{"id":860,"date":"2013-07-21T20:45:42","date_gmt":"2013-07-21T13:45:42","guid":{"rendered":"http:\/\/arkipel.org\/?page_id=860"},"modified":"2017-08-08T04:14:58","modified_gmt":"2017-08-07T21:14:58","slug":"menggugat-konstruksi-sejarah","status":"publish","type":"post","link":"https:\/\/arkipel.org\/menggugat-konstruksi-sejarah\/","title":{"rendered":"Menggugat Konstruksi Sejarah"},"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

Menggugat Konstruksi Sejarah<\/h3>\n

D<\/span>i pertengahan tahun 90-an, sinema Indonesia mati. Distribusi filem yang beredar di Indonesia dikuasai oleh konglomerasi yang menyalurkan hanya filem dari Hollywood saja. Seperti apa yang telah terjadi dengan TV, sinema arus utama juga sebuah alat kekuasaan, walaupun saat ini dia tidak lagi menjadi alat kekuasaan utama layaknya TV. Namun kita semua mengetahui sesuatu hal bahwa jika media arus utama tersebut tidak memiliki tandingan, dia akan menguasai persepsi dan budaya masyarakat secara massif. Dan hal itu terjadi pada sinema Indonesia yang sekarang sedang bangkit kembali.<\/p>\n

Dalam presentasinya di Forum Lenteng pada tahun 2010, Jean-Gabriel P\u00e9riot dilempari pertanyaan oleh salah satu peserta diskusi tentang apakah dia selalu menggunakan kekuatan arsip dalam berkarya. Singkat saja dia menjawab, \u201cBisa jadi, ya, tapi saya tidak pernah percaya pada arsip. Karena arsip pun adalah sebuah konstruksi.\u201d<\/p>\n

Saya memahami pernyataan ini sebagai sebuah penunjukkan bahwa peristiwa yang terjadi di masa lampau itu hanya milik sang waktu. Waktu berganti, maka peristiwa tersebut pun lenyap. Orang-orang yang menyayangkan berlalunya waktulah, atau, anggaplah sadar dokumentasi, yang mendokumentasikan peristiwa, membekukannya dalam sebuah medium. Namun, dari pernyataan P\u00e9riot tadi, kita tentu sadar bahwa kebutuhan pendokumentasian pasti didasari oleh bebarapa hal yang kemudian menjadi konstruksi dasar dokumen. Sebuah konstruksi dokumen pasti memiliki kepentingan yang bisa kita baca sebagai polemik kekuasaan. Maka P\u00e9riot, dalam hal ini kita bicara tentang karyanya yang berjudul 200000 Phantoms<\/i> (Prancis, 2007), tidak memutarbalik dan melawan dengan keras sebuah sistem nilai yang berkuasa melalui dokumen awal yang digunakannya, melainkan menggubah karyanya dan meletakkan dokumen foto-foto Kubah Genbaku di Hiroshima dalam kenyataan yang puitik, lewat sinema.<\/p>\n

Dalam filem Zoo<\/i> (1962), Bert Haanstra, sutradara asal Belanda. Sistem perkebun-binatangan dalam sebuah negara tidak memposisikan monyet untuk menertawakan manusia seperti yang kita lihat dalam filem ini. Peluang itu yang dijadikan permainan oleh si sutradara dalam memanusiakan binatang, sehingga mereka pun bisa duduk bertepuk tangan menonton sirkus manusia di Amsterdam.<\/p>\n

Sedangkan Vampire Of Poverty (Agarrando Pueblo<\/i>, 1977) karya Carlos Mayolo dan Luis Ospina dari Columbia jelas berdiri tegak lurus, berhadapan dengan kuasa pasar yang melanda dunia hiburan di daratan Eropa yang mengonsumsi apapun yang berasal dari Amerika Latin. Kehidupan sosial ekonomi dan kemiskinan negara-negara berkembang di Selatan Amerika tersebut menjadi barang dagangan dan diekspos secara besar-besaran. Ini merupakan sebuah kritik tajam terhadap Misery Porn<\/i>, Dilakukan dengan cara yang gamblang dan humoris, karena sinema memiliki kemampuan untuk itu.<\/p>\n

