{"id":8145,"date":"2018-07-31T00:54:52","date_gmt":"2018-07-30T17:54:52","guid":{"rendered":"http:\/\/arkipel.org\/?p=8145"},"modified":"2019-07-05T01:38:23","modified_gmt":"2019-07-04T18:38:23","slug":"arkipel-homoludens-candrawala-local-landscape-of-now-2018","status":"publish","type":"post","link":"https:\/\/arkipel.org\/arkipel-homoludens-candrawala-local-landscape-of-now-2018\/","title":{"rendered":"Candarawala – “local landscape of now\u201d – 2018"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1532964245303{margin-bottom: 0px !important;}”]\n

An Experimenting Ground
\n<\/strong>Sebuah Arena Eksperimentasi<\/em><\/h1>\n

\u00a0Curators: Anggraeni Widhiasih & Dhuha Ramadhani
\n<\/strong>Monday, August 13, 2018 | 07:00 pm | GoetheHaus
\n<\/strong><\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_accordion style=”modern” spacing=”2″ c_align=”center” c_icon=”” active_section=”0″ no_fill=”true” collapsible_all=”true”][vc_tta_section i_icon_fontawesome=”fa fa-plus” add_icon=”true” title=”Read Curatorial Essay Here” tab_id=”1532963411840-b5b836d5-3d74″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532953031889{margin-bottom: 0px !important;}”]Kultur menonton dalam tradisi spectacle <\/em>di ruang gelap bercirikan adanya penegasan bahwa aktivitas ini berlangsung di sebuah ruang eksklusif; terpisah dari ruang-ruang sosial lain dan [karenanya] semua yang ada di dalamnya harus berserah diri pada kuasa medium. Kesulitan\u2014jika bukan tidak bisa\u2014menahan masuknya kamera telepon pintar ke dalam ruang bioskop, yang artinya sulit untuk pula menahan praktik bawaan si medium yang mampu merekam dan membagikan konten dengan cepat, tidak terhindarkan. Ruang memutar filem (bahkan mungkin filem itu sendiri) pada situasi semacam ini sudah meluntur kesakralannya.<\/p>\n

Kehadiran teknologi telepon pintar dengan fitur kameranya\u2014di depan dan di belakang\u2014diimbangi dengan kemunculan platform <\/em>media sosial, membawa respon tertentu yang perlu ditelaah dalam konteks produksi konten audiovisual. Kita pun berada pada kondisi di mana tindakan merekam, menonton, dan mempertontonkan diri adalah keseharian yang lumrah\u2014setidaknya bagi pemegang telepon pintar\u2014yang barangkali jauh sebelum kamera itu sendiri hadir, telah menjadi potensi bawaan yang dimiliki siapa saja. Namun agaknya, dalam konteks generasi digital, <\/em>produksi audiovisual dilatarbelakangi pula oleh dorongan kuat untuk berbagi. Mereka, dengan segala ekspresi spontannya, mulai memasukkan diri ke dalam sinema dengan membawa gestur dan wawasan teknologis yang telah melekat padanya. Bisa jadi dengan demikian, produksi audiovisual menjadi medium yang menandai suatu eksistensi di tengah ruang sosial yang kian terbuka dan ramai, baik secara fisikal, virtual, maupun wacana.<\/p>\n

Keseluruhan situasi dan kondisi yang memudahkan aksi merekam, menonton, dan bahkan menjadi tontonan ini, membuat ketiganya berada dalam batasan yang mudah dilintasi dan kian serba terhubung secara dua arah. Sehingga, ketiganya berada dalam konfigurasi yang cair dan semakin terbuka bagi eksplorasi ulang-alik; suatu potensi bagi satu sama lain untuk berbicara balik. Subjek-subjek yang dulunya dibicarakan hanya dari pusat, kini bisa dibicarakan dari berbagai arah. Lokus produksi audiovisual formal dan nonformal menemukan teman dialognya dari ranah informal dengan corak moda produksi dan cara bertuturnya masing-masing sebagai hasil dari interaksi individu dan lokasi serta permasalahan di sekitarnya.<\/p>\n

