{"id":8824,"date":"2018-08-12T18:51:04","date_gmt":"2018-08-12T11:51:04","guid":{"rendered":"http:\/\/arkipel.org\/?p=8824"},"modified":"2018-08-12T18:52:33","modified_gmt":"2018-08-12T11:52:33","slug":"homoludens-milisifilem-an-exploration-of-film-learning-methods","status":"publish","type":"post","link":"https:\/\/arkipel.org\/homoludens-milisifilem-an-exploration-of-film-learning-methods\/","title":{"rendered":"Milisifilem: An Exploration of Film Learning Methods"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Premiere Screening of Five Films by Milisifilem” css=”.vc_custom_1534074184577{margin-bottom: 0px !important;}”]\n

Milisifilem: Sebuah Eksplorasi Metode Pembelajaran Filem<\/strong><\/h2>\n

Suasana GoetheHaus, Goethe-Institut Indonesien, Jakarta, petang itu cukup ramai. Beberapa pengunjung tampak berlalu lalang sambil sesekali melihat-lihat poster-poster filem yang akan ditayangkan oleh ARKIPEL homoludens<\/em> \u2014 6th Jakarta International Documentary and Experimental Film Festival 2018. Hari itu, Sabtu, 11 Agustus 2018, pada pukul 19.00, akan dilaksanakan pemutaran 5 filem dari Proyek Hitam-Putih Milisifilem. Milisifilem merupakan sebuah program baru yang diinisiasi oleh Forum Lenteng, yang diharapkan mampu menjadi ruang belajar tentang filem dengan metode eksperimentasi visual. Setelah beberapa saat, gong tanda acara akan dimulai pun dibunyikan. Para pengunjung mulai memenuhi ruangan. Jumlah penonton saat itu cukup ramai, sekitar 58 orang.<\/p>\n

Hafiz Rancajale, Direktur Artistik ARKIPEL sekaligus fasilitator dari program Milisifilem, membuka acara malam itu. Bersama Anggraeni Widhiasih sebagai pengalihbahasa, ia menyatakan bahwa acara malam itu bersifat monumental karena menjadi acara publik perdana bagi Milisifilem. Kegelisahan akan adanya kekurangan dalam proses dan metode pengenalan filem kepada generasi milenial yang seharusnya dimulai dari hal dasar menjadi faktor lahirnya program Milisifilem. Bersama dengan Otty Widasari, ia pun menjadi fasilitator dalam mengajarkan sekaligus menuntun Milisifilem Angkatan Pertama, hingga akhirnya dapat memproduksi filem secara utuh. Milisifilem Angkatan Pertama ditempa selama satu tahun lamanya di Forum Lenteng tanpa adanya pungutan biaya apapun. Para partisipan membayar hanya dengan waktunya untuk membuat karya. Dengan jumlah partisipan sebanyak 15 orang, mereka kemudian terbagi ke dalam 5 kelompok. Selain itu, Hafiz menegaskan bahwa tidak ada batasan tentang genre untuk setiap filem yang diproduksi oleh anggota Milisifilem yang akan ditampilkan malam itu. Yang menjadi benang merah di antara kelima filem adalah warna hitam dan putih. Maka dari itu pula, proyek Milisifilem Angkatan Pertama ini diberi tajuk \u201cProyek Hitam-Putih\u201d<\/p>\n

