O<\/span>bsesi sinema menjangkau \u2018yang nyata\u2019 (the real<\/i>) bukanlah persoalan baru. Sejak fotografi ditemukan hingga filem Lumi\u00e8re Bersaudara ditayangkan kepada publik, teknologi reproduksi kenyataan itu telah dituduh merebut \u2018yang nyata\u2019 (the real<\/i>). Apalagi ketika filem bicara lahir, sinema mencapai polemiknya terhadap usaha-usaha mencapai \u2018yang nyata\u2019 sampai lahirnya genre realisme pada sinema usai Perang Dunia I. Sinema berusaha sekuat tenaga dengan berbagai macam moda produksi hingga bahasa estetika untuk menghadirkan \u2018yang nyata\u2019 apa adanya dengan tidak menjadikan \u2018kenyataan\u2019 (reality<\/i>) hanya sebagai sarana. Pada Neo Realisme Italia, Andr\u00e9 Bazin mengatakan bahwa, \u201cTak satu pun [tokoh] yang dipersempit menjadi keadaan atau simbol sehingga penonton bisa membenci mereka tanpa harus bersusah payah memahami terlebih dahulu ketaksaan dunia manusia yang ditampilkan.\u201d Neo Realisme Italia lebih ke arah realitas sebagai sebuah impian, atau sesuatu yang di luar norma yang dominan. Di sisi lain, perkembangan genre<\/i> dokumenter yang dikatakan \u2018lebih mendekati\u2019 pada \u2018yang nyata\u2019 mencapai titik kejenuhan estetika di masa paska Perang Dingin hingga muncul pernyataan bahwa fiksi dikatakan sebagai genre<\/i> yang paling mendekati \u2018yang nyata\u2019, melalui jargonnya \u201cberdasarkan kisah nyata\u201d. Jargon ini kemudian mendiamkan kita pada sebuah situasi tentang kehadiran \u2018perspektif teknologi\u2019 dan juga sosok yang merujuk pada kepentingan si perekam di belakang teknologi itu, sekalipun dalam rekaman dokumenter. Dari sinilah kita kemudian berhadapan dengan situasi tentang sebuah pergeseran \u2018yang nyata\u2019. Kita sedang mencurigai bahwa \u2018kenyataan\u2019 (reality<\/i>) yang kita alami di dunia ini sebenarnya adalah sebuah ilusi yang dikonstruksi. Lalu pertanyaan yang muncul kemudian, apakah sinema semakin menjauh dari \u2018yang nyata\u2019?<\/p>\n Dalam dua filem feature <\/i>dokumenter, Disorder <\/i>karya Huang Weikai dan Petition <\/i>karya Zhao Liang, kita dihadapkan pada bagaimana sinema berperan dalam menangkap \u2018yang nyata\u2019 (the real<\/i>). Moda produksi dan bahasa estetika \u2018kenyataan\u2019 (reality<\/i>) yang digunakan oleh Huang Weikai dan Zhao Liang berusaha mereduksi dan menghancurkan peran \u2018perspektif teknologi\u2019. Tentu saja hal ini tidak mungkin bisa dilakukan tanpa situasi sosial yang memadai. Dengan kata lain, situasi \u2018yang nyata\u2019 masyarakat Cina dewasa ini sangat mungkin mendorong bahasa estetika \u2018kenyataan\u2019 (reality<\/i>) dalam sebuah filem dokumenter.<\/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 Cinema obsession to reach \u2018the real\u2019 is not a new issue anymore. Since photography was invented and Lumi\u00e8re Brothers\u2019 movie was shown to the public, a technology to reproduce reality had been accused for seizing \u2018the real\u2019. Especially, when talking motion picture was born, cinema reached its polemic against the efforts to grab \u2018the real\u2019 until the birth of realism in cinema after World War I. Cinema bend over backwards through the variety production modes to aesthetics language to bring \u2018the real\u2019 as it is through not making \u2018reality\u2019 merely as a medium. In Italian Neorealism, Andre Bazin had said: \u201cNone of the [character] that are reduced to a state or a symbol so that the audience can hate them without having to bother to understand first the human ambiguity that is displayed.\u201d\u00a0 Italian Neorealism shows that reality represent a dream or something outside dominant norm. On the other hand, the development of documentary genre which can be said \u2018closer\u2019 to \u2018the real\u2019 reached saturation point of its aesthetics in the post-Cold War period until then appeared statement that fiction as a genre is closest to \u2018the real\u2019 through its jargon \u2018based on a true story\u2019. This jargon, then ignored yet lead us on a situation about the presence of \u2018technological perspective\u2019 and a figure refers to the man-behind-technology interest, even in the documentary record. From this, we are faced with the shift situation of \u2018the real\u2019. We are suspecting that our reality is an illusion that is actually constructed. A question arises then: is it cinema getting away from \u2018the real\u2019?