Dorongan eksistensi di tengah ruang sosial dan interaksi langsung pada isu-isu yang ia temui melalui berbagai platform termutakhir ada kalanya membuat subjek-subjek ini meletakan temuan-temuan mereka sebagai bahan baku eksperimentasi artistik. Bahasan mulai dari persoalan identitas, memori terkait konflik, maupun sejarah itu sendiri, serta pergumulan atas ruang individu-kolektif hingga persoalan akses terhadap pendidikan dan kesejahteraan ekonomi, menjadi bahan narasi pribadi yang [masih] banyak dibicarakan secara sosial melalui sinema kita. Aksi sineas yang mengolah suatu temuan menjadi produk tontonan yang bisa dihadirkan pada publik ini sebetulnya sangat dekat dengan keseharian kita, berkat perkembangan teknologi digital. Namun, aksi yang nyaris serupa sebetulnya juga dilakukan warga sebagai siasatnya mengakali hambatan, meski mungkin dengan detail motif dan skala yang berbeda<\/p>\n

Dalam Kakak Mau Beli Tisu, <\/em>perjalanan seorang perempuan muda di kotanya harus menemui sebuah pengalaman sureal berupa horor tentang tubuh miskin anak-anak yang mengepung hingga menghantui. Dalam bentuk dan cara bertutur yang klasik, kritik atas eksploitasi kemiskinan melalui anak-anak disampaikan dalam bentuk sebuah tontonan ber-genre horor. Kemiskinan menjadi sebuah kenyataan ganjil yang diterima, di mana setumpuk masalah sosial dan kondisi yang timpang, terutama pada ranah ekonomi, hadir sebagai prakondisinya.<\/p>\n

Dituturkan dalam bentuk dokumenter klasik, <\/strong>Ojek Lusi<\/em> berusaha membingkai persoalan ekonomi di suatu lokasi bencana melalui aksi warga yang merespon situasi tersebut. Kebutuhan untuk bertahan hidup menjadi landasan warga untuk mengemas bencana sebagai bagian dari moda produksi ekonomi kecil dengan meletakkannya sebagai sebuah tontonan, memadatkannya dalam bentuk DVD yang kemudian dibeli oleh bocah-bocah pengunjung lokasi.<\/p>\n

Demikian pula pada Lahir di Darat Besar di Laut, t<\/em>emuan masalah ekonomi seorang nelayan dari pesisir Indramayu yang merantau ke Jakarta menjembatani kita menuju wacana urban-pinggiran, baik dari segi bahasan konten maupun konteks produksi yang melingkupinya. Namun di sini, seorang anak memandu penonton melalui komentarnya terhadap si tontonan untuk masuk ke dalam dunia yang dibangun sutradara. Si tontonan bersama si anak berbicara balik pada pengkarya dan pada kita\u2014para penonton\u2014dengan cara mengomentari gambar dirinya yang tengah ditonton. Hingga kemudian ia sendiri menjadi tontonan yang bicara pada penonton melalui ruang personalnya. Narator tunggal yang tadinya hadir sebagai pusat sinema dan sakral, kemudian terurai menjadi beragam suara yang satu sama lain menyuarakan dirinya.<\/p>\n

Suara-suara yang tadinya adalah sekadar gunjingan, disaring dan dipilah untuk membantu kerja konstruksi kenyataan. Pada Kasihan, <\/em>kenyataan sosial hari ini dihadirkan lewat fiksi yang ditarik dari audio sinema Indonesia yang diproduksi antara tahun 1970-an hingga 2000-an yang menarasikan permasalahan relasi ekonomi saat itu. Oleh penontonnya, permasalahan yang nyaris sama kemudian dihadirkan kembali melalui sebuah tontonan yang mengadegankan ulang suara-suara dari tontonan fiksi masa lalu tersebut yang ditata dalam suatu montase baru yang jenaka. Kebocoran proses produksi dalam filem justru membuat kenyataan tak sempurna filem ini mengingatkan kita pada tegangan antara kenyataan di dalam bingkai dan di luarnya, ia menegaskan garis tepi pada layar sebagai garis transparan yang memungkinkan dunia citra (image<\/em>) di dalamnya niscaya terhubung tanpa batas ke alam semesta kita (Manshur Zikri, 2015).[1]<\/a><\/p>\n

What\u2019s Wrong with My Film<\/em> secara gamblang mengartikulasikan kekecewaan atas tegangan dua kenyataan yang tak selalu memenuhi fantasi penonton. Sensor di antaranya adalah bagian dari kenyataan di luar bingkai yang masuk ke dalam bingkai sebagai sebuah intervensi. Relasi antara pembuat dan penonton terjegal tepat justru pada area tontonan yang lalu menjadi arena kontestasi atas bentuk dan narasi yang ingin coba dihadirkan si pembuat filem.<\/p>\n

