{"id":8809,"date":"2018-08-12T15:55:47","date_gmt":"2018-08-12T08:55:47","guid":{"rendered":"http:\/\/arkipel.org\/?p=8809"},"modified":"2018-08-12T15:55:47","modified_gmt":"2018-08-12T08:55:47","slug":"homoludens-the-power-of-language-of-cinema","status":"publish","type":"post","link":"https:\/\/arkipel.org\/homoludens-the-power-of-language-of-cinema\/","title":{"rendered":"The Power of Language in Cinema"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”CATATAN TENTANG KOMPETISI INTERNASIONAL 4″ css=”.vc_custom_1534063021868{margin-bottom: 0px !important;}”]\n

Kekuatan Bahasa dalam Sinema<\/strong><\/h2>\n

Saya percaya dengan kekuatan bahasa. Saya percaya dengan kekuatan kata-kata. Dalam pandangan subjektif saya, kata-kata dapat merubah sejarah, kata-kata dapat menjadi alat perjuangan baik negara maupun kelompok tertentu untuk merdeka. Lihat bagaimana Martin Luther King Jr. menggunakan kata-kata dalam perannya sebagai pemimpin gerakan hak sipil tahun 1954 di Amerika. Lihat bagaimana di negeri kita sendiri,\u00a0 pidato-pidato Soekarno dapat membangkitkan rasa nasionalisme. Ya, walaupun harus diakui, di sisi lain kata-kata pula yang membantu penguasa-penguasa politik melanggengkan kekuasaan tiraninya. Oleh karena itu, dengan tema \u2018Bahasa yang Semakin Intim\u2019, program Kompetisi Internasional 4 ini membuat saya penasaran akan bagaimana bahasa akan ditampilkan dalam produksi gambar.<\/em><\/p>\n

Pemutaran program Kompetisi Internasional 04 dimulai pukul 16.30 di Kineforum, hanya saja Abi Rama selaku perwakilan selektor dalam program ini berhalangan hadir. Jika boleh mengutip tulisan Abi Rama di buku katalog ARKIPEL homoludens<\/em> (2018), sinema di sini berusaha menawarkan berbagai kemungkinan baru dalam melihat suatu peristiwa dan menjadi sebuah kontruksi realitas yang baru. Ini terlihat dari dua filem yang ditayangkan yaitu \u2018The Night between Ali and I\u2019<\/em> karya Nadia Hotait serta Laila Hotait dan \u2018La Buona Novella\u2019 (Good Tidings)<\/em> karya Sebastiano Luca Insinga. Kedua filem tersebut sudah pernah diputar sebelumnya pada tanggal 9 Agustus 2018 sebagai bagian dari rangkaian filem pembuka ARKIPEL.<\/p>\n

\"\"

Suasana sebelum pemutaran filem<\/p><\/div>\n

Filem pertama, \u2018The Night between Ali and I\u2019, <\/em>bercerita tentang perampokan Bank of America<\/em> di Beirut oleh empat pemuda dari Gerakan Revolusioner Sosialis Lebanon tahun 1973 dengan berfokus pada salah satu tokoh yaitu Ali Cheaib. Kejadian ini sendiri dikenal dengan operasi Bank of America<\/em> yang bertujuan untuk meminta uang sejumlah 10 juta dolar. Uang ini nanti akan digunakan untuk pembebasan tahanan Palestina dan membiayai perang Arab melawan Israel. Filem ini berusaha merekontruksi kembali apa yang terjadi pada saat itu dengan narasi-narasi yang dibangun oleh penuturan narasumber. Narasi dalam filem ini berhasil membuat saya tidak bisa mengalihkan pandangan dari layar. Kekuatan dari narasinya membantu penonton untuk berimajinasi dari potongan-potongan visual yang disajikan. Walau mungkin secara visual ada referensi-referensi yang tidak bisa saya pahami karena perbedaan spasial ruang dan waktu.<\/p>\n

