa tersebut.<\/p>\n

Penulis pribadi menjadi seperti diingatkan lewat filem tersebut, bahwa ternyata sulit untuk menggugah semangat sesama kaum minor untuk berani bersuara dan menunjukkan identitasnya tanpa embel-embel penguasa.<\/p>\n

\"\"<\/p>\n

Dua filem itu memang memiliki garis besar cerita yang hampir mirip, yakni bagaimana kedua tokoh utamanya merepresentasikan kehidupan mereka sebagai minoritas itu sendiri. Namun, perbedaannya terlihat dari bagaimana penggambaran akan hal itu. Di filem pertama, estetika sinematiknya lebih terasa, sebab memang minim pembicaraan dan mengandalkan detail-detail gambar serta suasana yang membuat penonton dapat menangkap pesan yang dimaksud. Di filem kedua, rasa filemnya lebih condong ke arah teatrikal, sebab pesan-pesan yang disampaikan hampir selalu dilontarkan secara verbal oleh para pemainnya. Hal ini disebabkan oleh background <\/em>Wisnu Legowo sendiri yang memang dekat dengan dunia teater. Terlepas dari perbedaan itu, keduanya sama-sama berbicara dengan caranya yang berbeda dan tetap menyampaikan pesan mengenai perjuangan kaum minor untuk merepresentasikan dirinya tanpa unsur politik yang banal. ***[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503484377-2-96″][vc_column_text title=”Reading the “Minor Group“ through Films”]Minority is one of the curated topics in the ARKIPEL Penal Colony<\/em> subprogram. Through the existing mediums, minorities are often politically represented; where there’s a ruler, there are the ruled ones. Of the two films screened, representations of minority were very visible. What appeals the writer, however, was that the two films screened seem to want to show the communal power of minorities to show their existence in their own way. They want their identity is visible from their power, not from the existence of ruler who, directly or indirectly, has occupied and even colonized their lives. Located at GoetheHaus, Jakarta, on August 21, 2017, at 4 pm-6pm, twenty spectators were invited to capture the identity of these minorities \u2013 in their power to show their existence \u2013 and hear their voices and expectations.<\/p>\n

\"\"

Wisnu Wicaksono Legowo (left, a director of Turah) and Syaiful Anwar (right, one of the selector committee of International Competition Program for ARKIPEL Penal Colony).<\/p><\/div>\n

The first film screened in this International Competition subprogram is also a film that was screened on the opening of ARKIPEL Penal Colony. Dadyaa<\/em> (or The Woodpeckers of Rotha) by Pooja Gurung and Bibhusa Basnet from Nepal was started with very magical musical sounds. The audience was so carried away in dark, silent, and cold atmosphere through the music produced by the wind instruments. A couple who lived alone in a village in the snowy mountains of Nepal became the red thread of this film. The audience was left alone imagining and guessing for themselves, why the people in the village were all gone, except this couple.<\/p>\n

The sure thing about this seventeenth-minute film is the representation of that couple as a minority in a different way \u2014 but not in a practical-political sense. There is no ruler there and they are not ruled by anyone. In the writer’s view, the representation of their minority is visible in their solitude in that village. They could be a minority in their village so they are left in the village by the others. However, their side of majority appeared when they agreed to make human sculptures from makeshift tools and materials, to be placed in the village, so as if the village was busy again. With a magical atmosphere, thanks to the very good music, the horror was seen on the faces of the audience when the statues moved along the music played by that couple. With scary faces, the statue joined the musical instrument, moved, and gave very horror impression. A kind of call to souls to join, to dance, and to play musical instruments with them.<\/p>\n

\"\"

The filmmaker and the curator discussed with the audiences after the screening.<\/p><\/div>\n

The second film is a film of Indonesian filmmaker, Wicaksono Wisnu Legowo, entitled Turah<\/em>. The duration of the film is quite long, ie 83 minutes, and indeed this is the first feature film made by Wisnu as a director. In Turah<\/em>, the political representation of minority was very visible. Set in a slum village in Tegal, Turah and Jagad as the main characters, and residents living and working on a land owned by someone named Darso. The thick accent of Tegal in every conversation of the characters made the audiences laugh often. The written plot also agitated the audiences toward Jadag, the only person who chooses to fight the ruler who has made their lives more miserable, Pakel was his name.<\/p>\n