Jika pada masa sebelum kamera begitu mudah dipindahtangankan arena tontonan secara eksklusif milik pembuat filem, kini kondisinya telah bergeser. Keterbiasaan pada alat perekam gambar memungkinkan siapa saja bisa menyambut kehadiran kamera bahkan menggunakannya. Lewat sebuah aksi menguliti kenyataan-kenyataan terselubung melalui gerak pisau dan kamera oleh subjek yang saling berinteraksi membincangkan keseharian seorang anak, Rimba Kini <\/em>menegaskan pada kita tentang telah sejauh mana teknologi audiovisual menubuh pada masyarakat kita. Ia tak lagi menjadi barang eksotik yang sakral namun justru menjadi si medium yang memungkinkan negosiasi posisi antara pembuat filem (pendatang yang membawa teknologi) dan anak-anak sebagai subjek yang direkam. Menghasilkan tegangan antara perekam, tontonan dan penonton yang terjadi secara terus menerus tepat di dalam arena tontonan itu sendiri. Di sinilah\u2014mengutip sebuah kalimat dari Otty Widasari\u2014sinema, sebetulnya, menemukan peluang eksperimentasi pada titik terleluasanya.[2]<\/a>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532961180115{margin-bottom: 0px !important;}”]The moviegoing culture in a spectacle tradition inside of a dark room establishes that this activity takes place in an exclusive space; separated from other social spheres, and [because of it] everything inside surrenders to the power of the medium. The challenge\u2014if not impossibility\u2014to keep away smartphone cameras from cinema theatres, parallels to the hardship of suppressing the default practice of the medium that is able to record and share contents in no time, which is inevitable. Screening spaces (even possibly, the film itself) in this situation is losing its sanctity.<\/span><\/p>\n

The rise of the smartphone camera technology\u2014in the front and back\u2014is balanced with the increase of social media platforms, bringing a particular response that needs to be studied in the context of audiovisual content production. We are also in a condition where the act of recording, watching, and exhibiting ourselves are the usual routine\u2014at least for smartphone users\u2014that, maybe even long before the camera was invented, has been an innate potential for everyone. But, in the context of the digital generation, audiovisual production was motivated by a strong urge to share. They, with their spontaneous expression, start to insert themselves in cinema with their embodied gesture and technological knowledge that they have. Possibly, the production of audiovisual becomes a medium that marks an existence in the middle of the social sphere, which is becoming more open and crowded \u2014 physically, virtually, and discursively.<\/span><\/p>\n

This situation and condition that makes it easier to record, watch, or being watched put those acts inside a boundary, which is accessible and connected in two ways. Those acts belong in a flexible configuration where they become more open for a reciprocal exploration; a potential for two-way communication between parties. Subjects that were once can only be discussed by the center, can now be discussed from anywhere. The formal and non-formal locus of audiovisual production finds its dialogue partner from the informal domain, with varying modes of production and way of storytelling as a result from individual interaction toward the location and the problems around them.<\/span><\/p>\n

The existential urge amidst the social sphere and the direct interaction towards issues they found through multiple platforms sometimes makes these subjects place their findings as ingredients for artistic experimentation. Discussions on personal identity, memories of conflict or history itself, the struggle within collective-individual spaces, to the accessibility of education and economic welfare becomes a topic of personal narratives much talked about through our cinema. The filmmaker\u2019s act of transforming a finding into a watchable product presented to the public is no longer strange to us, thanks to the progress of digital technology. But then, citizens do similar acts as their tactics to face everyday problems, though differing in terms of motive and scale.<\/span><\/p>\n

In Kakak Mau Beli Tisu (You Want Some Tissue?),<\/em> the journey of a young woman in her city was disrupted by a surreal experience on the horror of the bodies of poor children that haunted and surrounded her. In a classic form and way of storytelling, the criticism of the poverty exploitation was displayed through a horror genre spectacle. Poverty becomes an uncanny reality that is accepted, where countless social problems and disparity, especially in the economics domain, play a role as its precondition.<\/span><\/p>\n

Narrated in a classic documenter, Ojek Lusi<\/em> (Tour on Mud<\/em>) tries to frame economic problems in a natural disaster site through the citizens\u2019 act of responding to that situation. The need to survive becomes their foundation to use that disaster as a part of the small economic mode of production by placing it as a spectacle, recording it in the form of DVD that was later bought by the children who visited their location.<\/span><\/p>\n