<\/span><\/p>\n In the two documentary feature films, Disorder by Huang Weikai and Petition by Zhao Lian, we are faced on how cinema play a role in capturing \u2018the real\u2019. Modes of production and \u2018reality\u2019 aesthetic language, which used by Huang and Zhao Liang Weikai, try to reduce and destroy the role of \u2018technological perspective\u2019. Of course this could not be done without adequate social situations. In other words, \u2018the real\u2019 situation of Chinese society today is very likely encourage the aesthetics language of \u2018reality\u2019 in a documentary film.<\/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\/Disorder_Huang-Weikai_profile_screenshot.jpeg” image_width=”800″ image_height=”350″ crop=”true” svg=”false” lightbox=”false” frame_style=”simple” target=”_self” title=”Disorder <\/i><\/b>(Xianshi Shi Guoqu de Weilai)<\/i>” desc=”Huang Weikai (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<\/i> China Country of Production:\u00a0<\/i> China –<\/p>\n supported by<\/small><\/span> <\/i><\/span>the filmmaker Cinema obsession to reach \u2018the real\u2019 is not a new issue anymore. Since photography was invented and Lumi\u00e8re Brothers\u2019 movie was shown to the public, a technology to reproduce reality had been accused for seizing \u2018the real\u2019.<\/p>\n","protected":false},"author":105,"featured_media":3566,"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":"\nRealism Aesthetics vs Public Realism?<\/strong><\/span><\/h3>\n
\n<\/b>Language:<\/i> Mandarin
\n<\/b>Subtitles: <\/i>English
\n<\/b>58 min<\/b>, Color<\/i><\/b>, 2009<\/b>
\nsupported by:\u00a0<\/i>Icarus Films<\/i><\/b>
\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″]Huang Weikai menyelesaikan Disorder<\/i> di tahun 2009, setahun setelah Olimpiade 2008 sebagai pernyataan terbuka negara Cina tentang kelahiran negara kaya baru pada masyarakat internasional. Melalui footage-footage<\/i> temuan dari 26 insiden kekacauan sehari-hari, Huang Weikai membeberkan kenyataan masyarakat Cina di masa transisi itu, masa yang dikatakannya sebagai, \u201cDalam sebuah zaman kamera video surveillance berfungsi sebagai dokumenter dan gosip di internet mampu mengungguli rating sebagai berita utama, gagasan tragedi yang berputar ke tempat dan waktu yang baru.\u201d[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”false” align=”left” margin_bottom=”0″]Huang Weikai completed Disorder<\/i> in 2009, a year after the 2008 Olympics as a public statement about the birth of a new rich country, China, to international community. Huang Weikai exposes the reality of Chinese society in transition through footages found from 26 daily incidents. It is a period of time where, \u201cIn an age where surveillance videos serve as a kind of documentary and internet gossip supercedes mainstream news cycles, the idea of tragedy is spun into a new place and time.<\/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\/fabrika_sergei-loznitsa_screenshot.jpg” image_width=”800″ image_height=”350″ crop=”true” svg=”false” lightbox=”false” frame_style=”simple” target=”_self” title=”Petition<\/i><\/b>” 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″]\n
\n<\/b>Language:<\/i> Mandarin
\n<\/b>Subtitles: <\/i>English
\n<\/b>120 min<\/b>, Color<\/i><\/b>, 2009<\/b><\/p>\n
\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″]Petition,<\/i> karya Zhao Liang, mengangkat peristiwa pengajuan petisi yang banyak dilakukan oleh masyarakat kelas bawah di Cina. Tempat yang awalnya menjadi persinggahan untuk menunggu turunnya petisi dari pemerintah, telah berubah menjadi sebuah kampung yang berisi masyarakat yang telah menunggu bertahun-tahun turunnya petisi. Menjelang perayaan Olimpiade 2008, kampung itu pun akhirnya dibongkar secara paksa.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”false” align=”left” margin_bottom=”0″]Zhao Liang\u2019s Petition,<\/i> follows some low-class Chinese people filing a petition against the government whom evicted their houses to be replaced by sport stadium. It is also about a place which used to be a stopover for people waiting the result of the petition, and later turned into a village inhabited by those marginalized people. Ahead of the 2008 Olympic celebrations, the village was eventually dismantled by force.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]\n","protected":false},"excerpt":{"rendered":"