Filem kedua, \u2018La Buona Novella (Good Tidings)\u2019<\/em> memperlihatkan sebuah kapal kecil, Bochra, yang terdampar di Pantai Sisilia di Laut Mediterania. Filem ini berpusat pada interaksi Bochra dengan pengunjung pantai dan waktu yang terus berganti dari pagi hingga malam. Terselip pula kata-kata seperti \u2018Awakening\u2019, \u2018Arrival\u2019, \u2018Mirage\u2019<\/em>, dan lain-lain tanpa ada penjelasan lebih, seakan membebaskan penonton untuk masing-masing memaknai sendiri arti kata tersebut. Hanya di akhir filem baru ada narasi yang memberikan konteks bahwa Bochra adalah kapal yang membawa 130 pencari suaka dari Afrika ke Eropa. Damar, salah satu penonton dari ITB, berpendapat bahwa filem ini memperlihatkan sebuah relasi yang menarik antara kapal yang diam yang kemudian menjadi eksotisme sendiri bagi orang yang lewat di pantai. \"\"<\/p>\n

Memang jika kita lihat, dalam filem terjadi perubahan makna dari Bochra. Bagi 130 imigran, atau mungkin bisa kita sebut sebagai pencari suaka, kapal tersebut adalah juru selamat dan kesempatan untuk mendapatkan kehidupan yang lebih baik sebagaimana memang seharusnya. Walau harus terombang-ambing di laut dan tanpa kepastian apakah mereka akan sampai dengan selamat atau tidak. Kita ketahui bahwa pencari suaka adalah mereka yang \u2018terpaksa\u2019 meninggalkan negara asalnya karena ancaman persekusi. Misalnya negara-negara yang sedang mengalami peperangan seperti Suriah. Menurut data UNHCR, di tahun 2015 terdapat 1,2 juta pengungsi yang masuk ke wilayah Eropa dan menjadi suatu dilema sendiri. Pergeseran makna terjadi di sini ketika pengunjung-pengunjung pantai menjadikan Bochra sebagai objek foto yang di kemudian hari akan menghiasi media sosial mereka. Relasi ini menciptakan realita dan sejarah baru bagi Bochra itu sendiri.<\/p>\n

\"\"Kedua filem tersebut menurut saya berhasil dalam memperlihatkan keintiman suatu bahasa atau kekuatan dari bahasa itu sendiri. Bahasa di sini mampu mendorong penonton untuk berimajinasi dan merekontruksi ulang suatu kejadian dari visual yang ditayangkan. Akan tetapi, pandangan saya sedikit berbenturan dengan pendapat Manshur Zikri, salah satu kurator di ARKIPEL, yang mengatakan bahwa sinema adalah suatu bentuk dari bahasa itu sendiri. Pandangan ini berbeda dari yang saya maksudkan mengenai penggunaan bahasa dalam filem. Bahwa bahasa dan visual dalam sinema adalah dua hal yang berbeda. Dimana dalam kasus kedua filem tadi, bahasa memperkuat narasi visual yang berusaha dibangun oleh pembuat filem. Bagaimanapun, walau durasi dari Kompetisi Internasional 04 cukup singkat yaitu sekitar 25 menit, saya rasa pesan yang diberikan akan bertahan lama dan sangat sayang sekali untuk dilewatkan.[\/vc_column_text][vc_row_inner][vc_column_inner][\/vc_column_inner][\/vc_row_inner][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”NOTES ON INTERNATIONAL COMPETITION 4″ css=”.vc_custom_1534063173896{margin-bottom: 0px !important;}”]\n