As also told by Lahir di Darat Besar di Laut (Born on Land, Raised by The Sea<\/em>), findings on economic problem of a fisherman from the Indramayu coast who urbanize to Jakarta bridges us to the discourse of urban-suburban, in terms of the content and context of production that covers it. But in this story, a child guides the spectator into the world built by the director. The spectacle, along with the child, talks back to the director and to us\u2014the spectator \u2014through his commentary on himself on the screen. Later on, he also becomes a spectacle that talks to the audience through his personal space. The single narrator that was present as a sanctious central of the cinema is unravelled and turned into various voices, all of them speak for themselves.<\/span><\/p>\n

Voices that started out as gossips was filtered and sorted to help the construction of reality. In Kasihan<\/em>, the social reality of today is presented through fiction that was pulled out of the audio of Indonesian cinema produced from the 1970s up to 2001, which narrated the economic relations problem of that era. By its spectator, a similar problem was represented through the reenactment of voices from the past fictional spectacle into a series of new, witty montage.\u00a0 The leakage in the process of film production makes that imperfect reality of film remind us to the tension between reality inside and outside of the frame. It emphasizes the margin line on the screen as a transparent line that enables the world of the image inside of it to connect to our reality (Zikri, 2015).[1]<\/sup><\/a><\/span><\/p>\n

What\u2019s Wrong with My Film<\/em> explicitly articulates the disappointment on the tension between two realities that do not always fulfil the spectator\u2019s fantasy. Censorship is a part of the external fact that breaks into the frame as an intervention. The relation between the artist and the audience is hampered right on the spectacle area, which becomes an arena of contestation both on the form and narration the filmmaker tried to bring into the present.<\/span><\/p>\n

If in the era before the camera was convenient, the area of spectacle exclusively belongs to the filmmaker, nowadays, this phenomenon is shifting. The habit of recording pictures enables everyone to celebrate the presence of the camera, or even to use it. Through the act of skinning those hidden realities through the movement of knives and camera by the subject that is interacting, talking about a child\u2019s daily activities, Rimba Kini emphasizes how far the audiovisual technology has integrated with our society. It is no longer an exotic, sacred equipment, but it has become a medium that makes it possible to negotiate the position between the filmmaker and the kids as a recorded subject. Creating tension between the recorder, the spectacle, and the spectator that happens continuously in the area of spectacle. Right here\u2014quoting a sentence from Otty Widasari\u2014is where cinema finds its opportunity to experiment at its widest extent.[2]<\/sup><\/a><\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532953041281{margin-bottom: 0px !important;}”]Endnotes<\/strong><\/p>\n

[1]<\/a> Manshur Zikri. 2015. Otty Widasari: Yang Melihat Media. <\/em>Esai kuratorial oleh Manshur Zikri, kurator Ones Who Looked at the Presence, pameran tunggal Otty Widasari di ARK Galerie, Yogyakarta, 10\/09 \u2013 15\/10, 2015. Diakses dari https:\/\/ottywidasari.com\/2017\/12\/22\/otty-widasari-yang-melihat-media\/<\/a> pada 20 Juli 2018.<\/p>\n

[2]<\/a> Kalimat ini muncul pada suatu diskusi pagi hari 11 Juli 2018. Kedua penulis berdiskusi dengan Otty Widasari mengenai konstelasi filem terpilih yang cukup melakukan praktik eksperimentatif terhadap ranah penonton dan tontonan. Kalimat, \u201c…di sinilah sinema menemukan peluang eksperimentasi pada titik terleluasanya,\u201d kemudian dicetuskan oleh Otty Widasari dan menjadi salah satu referensi penulis dalam mengkonstruksi tulisan ini.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532961199463{margin-bottom: 0px !important;}”]Endnotes<\/strong><\/span><\/p>\n

[1]<\/a> Manshur Zikri. 2015. Otty Widasari: Yang Melihat Media. <\/em>A curatorial essay by Manshur Zikri, the curator of Ones Who Looked at the Presence,<\/em> Otty Widasari\u2019s solo exhibition at the ARK Galerie, Yogyakarta, 10\/09 \u2013 15\/10, 2015. Retrieved from https:\/\/ottywidasari.com\/2017\/12\/22\/otty-widasari-yang-melihat-media\/<\/a> on July 20, 2018.<\/span><\/p>\n

