{"id":8880,"date":"2018-08-14T12:00:10","date_gmt":"2018-08-14T05:00:10","guid":{"rendered":"http:\/\/arkipel.org\/?p=8880"},"modified":"2018-08-16T15:21:44","modified_gmt":"2018-08-16T08:21:44","slug":"homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena","status":"publish","type":"post","link":"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/","title":{"rendered":"Candrawala: Fluidity of the Indonesian Cinema Experimentation Arena"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”notes on candrawala” css=”.vc_custom_1534407136380{margin-bottom: 0px !important;}”]\n

Candrawala: Cairnya Arena Eksperimentasi Sinema Indonesia<\/strong><\/h2>\n

Dengan adanya kehadiran teknologi canggih seperti telepon pintar dan ruang media sosial, kita berada di sebuah arena produksi audiovisual yang meluas; menjadi tidak hanya sekadar merekam dan ditonton, tapi juga mempertontonkan diri. Dalam generasi digital ini pula, subjek pembuat konten audiovisual tidak hanya bertujuan untuk sekadar menangkap realitas lewat medium kamera, tapi juga ada dorongan untuk berbagi dan hendak menyampaikan sesuatu. Katakanlah, seperti halnya ada ruang Instagram Story <\/em>atau Snapchat<\/em>, menjadi ruang bagi kita untuk berbagi kehidupan sehari-hari. Hal ini pula yang akhirnya juga meluas dalam konsep pembuatan sinema Indonesia, yang membawa gestur dan wacana teknologis kekinian ini, menjadikan aktivitas merekam, ditonton, dan mempertontonkan diri menjadi seolah tanpa sekat dan benar-benar terhubung.<\/p>\n

Gestur teknologis kekinian dalam sinema Indonesia ini diperdalam dan disajikan dalam sebuah program kuratorial Candrawala: <\/em>A Local Landscape of Now <\/em>yang menjadi bagian dari ARKIPEL homoludens: 6th<\/sup> Jakarta International Documentary and Experimental Film Festival <\/em>yang diselenggarakan di GoetheHaus, Goethe Institut Indonesien, Menteng, Jakarta Pusat pada Selasa, 13 Agustus 2018, pukul 19.00 WIB. Adapun program Candrawala telah ketiga kalinya dilaksanakan di ARKIPEL , yaitu sejak ARKIPEL social\/kapital<\/em>.<\/p>\n

\"\"

Para penonton yang hadir di program Candrawala – local landscape of now 2018<\/p><\/div>\n

Dalam kuratorial Candrawala ini, Anggraeni Widhiasih dan Dhuha Ramadhani selaku kurator telah memilih enam filem buatan sutradara Indonesia, dari total 48 total filem yang diseleksi. Hal yang cukup menarik adalah, lima dari enam filem yang terpilih ini dibuat oleh para mahasiswa jurusan perfileman. Adapun judul filem yang diputar dalam program Candrawala ini adalah Kakak Mau Beli Tisu? <\/em>karya Batara A. Pekerti dari Institut Kesenian Jakarta (IKJ); lalu terdapat tiga judul filem garapan mahasiswa Universitas Multimedia Nusantara \u00a0(UMN) yakni Ojek Lusi <\/em>karya Winner Wijaya, Lahir di Darat, Besar di Laut <\/em>karya Steven Vicky Sumbodo,dan Rimba Kini <\/em>karya Wisnu Dewa Broto; filem kelima berjudul What\u2019s Wrong with My Film <\/em>karya Roberto Rosendy dari Institut Seni Budaya Indonesia Bandung (ISBI); dan filem keenam berjudul Kasihan <\/em>karya Muhammad Reza adalah garapan bersama komunitas filem yang diikutinya.<\/p>\n