What the minorities see here is their passivity and cowardice in the face of difficult conditions which have throttled their necks. They prefer to live by the tide and bow to the ruler, rather than sacrifice their lives which already made more sacrifices. Turah was also included in it; a man who actually knows that he has been trampled by Pakel, Darso’s right hand, but opts to be apathy. Unlike Jadag, who attempted to provoke the whole village to withstand Pakel, where at last his life ended tragically which made the audience shudder and think that it was how the life of warrior is. Wisnu took the audience to a depiction of poverty and minority in the film, their identity that cannot be separated from the figure of the ruler. Wisnu also publicly stated that he depicted himself as Pakel in the film; educated and a source of problems in the village.<\/p>\n

Personally the writer felt as if being reminded through the film, that it is difficult to trigger the spirit of the fellow minority to dare to speak out and to show their identity without interference of the ruler.<\/p>\n

\"\"<\/p>\n

Those two films have an almost identical story outline, on how the two main characters represent their life as a minority itself. However, the difference is seen from how it was depicted. In the first film, the cinematic aesthetics was more pronounced, because the talk was less and it relies on the details of the image and the atmosphere that makes the audience can catch the message intended. In the second film, it was more theatrical, because the messages conveyed were almost always verbally cast by the characters. This is caused by the background of Wisnu Legowo himself who is close to the world of theater. Despite these differences, they both speak in different ways and continue to convey messages about the struggles of the minority to represent themselves without banal political element. ***[\/vc_column_text][\/vc_tab][\/vc_tabs][vc_gallery type=”flexslider_slide” interval=”3″ images=”7232,7231,7230,7229,7228,7227,7226″ img_size=”full” title=”Gallery”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

