{"id":8955,"date":"2018-08-16T13:10:50","date_gmt":"2018-08-16T06:10:50","guid":{"rendered":"http:\/\/arkipel.org\/?p=8955"},"modified":"2018-08-16T13:10:50","modified_gmt":"2018-08-16T06:10:50","slug":"homoludens-reading-the-interaction-in-space-in-cinema","status":"publish","type":"post","link":"https:\/\/arkipel.org\/homoludens-reading-the-interaction-in-space-in-cinema\/","title":{"rendered":"Reading the Interaction in Space 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 3″ css=”.vc_custom_1534399414867{margin-bottom: 0px !important;}”]\n

Membaca Interaksi dalam Ruang di Sinema<\/strong><\/h2>\n

Hubungan antara filem dan ruang, khususnya tempat, sedikit banyak saya anggap sebagai pola dasar untuk membahas pengalaman visual dan sensorik, bentuk dan gaya ungkap, persepsi, kesadaran dan makna dari citra serta narasi filem. Ruang dalam filem dapat memberi warna dan konteks; meski wujudnya seringkali lebih abstrak dan eksploratif dibanding konsep tempat (place<\/em>) yang terkesan lebih konkrit. Ruang dalam filem menjadi subjek dari narasi; yang berkontribusi pada upaya pendefinisian karakter dan bagi situasi atau cerita tertentu.[1]<\/a> Interaksi dalam filem pun saya rasa tidak dapat terjadi dalam ruang hampa. Ia membutuhkan ruang yang menyediakan konteks tempat, waktu dan cerita bagi karakter maupun penonton yang sedang mengalami pengalaman sinematik. Dari interaksi pula, dapat terwujud ruang-ruang baru dengan wujud yang lebih modern dan kontemporer.<\/p>\n

Siang hari tampaknya hampir tidak pernah menjadi waktu yang ramai di GoetheHaus, Goethe-Institut Jakarta. Seperti biasa, saya datang terlalu cepat untuk pemutaran filem dari Kompetisi Internasional 3 Festival ARKIPEL homoludens<\/em> \u2013 6th<\/sup> Jakarta International Documentary and Experimental Film Festival 2018<\/em>. Hari itu, Senin, 13 Agustus 2018, pada pukul 13.00 siang, saya dijadwalkan untuk menonton 3 filem; Grid Corrections<\/em> (2016), GIVE<\/em> (2017) dan Overnight<\/em> Flies<\/em> (2016). Gong tanda pemutaran filem akan dimulai dibunyikan. Saya pun memasuki ruang pemutaran yang sepi dan dingin itu. Jumlah penonton saat itu sangat sedikit. Mulanya, hanya berjumlah 3 orang, termasuk saya sendiri. Namun akhirnya, jumlah akhir penonton mencapai 7 orang.<\/p>\n

\"\"

Syaiful Anwar memulai paparan tentang programnya<\/p><\/div>\n

Syaiful Anwar, selektor ketiga filem yang juga membuka program pemutaran, terlihat agak kikuk dengan jumlah penonton yang mungkin tak sesuai dengan ekspektasinya. Ia pun mempercepat penjelasannya mengenai ketiga filem, yang bermuara pada adanya kehadiran ruang dengan interaksi sosial dan kultural di dalamnya. Filem pertama yang diputar adalah Grid<\/em> Corrections<\/em>. Film pendek garapan Gerco de Ruijter dan Michel Banabila ini menampilkan eksperimentasi visual dari citra-citra satelit yang berisikan cuplikan gambar seperti garis, bangun ruang, dan komponen geografis lainnya. Filem yang hanya berdurasi selama 2 menit ini berusaha mendemonstrasikan bagaimana garis-garis dileburkan untuk mengakomodasi lekukan bumi yang tajam. Setiap lengkungan tajam berdistorsi dan menghasilkan batas-batas khayal atau ruang interaksi yang problematik.<\/p>\n