Filem Kakak Mau Beli Tisu? <\/em>Yang berdurasi 14 menit ini merupakan sebuah filem yang tidak disangka akan menjadi sebuah filem horor. Mengisahkan sekumpulan anak-anak penjual tisu yang mengejar seorang perempuan untuk membeli tisu mereka, filem ini menyuguhkan cerita yang surealis tentang kemiskinan yang mencekam. Didahului dengan saling iri karena seorang tisu yang dijual salah seorang anak dibeli oleh seorang perempuan, maka anak-anak lain juga memaksa\u00a0 agar tisunya juga dibeli, merongrong dan meneror tanpa henti dalam kemiskinan yang menghimpit mereka. Tapi kemudian, tak jelas apakah pengalaman itu nyata atau hanya halusinasi si perempuan.<\/p>\n

Filem Ojek Lusi <\/em>berdurasi 18 menit menguyuhkan potret lain dari para korban Lumpur Lapindo, Sidoarjo, Jawa Timur, yang rumah dan kampung mereka harus terendam lumpur tanpa ada solusi yang jelas dari Pemerintah. Winner selaku sutradara secara gamblang hendak menunjukkan bagaimana warga korban Lusi (Lumpur Sidoarjo) memiliki kehidupan yang normal seperti warga biasa. Mereka tidak meratap dan mereka berusaha mencari nafkah secara unik dari fenomena semburan lumpur, seperti menjual DVD bajakan rekaman semburan lumpur dan ngojek <\/em>untuk mengantarkan wisatawan berkeliling di hamparan luas area semburan lumpur.<\/p>\n

Steven Sumbodo selaku sutradara filem Lahir di Darat, Besar di Laut <\/em>berdurasi 17 menit membuat sebuah eksperimentasi produksi sinemanya melalui narasi. Dalam filem ini, kita sebagai penonton akan dipandu dengan narasi spontan dari anak nelayan yang menujukkan hal-hal unik yang ditemui di kapal nelayan milik ayahnya, seperti memperkenalkan kru kapal, hingga menjelaskan aktivitas penangkapan ikan, menjadikan si anak nelayan ini seolah-olah bicara dengan penonton dengan ungkapan-ungkapan polosnya. Selain itu, filem ini juga memberikan ruang kepada kapten Kapal yang awalnya ditonton, akhirnya mempertontonkan diri dengan menjadi narator tunggal berbagi cerita seluk-beluk bisnisnya yang sedang sepi, bercerita tentang kru kapalnya, dan hal-hal lain yang menyuarakan tentang dirinya.<\/p>\n

Filem Kasihan <\/em>yang berdurasi 7 menit memiliki nuansa filem era 1970-an sampai 2000-an dengan dubbing <\/em>suara yang unik. Mengambil tema soal kondisi perekonomian yang penuh kesenjangan, Reza selaku sutradara membungkus peliknya relasi ekonomi di perkotaan dengan lagu-lagu musikal ala filem jadul<\/em>. Eksperimentasi sinema tampak dari sinkronisasi gerakan bibir aktor dan dubbing<\/em> yang seringkali tidak pas, potongan-potongan gambar yang terlihat kaku, yang menjadi sebuah hal yang unik dan menyenangkan untuk ditonton, sambil bernostalgia mendengarkan kolase audio dari filem lawas.<\/p>\n

Filem What\u2019s Wrong with My Film <\/em>yang berdurasi 6,5 menit secara tidak langsung menyentil dan menyindir Lembaga Sensor Indonesia yang kerap membuat sensor yang sebenarnya tidak diperlukan. Roberto dengan usilnya membuat adegan pertengkaran ala filem koboy, di mana ada kata-kata kasar yang disensor dan menjadikannya tidak bersuara, gambar rokok diblur serta adegan ciuman dipotong dengan kakunya. Roberto hendak menunjukkan betapa filem menjadi tidak begitu menyenangkan untuk ditonton, atau bahkan ada pesan yang tidak bisa disampaikan dengan jelas, karena ada terlalu banyak sensor yang sebenarnya tidak perlu. Pada adegan penutup, tiga pemuda yang menonton filem koboy itu pun terlihat bingung dan heran dengan filem yang mereka tonton.<\/p>\n