Those two films have an almost identical story outline, on how the two main characters represent their life as a minority itself. However, the difference is seen from how it was depicted. In the first film, the cinematic aesthetics was more pronounced, because the talk was less and it relies on the details of the image and the atmosphere that makes the audience can catch the message intended.<\/p>\n","protected":false},"author":138,"featured_media":7226,"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":[370,1,385,344],"tags":[338,192,340,431,465],"jetpack_publicize_connections":[],"yoast_head":"\nReading the "Minor Group" through Films — 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\/reading-minor-group-films\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Reading the "Minor Group" through Films — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"Those two films have an almost identical story outline, on how the two main characters represent their life as a minority itself. However, the difference is seen from how it was depicted. In the first film, the cinematic aesthetics was more pronounced, because the talk was less and it relies on the details of the image and the atmosphere that makes the audience can catch the message intended.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/arkipel.org\/reading-minor-group-films\/\" \/>\n<meta property=\"og:site_name\" content=\"ARKIPEL\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/arkipel.festival\/\" \/>\n<meta property=\"article:published_time\" content=\"2017-08-22T02:00:01+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2017-08-23T10:59:11+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2017\/08\/ic-05-04.jpg?fit=1280%2C853&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"1280\" \/>\n\t<meta property=\"og:image:height\" content=\"853\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Agatha Danastri Dian Pertiwi\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@arkipel\" \/>\n<meta name=\"twitter:site\" content=\"@arkipel\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Agatha Danastri Dian Pertiwi\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"9 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/arkipel.org\/reading-minor-group-films\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/reading-minor-group-films\/\"},\"author\":{\"name\":\"Agatha Danastri Dian Pertiwi\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/60b1bb9c2c86fb326fc1c40dd0e7c50e\"},\"headline\":\"Reading the “Minor Group” through Films\",\"datePublished\":\"2017-08-22T02:00:01+00:00\",\"dateModified\":\"2017-08-23T10:59:11+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/arkipel.org\/reading-minor-group-films\/\"},\"wordCount\":1789,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/reading-minor-group-films\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2017\/08\/ic-05-04.jpg?fit=1280%2C853&ssl=1\",\"keywords\":[\"2017\",\"International Competition\",\"Penal Colony\",\"Syaiful Anwar\",\"Wicaksono Wisnu Legowo\"],\"articleSection\":[\"ARKIPEL 2017 - Penal Colony\",\"Festival Updates\",\"Film Screening Reviews\",\"International Competition\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/arkipel.org\/reading-minor-group-films\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/arkipel.org\/reading-minor-group-films\/\",\"url\":\"https:\/\/arkipel.org\/reading-minor-group-films\/\",\"name\":\"Reading the \\\"Minor Group\\\" through Films — ARKIPEL\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/arkipel.org\/reading-minor-group-films\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/reading-minor-group-films\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2017\/08\/ic-05-04.jpg?fit=1280%2C853&ssl=1\",\"datePublished\":\"2017-08-22T02:00:01+00:00\",\"dateModified\":\"2017-08-23T10:59:11+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/arkipel.org\/reading-minor-group-films\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/arkipel.org\/reading-minor-group-films\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/reading-minor-group-films\/#primaryimage\",\"url\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2017\/08\/ic-05-04.jpg?fit=1280%2C853&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2017\/08\/ic-05-04.jpg?fit=1280%2C853&ssl=1\",\"width\":1280,\"height\":853},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/arkipel.org\/reading-minor-group-films\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/arkipel.org\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Reading the “Minor Group” through Films\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/arkipel.org\/#website\",\"url\":\"https:\/\/arkipel.org\/\",\"name\":\"ARKIPEL\",\"description\":\"Jakarta International Documentary and Experimental Film Festival\",\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/arkipel.org\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/arkipel.org\/#organization\",\"name\":\"Arkipel\",\"url\":\"https:\/\/arkipel.org\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1\",\"width\":901,\"height\":351,\"caption\":\"Arkipel\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/arkipel.festival\/\",\"https:\/\/x.com\/arkipel\",\"https:\/\/www.instagram.com\/arkipel\/\",\"https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/60b1bb9c2c86fb326fc1c40dd0e7c50e\",\"name\":\"Agatha Danastri Dian Pertiwi\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/627295979848d6b776bdafc8786fa420?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/627295979848d6b776bdafc8786fa420?s=96&d=mm&r=g\",\"caption\":\"Agatha Danastri Dian Pertiwi\"},\"description\":\"Agatha Danastri Dian Pertiwi\u00a0alias Tiwi ( 30 Desember 1994) adalah seorang mahasiswi filsafat di Sekolah Tinggi Filsafat Driyarkara. Aktif menulis dan telah terjun ke dunia jurnalistik sejak SMA. Kuliah dan menjadi penulis lepas khususnya dalam isu sosial dan HAM adalah kesibukannya saat ini. - Agatha Danastri Dian Pertiwi or Tiwi (30 Desember 1994) is a Philosophy Student in Driyarkara School of Philosophy. She is active in writing and has been involved in journalism since senior high. Currently, she is working as a freelance writer, especially in social and human rights issues.