\"\"Filem pertama yang diputar adalah Into The Dark. <\/em>Filem garapan Dhuha Ramadhani, Maria Christina dan Luthfan Nur Rochman itu bercerita tentang proses penculikan seorang aktivis dan petani muda yang terlibat dalam konflik agraria. Setelah itu,ditayangkanlah filem Cu<\/em>t <\/em>karya Dhanurendra Pandji, Robby Ocktavian dan Theresia Farah Umaratih yang menggambarkan kisah manis antara seorang projeksionis filem bioskop dan pacarnya. Karib<\/em>, filem ketiga yang berasal dari Afrian Purnama, Anggraeni Widhiasih dan Yuki Aditya, berkisah tentang kehidupan dua orang sahabat yang ditinggal mati sahabat mereka. Ada tawaran visual baru dari filem yang keempat. Filem karya Dini Adanurani, Mia Aulia dan Wahyu Budiman Dasta yang berjudul Aksi Reaksi<\/em> ini menampilkan gambar bergerak dengan teknik kolase dan ilustrasi \u00a0yang banyak menampilkan cuplikan filem-filem jadul dari Warkop DKI dalam bentuk yang sudah berbeda. Entitas tokoh yang berguling menjadi karakter utama di dalam filem ini. Terakhir, Pagi yang Sungsang<\/em>, garapan Manshur Zikri, Pingkan Polla dan Prashasti Wilujeng Putri, berusaha mengeksplorasi kehidupan di pasar pada pagi hari, dengan menitikberatkan pada interaksi antara pedagang pasar, petugas kebersihan dan mesin-mesin (seperti traktor sampah dan gerobak sampah) yang ada di sana. Filem ini pun menjadi penutup dari acara hari itu.<\/p>\n

Seluruh tim Milisifilem Angkatan Pertama maju ke atas panggung setelah seluruh filem selesai diputar. Sesi pertanyaan pun dibuka. Pertanyaan pertama datang dari Dian yang menunjukkan ketertarikannya terhadap proses produksi dan interaksi yang terjadi di dalam filem Pagi yang Sungsang. Manshur Zikri, salah satu realisator filem, menjelaskan bahwa proses produksi filem telah lama dimulai sejak sebelum proses pengambilan gambar dilakukan. Dalam proses belajar di Milisifilem, mereka secara aktif mulai melakukan pendekatan dan berinteraksi dengan entitas yang ada di pasar (Pasar Minggu) dan mencoba memvisualisasikan keadaan sekitarnya tanpa kamera sama sekali secara intens mulai pagi hingga malam. Mereka justru menggunakan metode sketsa secara manual dengan kertas, bolpen maupun charcoal<\/em>. Zikri menambahkan bahwa meskipun telah akrab dengan orang-orang di pasar, mereka tetap secara formal mengurus perizinan di pasar untuk melakukan pengambilan gambar.<\/p>\n

Helen Petts, yang juga duduk di kursi penonton, kemudian ikut bertanya soal bagaimana proses pengambilan gambar dilakukan jika filem dilakukan secara kolektif. Anggraeni menjelaskan bahwa hal tersebut bergantung pada kesepakatan tiap tim, di mana terkadang mereka secara bergantian melakukan proses pengambilan gambar. Tak hanya proses pengambilan gambar, segala proses produksi filem termasuk proses pengeditan gambar pun diakui juga dilakukan secara mandiri oleh tim, namun tetap bersama-sama. Sehingga sulit membedakan siapa yang melakukan apa karena pada dasarnya semua dikerjakan bersama. Robby menambahkan bahwa dengan adanya proses belajar visual yang dilakukan di Milisifilem sebelumnya, maka ekspresi visual yang dimiliki oleh satu sama lain tidak jauh berbeda. Hal ini menurutnya mempermudah penyatuan gagasan visual. Zikri lalu berkata bahwa jika ditarik lebih jauh lagi, kultur bekerja secara kolektif memang telah diterapkan sejak lama oleh Forum Lenteng sejak tahun 2008, misalnya dalam produksi video AKUMASSA di mana program pemberdayaan komunitas dilakukan melalui media komunikasi dan dilakukan secara kolektif.<\/p>\n

