{"id":8872,"date":"2018-08-13T16:00:46","date_gmt":"2018-08-13T09:00:46","guid":{"rendered":"http:\/\/arkipel.org\/?p=8872"},"modified":"2018-08-14T19:55:34","modified_gmt":"2018-08-14T12:55:34","slug":"homoludens-cinema-as-a-medium-of-play","status":"publish","type":"post","link":"https:\/\/arkipel.org\/homoludens-cinema-as-a-medium-of-play\/","title":{"rendered":"Cinema as A Medium of Play"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”notes on special presentation 1″ css=”.vc_custom_1534251274242{margin-bottom: 0px !important;}”]\n

Sinema sebagai Medium Bermain<\/strong><\/h2>\n

Bermain jadi aspek yang cukup krusial dalam kehidupan masyarakat dewasa ini. Dalam permainan, manusia dapat menjelajahi kebebasan dalam dirinya dan sekitarnya, juga bisa meninggalkan realita kehidupan yang biasa. Permainan juga menciptakan aturan-aturan baru yang tidak terbatas jumlahnya,yang jelas mutlak harus dilaksanakan. Namun, hal yang seringkali dikatakan kekanakan-kanakan ini, dalam intinya ternyata mampu memberikan pengalaman yang berbeda dalam sebuah produksi sinematik, baik kepada pembuatnya, maupun terhadap penontonnya.<\/p>\n

Dalam Presentasi Khusus Eksperimentasi Austria di ARKIPEL homoludens: 6th<\/sup> Jakarta International Documentary and Experimental Film Festival <\/em>yang diadakan pada Sabtu, 11 Agustus 2018 di Kineforum, Taman Ismail, Jakarta Pusat ini, penonton disuguhkan 15 filem pendek Austria dengan durasi rata-rata 4-5 menit yang dikurasi oleh Gerald Weber. Dalam catatannya, Gerald menekankan bahwa filem-filem yang dikurasinya ini mewakili berbagai gaya dalam pendekatan artistik tertentu, yang menjadi begitu signifikan dalam produksi seni gambar bergerak Austria. Ia melihat adanya hubungan yang erat antara praktik sosial dan kreativitas optis-mekanikal yang sangat penting untuk sebagian besar filem yang dikurasinya ini.<\/p>\n

Dalam program presentasi khusus ini, Gerald Weber membaginya menjadi dua bagian besar, bagian pertama yakni Anna Vasof<\/em> yang memang menampilkan tiga filem karya Anna Vasof yang memiliki cita rasa mekanisme inovatif dalam sinema yang diproduksinya. Untuk bagian kedua, Gerald menamai keduabelas filem lainnya sebagai Artiphycial Worlds<\/em> yang menggugah banyak pertanyaan mengenai abstraksi dari kondisi fisik dan persepsi visual penonton ketika menontonnya. Ada banyak kejutan dan humor yang terselip dalam penjelajahan alam surealis praktik sinemanya.<\/p>\n

\"\"Dalam bagian pertama, Gerald menyajikan tiga film karya Anna Vasof yang di setiap filemnya terdapat tema dan visualisasi tersendiri. Dalam filem pertama berjudul Down to Earth, <\/em>Anna bermain dengan sepatu-sepatu yang dimodifikasi dengan alat-alat tambahan yang merujuk pada makna multifungsional yang bisa diciptakan ketika sepatu itu digunakan untuk berjalan. Konsep bermain dalam gerakan sepatu itu tak jarang membuat penonton tertawa dengan visualisasi yang ditampilkan. Dalam filem kedua berjudul When Times Moves Faster, <\/em>Anna bermain dengan konsep stop<\/em>-motion<\/em> sebagai teknik sinematik untuk menghasilkan gambar bergerak dari jepretan gambar-gambar diam. Berbagai macam penggambaran stop<\/em>-motion <\/em>ini ditampilkan dengan kecepatan yang berbeda-beda pada akhirnya menciptakan ilusi yang kreatif yang dihadirkan dalam medium sinema. Filem ketiga berjudul Things and Wonders 2022 <\/em>menyajikan hal-hal menakjubkan yang disulap oleh Anna dari barang-barang keseharian, yang jadi menyenangkan dan penuh humor. Misalnya saat gambar telunjuk tangan Tuhan dan manusia yang terdapat pada lukisan Michaelangelo, yang dipasang di penyeka kaca depan mobil, dan langsung berlatarkan langit biru. Secara keseluruhan, filem-filem Anna Vasof ini membuat banyak penonton merasa takjub dan menimbulkan banyak pertanyaan, yang dibarengi dengan jawaban yang selalu Anna berikan di akhir filem-filemnya, membuatnya terasa seperti bermain dengan sinema yang sedang ditonton.<\/p>\n

