{"id":7246,"date":"2017-08-23T09:00:55","date_gmt":"2017-08-23T02:00:55","guid":{"rendered":"http:\/\/arkipel.org\/?p=7246"},"modified":"2017-08-24T15:21:25","modified_gmt":"2017-08-24T08:21:25","slug":"seeking-lost-image","status":"publish","type":"post","link":"https:\/\/arkipel.org\/seeking-lost-image\/","title":{"rendered":"Seeking for The Lost Image"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503561514-1-64″][vc_column_text title=”Mencari Citra yang Hilang”]\u201cSelamat siang semuanya, selamat datang di program kuratorial saya,\u201d sapa Akbar Yumni di hadapan 24 penonton yang duduk tersebar di kursi-kursi. Sebelumnya, Akbar menghampiri saya di ruang tunggu Kineforum yang baru saja mengeluarkan katalog ARKIPEL 2017 dari dalam tas. Akbar meminta saran bagaimana mengalihbahasakan judul filem karya Usmar Ismail yang akan diputar ke dalam Bahasa Inggris mengingat Jean-Marie Teno, salah satu juri di ARKIPEL Penal Colony<\/em> – 5th<\/sup> International Documentary and Experimental Film Festival sekaligus sutradara dan tokoh penting sinema Afrika, juga akan hadir menikmati program kuratorial tanggal 22-23 Agustus 2017 itu.<\/p>\n

Salah satu karya dari sutradara pelopor dalam membangun identitas filem nasional Indonesia yang saya akan tonton di hari pertama berjudul Anak Perawan di Sarang Penyamun<\/em> (1962). Filem ini diadaptasi dari novel Sutan Takdir Alisjahbana yang terbit 30 tahun sebelum difilemkan oleh Usmar Ismail. Barangkali, pikir saya, judul dari novel dan filem inilah yang menginspirasi candaan ayah saya yang dulu sering ia lontarkan ketika saya sedang bermain dengan sekumpulan anak laki-laki saat masih kecil.<\/p>\n

\"\"

Akbar Yumni.<\/p><\/div>\n

Sang kurator, Akbar Yumni, yang sekaligus kritikus filem dan seni serta anggota Forum Lenteng, kemudian berusaha untuk menjelaskan sedikit mengenai filem itu dalam Bahasa Indonesia dan Bahasa Inggris, terutama karena tidak tersedianya subtitle <\/em>dalam Bahasa Inggris sepanjang filem. Dalam sapaan dan penjelasannya, Akbar mengingatkan penonton bahwa akan ada sesi diskusi di akhir filem. Setelahnya, lampu bioskop dimatikan, menyisakan jeda keheningan sebelum filem dimulai.<\/p>\n

Bercerita tentang sekawanan penyamun yang tinggal di dalam hutan. Suatu hari saat tengah merampok Haji Sahak, sekawanan penyamun yang dipimpin oleh Medasing ini bertemu dengan Sayu. Alih-alih membunuh Sayu seperti yang mereka lakukan kepada kedua orang tuanya, Sayu dibawa ke sarang mereka.<\/p>\n

Sayu ternyata menjadi katalisator di tengah mereka. Kehadiran Sayu yang baik dan rajin beribadah menyebabkan terjadinya perubahan dan menimbulkan kejadian baru; ingin mendapatkan Sayu untuk diri mereka sendiri atau justru membenci perubahan yang terjadi dan ingin melenyapkan Sayu karena dianggap \u2018yang liyan\u2018. Pertikaian antara satu sama lain dan pengkhianatan pun terjadi. Satu per satu kawanan penyamun itu tewas dan hanya menyisakan Medasing seorang yang sedang terluka parah sehabis gagal merampok.<\/p>\n

