{"id":8815,"date":"2018-08-12T19:11:34","date_gmt":"2018-08-12T12:11:34","guid":{"rendered":"http:\/\/arkipel.org\/?p=8815"},"modified":"2018-08-12T19:11:34","modified_gmt":"2018-08-12T12:11:34","slug":"homoludens-british-experimental-film-a-play-on-space-and-shape","status":"publish","type":"post","link":"https:\/\/arkipel.org\/homoludens-british-experimental-film-a-play-on-space-and-shape\/","title":{"rendered":"British Experimental Film: A Play on Space and Shape"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”homoludens CURATORIAL PROGRAM 4″ css=”.vc_custom_1534075692330{margin-bottom: 0px !important;}”]\n

Filem Eksperimental Inggris: Permainan Ruang dan Bentuk<\/strong><\/h2>\n

Filem-filem arus utama seringkali terjebak dengan fokusnya terhadap cerita tanpa mengindahkan estetika visual. Seringkali pemberian makna dari visual dalam produksi gambar terabaikan, baik secara sengaja maupun tidak, sadar maupun tidak sadar. Sepertinya, itulah yang berusaha dilawan oleh filem-filem yang ditayangkan pada sesi Filem Eksperimental Inggris pada 11 Agustus 2018 pukul 16.00 di GoetheHaus, Goethe-Institut Indonesien, Jakarta, dengan Manshur Zikri berperan sebagai kurator. Terdapat tiga filem yang ditayangkan yang cenderung mengarah ke permainan ruang dan bentuk. Penonton diberikan potongan-potongan gambar tanpa ada kerangka naratif yang mengikat sehingga dibiarkan untuk berimajinasi sendiri. Memperlihatkan suatu ruang tanpa ada penjelasan mengenai sejarah dari ruang tersebut, melainkan proses interaksi manusia-manusia didalamnya yang terus bermain. Sesuatu yang sebenarnya masih sulit saya cerna karena bentuknya yang masih abstrak.<\/p>\n

Sang kurator memilih \u2018Mendiferensiasi Lanskap ke dalam Polemik Bentuk sebagai Siasat atas Fetisisme Naratif\u2019 sebagai tema yang menjadi benang merah. Ketiga filem yang ditayangkan adalah About Now MMX<\/em> karya William Raban, Beach House <\/em>karya Emily Richardson, dan Throw Them Up and Let Them Sing <\/em>karya Helen Petts. Berdasarkan hasil wawancara saya dengan Manshur Zikri, proses seleksi ketiga filem ini menggunakan metode induktif. Filem-filem dicari melalui website lux.org.uk <\/em>dengan kata pencarian yang mengacu pada tema homoludens<\/em>. Akhirnya terpilih lima filem dan diseleksi kembali hingga hanya menyisakan tiga filem.<\/p>\n

\"\"

Helen Petts, filmmaker<\/p><\/div>\n

Filem pertama About Now MMX <\/em>merekam keadaan kota London dari lantai 21 Balfron Tower dengan gaya time-lapse.<\/em> Dalam filem ini, kamera menelusuri seluruh bagian sudut kota yang dapat terpandang. Menurut saya, filem ini memperlihatkan kota yang terus bergerak dan berusaha membangun realitasnya sendiri. Sama seperti manusia-manusia di dalamnya yang memaknai arti kota, bergerak, dan memiliki ritme hidup yang berbeda. Mereka berusaha membangun realitas hidup mereka masing-masing yang terekam sebagai memori di lokasi permainan itu dilakukan.<\/p>\n

Filem kedua memperlihatkan lokasi yang lebih privat atau lebih \u2018intim.\u2019 Jika filem pertama menampilkan lanskap kota yang merupakan ruang publik, filem kedua menampilkan rumah yang merupakan ruang personal. Filem Beach House<\/em> menampilkan rumah pantai yang dibangun di Pantai Suffolk, Inggris, oleh arsitek John Penn pada tahun 1969. Filem ini menggabungkan arsip potongan gambar bergerak masa lampau dengan masa sekarang ditambah dengan rekaman suara eksperimental. Kita melihat bagaimana seakan-akan rumah itu merekam jejak-jejak kehidupan manusia yang pernah tinggal dan bermain di dalamnya.<\/p>\n

\"\"<\/p>\n

Filem terakhir yang ditayangkan adalah Throw Them Up and Let Them Sing. <\/em>Helen Petts selaku pembuat filem juga hadir di penayangan dan menceritakan proses pembuatan filem. Filem ini merekam pengalaman Helen dan usahanya untuk berusaha menelusuri jejak-jejak Kurt Schwitters. Proses pengambilan gambar dilakukan di dua lokasi yaitu pulau Hjertoya di Norwegia dan Elterwater di Lake District. Throw Them Up and Let Them Sing<\/em> bekerja sama dengan musisi eksperimental yang berimprovisasi dengan objek temuan, seperti yang terlihat dalam filem, mulai dari kuas-kuas, pisau, hingga ditambah iringan suara vokal. Salah seorang penonton, Rifan dari Universitas Indonesia, mengatakan bahwa ia menyukai bagaimana suara alam dapat direkontruksi kembali dengan instrumen musik yang tidak konvensional. Bahwa musik tidak melulu harus seperti gitar dan lain-lain melainkan sesuatu yang disekitar kita.<\/p>\n

