{"id":8359,"date":"2018-07-31T22:06:43","date_gmt":"2018-07-31T15:06:43","guid":{"rendered":"http:\/\/arkipel.org\/?p=8359"},"modified":"2018-08-01T03:29:25","modified_gmt":"2018-07-31T20:29:25","slug":"arkipel-homoludens-international-competition-06","status":"publish","type":"post","link":"https:\/\/arkipel.org\/arkipel-homoludens-international-competition-06\/","title":{"rendered":"International Competition – 06"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1533046340709{margin-bottom: 0px !important;}”]\n

Game and Rules<\/strong>
\n Permainan dan Peraturan<\/em><\/h1>\n

Host: Afrian Purnama<\/strong><\/p>\n

Monday, August 13, 2018 | 01:00 pm | Kineforum
\nWednesday, August 15, 2018 | 01:00 pm | Kineforum<\/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_1533046499166{margin-bottom: 0px !important;}”]\n

Piala Dunia tahun ini tidak hanya menghadirkan aksi tubuh-tubuh yang saling mengalahkan diri dan lawannya, tapi juga sebuah peraturan baru yang coba diperkenalkan oleh asosiasi sepak bola internasional FIFA. Penggunaan VAR (Video Assistant Referee) mencuri perhatian kita semua, baik penikmat sepak bola maupun para pemain itu sendiri. Di banyak momen krusial saat pertandingan berlangsung, perhatian kita justru tidak lagi pada bola dan pemainnya, tapi ke wasit yang berlari mondar-mandir dari tengah ke sisi lapangan untuk menyaksikan video, lalu mengulang sebuah kejadian genting sembari berinteraksi dengan pengawas video yang juga menyaksikan di tempat terpisah. Ada ketegangan yang berbeda ketika wasit melihat tayangan video itu, lalu menunggu hasil dari keputusan bedasarkan tayangan VAR tersebut. Singkatnya, VAR mengubah cara kita menikmati dan menonton pertandingan sepak bola.<\/p>\n

Alasan VAR dipergunakan sebenarnya sederhana, untuk membantu wasit melihat kembali momen yang abai dilihat oleh matanya dengan bantuan kamera yang terpasang di penjuru lapangan. Dengan demikian, ada kesempatan kedua bagi wasit untuk melihat apa yang terjadi di lapangan; lensa kamera menjadi kepanjangan dari mata wasit.<\/p>\n

Video dan sepak bola sudah berkerabat sejak awal pertengahan abad ke-20, saat pertandingan sepak bola mulai disiarkan di televisi\u2014sebagai media distribusi\u2014menjadikan sepak bola sebagai olahraga paling populer di seluruh dunia. Namun, baru kali ini video mengambil alih kenyataan, bahkan mengoreksi dan menciptakan aturan baru dari konstruksi permainan yang sudah ada sebelumnya. Bila melihat sepak bola sebagai kompetisi, maka kehadiran VAR menjadi penting sebagai pengadil yang menciptakan keputusan di saat genting. Namun, bila kita menganggap sepak bola sebagai sebentuk permainan, maka kehadiran VAR bisa menjadi petaka karena mengubah aturan main, merusak momentum pertandingan sehingga sepak bola tidak lagi murni permainan. Bahwa segala tragedi atas kelalaian wasit ketika mengadili itulah salah satu bagian paling manusiawi dari pertandingan sepak bola yang juga perlu dirayakan.<\/p>\n

Fenomena VAR adalah sedikit dari beberapa contoh yang bisa kita lihat untuk memahami kenyataan saat ini yang terbentuk dalam banyak dimensi. Media\u2014dalam hal ini medium gambar bergerak\u2014memberikan dimensi lain, bahkan terkadang, mengambil alih dan memiliki otoritas lebih dari kenyataan fisikal\u2014otoritas yang berarti menginterupsi, mengawasi, dan membuat aturan-aturan baru. Empat filem yang hadir dalam bingkaian ini menampilkan berbagai sisi kenyataan yang mana terhubung langsung oleh kenyataan fisiknya dengan menggunakan medium gambar bergerak. Sinema mampu digunakan oleh empat pembuat filem di sini untuk menampilkan baik kenyataan di luar frame yang terbayang dan tidak termediasikan, maupun dengan kenyataan di dalam frame yang dikontruksikan oleh berbagai aturan-aturan\u2014baik itu aturan estetika\u2014yang terkoneksi langsung dengan bagaimana teknologi kamera dioperasikan, juga aturan yang bersifat kultural serta nir-representasional.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533046489200{margin-bottom: 0px !important;}”]\n

The World Cup this year demonstrated not only bodies in the act of defeating one another, but also a new rule introduced by the international football association, FIFA. The use of VAR (Video Assistant Referee) stole the attention of all of us, both football fans and the players alike. In many crucial moments when matches were happening, our attention no longer went to the ball and the players, but to the referee running back and forth from the midfield to the side of the field to watch a video clip, replaying a crucial moment while communicating with a video supervisor who was watching it too in a separate place. There was a distinct tension as a referee was watching a clip, with all of us waiting for the result of the decision based on that VAR screening. In short, it changes our way of enjoying and watching a football match.\u00a0<\/span><\/p>\n