Filem fiksi yang dilakukan dengan pendekatan dokumenter tentang para pembuat filem yang mengeksploitasi kesengsaraan untuk keperluan komersil ini memberi sketsa kritik tentang \u2018porn misery<\/i>\u2019 (eksploitasi kesengsaraan untuk tujuan komersil) dan para oportunis\u00a0 yang membuat dokumenter yang tidak jujur tentang kehidupan sosial-politik di negara-negara berkembang untuk dijual ke stasiun televisi Eropa dan untuk memenangkan penghargaan festival.<\/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

Challenging the Construction of History<\/strong><\/span><\/h3>\n

In the mid 90s, Indonesian cinema had collapsed. Film Distribution in Indonesia wass dominated by big institution which only distributed Hollywood movies. Just like what has been happening with TV, mainstream cinema has been also used as a tool of power, although this time it is no longer used as a major power equipment like TV. But we all knew something that if the mainstream media did\u2019t have a counter, it would dominate people perception and culture on a massive scale. And it happened to Indonesian cinema which is now being revived.<\/span><\/p>\n

In his presentation at the Forum Lenteng in 2010, Jean-Gabriel P\u00e9riot was questioned by one of the participants of the discussion about whether he always uses archives in the workforce or not. Briefly he replied, \u201cCould be, yes, but I never believe in the archives. Because the archive also is a construction.”<\/span><\/p>\n

I understood that this statement gave the intention that the events that had happened in the past only belonged to the time.Time has changed, then the event has gone. People who lamented the passing of time, or, supposedly aware of documentation, who documented events, froze them in a medium. However, from P\u00e9riot\u2019s statement earlier, we are certainly aware that the documentation needs definitely based on several things that later become the basis of construction documents. A construction documents certainly have an interest that we can read as a polemic of power. Therefore, P\u00e9riot, in this case we are talking about his work of 200000 Phantoms<\/i> (French\/2007), instead of twisted and fought hard a powerful value system through the use of earlier documents,\u00a0 rather composed his work and put the document of Genbaku Dome photographs in Hiroshima, in the poetic realm, through cinema.<\/span><\/p>\n

The movie\u00a0Zoo<\/i> (1962), by Bert Haanstra, a Dutch director. Monkeys were not being positioned to laugh at human in\u00a0 \u2018zoo\u2019 system in a country as we saw in this film. The director used that opportunity as a game to humanize animals, so they could sit and applaud human circus in Amsterdam.<\/span><\/p>\n

Vampire Of Poverty\/AgarrandoPueblo<\/i> (1977) by Carlos Mayolo and Luis Ospina of Columbia, clearly stood upright, dealing with market power that swept the world of entertainment in mainland Europe who ate everything that came from Latin America. Socio-economic life and poverty of developing countries in South America became a commodity and were massively exposed. This was a sharp critique to the Misery Porn, was done with a vivid and humorous way, because the cinema has the ability to do so.<\/span><\/p>\n

This fictional film that was made with a documentary approach of the film makers who exploited misery, for the purposes of commercial, and the opportunists who made dishonest documentary about the socio-political life in developing countries to be sold to European TV station and for the award-winning festival, gave a sketch of criticism about the \u2018misery porn\u2019 (woes exploitation for commercial purposes).<\/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\/2013\/07\/Nijuman-no-borei-200000-Phantoms-2007_Jean-Gabriel-Periot.jpeg” image_width=”800″ image_height=”350″ crop=”true” svg=”false” lightbox=”false” frame_style=”simple” target=”_self” title=”Nijuman No Borei <\/i><\/b>(200000 Phantoms)<\/i>” desc=”Jean-Gabriel P\u00e9riot (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″]\n

