{"id":845,"date":"2013-07-21T20:36:51","date_gmt":"2013-07-21T13:36:51","guid":{"rendered":"http:\/\/arkipel.org\/?page_id=845"},"modified":"2017-08-08T04:15:15","modified_gmt":"2017-08-07T21:15:15","slug":"sinematik-representasi-modernisasi-kota","status":"publish","type":"post","link":"https:\/\/arkipel.org\/sinematik-representasi-modernisasi-kota\/","title":{"rendered":"Sinematik Representasi Modernisasi Kota"},"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

Sinematik Representasi Modernisasi Kota<\/h3>\n

B<\/span>erangkat dengan satu kutipan dari filem Helsinki Forever<\/i>: \u201cIn 1915, there were 19 divorces in Helsinki. In 1990, the number was 2000\u201d<\/i>. Perubahan semacam itu sebagai salah satu ciri kota modern yaitu adanya wanita\u2013wanita karir yang berpendidikan tinggi dan berwawasan luas. Oleh karena itu tingkat kemandirian mereka sudah begitu tinggi, dan tingkat ketergantungan mereka terhadap pria pun semakin menurun. Dari situ, saya akan menarik satu narasi yaitu Modernisasi.<\/p>\n

Teori modernisasi sebenarnya merupakan teori perubahan sosial yang dibangun di atas landasan kapitalisme, teori evolusionisme dan teori fungsionalisme. Mengingat bahwa teori modernisasi dibangun di atas landasan kapitalisme, maka norma yang mendukung modernisasi jelas bernuansa kapitalistik yang diletakkan di atas sistem persaingan atau kompetisi bebas.<\/p>\n

Di Helsinki Forever<\/i> (Peter Von Bagh, 2008), filem menjadi saksi yang baik dalam menceritakan kembali keadaan sosial saat itu. Salah satunya, mengambil footage<\/i> adegan-adegan dari filem karya Edvin Laine berjudul Ristikon Varjossa<\/i>, yang menggambarkan sebuah pabrik yang\u00a0 menjadi \u2018harapan\u2019 bagi para pengangguran sehingga mereka berbondong-bondong mencari pekerjaan\u00a0 di sana. Atau di Filemnya yang lain berjudul Pikku-Matti Maailmalla<\/i> (Edvin Laine,1947), sebuah bidikan yang menggambarkan beberapa jalur rel kereta dari beberapa daerah melebur menjadi satu rel yang menuju Kota Helsinki, langsung berganti ke bidikan selanjutnya, masyarakat urban yang berdesakan turun dari kereta hendak mengadu nasibnya di kota. Untuk memulihkan kembali kondisi ekonominya maka negara-negara yang terlibat melakukan konsolidasi. Hasilnya adalah adanya perubahan dalam hubungan antarnegara di bidang sosial, ekonomi, dan politik.<\/p>\n

Peter Hutton menghadirkan industri modern itu melalui karyanya Lodz Syhmpony<\/i> (1993). Melalui filem, Peter Hutton mampu merepresentasi\u00a0 modernitas yang hadir di\u00a0 sebuah kota Industri Lodz, Polandia pada abad 19. Hutton menggambarkan perubahan ke modernitas itu dengan menyisipkan satu gambar seorang laki-laki yang bekerja menggarap sebuah lahan yang luas sebagai antitesa di tengah-tengah gambar ruang-ruang kota yang kosong dengan gambar-gambar pabrik yang megah, alat-alat kerja industri seperti roda mesin dan mesin tenun, juga jalur trem.<\/p>\n

Keberhasilan penerapan teori modernisasi di negara-negara Barat dalam pertumbuhannya di masa lalu, di negara-negara Dunia Ketiga justru menimbulkan dominannya peran negara sehingga menciptakan pemerintah yang dominan, yang akhirnya menempatkan pembangunan sebagai ideologi. Akibatnya, terjadi kerusakan lingkungan serta terjadinya kesenjangan sosial dan ekonomi yang begitu mencolok. Fenomenanya dapat kita lihat dalam sebuah filem Dokumenter pendek berjudul The Island of Flower<\/i> (Jorge Furtado, 1989). Terdapat gambar-gambar kontras antara masyarakat yang makan di restoran-restoran kapital dengan masyarakat lain yang berebut tomat busuk di sebuah tempat pembuangan sampah yang luas. Lalu proses bagaimana tomat tumbuh, babi yang diberi makan dan orang miskin yang dibiarkan menderita karena \u2018mereka tidak memiliki uang, dan mereka tidak memiliki pemilik\u2019, adalah contoh timbulnya kelompok-kelompok sosial tertentu, adanya perbedaan kelas berdasarkan tinggi rendahnya pendidikan yang ditempuh, budaya konsumerisme, dan kelompok masyarakat yang berhasil dalam bidangnya<\/p>\n