[2]<\/a> This sentence was uttered on a discussion that happened on the morning of July 11th<\/sup>, 2018. Two of the writers were talking with Otty Widasari about the constellation of the selected films, that have done some experimentative practice on the domain of audience and the spectacle. She uttered the sentence \u201c\u2026 right here is where cinema founds its opportunity to experiment at its widest extent.\u201d and thus became one of the writer\u2019s reference on constructing this essay.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_accordion][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Film List” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532969190362-a01badc7-fcf5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8150″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532962559132{margin-bottom: 0px !important;}”]\n

Kakak Mau Beli Tisu?<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Batara A. Pekerti<\/strong> (Indonesia)
\nInternational Title<\/em>\u00a0\u00a0You Want Some Tissue?
\n<\/strong>Country of Production<\/em>\u00a0\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0\u00a0Indonesia
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

14min 8sec, colour, sound, digital, HD, 16:9, 2017[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532961543181{margin-bottom: 0px !important;}”]Sebuah fiksi horor pendek tentang pengalaman seorang perempuan muda yang dalam perjalanan menuju kost temannya namun tercegah oleh kehadiran sekelompok anak-anak penjual tisu. Pemandangan mengharukan berubah menjadi sebuah peristiwa mencekam yang surreal ketika kemiskinan mewujud dan merongrong tanpa ampun.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532961570274{margin-bottom: 0px !important;}”]A short horror fiction about the experience of a young woman who was on her way to her friend’s boarding house but was hindered by the presence of a group of children selling tissues. A heart-moving scene turns into a surreal, horrific moment when poverty manifests and agitates mercilessly.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532969190418-0b77954e-9992″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8158″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1532969706326{margin-bottom: 0px !important;}”]Batara Aji Pekerti<\/strong> (1994, Bandar Lampung) adalah penulis naskah dan pembuat film. Dia lulus dari Institut Kesenian Jakarta (IKJ). Sekarang ia memfokuskan diri untuk membuat film dan karya seni berkaitan dengan isu sosial-urban dari perspektif masyarakat marginal.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1532969726893{margin-bottom: 0px !important;}”]Batara Aji Pekerti<\/strong> (1994, Bandar Lampung) is a scriptwriter and filmmaker. He graduated from the Jakarta Art Institute (IKJ). Now he is focusing on making films and artwork related to socio-urban issues from the perspective of marginal society.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_separator][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532969786973-77057c72-57c2″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8152″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532963223480{margin-bottom: 0px !important;}”]\n

Ojek Lusi<\/strong><\/h2>\n

Filmmaker<\/em>\u00a0 Winner Wijaya<\/strong> (Indonesia)
\nInternational Title<\/em>\u00a0\u00a0Tour on Mud<\/strong>
\nCountry of Production\u00a0<\/em> Indonesia<\/strong>
\nLanguage<\/em>\u00a0\u00a0Javanese, Indonesia<\/strong>
\nSubtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

18 min 8 sec, color, stereo, digital, HD, 16:9, 2017[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532963305374{margin-bottom: 0px !important;}”]Pada tahun 2006 lumpur panas menyembur dari bumi di Sidoarjo, menenggelamkan enam belas desa di tiga kecamatan. Filem berkisah tentang bagaimana warga lokal merespon bencana akibat eksplorasi minyak yang dilakukan oleh sebuah perusahaan. Sejumlah suami di antara mereka beralih profesi menjadi tukang ojek dan penjual DVD yang mendokumentasikan bencana tersebut; sebagian lain menjadi pemandu wisata.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532963331403{margin-bottom: 0px !important;}”]In 2006, the hot mud burst from the earth in Sidoarjo, drowning sixteen villages in three sub-districts. The film revolves around how local people respond to disasters caused by oil exploration by a company. Some husbands among them switched professions to motorcycle taxi drivers and DVD vendors documenting the disaster; others become tour guides.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532969787049-bd159c57-64a6″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8159″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1532970052395{margin-bottom: 0px !important;}”]Winner Wijaya<\/strong> lahir di Surabaya dan besar di Malang. Ia sudah gemar membuat filem sejak kelas lima SD, karena sempat diajari oleh guru sekolahnya. Setiap akhir pekan, bersama-teman-temannya, membuat filem dengan handycam<\/em> MiniDV yang sering eror. Sampai sekarang ia mengikuti kecintaannya pada film, menekuni perfileman dengan mengambil jurusan filem di Universitas Multimedia Nusantara.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1532970077440{margin-bottom: 0px !important;}”]Winner Wijaya<\/strong> was born in Surabaya and grew up in Malang. His fondness on making films has emerged since he was in fifth grade because his teacher taught him to do it. Every weekend, with his friends, he makes films using MiniDV Handycam that is often errors. Until now, he has been following his love for cinema, pursuing film by studying it at Multimedia Nusantara University.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_separator][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532970223484-09670815-b3e9″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8153″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532964800735{margin-bottom: 0px !important;}”]\n