Filem terakhir, berjudul Rimba Kini, <\/em>menguyuhkan aktivitas dua anak Suku Anak Dalam, Jambi, bernama Baasung dan Besangot yang sedang menakik getah karet dari pohon. Dalam filem ini, terdapat aktivitas bergilir antara Wisnu dan Besangot dalam pengambilan gambar, di mana Besangot juga mendapatkan kesempatan untuk memegang kamera, untuk mengambil gambar Wisnu yang sedang mencoba menakik getah karet. Alat produksi sinema berupa kamera kecil yang praktis seperti ini, terlihat dapat menjadikan eksperimentasi sinema meluas. Perpidahan kamera dari tangan Wisnu ke tangan, menjadikan Wisnu yang awalnya merekam untuk kemudian menjadi tontonan. Begitu pula yang terjadi pada Besangot ketika kamera kembali pada tangan Wisnu.<\/p>\n

\"\"

Para kurator dan sutradara filem terseleksi program Candrawala<\/p><\/div>\n

Menanggapi enam filem yang dikurasinya bersama Dhuha, Anggraeni menyampaikan bahwa ranah eksprimentasi sinema Indonesia dapat pula dibaca pada kejelian sutradara merespon lokasi dan interaksi saat pembuat filem untuk kemudian menjadi bagian dalam filem yang dibuatnya. Perihal seperti memasukkan perpindahan kamera antara pembuat filem dan subjek narasinya ataupun penyertaan narasi spontan dari anak kecil menjadi narator dalam filem kemudian dapat dibaca sebagai sebuah eksplorasi yang memungkinkan adanya potensi berbicara balik, baik dari subjek yang direkam atau dari penonton. Dalam kerangka Candrawala, hal ini pun agaknya dapat dibaca sebagai aspek yang menjadikan eksplorasi artistik sinema semakin luas dan beragam.[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”notes on candrawala” css=”.vc_custom_1534407333062{margin-bottom: 0px !important;}”]\n

Candrawala: Fluidity of the Indonesian Cinema Experimentation Arena<\/strong><\/h2>\n

Upon the presence of advanced technology, such as smartphones and social media, we have arrived at an expanding audiovisual arena; beyond the activities of recording and being watched, but also self-exhibition. In this digital generation, the audiovisual content creator also has a purpose beyond capturing the reality through the camera, but they have the urge to share and make a statement. For example, the emergence of Instagram Story <\/em>and Snapchat<\/em> becomes a space for us to share our daily lives. This also spreads to the concept of Indonesian filmmaking, bringing forth this gesture and technological discourse of here and now, making the act of recording, watching, and self-exhibiting has less limit and gets connected all together.<\/p>\n

This contemporary technological gesture of Indonesian cinema is deepened and served in the curatorial program Candrawala: <\/em>A Local Landscape of Now <\/em>as a part of ARKIPEL homoludens: 6th<\/sup> Jakarta International Documentary and Experimental Film Festival <\/em>held at the GoetheHaus, Goethe Institut Indonesien, Menteng, Central Jakarta on a Tuesday, August 13, 2018, at 07.00 PM. It is the third time this program is held as a part of ARKIPEL, since ARKIPEL social\/kapital.<\/em><\/p>\n

\"\"

The audience in Candrawala program<\/p><\/div>\n

In this Candrawala <\/em>curatorial, Anggraeni Widhiasih and Dhuha Ramadhani as curators had chosen six films from Indonesian filmmakers, out of 48 films that were submitted. An interesting fact is that five out of these six films were made by film students. The title of the films are Kakak Mau Beli Tisu?<\/em> (You Want Some Tissue?<\/em>) by Batara A. Pekerti from Institut Kesenian Jakarta (IKJ); and then there are three films from UMN (Universitas Multimedia Nusantara) students, Ojek Lusi <\/em>( Tour on Mud<\/em>) by Winner Wijaya, Lahir di Darat, Besar di Laut <\/em>( Born on Land, Raised by The Sea<\/em>) by Steven Vicky Sumbodo, and Rimba Kini<\/em>by Wisnu Dewa Broto; the fifth film is What\u2019s Wrong with My Film <\/em>by Roberto Rosendy from Institut Seni Budaya Indonesia Bandung (ISBI); and the sixth film Kasihan <\/em>by Muhammad Reza, which he made with his film community.<\/p>\n