Dalam bagian kedua yakni Artiphycial World, <\/em>Gerald Weber menyajikan filem-filem yang produksi sinematiknya bermain-main dengan bentuk, garis, dan gejala sosial. Seperti contohnya film Planes <\/em>karya Thomas Fuerhapter yang bermain dengan komposisi spasial dan tabrakan antara garis dan gambar dari tiang beton stasiun kereta dengan kereta yang berada di depannya. Gerakan kamera begitu lembut hingga penonton terkecoh dengan ilusi tiang beton yang mengikuti pergerakan kereta, serta orang yang lalu-lalang juga menciptakan sebuah kesan gangguan yang penuh dengan ketidakpastian. Lain lagi dengan film Reign of Silence <\/em>karya Lukas Marxt yang merujuk pada konsep Land Art <\/em>yang diterapkan pada genangan air yang tenang di sebuah danau yang luas. Permukaannya yang semula tenang, menjadi terusik ketika seorang pengendara speedboat <\/em>bergerak memutar-mutar di tengah dan menciptakan arus spiral di tengah danau. Hal tersebut memberi kesan artistik tersendiri dalam pengalaman menonton sinema, melihat permukaan danaunya dari tenang, terusik, dan tenang kembali.<\/p>\n

Selanjutnya, yang paling berkesan dan membuat tertawa banyak penonton adalah filem A DAD<\/em> karya Robert Cambrinus. Filem ini menyajikan permainan suara dengan aktor yang bermain dengan posisi peletakkan mikrofon ke sumber suara, membuatnya menghasilkan suara-suara yang tidak biasa di dalam filemnya. Robert dalam filem ini juga bermain dengan konsep keterbalikan fenomena sosial seseorang dengan anjingnya, di mana perintah \u201cduduk\u201d dan \u201cberdiri\u201d yang biasa diperintahkan kepada anjing dari majikan, diputarbalik menjadi dari anjing kepada majikan. Humoris dan menghibur, seisi studio yang berjumlah 17 orang pun berderai tawa.<\/p>\n

Dalam presentasi khusus ini, para penonton disuguhkan dengan pengalaman sinematik yang tidak biasa, di mana para pembuatnya dapat menumpahkan sifat usilnya melalui produksi sinema. Pendekatan bermain-main yang ada dalam filem menjadi jelas terlihat dan menghasilkan gagasan-gagasan yang berbeda tentang\u00a0 Homo Ludens.<\/em>[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”notes on special presentation 1″ css=”.vc_custom_1534251049553{margin-bottom: 0px !important;}”]\n

Cinema as A Medium of Play<\/strong><\/h2>\n

Playing becomes a crucial part of our modern-day society. In the act of playing, humans can explore freedom in them and around them, and through it, they can also leave their plain routine. A game can create new, infinite rules, which have an authority of their own. Even though they are often deemed as childish, they are able to give a different experience in cinematic production, both to the creators and audience.<\/p>\n

