{"id":771,"date":"2013-07-21T19:36:57","date_gmt":"2013-07-21T12:36:57","guid":{"rendered":"http:\/\/arkipel.org\/?page_id=771"},"modified":"2017-08-08T04:16:06","modified_gmt":"2017-08-07T21:16:06","slug":"kepengarangan-dalam-dokumenter","status":"publish","type":"post","link":"https:\/\/arkipel.org\/kepengarangan-dalam-dokumenter\/","title":{"rendered":"Kepengarangan dalam Dokumenter"},"content":{"rendered":"[vc_row][vc_column width=”1\/1″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”true” align=”left” margin_bottom=”0″]\n
Kepengarangan (authorship<\/i>) merupakan ranah yang berpeluang untuk disentuh dalam perbincangan mengenai sinema dokumenter kekinian. Selama perkembangannya, upaya-upaya bagi sinema dokumenter kini bukan melulu suatu kesetiaan akan hal-hal yang menyingkap \u2018realitas\u2019, namun boleh jadi, malahan mempertanyakan \u2018realitas\u2019 itu sendiri demi menangkap relung terdalam pengalaman manusia yang mendiami realitas itu. Dalam sejarah sinema, kepengarangan yang dipelopori oleh para sutradara \u201cgelombang baru\u201d (nouvelle vague<\/i>) Prancis 1960an menjelaskan visi individual sutradara dalam mewujudkan bahasa sinema sehingga kesetiaan akan hal-hal estetis di situ benar-benar berdasar pada kepekaan sang pembuat filem layaknya seorang pengarang roman. Dokumenter, pada dasarnya adalah \u2018perlakuan kreatif atas aktualitas\u2019, dan hal ini seringkali ditafsirkan sebagai sikap takzim akan peristiwa-peristiwa aktual kala memandang momen realitas itu. Di sinilah, Jean Rouch menjadi sosok penting dalam khasanah dokumenter yang membuka peluang pemanfaatan fiksi secara diskursif guna mencapai gambaran filemis dari realitas tertentu yang diungkapkan. Dalam pergulatan sinematisnya, penggunaan fiksi pada karya-karya dokumenter Rouch justru lebih dapat menangkap realitas dalam pengertiannya yang paling dalam melalui aktualitas pengalaman psikologis dari subyek yang \u2018difiksikan\u2019 secara filemis, sembari mempertanyakan \u2018realitas\u2019,dan bahkan sinema dokumenter itu sendiri. Usaha-usaha akan kepengarangan ini menjadi suatu cara pandang baru dalam memandang \u2018kebenaran\u2019 dalam sinema dokumenter.<\/p>\n
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Usaha Dagang: Petit \u00e0 Petit<\/i> merupakan \u201csekuel etnografis\u201d dari karya Rouch sebelumnya, Jaguar<\/i> (1957-1967). Digarap dengan skenario yang turut diimprovisasi oleh aktor-aktornya, narasi Petit \u00e0 Petit<\/i> mendedah petualangan dan perjuangan sekelompok kecil pengusaha Niger, yaitu Damoure, Illo, dan Lam dalam usaha mereka membangun ekonomi-niaga di tingkat lokal yang dinamai \u201cPetit \u00e0 Petit\u201d (Kecil-Kecilan). Latar belakang tradisional mereka, tampaknya menjelaskan posisi\u00a0 tersebut. Awalnya, Illo hanyalah seorang pemancing, dan Lam penggembala. Bertekad memajukan usaha, tokoh-tokoh \u2018pos-kolonial\u2019 ini berniat membangun sebuah gedung bertingkat sebagai tempat usaha mereka. Untuk itu Damoure terbang ke Paris guna melihat dan menjajaki pembangunan gedung bertingkat, sekaligus bersua dengan fenomena kehidupan moderen kosmopolitan.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”true” align=”left” margin_bottom=”0″]\n Authorship is a possible territory to be spoken of in the discussion of contemporary documentary cinema. In its evolution, documentary cinema is now no longer on the allegiance to reveal \u2018reality\u2019, but might be to question how \u2018reality\u2019 itself captures the human experience who inhabits that reality. In the history of cinema, authorship was spearheaded by the French \u201cnew wave\u201d (nouvelle vague) filmmakers in 1960s to explain the personal vision of the filmmaker in creating their own cinematic language therefore the director\u2019s aesthetic consistency was really based on the sensitivity of the filmmakers similar to a novel writer. Basically documentary is \u2018creative treatment to actuality\u2019, which is often interpreted as a respectful attitude to how actual events look at those realities. Herein, Jean Rouch becomes an important figure in the realm of documentary film in opening opportunity to use fiction discursively to obtain a filmic overview of certain reality revealed. In his cinematic struggle, the use of fiction in Rouch\u2019s film actually can capture reality in its deepest sense through the actuality of psychological experience of his \u2018fictionalized\u2019 subjects cinematically while questioning the \u2018reality\u2019 and even the term of documentary itself. This efforts of \u2018authorship\u2019 are somewhat making a new way of looking at the \u2018truth\u2019 in documentary cinema.<\/span><\/p>\n <\/p>\n Petit \u00e0 Petit<\/i> is the \u201cethnographic sequel\u201d to Rouch\u2019s previous film, Jaguar<\/i> (1957-1967). This film is produced on a an improvised scenario by the actors themselves. Petit \u00e0 Petit\u2019<\/i>s narration is exposing an adventure and struggle of the Niger small entrepreneurs, namely Damoure, Illo and Lam with their attempt to build the local trading company, Petit \u00e0 Petit<\/i>. Their traditional background clarifies that position. At the beginning, Illo was only just a fisherman, and Lam was a herder. They have a desire to build multi-storey building as a place to develop and demonstrate the progress of their trading company. For that, Damoure then flied to Paris to see and explore possibility to construct the building in their home land, as well to meet with the phenomenon of modern cosmopolitan life.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]\n[mk_divider style=”thin_solid” divider_width=”full_width” custom_width=”10″ align=”center” border_color=”#cccccc” thickness=”1″ margin_top=”20″ margin_bottom=”60″]\n[vc_row_inner][vc_column_inner width=”2\/3″][mk_image src=”http:\/\/arkipel.org\/wp-content\/uploads\/2013\/06\/8400807-node-image-upload-petit_8jpg2.jpg” image_width=”800″ image_height=”350″ crop=”true” svg=”false” lightbox=”false” frame_style=”simple” target=”_self” title=”Petit \u00e0 Petit (Little by Little)” desc=”Jean Rouch (France)” caption_location=”inside-image” align=”left” margin_bottom=”20″ animation=”bottom-to-top”][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_column_text disable_pattern=”false” align=”left” margin_bottom=”0″]Country of Production:\u00a0<\/i> FranceAuthorship in Documentary Filmmaking<\/span><\/h3>\n
Petit \u00e0 Petit (1968-1969)<\/span><\/h3>\n
Synopsis<\/span><\/h4>\n
\n<\/b>Language:<\/i> French
\n<\/b>Subtitles: <\/i>English
\n<\/b>96 min<\/b>, Color<\/i><\/b>, 1970<\/b><\/p>\n