The Power of Language in Cinema<\/strong><\/h2>\n

I believe in the power of language. I believe in the power of words. In my subjective view, words could change history, words could become instruments of struggle for either country and specific groups as they fight for independence. See how Martin Luther King Jr. used words in his role as leader of the civil rights movement in 1954 in America. See how in our own country, Sukarno’s speech can evoke a sense of nationalism. Even so, it must be admitted that words can also help political authorities perpetuate their tyrannical power. Therefore, with\u00a0 \u2018Language at Intimate View\u2019 as the theme, International Competition 04 makes me curious about how language will be displayed in image production.<\/p>\n

The screening of International Competition 04 began at 16.30 at Kineforum, however, Abi Rama as the selector host was unable to attend this screening. If I can quote Abi Rama’s writing in the catalogue book of ARKIPEL homoludens<\/em> (2018), cinema here tries to offer new possibilities in seeing an event and becoming a new construction of reality. This can be seen from the two films screened, The Night between Ali and I<\/em> by Nadia Hotait and Laila Hotait and La Buona Novella (Good Tidings)<\/em> by Sebastiano Luca Insinga. Both films have been screened before on August 9, 2018, as part of ARKIPEL’s opening film.<\/p>\n

\"\"

Before the screening<\/p><\/div>\n

The first film, The Night between Ali and I,<\/em> tell a story about the robbery that happened in Bank of America in Beirut by four young men from the Lebanese Socialist Revolutionary Movement in 1973. By focusing on one of the figures, Ali Cheaib. This incident itself is known as the Bank of America operation which aim is to ask for 10 million dollars money. This money would later be used to release Palestinian prisoners and finance the Arab war against Israel. This film tries to reconstruct what happened at that time with the narratives built by the interviewees. The narration in this film makes me unable to take my eyes off the screen. The power of the narrative helps the audience to imagine from the visual pieces presented. Although there may be visual references that I cannot understand due to spatial differences in time and space.<\/p>\n

The second film, La Buona Novella (Good Tidings)<\/em> displays a small ship, Bochra, stranded on the Sicilian Coast in the Mediterranean Sea. This film centred on Bochra’s interaction with the beach visitors and the time that changes from morning to night. There were also words like ‘Awakening’, ‘Arrival’, ‘Mirage’, and others without any more explanation as if freeing the audience to interpret with their meaning. Only at the end of the film, there is a narrative that provides context about Bochra as that ship carrying 130 asylum seekers from Africa to Europe. Damar, one of the audiences from ITB, stated that this film showed an interesting relationship between a silent ship which later became its own exoticism for people passing on the beach.\"\"<\/p>\n

Indeed, if we see, in the film there is a change of meaning from Bochra. For 130 immigrants, or maybe we can call them as asylum seekers, the ship is a savior and an opportunity to get a better life as how it should be. Even though they have to be swayed in the sea and without certainty whether they will arrive safely or not. We know that asylum seekers are those who are ‘forced’ to leave their home countries because of the threat of persecution. For example, countries that are experiencing war like Syria. According to UNHCR data, in 2015 there were 1.2 million refugees who entered Europe and became a dilemma for Europe itself. The shift on its meaning occurs here when the beach visitors made Bochra as their photo object that and they would upload it later to social media. This relationship creates a new reality and history for Bochra itself.<\/p>\n

\"\"Both films in my opinion succeed in showing the intimacy of a language or the power of the language itself. Language here, is able to encourage the viewers to imagine and reconstruct a visual event that happened in the film. However, my view is slightly different from the opinion of Manshur Zikri, one of the curators at ARKIPEL, who said that cinema was the language itself. This is different from what I mean about the use of language in film. That the language and the visual in cinema, for me, are two different things. In the case of the two films I mentioned above, the language strengthens the visual narrative the filmmakers try to construct. Well, even though the duration of International Competition 04 is quite short which is about 25 minutes, I think the message given will last for a long time and it is a pity to miss it.[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