The reason for using VAR, in fact, is a simple matter, that is to help a referee re-watch a moment his eyesight missed by installing cameras all around the field. Thus, there is always a second chance for a referee to watch what is happening on the field; the camera lens becomes the extension of the referee\u2019s eyes.<\/span><\/p>\n

Video and football had become kins since the middle of the 20th century when television\u2014a distribution medium\u2014started to broadcast matches, making football the most popular sport in the world. However, if we would consider football as a game, VAR\u2019s presence could be a disaster as it would change the rule of the game, ruining a momentum of the match and so football would no longer be purely a game. All the tragedies resulted from a referee\u2019s failing in doing his job is one of the most human parts of <\/span>football game, which also deserves a celebration.<\/span><\/p>\n

The VAR phenomenon is one of a few examples we can see to understand that reality today made on multitude dimensions. Media\u2014the moving picture medium\u2014provides another dimension, sometimes even takes over, and has more authority than, physical reality\u2014one that interrupts, supervises and creates new rules. The four films in this segment present the various sides of reality that are directly connected by the physical reality through the medium of moving pictures. Cinema can be used by these filmmakers here to present the reality beyond the imagined and unmediated frame, and the reality inside the frame as constructed by various kinds of rules, both esthetically\u2014that directly connected to how camera technology operates\u2014and in cultural, non-representational ways.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner][\/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=”8237″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533046602078{margin-bottom: 0px !important;}”]\n

People Patterns<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Mark Schonagen<\/strong> (The Netherlands)
\nInternational Title<\/em>\u00a0\u00a0People Patterns<\/strong>
\nCountry of Production<\/em>\u00a0\u00a0The Netherlands<\/strong>
\nLanguage<\/em>\u00a0\u00a0–<\/strong>
\nSubtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

25 min, color, 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_1533047395087{margin-bottom: 0px !important;}”]\n

Lewat balik jendela ruangannya yang nyaman, yang berada beberapa lantai dari permukaan tanah, kamera bertindak seakan-akan lensa pengawas menangkap ragam pola perilaku kita dalam klasifikasi sosial di bawahnya. Interaksi dari kenyataan yang termediasikan ini memunculkan momen-momen jenaka serta refleksi atas disparitas kuasa sang pemilik teknologi ini.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533047406953{margin-bottom: 0px !important;}”]Through the window of one’s comfortable room, located several floors above the ground, the camera acts like a surveillance lens capturing every pattern of our behaviour in the social classification beneath it. The interaction of this mediated reality brings up witty moments and a reflection on the power disparity of the owner of this technology.<\/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=”8360″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533047212257{margin-bottom: 0px !important;}”]\n

Mark Schonagen (<\/b>1994) adalah pembuat film. Ia belajar Audiovisual Media di HKU University of Arts Utrecht dan tinggal di Amsterdam.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533047374882{margin-bottom: 0px !important;}”]\n

Mark Schonagen (1994 ) <\/b>is a filmmaker. He studies Audiovisual Media at the HKU University of the Arts Utrecht living in Amsterdam.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1533047135913-e6a59fe9-6f60″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8238″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533047516419{margin-bottom: 0px !important;}”]\n

Songs of Fortune<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Veronika Burger<\/strong> (Austria)
\nInternational Title<\/em>\u00a0\u00a0Songs of Fortune<\/strong>
\nCountry of Production<\/em>\u00a0\u00a0Austria<\/strong>
\nLanguage<\/em>\u00a0\u00a0German<\/strong>
\nSubtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

9 min, color, stereo, Digital, HD, 16:9, 2015[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533047531684{margin-bottom: 0px !important;}”]\n

Ode-ode perempuan, yang diselingi dengan narasi yang mengiringi bidikan di sebuah ruangan kosong. Konstelasi astrologi yang dinyanyikan tidak hanya mendiktekan apa yang manusia harus lakukan, namun juga memberikan konteks baru bagi ruang-ruang kosong tersebut.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533047544445{margin-bottom: 0px !important;}”]Ode of women, interrupted by narrative to accompany shots of an empty space in an empty room. The astrological constellation is sung not only to dictate what humans must do, but also to provide a new context for those empty spaces.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1533047136229-aa401776-2af0″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8361″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533047592145{margin-bottom: 0px !important;}”]\n

Veronika Burger<\/b> (1981) lahir di Wina, Austria. Saat ini ia tinggal dan bekerja di Wina, Austria.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533047631840{margin-bottom: 0px !important;}”]\n

Veronika Burger (1981)<\/b> was born in Vienna, Austria. Currently<\/span>\u00a0she lives and works in Vienna, Austria.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1533047145947-c8873a35-267d”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8236″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533047781805{margin-bottom: 0px !important;}”]\n