Kakak Mau Beli Tisu?<\/em> that ran for 14 minutes is a film which unexpectedly shifted into a horror film. It tells a story about a group of tissue seller kids chasing a woman to buy their tissue, it serves a surreal tale on the horrors of poverty. Started from the jealousy between them because one of their tissues were bought, other kids forced her to buy their tissues, continuously nagging and terrorizing her in the middle of the poverty that choked them. Later on, it is not clear whether that experience was real, or it was a mere hallucination.<\/p>\n

Ojek Lusi<\/em>, running for 18 minutes, portrayed another picture from the victims of the Lapindo Mud, Sidoarjo, East Java, in which their house and villages were drowned by the mud without any clear solution from the government. Winner, as the director, revealed how the victims of Lusi<\/em> (Lumpur Sidoarjo<\/em>) had a life that is similar to any other Indonesian citizens. They do not weep about their misfortune, they tried to use the mud outburst to earn their living, such as by selling DVD recordings of the mud outburst, and driving ojek<\/em> (taxi bike) while guiding the visitors around the mud flood.<\/p>\n

Steven Sumbodo as the director of Lahir di Darat, Besar di Laut <\/em>that ran for 18 minutes, experimented his film through the narrative aspect. In this film, the audience will be guided by the spontaneous narrative from the son of the fisherman, referring to the unique things he spotted in his father\u2019s fishing boat, such as his introduction to the crewmates, explaining the fishing activities, giving the impression that this fisherman\u2019s son is speaking to the audience through his innocent responses. This film also provides a space for the captain of the ship who earlier was a spectacle, to later exhibit himself as a sole narrator to share stories about his business which is currently in the low season, about his crewmates, and other stories of him.<\/p>\n

Kasihan<\/em>, running for 7 minutes, has the atmosphere of the 1970s \u2013 2000s film through its particular dubbing. Bringing forth the issue of economy gap, Reza as the director depicted the complex economical relation in the city through the soundtrack of old films. Cinematic experimentation was displayed by the flawed synchronization of the actor\u2019s lips and the dubbing and awkward cuts, which makes the film a fun cinematic experience, while nostalgically listening to the audio collage of old films.<\/p>\n

What\u2019s Wrong with My Film <\/em>running for 6,5 minutes sent a satirical message to the Indonesian Censor Institution that often censored things unnecessarily. Roberto mischievously created a cowboy fight scene, where profanity was silenced, cigarettes were blurred, and a kissing scene were cut out awkwardly. Roberto showed how a film became so unenjoyable to watch, or even the message failed to be delivered because of too many unnecessary censors. At the end of the film, three young men who were watching the film seemed confused by the film they had watched.<\/p>\n

The last film, titled Rimba Kini, <\/em>portrayed the activity of two kids from the Anak Dalam tribe, Jambi, named Baasung and Besangot, who were harvesting the sap of rubber trees. In this film, Wisnu and Besangot take turns in recording the image, where Besangot also got the chance to hold the camera to record Wisnu who harvests the sap. The production equipment that consists of a practical camera might expand the experimentation of cinema. The transfer of camera made Wisnu, who initially was recording, then became a spectacle. The same thing happened to Beesangot when the camera came back to Wisnu\u2019s hand.<\/p>\n

\"\"

The two curators and the six selected film directors in Candrawala – Local Landscape of Now 2018<\/p><\/div>\n

Responding to the six films she curated with Dhuha, Anggraeni conveyed that the Indonesian cinema experimentation arena can be read from the director\u2019s sharpness in responding the location and interaction during the process of filmmaking to later become a part of the film. The act of including the shift of camera between the filmmaker and the subject of narration or putting the spontaneous narrative from a child, for example, can be read as an exploration that enables the potential for the recorded subject or the audiences to talk back. In Candrawala\u2019s framing, this phenomenon can be interpreted as an aspect that pushes the artistic exploration of cinema further and even more diverse.[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