Dalam kesendiriannya, Sayu-lah yang menemani sekaligus mengobati Medasing. Lama kelamaan keduanya saling membuka hati dan diri. Medasing bercerita kalau ia dulunya juga dibawa oleh sekawanan penyamun yang membunuh kedua orang tuanya dan mengangkatnya menjadi anak. Ia diajari untuk merampok dan membunuh.<\/p>\n

Pergulatan mengenai dua posisi \u2018moralitas\u2018 sebagai plot (muthos<\/em>) antara Medasing dan Sayu terlihat jelas di filem ini. Patutlah juga saya mengakui kehebatan Usmar Ismail sebagai sutradara, yang menerjemahkan bahasa sastra (tekstual) ke dalam bahasa elemen visual (opsis<\/em>). Image<\/em> lanskap hutan menjadi apa yang disebut oleh Victor Turner sebagai liminalitas, bahwa perubahan seseorang yang disebabkan oleh pengaruh kebudayaan yang berbeda dari daerah asalnya menimbulkan seseorang tidak mengikuti baik daerah asal maupun daerah baru yang ditempati, dari pergulatan dua posisi \u2018moralitas\u2018 itu.<\/p>\n

Esoknya, masih di tempat dan program kuratorial serta kurator dan jam yang sama, saya menonton satu filem lagi yang berjudul L\u2019image manquante<\/em> atau The Missing Picture<\/em> (2013). Apa yang ingin disampaikan Akbar melalui karya Rithy Panh dari Kamboja ini tidak jauh berbeda dari filem pertama, yaitu mengenai image<\/em>. Bedanya, kali ini saya hanya ditemani 10 orang yang duduk tersebar di Kineforum.<\/p>\n

Filem ini kemudian sukses menarik perhatian saya. Filem berdurasi 92 menit ini berbicara mengenai pencarian image<\/em> yang hilang di masa lalu. Melalui pengalaman pribadi sutradara yang buruk di masa rezim Khmer Merah tahun 1975 dan hanya menemukan arsip footage-footage <\/em>yang diproduksi Khmer Merah berisi image<\/em> propaganda yang menjanjikan. Namun kenyataannya, janji tetaplah sebuah janji. Yang dirasakan oleh Panh ternyata berbeda dari janji manis yang ditawarkan Khmer Merah.<\/p>\n

Dengan menggunakan diorama-diorama dari tanah liat, yang menurut saya menarik karena menggabungkan footage<\/em> yang ia temukan dengan diorama, Panh tidak berusaha untuk menggantikan image <\/em>itu\u2014yang sudah dikonstruksi oleh Pol Pot \u2013maupun untuk menemukan image <\/em>yang hilang. Panh justru menampilkan proses pencariannya itu sendiri. Dari diorama-diorama sederhana yang ia gunakan dalam filemnya, saya bisa merasakan ketegangan mulai dari awal hingga filem berakhir.<\/p>\n

Kedua filem ini sebenarnya menarik untuk diperbincangkan lebih jauh, terutama mengenai image<\/em> atau citra yang masing-masing ditunjukkan oleh keduanya. Namun sayangnya, sesi diskusi tidak berjalan dengan baik di kedua acara pemutaran kedua filem tersebut. Barangkali ada saja kebingungan yang muncul di pikiran, namun tidak satu pun kata yang terucap keluar dari mulut penonton, termasuk saya. Jujur saja, sebagai penulis yang mencoba mempelajari sinema, hal ini menyisakan pertanyaan yang terus menggema dalam perjalanan pulang. Atau mungkin juga, gema itu adalah salah satu wujud dari kekuatan sinematik dua filem yang sudah saya tonton itu. ***[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503561514-2-28″][vc_column_text title=”Seeking for The Lost Image”]\u201cGood afternoon everybody, welcome to my curatorial program,\u201d said Akbar Yumni to the 24 audiences sat across the seats. Before, Akbar came to me in the waiting room of Kineforum who just took out the catalogue of ARKIPEL 2017 from my bag. He asked for suggestions on how to translate into English the title of Usmar Ismail\u2019s film that will be screened because Jean-Marie Teno, one of the juror in ARKIPEL Penal Colony<\/em> – 5th<\/sup> International Documentary and Experimental Film Festival, as well as director and an important figure in African cinema, also would attend the curatorial program held on that August 22-23 2017.<\/p>\n