Awasarn Sound Man<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Sorayos Prapapan<\/strong> (Thailand)
\nInternational Title<\/em>\u00a0\u00a0Death of the Sound Man<\/strong>
\nCountry of Production<\/em>\u00a0\u00a0Thailand, Myanmar<\/strong>
\nLanguage<\/em>\u00a0\u00a0Thai<\/strong>
\nSubtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

16 min, color, stereo, HD, 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_1533047806496{margin-bottom: 0px !important;}”]\n

Kenyataan sinematik sering kali merujuk pada kenyataan visual yang terekam. Tidak sering kita membicarakan kepelikan produksi suara yang juga beroperasi seiring dengan visualisasi. Death of The Soundman<\/i> membongkar dua bilik kenyataan yang dihasilkannya secara parodikal, yang memuat kesadaran prosedural akan medium dan kelas, jauh berada di bawah permukaan.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533047823979{margin-bottom: 0px !important;}”]Cinematic reality often refers to the captured visual reality. It is not often that we discuss the complexity of sound production that operates along with visualization. Death of The Soundman dismantles its two realities parodically, containing procedural awareness on medium and class, far beneath the surface.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1533047146294-33a30fa5-1dca”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8362″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533047872863{margin-bottom: 0px !important;}”]\n

Sorayos Prapapan<\/b> (1986) lahir di Bangkok. Dia mulai bekerja di industri filem Thailand sebagai perekam suara dan seniman foley. Dia telah menyutradarai banyak filem pendek yang memenangkan penghargaan di negara asalnya dan ditampilkan di banyak festival filem internasional.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533047907724{margin-bottom: 0px !important;}”]\n

Sorayos Prapapan (1986)<\/b> was born in Bangkok. He started working in Thai\u00a0<\/span>film industry as a sound recordist and foley artist. He has directed many short films which won an award in his home country and were shown in many international film festivals.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1533047144141-bf49ac5d-43d8″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8239″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533048767996{margin-bottom: 0px !important;}”]\n

Loralir Sadhukatha<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Mukul Haloi<\/strong> (India)
\nInternational Title<\/em>\u00a0\u00a0Tales from our Childhood<\/strong>
\nCountry of Production<\/em>\u00a0\u00a0India<\/strong>
\nLanguage<\/em>\u00a0\u00a0Assamese<\/strong>
\nSubtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

68 min, color, mono, HDV, 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_1533048782757{margin-bottom: 0px !important;}”]\n

Filem ini membicarakan tentang pengalaman personal dan kolektif, tentang ingatan seorang teman dan mimpi atas nasionalisme yang berlandaskan pada kesamaan lokasi, etnik dan kultur. Kedua narasi kecil dan besar ini lantas berkelindan, dan membentuk kisah yang merefleksikan masa lalu dan masa depan.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533048792384{margin-bottom: 0px !important;}”]This film discusses the personal and collective experiences, about the memory of a friend and dream of nationalism based on the similarity of location, ethnicity and culture. These small and big narratives are interlinked and constructing a story reflecting the past and the future.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1533047144540-a6c1f1e4-8195″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8363″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533048855594{margin-bottom: 0px !important;}”]\n

Mukul Haloi <\/b>berasal dari Nalbari, Assam (India). Dia lulus dari Universitas Delhi jurusan Ilmu Politik. Saat ini ia adalah mahasiswa tahun terakhir di jurusan Film Direction, the Film and Television Institute of India, Pune. Film pendek terbarunya \u201cDays of Autumn\u201d mendapat penghargaan di banyak festival.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533048873703{margin-bottom: 0px !important;}”]\n

Mukul Haloi <\/b>is from Nalbari, Assam (India). He graduated from Delhi University in Political Science. He is currently a final year student of Film Direction at the Film and Television Institute of India, Pune. His recent short film \u201cDays of Autumn\u201d was appreciated at many festivals.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Host” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8364″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533049448025{margin-bottom: 0px !important;}”]Afrian Purnama\u00a0<\/strong>(Jakarta, 1989) adalah kritikus, kurator, dan pembuat filem, anggota Forum Lenteng, dan penulis utama di\u00a0Jurnal Footage<\/em>\u00a0(www.jurnalfootage.net)<\/a>. Lulus dari Jurusan Ilmu Komputer, Universitas Bina Nusantara, tahun 2013. Ia juga menjadi asisten kurator untuk Program Kultursinema di ARKIPEL 2018.<\/p>\n

Afrian Purnama\u00a0adalah salah satu anggota tim selektor ARKIPEL\u00a0homoludens<\/em>.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533053150184{margin-bottom: 0px !important;}”]Afrian Purnama\u00a0<\/strong>(Jakarta, 1989) is a filmmaker, critic, and curator, a member of Forum Lenteng and one of the main authors at\u00a0Jurnal Footage<\/em>\u00a0(www.jurnalfootage.net)<\/a>. He graduated Computer Science at the Universitas Bina Nusantara in 2013. He is also the assistant curator for Kultursinema Program at ARKIPEL 2018.<\/span><\/p>\n

Afrian Purnama is one of the selector members of the ARKIPEL\u00a0homoludens.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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