Upon the presence of advanced technology, such as smartphones and social media, we have arrived at an expanding audiovisual arena; beyond the activities of recording and being watched, but also self-exhibition. In this digital generation, the audiovisual content creator also has a purpose beyond capturing the reality through the camera, but they have the urge to share and make a statement. For example, the emergence of Instagram Story and Snapchat becomes a space for us to share our daily lives. This also spreads to the concept of Indonesian filmmaking, bringing forth this gesture and technological discourse of here and now, making the act of recording, watching, and self-exhibiting has less limit and gets connected all together. <\/p>\n","protected":false},"author":138,"featured_media":8894,"comment_status":"open","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":[479,347,1],"tags":[480,303,481],"jetpack_publicize_connections":[],"yoast_head":"\nCandrawala: Fluidity of the Indonesian Cinema Experimentation Arena — ARKIPEL<\/title>\n<meta name=\"description\" content=\"Upon the presence of advanced technology, such as smartphones and social media, we have arrived at an expanding audiovisual arena; beyond the activities of recording and being watched, but also self-exhibition. In this digital generation, the audiovisual content creator also has a purpose beyond capturing the reality through the camera, but they have the urge to share and make a statement. For example, the emergence of Instagram Story and Snapchat becomes a space for us to share our daily lives. This also spreads to the concept of Indonesian filmmaking, bringing forth this gesture and technological discourse of here and now, making the act of recording, watching, and self-exhibiting has less limit and gets connected all together.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Candrawala: Fluidity of the Indonesian Cinema Experimentation Arena — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"Upon the presence of advanced technology, such as smartphones and social media, we have arrived at an expanding audiovisual arena; beyond the activities of recording and being watched, but also self-exhibition. In this digital generation, the audiovisual content creator also has a purpose beyond capturing the reality through the camera, but they have the urge to share and make a statement. For example, the emergence of Instagram Story and Snapchat becomes a space for us to share our daily lives. This also spreads to the concept of Indonesian filmmaking, bringing forth this gesture and technological discourse of here and now, making the act of recording, watching, and self-exhibiting has less limit and gets connected all together.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/\" \/>\n<meta property=\"og:site_name\" content=\"ARKIPEL\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/arkipel.festival\/\" \/>\n<meta property=\"article:published_time\" content=\"2018-08-14T05:00:10+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-08-16T08:21:44+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/candrawala-3.jpg?fit=1280%2C854&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"1280\" \/>\n\t<meta property=\"og:image:height\" content=\"854\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Agatha Danastri Dian Pertiwi\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@arkipel\" \/>\n<meta name=\"twitter:site\" content=\"@arkipel\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Agatha Danastri Dian Pertiwi\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/\"},\"author\":{\"name\":\"Agatha Danastri Dian Pertiwi\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/60b1bb9c2c86fb326fc1c40dd0e7c50e\"},\"headline\":\"Candrawala: Fluidity of the Indonesian Cinema Experimentation Arena\",\"datePublished\":\"2018-08-14T05:00:10+00:00\",\"dateModified\":\"2018-08-16T08:21:44+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/\"},\"wordCount\":2169,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/candrawala-3.jpg?fit=1280%2C854&ssl=1\",\"keywords\":[\"2018\",\"Candrawala\",\"homoludens\"],\"articleSection\":[\"ARKIPEL 2018 - homoludens\",\"Candrawala\",\"Festival Updates\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/\",\"url\":\"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/\",\"name\":\"Candrawala: Fluidity of the Indonesian Cinema Experimentation Arena — ARKIPEL\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/candrawala-3.jpg?fit=1280%2C854&ssl=1\",\"datePublished\":\"2018-08-14T05:00:10+00:00\",\"dateModified\":\"2018-08-16T08:21:44+00:00\",\"description\":\"Upon the presence of advanced technology, such as smartphones and social media, we have arrived at an expanding audiovisual arena; beyond the activities of recording and being watched, but also self-exhibition. In this digital generation, the audiovisual content creator also has a purpose beyond capturing the reality through the camera, but they have the urge to share and make a statement. For example, the emergence of Instagram Story and Snapchat becomes a space for us to share our daily lives. This also spreads to the concept of Indonesian filmmaking, bringing forth this gesture and technological discourse of here and now, making the act of recording, watching, and self-exhibiting has less limit and gets connected all together.