GIVE<\/em> dari sutradara David de Rozas menjadi filem kedua yang diputar. Filem berdurasi 17 menit ini mengisahkan tentang seorang pendeta Afro-Amerika bernama Roland Gordon yang mendedikasikan hidupnya untuk mengumpulkan arsip alternatif dari sejarah Afrika-Amerika di dalam parokinya di San Fransisco. Menarik sekali melihat usaha Gordon mengumpulkan kolase orang maupun guntingan berita dari koran, poster dan foto-foto untuk kemudian ditempel ke dinding, hingga menjadi karya visual historis yang monumental bagi kaumnya. Kolase yang ia kumpulkan menjadi medium subversif terhadap upaya pelupaan terhadap segregasi yang dialami oleh kaum Afrika-Amerika oleh sejarah resmi Amerika. Dari kumpulan foto-foto itu, saya bisa memahami bagaimana orang-orang Afro-Amerika juga mempertanyakan upaya konstruksi dari wacana historis; prosedur pembuatan sejarahnya, kebenarannya, keabsahan dokumen yang mendukung studi ilmiah yang melatarbelakanginya hingga hirarki dari tiap oknum yang berada di balik sejarah. Saya bisa merasakan ketulusan Gordon, yang terlihat dari bagaimana ia mengabdi di berbagai aspek kehidupan. Mulai dari gereja, upaya pengarsipan sejarah hingga strategi yang ia lakukan untuk menyelamatkan komunitas yang terlupakan dalam sejarah. Tak hanya perihal sejarah, namun ia juga begitu peduli dengan masa depan kaumnya. Hal ini terlihat dalam pidatonya di pengadilan, yang menyatakan bahwa ia ingin bahwa anak-anak Afro-Amerika tahu dan punya sosok panutan dari kaumnya sendiri. Gordon, dengan segala upaya dan caranya sendiri, berusaha menghadirkan ruang interaktif bagi pemerintah, kelompoknya dan juga Amerika secara keseluruhan, yang saya kira mampu menjadi pembuka celah bagi adanya pengetahuan, diskusi, advokasi maupun keadilan yang diimpikan.<\/p>\n

Overnight Flies<\/em> menjadi filem penutup dari pemutaran filem siang itu. Filem besutan Georg Tiller ini terpusat pada kehidupan seorang imigran Afrika yang tinggal di sebuah pulau terpencil di Swedia. Dengan segala bagasi masa lalu yang dimilikinya, ia pun mencoba mencari arti dalam keterasingannya. Dalam filem berdurasi 97 menit ini, kita akan diajak untuk melihat kehidupan imigran ini yang terkesan sepi dan membosankan lewat aktivitas sehari-harinya. Ia bahkan tak terlihat nyaman di dalam rumahnya sendiri. Ia selalu berpindah-pindah dan mengembara dari satu tempat ke tempat lain. Hutan menjadi lokasi atau ruang yang selalu ia datangi kembali. Di hutan pula, ia bertemu dengan sahabatnya, Yan. Seperti potongan teka-teki, imigran ini berusaha untuk mencari ruang yang dapat memberikannya jawaban, entah atas pertanyaan apa yang ia cari.<\/p>\n

Ali, salah satu penonton yang setia menonton filem sejak awal hingga akhir, mengatakan bahwa proses interaksi dalam ruang yang disediakan sinema juga dapat terkait dengan konteks waktu yang ditawarkan, mulai dari masa lalu hingga masa depan. Dari sang imigran dalam filem Overnight Flies,<\/em> misalnya, ia dapat merasakan bagaimana sang imigran merasa kesulitan dalam mencari ruang interaksi yang sesuai dengan apa ia alami di masa lalu atau kehidupan sebelumnya. Hal ini juga diamini oleh Jessica, salah satu penonton, yang dapat berempati dengan rasa kesepian dan kehampaan sang imigran. Ruang interaksi dalam filem pada akhirnya menjadi ruang transformatif yang menentukan ke mana jejak para karakter dalam filem ini akan melangkah.<\/p>\n

[1]<\/a> Massera, Carmen Aroztegui. (2010). Architectural Representation and Experiencing Space in Film<\/em>. Universidad ORT Uruguay. https:\/\/dspace.ort.edu.uy\/bitstream\/handle\/20.500.11968\/2849\/documentodeinvestigacion1.pdf<\/a>. Diakses pada 13 Agustus 2018, pukul 16.55 WIB.[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”NOTES ON INTERNATIONAL COMPETITION 3″ css=”.vc_custom_1534399668138{margin-bottom: 0px !important;}”]\n

Reading the Interaction in Space in Cinema<\/strong><\/h2>\n

The relation between film and space, especially place, more or less I considered as a basic pattern to discuss visual and sensory experience, form and expression style, perception, consciousness and meanings from images and film narratives. Space in films may provide color and context; although the form is more often to be abstract and explorative if compared with the concept of place which is seemed to be more concrete. Space in film becomes the subject from narration; contributing to the effort of defining character and to certain situation or narrative.[1]<\/a> Even interaction in film would not take place in a hollow space. It needs a space that provides a context of space, time and story for characters and audience who are experiencing a cinematic moment. From these interactions also, there could be formed new spaces with a more modern and contemporary form.<\/p>\n