Lahir di Darat, Besar di Laut<\/strong><\/h2>\n

Filmmaker<\/em>\u00a0 Steven Vicky Sumbodo<\/strong> (Indonesia)
\nInternational Title<\/em>\u00a0 Born on Land, Raised by The Sea<\/strong>
\nCountry of Production<\/em>\u00a0 Indonesia<\/strong>
\nLanguage<\/em>\u00a0 Javanese\u2019s Indramayu<\/strong>
\nSubtitle<\/em>\u00a0 English<\/strong><\/p>\n

17 min 20sec, colour, stereo, HDV, HD, 16:9, 2017[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532964998912{margin-bottom: 0px !important;}”]Kisah tentang Raiman, Kapten kapal Sami Asih asal Indramayu. Diperlihatkan aktivitas Raiman dan awak kapalnya di laut dan situasinya ketika tidak dapat melaut karena kapalnya tak mampu menghadapi cuaca yang tidak menentu akhir-akhir ini. Tokoh utama sebagai narator tunggal baru muncul di tengah filem dengan sebelumnya menyerahkan alur cerita pada komentar-komentar seorang anak yang merespon rekaman aktivitas ia dan awaknya di laut.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532965027528{margin-bottom: 0px !important;}”]The story of Raiman, the Sami Asih ship’s Captain from Indramayu. Showing the activities of Raiman and his crew at sea and the situation when they are unable to go to sea because the ship was unable to deal with the unpredictable weather lately. The main character as a single narrator appears in the middle of the film by previously handing the storyline to the comments of a child who responds to the documentation of those activities at sea.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532970223567-0b0c5358-d665″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8160″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1532970418248{margin-bottom: 0px !important;}”]Kisah tentang Raiman, Kapten kapal Sami Asih asal Indramayu. Diperlihatkan aktivitas Raiman dan awak kapalnya di laut dan situasinya ketika tidak dapat melaut karena kapalnya tak mampu menghadapi cuaca yang tidak menentu akhir-akhir ini. Tokoh utama sebagai narator tunggal baru muncul di tengah filem dengan sebelumnya menyerahkan alur cerita pada komentar-komentar seorang anak yang merespon rekaman aktivitas ia dan awaknya di laut.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1532970442405{margin-bottom: 0px !important;}”]The story of Raiman, the Sami Asih ship’s Captain from Indramayu. Showing the activities of Raiman and his crew at sea and the situation when they are unable to go to sea because the ship was unable to deal with the unpredictable weather lately. The main character as a single narrator appears in the middle of the film by previously handing the storyline to the comments of a child who responds to the documentation of those activities at sea.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_separator][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532970449874-0476b7d9-a3df”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8154″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532965589448{margin-bottom: 0px !important;}”]\n

Kasihan<\/strong><\/h2>\n

Filmmaker\u00a0<\/em> Muhammad Reza<\/strong> (Indonesia)
\nCountry of Production<\/em>\u00a0 Indonesia<\/strong>
\nLanguage<\/em>\u00a0 Indonesia<\/strong>
\nSubtitle<\/em> English<\/strong><\/p>\n