\"\"<\/p>\n

Filem terakhir terasa lebih intim dan personal karena kita ikut menyelami pengalaman pribadi seseorang dalam menjelajahi suatu lokasi seakan-akan kita juga berada di sana. Helen Petts sendiri dalam Forum Festival ARKIPEL tanggal 9 Agustus 2018 sempat mengatakan bahwa proses pembuatan filem menjadi salah satu upayanya dalam menemukan dirinya sendiri. Saya sempat bertanya pula kepada Manshur Zikri mengenai apa yang membedakan filem eksperimental Inggris dengan wilayah lainnya. Filem eksperimental Inggris sebenarnya didahului oleh Filem Eksperimental Amerika yang sudah dimulai pada tahun 1960-1970an. Gerakan filem eksperimental di Inggris kemudian mewacana menjadi gerakan struktural independen filem struktural atau materialis filem. Filem eskperimental kontemporer Inggris sudah tidak lagi berputar pada mengulik seluloid melainkan permainan bentuk dan penggunaan teknologi digital. Ya, mungkin permainan ruang dan bentuk ini bisa menjadi\u00a0 rujukan untuk filem eksperimental Indonesia ke depannya.[\/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=”homoludens CURATORIAL PROGRAM 4″ css=”.vc_custom_1534075835822{margin-bottom: 0px !important;}”]\n

British Experimental Film: A Play on Space and Shape<\/strong><\/h2>\n

Mainstream films are often trapped with a focus on stories without regard to visual aesthetics. Oftentimes the provision of visual meaning in image production is neglected, intentionally or not, consciously or unconsciously. Apparently, this is the trend that is being resisted by the films screened in British Experimental Film session on August 11, 2018, at 16.00 at GoetheHaus, Goethe-Institut Indonesien, Jakarta, with Manshur Zikri as its curator. The three films screened in that program tend to go into a play on space and shape. The audience was given pieces of images without a binding narrative framework, so they were left to imagine it themselves. The film shows a space without explaining the history of said space; instead, they prefer to show the process of interaction between the people within it who continue to plays. Something I can\u2019t quite fathom yet due to its abstractness.<\/p>\n

The curator chose Differentiating Landscape into a Polemic of Forms as a Strategy <\/em>to Overcome the<\/em> Narrative Fetishism <\/em>as the overarching theme. The three films that were screened are About Now MMX<\/em> by William Raban, Beach House<\/em> by Emily Richardson, and Throw Them Up and Let Them Sing<\/em> by Helen Petts. Based on the results of my interview with Manshur Zikri, the selection process of these three films employed an inductive method. Films were searched through the lux.org.uk website with search words that refer to the homoludens<\/em> theme. Finally, the five selected films were re-selected to leave only three films.<\/p>\n

\"\"<\/p>\n

Helen Petts, filmmakerThe first film About Now MMX<\/em> capture the state of London from the 21st floor of Balfron Tower in a time-lapse style. In this film, the camera traces the entire corner of the city that can be seen. In my opinion, this film shows a city that is constantly moving and trying to build its own reality. Just like the people within it which construct the meaning of the city, moves, and have different rhythm of life. They try to construct the reality of their lives which is recorded as memory at the location where they play.<\/p>\n

The second film shows locations that are more private or more ‘intimate’. If the first film shows a city landscape that is a public space, the second film shows a house which is a personal space. The film Beach House<\/em> features a beach house built on Suffolk Beach, England, by architect John Penn in 1969. The film combines archives of the past and present moving images plus experimental sound recordings. We were presented with a view that shows as if the house recorded the lives of people who have lived and played in it.<\/p>\n

\"\"<\/p>\n

The last film was Throw Them Up and Let Them Sing<\/em>. Helen Petts, the filmmaker, was also present at the screening and told about the filmmaking process. This film records Helen’s experience and her efforts to trace the footsteps of Kurt Schwitters. The shooting process was carried out in two locations: Hjertoya Island in Norway and Elterwater in the Lake District. Throw Them Up and Let Them Sing<\/em> collaborates with experimental musicians who improvise with the objects of discovery, as seen in the film, ranging from brushes, knives, to the accompaniment of vocal sounds. One of the spectators, Rifan from University of Indonesia, said that he likes how natural sounds could be reconstructed with unconventional musical instruments. That music does not always have to be like a guitar and others but it can also be something around us.<\/p>\n

\"\"<\/p>\n

The last film feels more intimate and personal because we take part in exploring a personal experience in exploring a location as if we were there too. Helen Petts herself, at the ARKIPEL Forum Festival on 9 August 2018, said that the filmmaking process was one of her efforts to find herself. I also asked Manshur Zikri about what distinguishes British experimental films from other regions. The British experimental film was actually preceded by the American Experimental Film which had begun in 1960-1970\u2019s. The experimental film movement in the UK then became an independent movement of structural\/materialist films. British contemporary experimental films are no longer concerned with tinkering celluloid but rather a play on shape and the use of digital technology. Yes, perhaps this play on shape and space can be a reference for future Indonesian experimental films.[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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Something I can\u2019t quite fathom yet due to its abstractness.<\/p>\n","protected":false},"author":144,"featured_media":8835,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"British Experimental Film: A Play on Space and Shape","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[479,1,344],"tags":[480,481,192],"jetpack_publicize_connections":[],"yoast_head":"\nBritish Experimental Film: A Play on Space and Shape — ARKIPEL<\/title>\n<meta name=\"description\" content=\"Mainstream films are often trapped with a focus on stories without regard to visual aesthetics. 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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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