<\/i>Country of Production:\u00a0 France
\n<\/b>Language:<\/i> No Dialogue
\n<\/b>Subtitles: <\/i>No Subtitle
\n<\/b>11 min<\/b>, Color & B\/W<\/i><\/b>, 2007<\/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″]P\u00e9riot, dalam hal ini kita bicara tentang karyanya yang berjudul 200000 Phantoms<\/i>, tidak memutarbalik dan melawan dengan keras sebuah sistem nilai yang berkuasa melalui dokumen awal yang digunakannya, melainkan menggubah karyanya dan meletakkan dokumen foto-foto Kubah Genbaku di Hiroshima dalam kenyataan yang puitis, lewat sinema.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”false” align=”left” margin_bottom=”0″]P\u00e9riot in 200000 Phantoms<\/i> was not twisting and fighting hardly a powerful value system through the usage of documents from the past, but rather composed his work by putting photographs of Genbaku Dome in Hiroshima in reality poetically through cinema.<\/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\/Zoo_Bert-Haanstra.jpeg” image_width=”800″ image_height=”350″ crop=”true” svg=”false” lightbox=”false” frame_style=”simple” target=”_self” title=”Zoo<\/i><\/b>” desc=”Bert Haanstra (The Netherlands)” 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> The Netherlands
\n<\/b>Language:<\/i> No Dialogue
\n<\/b>Subtitles: <\/i>No Subtitle
\n<\/b>10 min<\/b>, B\/W<\/i><\/b>, 1962<\/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″]\n

Dalam filem Zoo<\/i>, sistem perkebunbinatangan dalam sebuah negara tidak memposisikan monyet untuk menertawakan manusia seperti yang kita lihat dalam filem ini. Peluang itu yang dijadikan permainan oleh si sutradara dalam memanusiakan binatang, sehingga mereka pun bisa duduk bertepuk tangan menonton sirkus manusia di Amsterdam.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”false” align=”left” margin_bottom=”0″]Zoo<\/i>, a monkey is not positioned to laugh at human in the system of a zoo in a country, as we see in this filem. That opportunity is utilized as a game by the filemmaker to humanize the animals, so they are now able to sit and clap while watching a human circus in Amsterdam.<\/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\/2015\/05\/7prS51wjs2EPkFmjCHdhfkTNH7t.jpg” image_width=”800″ image_height=”350″ crop=”true” svg=”false” lightbox=”false” frame_style=”simple” target=”_self” title=”Agarrando Pueblo <\/i><\/b>(Vampyre of Poverty)<\/i>” desc=”Luis Ospina & Carlos Mayolo (Colombia)” 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> Spain
\n<\/b>Language:<\/i> Spanish
\n<\/b>Subtitles: <\/i>English
\n<\/b>28 min<\/b>, Color<\/i><\/b>, 1977<\/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″]Filem ini jelas berdiri tegak lurus, berhadapan dengan kuasa pasar yang melanda dunia hiburan di daratan Eropa dan mengonsumsi apapun yang berasal dari Amerika Latin. Kehidupan sosial ekonomi dan kemiskinan negara-negara berkembang di Selatan Amerika tersebut menjadi barang dagangan dan diekspos secara besar-besaran. Ini merupakan sebuah kritik tajam terhadap Misery Porn, dilakukan dengan cara yang gamblang dan humoris, karena sinema memiliki otoritas untuk itu.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”false” align=”left” margin_bottom=”0″]This film clearly standing upright, dealing with market power that swept the world of entertainment in mainland Europe, and consume everything that comes from Latin America. The socio-economic and poverty of developing countries in South America are treated as merchandises and massively exposed. This is a sharp critique of the Misery Porn, done vividly and humorously, because cinema has an authority to do that.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]\n","protected":false},"excerpt":{"rendered":"

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Seniman, penulis, sutradara filem, pendiri Forum Lenteng dan koordinator Pemberdayaan Media, akumassa. Pernah kuliah Jurnalistik di Institut Ilmu Sosial dan Politik (IISIP) Jakarta dan lulus Seni Murni di Institut Kesenian Jakarta. Pimpinan Redaksi www.akumassa.org (2008-2013). Di ARKIPEL sebagai Kurator Program dan Juri. Born in Balikpapan 1973. Artist, writer, filem director, co-founder of Forum Lenteng and Coordinator of Media Literacy, akumassa. Studied Journalism at Institute of Social and Political Science Jakarta and Fine Arts graduated at Jakarta Institute of Arts (IKJ). Chief Editor www.akumassa.org (2008-2013). 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