\"\"Panji dari Infoscreening<\/em> sebagai penanya ketiga menyinggung soal keputusan menggunakan nama asli di dalam filem Cut<\/em> dan keterkaitan antar karakter dengan pengalaman asli realisator. Upaya mencari sesuatu yang dekat dan lekat dengan kehidupan nyata diakui Dhanurendra, salah satu realisator filem, sebagai dasar pemilihan ide untuk filemnya. Dhanurendra, yang rupanya memang berprofesi sebagai projeksionis filem, merasa tak terlalu perlu untuk mengubah nama karakter. Penanya terakhir, Viren, menyinggung soal kurangnya konteks (misalnya dalam bentuk wawancara) dengan orang-orang sekitar pasar dalam filem Pagi yang Sungsang<\/em>. Prashasti, sebagai salah satu realisator filem tersebut, menjawab bahwa kontes filem ini justru muncul ketika melihat \u2018dialog\u2019 antara berbagai mesin kemodernan di lokasi dan bagaimana kemodernan itu gagal. Pingkan, yang juga realisator filem tersebut, menambahkan bahwa pada dasarnya penonton bebas dalam mengintrepretasikan karyanya tersebut. Ia dan timnya percaya dengan kekuatan visual yang ditampilkan dalam filem, sehingga merasa belum perlu untuk menambahkan narasi teks atau wawancara ke dalam filem.<\/p>\n

Imam, pengunjung setia festival filem yang juga mendatangi acara malam itu, mengatakan bahwa ia merasa sangat terhibur dengan filem-filem yang ditawarkan oleh Milisifilem malam itu. Secara teknis dan isi cerita, ia mengaku cukup takjub dengan hasil-hasil produksi filem untuk ukuran filem perdana. Ia, secara khusus, menyukai dan merasa sangat familiar dengan filem Pagi yang Sungsang. <\/em>Sebagai warga di sekitar pasar yang menjadi lokasi objek dalam filem, ia dapat memahami proses interaksi yang terjadi antara manusia dan mesin. Ia pun berharap ke depannya Milisifilem dapat secara konsisten melakukan tradisi pengajaran filem yang inovatif dan menghadirkan filem-filem baru yang lebih ciamik.<\/p>\n[\/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=”Premiere Screening of Five Films by Milisifilem” css=”.vc_custom_1534074160801{margin-bottom: 0px !important;}”]\n

Milisifilem: An Exploration of Film Learning Methods<\/strong><\/h2>\n

The atmosphere of GoetheHaus, Goethe-Institut Indonesien, Jakarta, on that evening was quite lively. Some visitors seemed to be passing by while occasionally looking at the film posters that will be screened by ARKIPEL homoludens<\/em> – 6th Jakarta International Documentary and Experimental Film Festival 2018. On that day, Saturday, 11 August 2018, at 7:00 p.m., 5 films will be screened as part of the Milisifilem Black <\/em>& <\/em>White Project<\/em>. Milisifilem is a new program initiated by Forum Lenteng, which is expected to be a place for learning about film with visual experimentation methods. After a while, the gong signaling that the event will begin was sounded. The visitors began to fill the room. The number of spectators at that time was quite a lot, around 58 people.<\/p>\n

Hafiz Rancajale, ARKIPEL Artistic Director as well as facilitator of Milisifilem program, opened the evening’s program. Along with Anggraeni Widhiasih as the interpreter, he stated that the evening program was monumental because it was the first public event for Milisifilem. He explained that the program was initiated in response to the lack of fundamental process and method in introducing films to the millennial generation. Otty Widasari and he then became the facilitator in teaching as well as guiding the First Batch of Milisifilem, until finally they were able to produce film in its entirety. The First Batch of Milisifilem was taught for a year at Forum Lenteng without any fees. Participants shall only pay with their time to produce works. With a total of 15 participants, they were then divided into 5 groups. In addition, Hafiz emphasized that there is no genre limitation for every film produced by Milisifilem members which will be screened that night. The only similarity between those five films is the black and white color. Therefore, the project of the First Batch of Milisifilem was titled Milisifilem <\/em>Black <\/em>&<\/em> White Project.<\/em><\/p>\n