Ideologi pembangunan di kota-kota juga akhirnya menyisakan masalah. Ruang-ruang kebutuhan publik harus dikorbankan demi mewujudkan kota metropolitan yang megah. Di City Scene<\/i>, gambar seorang laki-laki yang berolahraga di sebuah lahan kecil yang dikelilingi bangunan-bangunan tinggi, sambil melempar-lempar puing bangunan yang berserakan di lahan itu. Pindah ke adegan sebuah bangunan tua yang dirubuhkan untuk diganti dengan bangunan yang sesuai dengan ideologi pemerintah. Gambar itu menimbulkan sebuah tebak-tebakan sinis berapa lama lagi kira-kira lahan itu akan bertahan?<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”true” align=”left” margin_bottom=”0″]\n

Cinematic Representation of City\u2019s\u00a0Modernization<\/strong><\/span><\/h3>\n

S<\/span>et off with a quote from the movie Helsinki, Forever<\/i>: “In 1915, there were 19 divorces in Helsinki. In 1990, the number was 2000”. Such change is one of charactheristics of a modern city\u2014career women whom are highly educated and broad-minded. Therefore the level of their independence were high, and their dependence on men were also decreased. From there, I will draw a narration which is modernization.<\/span><\/p>\n

The theory of modernization is actually a theory of social change which builds on the foundation of capitalism, the theory of evolutionism and functionalism. Considering that the theory of modernization is built on the foundation of capitalism, then the norms that support the modernization clearly have capitalistic nuance and placed on competitive system or free-market competition.<\/span><\/p>\n

Helsinki, Forever<\/i> (Peter von Bagh, 2008) becomes a good witness in retelling current social situation. There is a footage taken from Edvin Laine\u2019s film Ristikon Varjossa<\/i> which describes a factory that has become a hope for the unemployed so they drove in to find a job there. Another footage from Pikku-Matti Maailmalla<\/i> (Edvin Laine, 1947), where there is one shot depicting railroads from several areas merge into one rail to behead the city of Helsinki. The next shot directly switch to a crowd of urban people getting off a train to improve their life in the city.<\/span><\/p>\n

Peter Hutton presents the modern industry through his work, Lodz Syhmpony<\/i> (1993). Peter Hutton represents the modernity in an industrial town Lodz, Poland in the 19th<\/sup> century. Peter describes the changes towards modernity by inserting a picture of a man working on a large area as an antithesis to the images of an empty city which has magnificent plants, industrial machineries such as wheel looms, and a trem line.<\/span><\/p>\n

The success of implying theory of modernization in Western countries on Third World countries would lead to domination of the state\u2019s role so as to create a dominant government, which finally put development as ideology. Environmental damage happened and conspicuous socio-economic discrepancy as the results. Those phenomenons could be seen in the short documentary titled The Island of Flowers<\/i> (Jorge Furtado, 1989). Images were contrasted between people who eat in restaurants and other who fights over rotten tomatoes in a large landfills. Then followed by process of how to grow tomatoes, pigs were fed and the poor are left to suffer because \u2018they do not have money, and they aren\u2019t owned by anyone\u2019. Those are examples of the emergence of certain social groups, class difference based on level of education, the culture of consumerism , and people who are successful in their fields.<\/span><\/p>\n

The ideology of development in the cities also ends up leaving some problems. The needs for public space have to be sacrificed in order to \u2018create\u2019 a majestic metropolis. In City Scene<\/i> (2004), Zhao Liang portrays an image of a man who is working in a small area surrounded by tall buildings while throwing ruins from a construction site. Old building was demolished to be replaced with a building in accordance with the government program. The scene raises a cynical question\u2014how long the land will last?<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][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\/2015\/05\/helsinki_ikuisesti.jpg” image_width=”800″ image_height=”350″ crop=”true” svg=”false” lightbox=”false” frame_style=”simple” target=”_self” title=”Helsinki, Ikuisesti <\/i><\/b>(Helsinki, Forever)<\/i>” desc=”Peter Von Bagh (Finland)” 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″]\n

Country of Production:\u00a0 Finland
\n<\/b>Language:<\/i> Finnish
\n<\/b>Subtitles: <\/i>English
\n<\/b>74 min<\/b>, Color & B\/W<\/i><\/b>, 2008<\/b><\/p>\n