\",\"url\":\"https:\/\/arkipel.org\/people\/agathadanastri\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Reading the \"Minor Group\" through Films — ARKIPEL","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/arkipel.org\/reading-minor-group-films\/","og_locale":"en_US","og_type":"article","og_title":"Reading the \"Minor Group\" through Films — ARKIPEL","og_description":"Those two films have an almost identical story outline, on how the two main characters represent their life as a minority itself. However, the difference is seen from how it was depicted. In the first film, the cinematic aesthetics was more pronounced, because the talk was less and it relies on the details of the image and the atmosphere that makes the audience can catch the message intended.","og_url":"https:\/\/arkipel.org\/reading-minor-group-films\/","og_site_name":"ARKIPEL","article_publisher":"https:\/\/www.facebook.com\/arkipel.festival\/","article_published_time":"2017-08-22T02:00:01+00:00","article_modified_time":"2017-08-23T10:59:11+00:00","og_image":[{"width":1280,"height":853,"url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2017\/08\/ic-05-04.jpg?fit=1280%2C853&ssl=1","type":"image\/jpeg"}],"author":"Agatha Danastri Dian Pertiwi","twitter_card":"summary_large_image","twitter_creator":"@arkipel","twitter_site":"@arkipel","twitter_misc":{"Written by":"Agatha Danastri Dian Pertiwi","Est. reading time":"9 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/arkipel.org\/reading-minor-group-films\/#article","isPartOf":{"@id":"https:\/\/arkipel.org\/reading-minor-group-films\/"},"author":{"name":"Agatha Danastri Dian Pertiwi","@id":"https:\/\/arkipel.org\/#\/schema\/person\/60b1bb9c2c86fb326fc1c40dd0e7c50e"},"headline":"Reading the “Minor Group” through Films","datePublished":"2017-08-22T02:00:01+00:00","dateModified":"2017-08-23T10:59:11+00:00","mainEntityOfPage":{"@id":"https:\/\/arkipel.org\/reading-minor-group-films\/"},"wordCount":1789,"commentCount":0,"publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"image":{"@id":"https:\/\/arkipel.org\/reading-minor-group-films\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2017\/08\/ic-05-04.jpg?fit=1280%2C853&ssl=1","keywords":["2017","International Competition","Penal Colony","Syaiful Anwar","Wicaksono Wisnu Legowo"],"articleSection":["ARKIPEL 2017 - Penal Colony","Festival Updates","Film Screening Reviews","International Competition"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/arkipel.org\/reading-minor-group-films\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/arkipel.org\/reading-minor-group-films\/","url":"https:\/\/arkipel.org\/reading-minor-group-films\/","name":"Reading the \"Minor Group\" through Films — ARKIPEL","isPartOf":{"@id":"https:\/\/arkipel.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/arkipel.org\/reading-minor-group-films\/#primaryimage"},"image":{"@id":"https:\/\/arkipel.org\/reading-minor-group-films\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2017\/08\/ic-05-04.jpg?fit=1280%2C853&ssl=1","datePublished":"2017-08-22T02:00:01+00:00","dateModified":"2017-08-23T10:59:11+00:00","breadcrumb":{"@id":"https:\/\/arkipel.org\/reading-minor-group-films\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/arkipel.org\/reading-minor-group-films\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/reading-minor-group-films\/#primaryimage","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2017\/08\/ic-05-04.jpg?fit=1280%2C853&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2017\/08\/ic-05-04.jpg?fit=1280%2C853&ssl=1","width":1280,"height":853},{"@type":"BreadcrumbList","@id":"https:\/\/arkipel.org\/reading-minor-group-films\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/arkipel.org\/"},{"@type":"ListItem","position":2,"name":"Reading the “Minor Group” through Films"}]},{"@type":"WebSite","@id":"https:\/\/arkipel.org\/#website","url":"https:\/\/arkipel.org\/","name":"ARKIPEL","description":"Jakarta International Documentary and Experimental Film Festival","publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/arkipel.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/arkipel.org\/#organization","name":"Arkipel","url":"https:\/\/arkipel.org\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","width":901,"height":351,"caption":"Arkipel"},"image":{"@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/arkipel.festival\/","https:\/\/x.com\/arkipel","https:\/\/www.instagram.com\/arkipel\/","https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ"]},{"@type":"Person","@id":"https:\/\/arkipel.org\/#\/schema\/person\/60b1bb9c2c86fb326fc1c40dd0e7c50e","name":"Agatha Danastri Dian Pertiwi","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/627295979848d6b776bdafc8786fa420?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/627295979848d6b776bdafc8786fa420?s=96&d=mm&r=g","caption":"Agatha Danastri Dian Pertiwi"},"description":"Agatha Danastri Dian Pertiwi\u00a0alias Tiwi ( 30 Desember 1994) adalah seorang mahasiswi filsafat di Sekolah Tinggi Filsafat Driyarkara. Aktif menulis dan telah terjun ke dunia jurnalistik sejak SMA. Kuliah dan menjadi penulis lepas khususnya dalam isu sosial dan HAM adalah kesibukannya saat ini. - Agatha Danastri Dian Pertiwi or Tiwi (30 Desember 1994) is a Philosophy Student in Driyarkara School of Philosophy. She is active in writing and has been involved in journalism since senior high. Currently, she is working as a freelance writer, especially in social and human rights issues.","url":"https:\/\/arkipel.org\/people\/agathadanastri\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2017\/08\/ic-05-04.jpg?fit=1280%2C853&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-1Sv","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/7223"}],"collection":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/users\/138"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=7223"}],"version-history":[{"count":0,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/7223\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/7226"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=7223"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=7223"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=7223"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}