At the Special Presentation: Austrian Experiments in ARKIPEL homoludens: 6th<\/sup> Jakarta International Documentary and Experimental Film Festival <\/em>on Saturday, August 11, 2018 in Kineforum, Taman Ismail Marzuki, Central Jakarta, the audience had the chance to watch 15 Austrian short films that ran 4-5 minutes each, curated by Gerald Weber. In his notes, Gerald pointed out that these films represent various styles and artistic approach that are significant in Austria\u2019s moving image production. He saw the connection between social practice and optical-mechanical creativity that proved important in a majority of the films he had curated.<\/p>\n

\"\"Gerald divided the presentation into two parts: the first part was Anna Vasof<\/em>, displaying three of her works that has a peculiar innovative mechanism characteristic. For the second part, Gerald named the other twelve films as Artiphycial Worlds<\/em> that evokes questions about abstraction from physical and visual perception of the audience while watching it. Many surprises and humors appeared in the natural exploration of his surrealistic cinema practice.<\/p>\n

In the first part, Gerald served three films by Anna Vasof, in which every of them have their own theme and visualization. In his first film titled Down to Earth, Anna played with shoes that has been modified with additional tools, referring to the multifunctional meaning that can be created when those shoes are used for walking. The visualization of the concept of playing in those shoes\u2019 movements often made the audience laugh. On the second film, When Times Moves Faster<\/em>, Anna played with the concept of stop-motion as a cinematic technique to produce moving images from still image. Various stop-motion images were played at a different speed, and at the end, creating a creative illusion that are present in the medium of cinema. The third film was titled Things and Wonders 2022<\/em>, displaying wonderful things she transformed from daily equipment and things, in a fun and humored manner. One of the examples were when God\u2019s index finger from the Michaelangelo painting was set on a windshield wiper, with a blue sky as its background. Overall, Anna Vasof\u2019s films evoked questions and a sense of wonder among the audience, with an answer that she always provided at the end of her films, made it feel like we are playing along with the cinema we watch.<\/p>\n

On the second part, Artiphycial World<\/em>, Gerald Weber served films that played with forms, lines, and social phenomenon in its cinematic production. It is displayed in Planes<\/em> by Thomas Fuerhapter, who played with the spatial compositions and clashes between lines and pictures of the train station pole with the train in front of it. The camera movement was subtle, and the audience were tricked by the illusion of the pole that follows the train\u2019s movement, and the people passing by evokes a sense of disturbance full of uncertainty. While Reign of Silence<\/em> by Lukas Marxt refers to the concept of Land Art which was applied to a calm puddle in a vast lake. The stilled surface ripples when a speedboat driver rode in a circle at the middle, creating a spiral current in the middle of the lake. Experiencing it in cinema made a certain artistic impression, watching the calm surface of the lake disturbed, and slowly going back to its previous state.<\/p>\n

The next film made the most impression, and got the most of laughters from the audience, is a film called A DAD<\/em> by Robert Cambrinus. This film serves a play of sounds created by actors experimenting with the microphone\u2019s position to the source of the sound, creating unusual sounds into the film. In this film, Robert playfully reversed the social phenomenon of a dog and its owner, where the instruction to \u201cstand\u201d and \u201csit\u201d usually given from the owner to their dog were reversed from the dog to its owner. Humorous and amusing, the whole theatre consisting of 17 audiences roared with laughter.<\/p>\n

In this special presentation, the audience were given an extraordinary cinematic experience, where the filmmakers can show their mischievous side through cinema productions. The playful approach in the film was evident, producing various notions depicting Homo <\/em>ludens<\/em>.[\/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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Aktif menulis dan telah terjun ke dunia jurnalistik sejak SMA. Kuliah dan menjadi penulis lepas khususnya dalam isu sosial dan HAM adalah kesibukannya saat ini. - Agatha Danastri Dian Pertiwi or Tiwi (30 Desember 1994) is a Philosophy Student in Driyarkara School of Philosophy. She is active in writing and has been involved in journalism since senior high. 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