\",\"breadcrumb\":{\"@id\":\"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/#primaryimage\",\"url\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/candrawala-3.jpg?fit=1280%2C854&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/candrawala-3.jpg?fit=1280%2C854&ssl=1\",\"width\":1280,\"height\":854},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/arkipel.org\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Candrawala: Fluidity of the Indonesian Cinema Experimentation Arena\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/arkipel.org\/#website\",\"url\":\"https:\/\/arkipel.org\/\",\"name\":\"ARKIPEL\",\"description\":\"Jakarta International Documentary and Experimental Film Festival\",\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/arkipel.org\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/arkipel.org\/#organization\",\"name\":\"Arkipel\",\"url\":\"https:\/\/arkipel.org\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1\",\"width\":901,\"height\":351,\"caption\":\"Arkipel\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/arkipel.festival\/\",\"https:\/\/x.com\/arkipel\",\"https:\/\/www.instagram.com\/arkipel\/\",\"https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/60b1bb9c2c86fb326fc1c40dd0e7c50e\",\"name\":\"Agatha Danastri Dian Pertiwi\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/627295979848d6b776bdafc8786fa420?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/627295979848d6b776bdafc8786fa420?s=96&d=mm&r=g\",\"caption\":\"Agatha Danastri Dian Pertiwi\"},\"description\":\"Agatha Danastri Dian Pertiwi\u00a0alias Tiwi ( 30 Desember 1994) adalah seorang mahasiswi filsafat di Sekolah Tinggi Filsafat Driyarkara. 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. Currently, she is working as a freelance writer, especially in social and human rights issues.\",\"url\":\"https:\/\/arkipel.org\/people\/agathadanastri\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Candrawala: Fluidity of the Indonesian Cinema Experimentation Arena — ARKIPEL","description":"Upon the presence of advanced technology, such as smartphones and social media, we have arrived at an expanding audiovisual arena; beyond the activities of recording and being watched, but also self-exhibition. In this digital generation, the audiovisual content creator also has a purpose beyond capturing the reality through the camera, but they have the urge to share and make a statement. For example, the emergence of Instagram Story and Snapchat becomes a space for us to share our daily lives. This also spreads to the concept of Indonesian filmmaking, bringing forth this gesture and technological discourse of here and now, making the act of recording, watching, and self-exhibiting has less limit and gets connected all together.","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-fluidity-of-the-indonesian-cinema-experimentation-arena\/","og_locale":"en_US","og_type":"article","og_title":"Candrawala: Fluidity of the Indonesian Cinema Experimentation Arena — ARKIPEL","og_description":"Upon the presence of advanced technology, such as smartphones and social media, we have arrived at an expanding audiovisual arena; beyond the activities of recording and being watched, but also self-exhibition. In this digital generation, the audiovisual content creator also has a purpose beyond capturing the reality through the camera, but they have the urge to share and make a statement. For example, the emergence of Instagram Story and Snapchat becomes a space for us to share our daily lives. This also spreads to the concept of Indonesian filmmaking, bringing forth this gesture and technological discourse of here and now, making the act of recording, watching, and self-exhibiting has less limit and gets connected all together.","og_url":"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/","og_site_name":"ARKIPEL","article_publisher":"https:\/\/www.facebook.com\/arkipel.festival\/","article_published_time":"2018-08-14T05:00:10+00:00","article_modified_time":"2018-08-16T08:21:44+00:00","og_image":[{"width":1280,"height":854,"url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/candrawala-3.jpg?fit=1280%2C854&ssl=1","type":"image\/jpeg"}],"author":"Agatha Danastri Dian Pertiwi","twitter_card":"summary_large_image","twitter_creator":"@arkipel","twitter_site":"@arkipel","twitter_misc":{"Written by":"Agatha Danastri