\"\"<\/p>\n

The first film to be screened was Into The Dark<\/em> by Dhuha Ramadhani, Maria Christina and Luthfan Nur Rochman. The film is about the kidnapping of an activist and a young farmer involved in agrarian conflicts. Then, the next film to be screened was Cut<\/em> by Dhanurendra Pandji, Robby Ocktavian and Theresia Farah Umaratih. The film depicts a sweet story between a cinema projectionist and his girlfriend. Karib<\/em>, the third film by Afrian Purnama, Anggraeni Widhiasih and Yuki Aditya, was about the life of two friends who lost one of their closest friend. There is a novel visual quirk in the fourth film titled Aksi Reaksi <\/em>by Dini Adanurani, Mia Aulia and Wahyu Budiman Dasta. The film showed moving images with collage and illustration techniques that show a lot of old school footages from Warkop DKI film in different form. The rolling entity became the main character of this film. Finally, Pagi yang Sungsang<\/em>, by Manshur Zikri, Pingkan Polla and Prashasti Wilujeng Putri, tried to explore the morning life in the market, focusing on the interaction between traders, janitors and the machines (such as garbage bulldozer and garbage carts) that were there. This film also closed the program on that day.<\/p>\n

All of the First Batch of Milisifilem went up to the stage after all the films were screened. A question and answer session was opened. The first question came from Dian who showed her interest in the production process and the interactions that occurred in the film Pagi yang Sungsan<\/em>. Manshur Zikri, one of the makers of that film, explained that the film production process has begun long before the shooting was carried out. As part of the learning process at Milisifilem, they actively start to approach and interact with entities in the market (Pasar Minggu<\/em>) and try to intensely visualize their surroundings without a camera at all from morning to night. Instead of a camera, they employed manual sketch method with paper, pens or charcoal. Zikri added that despite being friendly with the people in the market, they still formally administer a license to take pictures in the market.<\/p>\n

Helen Petts, who also sat in the audience seat, asked questions about how the shooting process was carried out if the film was done collectively. Anggraeni explained that it depends on the agreement of each team, where sometimes they take turns taking pictures. In addition to the shooting process, all film production processes including the process of image editing were also executed independently by each team, but they remain together. Hence it is difficult to distinguish who does what because basically everything was done collectively. Robby added that due to the visual learning in Milisifilem they did together previously, each member\u2019s visual expression became indistinguishable. This, according to him, facilitates the integration of visual ideas. Zikri then explained that far before this project, the culture of working collectively had been long implemented by Forum Lenteng since 2008, such as in AKUMASSA video production where community empowerment programs were carried out through communication media and executed collectively.<\/p>\n

\"\"<\/p>\n

Panji from the Infoscreening<\/em> asked about the decision to use real names in the film Cut<\/em> and the relationship between the characters and the real experience of the creator. The effort to find something that is close to real life is admitted by Dhanurendra, one of the makers of that film, as the basis for choosing ideas for his film. Dhanurendra, who apparently works as a film projectionist, feels that he doesn’t really need to change the character’s name. The last questioner, Viren, was concerned about the lack of context (for example in the form of interviews) with people around the market in the Pagi yang Sungsang <\/em>film. Prashasti, as one of the maker of this film, said that the context of this film is within the dialogue between machines of modernism in the location and how that modernity seems to fail. Pingkan, also one of that film maker, added that basically the audience was free to interpret their work. Her team and she believe in the visual power displayed in the film, thus there is no need to add textual narratives or interviews to the film.<\/p>\n

Imam, a film festival enthusiast, who was present on that evening, said that he was very entertained by the films offered by Milisifilem that night. In terms of technicality and narrative, he admitted that he was amazed to the result of this first film production. He, in particular, loves and feels very familiar with the Pagi yang Sungsang <\/em>film. As a person who lives nearby the market that became the location of the film, he can understand the process of interaction that occurs between humans and machines. He also hopes that in the future Milisifilem can consistently carry out innovative film learning as well as presenting new and more amazing films.<\/p>\n

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