7 min 15 sec, color, mono, HD CAM, SD, 16:9, 2017[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532965887206{margin-bottom: 0px !important;}”]Filem berisi teks-teks pilihan yang mencoba merangkum situasi ekonomi, relasi kerja, kelas sosial di sebuah era melalui arsip audio-audio filem yang diproduksi pada era yang lain, yaitu pada rentang 1970-an sampai awal 2000-an. Arsip-arsip ini kemudian diramu kembali dan digarap melalui pengadeganan ulang. Tindak sinkronasi bibir para aktor terhadap audio diperlihatkan ketidakselarasannya.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532965912965{margin-bottom: 0px !important;}”]The film contains selected texts that try to summarise the economic situation, work relations, social class in an era through the archive of audio films produced in another period, from the 1970s to the early 2000s. These archives are then re-assembled and worked through reenactment. The movement between the actors’ lips and the audio is visible unsynchronised.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532970449941-cec25c70-e2af”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8161″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1532970662162{margin-bottom: 0px !important;}”]Muhammad Reza<\/strong> (1994) merupakan lulusan pendidikan seni rupa Universitas Negeri Jakarta. Tergabung dalam kelompok Sinema Kolekan dan Gambar Gerak Simpang Siur yang fokus membicarakan karya-karya audio visual mahasiswa. Membuat filem dengan metode yang berubah-ubah, beberapa karyanya telah ditayangkan di dalam dan luar negeri.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1532970685115{margin-bottom: 0px !important;}”]Muhammad Reza <\/strong>(1994) graduates from the education of art at Universitas Negeri Jakarta. He is incorporated in the group of Sinema Kolekan and Gambar Gerak Simpang Siur which focus on discussing the students’ audio visual works. Making films with varying methods, some of his works have been screened both locally and abroad.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_separator][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532970763779-02af066d-1b85″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8155″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532966108321{margin-bottom: 0px !important;}”]\n

What\u2019s Wrong with My Film<\/strong><\/h2>\n

Filmmaker<\/em> Roberto Rosendy<\/strong> (Indonesia)
\nCountry of Production<\/em> Indonesia<\/strong>
\nLanguage<\/em> Indonesia<\/strong>
\nSubtitle<\/em> English<\/strong><\/p>\n

6min 36sec, colour, stereo, digital, HD, 16:9, 2018[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532966158506{margin-bottom: 0px !important;}”]Sebuah adegan penyelamatan sandera penculikan. Sutradara mencoba menghadirkan situasi ketika imaji ketegangan yang dibayangkan terinterupsi ketika filem diputar di televisi. Adegan-adegan yang dinilai sebagai kekerasan atau yang menampilkan bagian tubuh tertentu disensor. Filem ini menghadirkan kekecewaan yang ditampilkan oleh para penontonnya.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532966190108{margin-bottom: 0px !important;}”]A scene about rescuing the abducted hostage. The director tries to present a situation when the imagined tension is interrupted when the film is screened on television. Scenes that are rated as violent or that feature certain body parts are censored. This film presents the disappointment shown by the audience.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532970763858-0a7622ab-1e61″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8162″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1532971158046{margin-bottom: 0px !important;}”]R<\/strong>oberto Rosendy <\/strong>(Bandung, 1997) mulai terjun ke dunia perfileman saat berumur 15 tahun. Robert menempuh pendidikan di Institut Seni Budaya Indonesia Bandung, jurusan Televisi dan Film. Ia merupakan pendiri dari Winter Writer<\/em>,<\/em> sebuah ruang diskusi untuk penulisan naskah pendek. Kini ia sedang menjabat Director<\/em> Keluarga Televisi dan Film ISBI Bandung.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1532971182939{margin-bottom: 0px !important;}”]Roberto Rosendy <\/strong>(Bandung, 1997) began to enter the world of film at 15 years old. He is currently studying at Institut Seni Budaya Indonesia Bandung, majoring in Television and Film. He is the founder of Winter Writer, a discussion room for short script writing. Now he is Director of Family Television and Film ISBI Bandung.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_separator][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532971198755-be2da4b2-03dd”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8156″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532966360361{margin-bottom: 0px !important;}”]\n

Rimba Kini<\/strong><\/h2>\n

Filmmaker<\/em>\u00a0\u00a0Wisnu Dewa Broto<\/strong> (Indonesia)
\nCountry of Production<\/em>\u00a0 Indonesia<\/strong>
\nLanguage <\/em>Jambinese\u00a0& Indonesia<\/strong>
\nSubtitle<\/em> English<\/strong><\/p>\n