Dian Pertiwi","Est. reading time":"11 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/#article","isPartOf":{"@id":"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/"},"author":{"name":"Agatha Danastri Dian Pertiwi","@id":"https:\/\/arkipel.org\/#\/schema\/person\/60b1bb9c2c86fb326fc1c40dd0e7c50e"},"headline":"Candrawala: Fluidity of the Indonesian Cinema Experimentation Arena","datePublished":"2018-08-14T05:00:10+00:00","dateModified":"2018-08-16T08:21:44+00:00","mainEntityOfPage":{"@id":"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/"},"wordCount":2169,"commentCount":0,"publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"image":{"@id":"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/candrawala-3.jpg?fit=1280%2C854&ssl=1","keywords":["2018","Candrawala","homoludens"],"articleSection":["ARKIPEL 2018 - homoludens","Candrawala","Festival Updates"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/","url":"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/","name":"Candrawala: Fluidity of the Indonesian Cinema Experimentation Arena — ARKIPEL","isPartOf":{"@id":"https:\/\/arkipel.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/#primaryimage"},"image":{"@id":"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/candrawala-3.jpg?fit=1280%2C854&ssl=1","datePublished":"2018-08-14T05:00:10+00:00","dateModified":"2018-08-16T08:21:44+00:00","description":"Upon the presence of advanced technology, such as smartphones and social media, we have arrived at an expanding audiovisual arena; beyond the activities of recording and being watched, but also self-exhibition. In this digital generation, the audiovisual content creator also has a purpose beyond capturing the reality through the camera, but they have the urge to share and make a statement. For example, the emergence of Instagram Story and Snapchat becomes a space for us to share our daily lives. This also spreads to the concept of Indonesian filmmaking, bringing forth this gesture and technological discourse of here and now, making the act of recording, watching, and self-exhibiting has less limit and gets connected all together.","breadcrumb":{"@id":"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/#primaryimage","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/candrawala-3.jpg?fit=1280%2C854&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/candrawala-3.jpg?fit=1280%2C854&ssl=1","width":1280,"height":854},{"@type":"BreadcrumbList","@id":"https:\/\/arkipel.org\/homoludens-fluidity-of-the-indonesian-cinema-experimentation-arena\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/arkipel.org\/"},{"@type":"ListItem","position":2,"name":"Candrawala: Fluidity of the Indonesian Cinema Experimentation Arena"}]},{"@type":"WebSite","@id":"https:\/\/arkipel.org\/#website","url":"https:\/\/arkipel.org\/","name":"ARKIPEL","description":"Jakarta International Documentary and Experimental Film Festival","publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/arkipel.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/arkipel.org\/#organization","name":"Arkipel","url":"https:\/\/arkipel.org\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","width":901,"height":351,"caption":"Arkipel"},"image":{"@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/arkipel.festival\/","https:\/\/x.com\/arkipel","https:\/\/www.instagram.com\/arkipel\/","https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ"]},{"@type":"Person","@id":"https:\/\/arkipel.org\/#\/schema\/person\/60b1bb9c2c86fb326fc1c40dd0e7c50e","name":"Agatha Danastri Dian Pertiwi","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/627295979848d6b776bdafc8786fa420?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/627295979848d6b776bdafc8786fa420?s=96&d=mm&r=g","caption":"Agatha Danastri Dian Pertiwi"},"description":"Agatha Danastri Dian Pertiwi\u00a0alias Tiwi ( 30 Desember 1994) adalah seorang mahasiswi filsafat di Sekolah Tinggi Filsafat Driyarkara. 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. Currently, she is working as a freelance writer, especially in social and human rights issues.","url":"https:\/\/arkipel.org\/people\/agathadanastri\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/candrawala-3.jpg?fit=1280%2C854&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-2je","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/8880"}],"collection":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/users\/138"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=8880"}],"version-history":[{"count":0,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/8880\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/8894"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=8880"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=8880"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=8880"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}