One of the works of the pioneering director in establishing the identity of the Indonesian national film that I will watch on the first day was entitled “Anak Perawan di Sarang Penyamun” (Virgin in The Bandit\u2019s Headquarter) (1962). The film was adapted from the novel of Sutan Takdir Alisjahbana published 30 years before it was filmed by Usmar Ismail. Perhaps, I think, the title of the novel and the film have inspired my father’s joke which was used when I played with a group of boys as a child.<\/p>\n

\"\"

Akbar Yumni.<\/p><\/div>\n

The curator, Akbar Yumni, who is a film and art critic as well as member of Forum Lenteng, then explained a little about that film by using Indonesian language and English, mainly because of the unavailability of English subtitles throughout the film. In his brief preface, Akbar reminded the audience that there will be discussion at the end of the film. After that, lights of the cinema were off, leaving a pause of silence before the film was started.<\/p>\n

The film narrated the story of a group of bandits living in the forest. One day when they robbed Hajj Sahak, this group of bandits led by Medasing met Sayu. Instead of killing Sayu like what they did to her parents, Sayu was then brought to their headquarter.<\/p>\n

Sayu turned out to be the catalys between them. The presence of the kind-hearted and righteous Sayu caused a change and new things occured; wanting to get Sayu for theirselves or hating the change occured and wish to diminish Sayu because she was considered as \u2018the other\u2018. A struggle between one and another as well as betrayal occured. One by one, that group of bandits died and left only Medasing who was badly injured after failing to rob.<\/p>\n

In his solitude, Sayu was the only one who accompanied and healed Medasing. Over time both of them opened their hearts and selves. Medasing told her that he used to be brought by a group of bandits who killed his parents and raised him into a child. He was taught to rob and kill.<\/p>\n

Struggle over the two positions of ‘morality’ as the plot (muthos) between Medasing and Sayu was evident in this film. It is also true that I acknowledged the greatness of Usmar Ismail as a director, who translated literary language (textual) into the language of the visual element (opsis). The image of forest landscape was what Victor Turner called as liminality, that a person’s change caused by the cultural influences different from his or her origin leads to a person not following both the origin and the newly occupied territory, from the struggle of the two ‘morality’ positions.<\/p>\n

The next day, still at the same curatorial program, venue, curator and time, I watched another film entitled L’image Manquante<\/em> or The Missing Picture<\/em> (2013). What Akbar wished to convey through Rithy Panh’s work from Cambodia was not much different from the first film, which was about the image. The difference, this time I was only accompanied by 10 people who sat across Kineforum.<\/p>\n

This film then successfully attracted my attention. The 92-minute film talked about a search for lost images in the past. Through bad personal experience of the director during Khmer Rouge regime in 1975 and only found the archives of footages produced by Khmer Rouge containing promising propaganda images. But the truth was, promises were still only promises. What Panh felt was different from the sweet promises the Khmer Rouge offered.<\/p>\n

By using the dioramas made from clay, which I found interesting because it combined the found footages with dioramas, Panh made no attempt to replace the images \u2014which has been constructed by Pol Pot \u2014 to find the missing image. Panh precisely displays the search process itself. From simple dioramas he used in his film, I could feel the tension from the beginning to the end.<\/p>\n

Both films were actually interesting to discuss further, especially about the visual or image shown by each films. Unfortunately, the discussion sessions did not go well in both sessions. Perhaps there was some confusion in mind, but not one word came out of the audiences’ mouth, including me. To be honest, as a writer trying to learn cinema, this situation left a question which continue echoing on my way home. Or perhaps also, the echo was one form of the cinematic power of these two films I have watched. ***[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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