–<\/p>\n

supported by: <\/small> <\/i>the filmmaker<\/i><\/b><\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]\n[mk_fancy_title tag_name=”h3″ style=”true” color=”#393836″ size=”14″ font_weight=”inherit” font_style=”inhert” txt_transform=”uppercase” letter_spacing=”0″ margin_top=”20″ margin_bottom=”20″ font_family=”none” align=”left”]Synopsis[\/mk_fancy_title]\n[vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”false” align=”left” margin_bottom=”40″]Di Helsinki, Forever<\/i>, filem menjadi saksi yang baik dalam menceritakan kembali keadaan sosial saat itu. Salah satunya dengan mengambil footage<\/i> adegan dari filem Edvin Laine berjudul Ristikon Varjossa <\/i>di mana sebuah pabrik digambarkan\u00a0 menjadi \u2018harapan\u2019 para pengangguran sehingga mereka berbondong-bondong mencari pekerjaan kesana. Atau ada juga footage dari filem lain berjudul Pikku-Matti Maailmalla<\/i> (Edvin Laine,1947), satu shot menggambarkan rel-rel kereta dari beberapa daerah melebur menjadi satu menuju kota Helsinki dan langsung berganti ke shot selanjutnya yaitu masyarakat urban yang berdesakan turun dari kereta hendak mengadu nasibnya di kota.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”false” align=”left” margin_bottom=”0″]Helsinki, Forever <\/i>becomes a good witness in retelling current social situation. There is a footage taken from Edvin Laine\u2019s filem Ristikon Varjossa<\/i> which describes a factory that has become a hope for the unemployed so they drove in to find a job there. Another footage from Pikku-Matti Maailmalla <\/i>(Edvin Laine, 1947), where there is one shot depicting railroads from several areas merge into one rail to behead the city of Helsinki. The next shot directly switch to a crowd of urban people getting off a train to improve their life in the city.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n[vc_row_inner][vc_column_inner width=”2\/3″][mk_image src=”http:\/\/arkipel.org\/wp-content\/uploads\/2013\/07\/13_City-Scene-2004_Zhao-Liang-1.jpeg” image_width=”800″ image_height=”350″ crop=”true” svg=”false” lightbox=”false” frame_style=”simple” target=”_self” title=”Cheng Shi Feng Jing <\/i><\/b>(City Scene)<\/i>” desc=”Zhao Liang (China)” 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″]\nCountry of Production:\u00a0 China
\n<\/b>Language:<\/i> Mandarin
\n<\/b>Subtitles: <\/i>English
\n<\/b>23 min<\/b>, Color<\/i><\/b>, 2004<\/b><\/p>\n

–<\/p>\n

supported by<\/small><\/span> <\/i><\/span>the filmmaker
\n<\/i><\/b><\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]\n[mk_fancy_title tag_name=”h3″ style=”true” color=”#393836″ size=”14″ font_weight=”inherit” font_style=”inhert” txt_transform=”uppercase” letter_spacing=”0″ margin_top=”20″ margin_bottom=”20″ font_family=”none” align=”left”]Synopsis[\/mk_fancy_title]\n[vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”false” align=”left” margin_bottom=”40″]\n

Ideologi pembangunan di kota-kota juga akhirnya menyisakan masalah. Kebutuhan akan ruang publik harus dikorbankan demi mewujudkan kota metropolitan yang megah. Di City Scene<\/i>, Zhao Liang menggambarkan seorang laki-laki yang berolahraga di sebuah lahan kecil yang dikelilingi bangunan-bangunan tinggi, sambil melempar-lempar puing bangunan yang berserakan di lahan itu. Pindah ke adegan sebuah bangunan yang tua yang dirubuhkan untuk diganti dengan bangunan yang sesuai dengan ideologi pemerintah. Gambar itu menimbulkan sebuah tebak-tebakan sinis berapa lama lagi kira-kira lahan itu akan bertahan?[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”false” align=”left” margin_bottom=”0″]The ideology of development in the cities also ends up leaving some problems. The needs for public space have to be sacrificed in order to \u2018create\u2019 a majestic metropolis. In City Scene<\/i>, Zhao Liang portrays an image of a man who is working in a small area surrounded by tall buildings while throwing ruins from a construction site. Old building was demolished to be replaced with a building in accordance with the government program. The scene raises a cynical question\u2014how long the land will last?<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]\n[vc_row_inner][vc_column_inner width=”2\/3″][mk_image src=”http:\/\/arkipel.org\/wp-content\/uploads\/2013\/07\/Lodz-Symphony_Peter-Hutton_screenshot.jpeg” image_width=”800″ image_height=”350″ crop=”true” svg=”false” lightbox=”false” frame_style=”simple” target=”_self” title=”Lodz Symphony<\/i><\/b>” desc=”Peter Hutton (USA)” 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″]\n