I believe in the power of language. I believe in the power of words. In my subjective view, words could change history, words could become instruments of struggle for either country and specific groups as they fight for independence. See how Martin Luther King Jr. used words in his role as leader of the civil rights movement in 1954 in America. See how in our own country, Sukarno’s speech can evoke a sense of nationalism. Even so, it must be admitted that words can also help political authorities perpetuate their tyrannical power. 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See how Martin Luther King Jr. used words in his role as leader of the civil rights movement in 1954 in America. See how in our own country, Sukarno's speech can evoke a sense of nationalism. Even so, it must be admitted that words can also help political authorities perpetuate their tyrannical power. Therefore, with \u2018Language at Intimate View\u2019 as the theme, International Competition 04 makes me curious about how language will be displayed in image production.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/arkipel.org\/homoludens-the-power-of-language-of-cinema\/","og_locale":"en_US","og_type":"article","og_title":"The Power of Language in Cinema — ARKIPEL","og_description":"I believe in the power of language. I believe in the power of words. 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Therefore, with \u2018Language at Intimate View\u2019 as the theme, International Competition 04 makes me curious about how language will be displayed in image production.","og_url":"https:\/\/arkipel.org\/homoludens-the-power-of-language-of-cinema\/","og_site_name":"ARKIPEL","article_publisher":"https:\/\/www.facebook.com\/arkipel.festival\/","article_published_time":"2018-08-12T08:55:47+00:00","og_image":[{"width":1280,"height":853,"url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/ic-4-1.jpg?fit=1280%2C853&ssl=1","type":"image\/jpeg"}],"author":"Elva Sagita Cindra","twitter_card":"summary_large_image","twitter_creator":"@arkipel","twitter_site":"@arkipel","twitter_misc":{"Written by":"Elva Sagita Cindra","Est. reading time":"8 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/arkipel.org\/homoludens-the-power-of-language-of-cinema\/#article","isPartOf":{"@id":"https:\/\/arkipel.org\/homoludens-the-power-of-language-of-cinema\/"},"author":{"name":"Elva Sagita Cindra","@id":"https:\/\/arkipel.org\/#\/schema\/person\/f75be5ff2aa2ebb0fa08eaf6a5891061"},"headline":"The Power of Language in Cinema","datePublished":"2018-08-12T08:55:47+00:00","dateModified":"2018-08-12T08:55:47+00:00","mainEntityOfPage":{"@id":"https:\/\/arkipel.org\/homoludens-the-power-of-language-of-cinema\/"},"wordCount":1591,"commentCount":0,"publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"image":{"@id":"https:\/\/arkipel.org\/homoludens-the-power-of-language-of-cinema\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/ic-4-1.jpg?fit=1280%2C853&ssl=1","keywords":["2018","homoludens","International Competition"],"articleSection":["ARKIPEL 2018 - homoludens","Festival Updates","International Competition"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/arkipel.org\/homoludens-the-power-of-language-of-cinema\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/arkipel.org\/homoludens-the-power-of-language-of-cinema\/","url":"https:\/\/arkipel.org\/homoludens-the-power-of-language-of-cinema\/","name":"The Power of Language in Cinema — ARKIPEL","isPartOf":{"@id":"https:\/\/arkipel.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/arkipel.org\/homoludens-the-power-of-language-of-cinema\/#primaryimage"},"image":{"@id":"https:\/\/arkipel.org\/homoludens-the-power-of-language-of-cinema\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/ic-4-1.jpg?fit=1280%2C853&ssl=1","datePublished":"2018-08-12T08:55:47+00:00","dateModified":"2018-08-12T08:55:47+00:00","description":"I believe in the power of language. 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Dia tertarik dengan isu hak asasi manusia, kebijakan publik, dan pemberdayaan perempuan.\u00a0 Dia menghabiskan waktu luangnya dengan membaca buku, menonton film, dan menulis fiksi. - Elva Sagita Cindra (Jakarta, December 13, 1995) is a student of political science at University of Indonesia specializing in comparative politics. She is interested in human rights, public policy, and women's empowerment issues. 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