17min 46sec, colour, stereo, HDV, HD, 16:9, 2017[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532966390564{margin-bottom: 0px !important;}”]Kita diajak mengikuti keseharian Baasung dan Besangot menakik getah di Taman Nasional Bukit Duabelas, Tebo, Jambi. Ada dialog soal berapa pohon yang harus ditakik dan gangguan yang muncul dalam melakukan hal itu, juga tentang bagaimana mereka belajar alfabet; mengeja dan menuliskannya. Kamera beberapa kali berpindah tangan antara Baasung dan Besangot dengan para pembuat filem.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532966416489{margin-bottom: 0px !important;}”]We are invited to follow the daily activities of Baasung and Besangot to sap rubber tree in Bukit Duabelas National Park, Tebo, Jambi. There is a dialogue about how many rubber trees should be sapped and the disturbance that arises in doing so, along with talks on how they learn the alphabet; spell it and write it down. The camera moves several times between the hands of the two children and the filmmakers.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532971198838-4039e08d-f008″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8163″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1532971415208{margin-bottom: 0px !important;}”]Wisnu Dewa Broto<\/strong> (1995) adalah alumni dari Universitas Multimedia Nusantara. Sejak menempuh studi hingga saat ini ia menekuni bidang sinematografi sebagai sutradara, sinematografer, dan editor. Bersama teman-temannya ia mendirikan Thesign Films, rumah produksi yang bergerak di bidang video kreatif berbasis di Tangerang, Indonesia. Film yang telah dihasilkan oleh Wisnu antara lain Wong Tjilik (2015), Mata Elang (2016), dan Wasangka (TBA).<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1532971438994{margin-bottom: 0px !important;}”]Wisnu Dewa Broto<\/strong> (1995) is an Indonesian short filmmaker. He graduated from Multimedia Nusantara University in 2018. Since university until today, he is focused on cinematography as a director, cinematographer, and editor. In 2014, together with his friends, Wisnu established Thesign Films, a production house specialised on creative video based on Tangerang, Indonesia. Wisnu\u2019s notable short films are Ordinary Citizen (2015), Eagles\u2019 Eyes (2016), and Wasangka (TBA).<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_separator][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Curators” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8164″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1532971697661{margin-bottom: 0px !important;}”]Anggraeni Widhiasih <\/strong>(1993) meraih gelar S1 Hubungan Internasional di Universitas Paramadina. Saat ini ia adalah anggota Forum Lenteng yang bertanggung jawab untuk Divisi Riset dan Pengembangan. Ia juga berpartisipasi dalam Program Diorama \u2013 AKUMASSA dan dalam program lokakarya filem oleh Forum Lenteng \u2013 Milisi Filem. Ia juga anggota peneliti di Koperasi Riset Purusha.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1532971724678{margin-bottom: 0px !important;}”]Anggraeni Widhiasih <\/strong>(1993) achieved her Bachelor Degree of International Relations study from Paramadina University. She is currently an active member of Research and Development program at Forum Lenteng. She participates in Diorama project by AKUMASSA and in a film workshop by Forum Lenteng \u2013 Milisi Filem. She is also a member of Koperasi Riset Purusha.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8126″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1532971795060{margin-bottom: 0px !important;}”]Dhuha Ramadhani<\/strong> (1995) adalah lulusan Kriminologi, Fakultas Ilmu Sosial dan Ilmu Politik, Universitas Indonesia.Ia merupakan anggota Forum Lenteng dan bertanggung jawab sebagai pengurus harian program AKUMASSA. Tahun 2017, ia menjadi salah satu partisipan Akademi ARKIPEL, angkatan pertama, untuk kategori penulis\/kritikus film. Kini, ia juga merupakan partisipan kolektif Milisifilem yang berfokus pada estetika pembuatan filem.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1532971817536{margin-bottom: 0px !important;}”]Dhuha Ramadhani<\/strong> (1995) graduates from the Department of Criminology, Faculty of Social and Political Sciences, University of Indonesia. He is member of Forum Lenteng as one of the participants for AKUMASSA program. In 2017, he became one of the ARKIPEL Academy\u2019s participants, the first batch, for category of writer\/ film critic. Now, he is also the participant of Milisifilem collective focusing of the aesthetic of filmmaking.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

This situation and condition that makes it easier to record, watch, or being watched put those acts inside a boundary, which is accessible and connected in two ways. <\/p>\n","protected":false},"author":1,"featured_media":8149,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"Six Indonesian Films Will Be Shown at the Program of \u201cCandarawala \u2013 local landscape of now\u201d","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[479,347],"tags":[480,303,481],"jetpack_publicize_connections":[],"yoast_head":"\nCandarawala - "local landscape of now\u201d - 2018 — ARKIPEL<\/title>\n<meta name=\"description\" content=\"Perkembangan teknologi digital yang masif dan cepat memungkinkan setiap orang sekarang menjadi produsen sekaligus penonton audio-visual. 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