Country of Production:\u00a0<\/i> USA
\n<\/b>Language:<\/i> No Dialogue
\n<\/b>Subtitles: <\/i>No Subtitles
\n<\/b>20 min<\/b>, B\/W<\/i><\/b>, 1993<\/b><\/p>\n

–<\/p>\n

supported by<\/small><\/span> <\/i><\/span>the filmmaker
\n<\/i><\/b>co-presented with<\/small> <\/i>Canyon Cinema<\/i><\/b><\/span>
\n<\/i><\/b><\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]\n[mk_fancy_title tag_name=”h3″ style=”true” color=”#393836″ size=”14″ font_weight=”inherit” font_style=”inhert” txt_transform=”uppercase” letter_spacing=”0″ margin_top=”20″ margin_bottom=”20″ font_family=”none” align=”left”]Synopsis[\/mk_fancy_title]\n[vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”false” align=”left” margin_bottom=”40″]Peter Hutton menghadirkan industri modern itu melalui karyanya Lodz Syhmpony<\/i>, yang merepresentasikan modernitas yang hadir di\u00a0 sebuah kota industri Lodz, Polandia pada abad ke-19. Filem ini menggambarkan perubahan ke modernitas itu dengan menyisipkan\u00a0 satu gambar seorang laki-laki yang bekerja menggarap sebuah lahan yang luas sebagai antitesa di tengah-tengah gambar ruang-ruang kota yang kosong dengan gambar-gambar pabrik yang megah, alat-alat kerja industri seperti roda mesin dan mesin tenun, juga jalur trem.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”false” align=”left” margin_bottom=”0″]Peter Hutton presents the modern industry through his work Lodz Syhmpony<\/i>. The film represents the modernity in an industrial town Lodz, Poland in the 19th century. Peter describes the changes towards modernity by inserting a picture of a man working on a large area as an antithesis to the images of an empty city which has magnificent plants, industrial machineries such as wheel looms, and a trem line.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]\n[vc_row_inner][vc_column_inner width=”2\/3″][mk_image src=”http:\/\/arkipel.org\/wp-content\/uploads\/2013\/07\/island-of-flowers_Jorge-Furtado_screenshot.jpeg” image_width=”800″ image_height=”350″ crop=”true” svg=”false” lightbox=”false” frame_style=”simple” target=”_self” title=”Ilha das Flores <\/i><\/b>(Island of Flowers)<\/i>” desc=”Jorge Furtado (Brazil)” 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″]\n

Country of Production:\u00a0<\/i> Finland
\n<\/b>Language:<\/i> Portuguese
\n<\/b>Subtitles: <\/i>English
\n<\/b>13 min<\/b>, Color<\/i><\/b>, 1989<\/b><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]\n[mk_fancy_title tag_name=”h3″ style=”true” color=”#393836″ size=”14″ font_weight=”inherit” font_style=”inhert” txt_transform=”uppercase” letter_spacing=”0″ margin_top=”20″ margin_bottom=”20″ font_family=”none” align=”left”]Synopsis[\/mk_fancy_title]\n[vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”false” align=”left” margin_bottom=”40″]Gambar-gambar kontras antara masyarakat yang makan di restoran-restoran kapital dengan masyarakat lain yang berebut tomat busuk di sebuah tempat pembuangan sampah yang luas. Lalu diikuti dengan proses bagaimana tomat tumbuh, babi yang diberi makan & orang miskin yang dibiarkan menderita karena \u2018mereka tidak memiliki uang, dan mereka tidak memiliki pemilik\u2019 adalah contoh timbulnya kelompok-kelompok sosial tertentu, adanya perbedaan kelas berdasarkan tinggi rendahnya pendidikan yang ditempuh, budaya konsumerisme, dan kelompok masyarakat yang berhasil dalam bidangnya.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”false” align=”left” margin_bottom=”0″]Images were contrasted between people who eat in restaurants and other who fights over rotten tomatoes in a large landfills. Then followed by process of how to grow tomatoes, pigs were fed and the poor are left to suffer because \u2018they do not have money, and they aren\u2019t owned by anyone\u2019. Those are examples of the emergence of certain social groups, class difference based on level of education, the culture of consumerism , and people who are successful in their fields.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]\n","protected":false},"excerpt":{"rendered":"

The ideology of development in the cities also ends up leaving some problems. The needs for public space have to be sacrificed in order to \u2018create\u2019 a majestic metropolis.<\/p>\n","protected":false},"author":5,"featured_media":3713,"comment_status":"closed","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":[361,345],"tags":[12,279],"jetpack_publicize_connections":[],"yoast_head":"\nSinematik Representasi Modernisasi Kota — 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\/sinematik-representasi-modernisasi-kota\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sinematik Representasi Modernisasi Kota — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"The ideology of development in the cities also ends up leaving some problems. 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