It really is never that crowded in GoetheHaus, Goethe-Institut Jakarta during the afternoon. As usual, I had arrive too early to the film screening of International Competition 3 in ARKIPEL homoludens \u2013 6th Jakarta International Documentary and Experimental Film Festival 2018. <\/em>That day, Monday 13 Agustus 2018, at 01.00 PM, I had scheduled to watch 3 films; Grid Corrections <\/em>(2016), GIVE<\/em> (2017) and Overnight Flies <\/em>(2016). As the gong<\/em> which signals the commencement of the film screening rang, I entered the cold and quiet theater. The number of audiences was very few. In the beginning, there were only 3 people, including myself. However, the numbers rose to 7 people.<\/p>\n

\"\"

Syaiful Anwar introduced his program<\/p><\/div>\n

Syaiful Anwar, the selector for the three films who gave an opening remarks for the screening program, seemed a bit awkward with the number of audiences that may not be in his expectations. He then quicken the explanation for the three films, which covers the presence of space with social and cultural interaction in them. The first film to be screened is Grid Corrections<\/em>. The short film by Gercon de Ruijter and Michel Banabila displays visual experimentation of satellite images which contain shots of images such as lines, spaces, and other geographical component. The film with its 2 minute duration tries to demonstrate how lines are dissolved to accommodate the sharp indention of earth. Every sharp indention are distorted and thus resulting an imaginary line or a problematic interaction space.<\/p>\n

GIVE <\/em>by film director David de Rozas is the second film to be screened. The film with duration of 17 minute tells a story of how an Afro-American reverend by the name of Roland Gordon dedicated his life in gathering alternative archive of African-American history in his parish in San Fransisco. It is very interesting to see how Gordon gathers collage of people and news clipings from newspaper, posters and photos which are pasted to the wall, thus becaming a monumental piece of visual art for Afro-American. The collage that he gathers become a subversive medium against the effort to forget the segregation which took place in the past by the official history of the United States.<\/p>\n

From those photos collection, I was able to comprehend how the Afro-American also questioned the construction efforts of historical discourse; the procedure of how the history was created, its truth, the authenticity of the document that supports scientific study that act as its background along with the hierarchy of each perpretator that exists behind the history. I can feel the sincerity of Gordon, which shows from how he devoted himself in variety aspects of life. From the church, the historical archive effort up to the strategy to save an almost forgotten community by the history. Not being limited to historical matter, he also cares deeply for the future of his people. This is being shown through his speech in court, where he stated that he wishes the afro-american children to acknowledge and possess a role model from their own kind. Gordon, with its own effort and method, tries to create an interactive space for the government, his community and also the United States as a whole, which I think may be a crack in the current knowledge, discussion, advocation that now took place.<\/p>\n

Overnight Flies<\/em> is the last film for the International Competition 3 segment. The film by Georg Tiller is centered on the life of an African imigrant living in a desolated island in Sweden. With all of this imigrant\u2019s past baggage, he also tries to seek for meaning in his desolation. In the 97 minute duration, we are invited to have a glimpse of the imigrant\u2019s life which may seemed lonesome and dull through his daily life. He is not event seemed to be comfortable in his house. He always moves around, one place to the other. The woods is always a location or space he always return to. It is also in the woods, that he met his bestfriend, Yan. Like a piece of a puzzle, the immigrant is trying to seek for a space that may provide him with an answer, despite not knowing the questions that he asks.<\/p>\n

Ali, one of the few audiences that watches the whole segment from the beginning till\u2019 the end, explains that the interactive process in the space being provided by cinema may also be related with the context of time that is offered, beginning from the past until the future. From the immigrant in the film Overnight Flies<\/em>, for example, he may senses of how the immigrant is struggling to find interaction space which fits with what he has experienced in the past or previous life. This is also similar to what Jessica, one of the audience felt of how she emphatize with the lonesome and emptiness of the immiigrant. The interaction space in the film eventually becomes a transformative space that determines where the character in the film would continues its steps.<\/p>\n

[1]<\/a> Massera, Carmen Aroztegui. (2010). Architectural Representation and Experiencing Space in Film<\/em>. Universidad ORT Uruguay. https:\/\/dspace.ort.edu.uy\/bitstream\/handle\/20.500.11968\/2849\/documentodeinvestigacion1.pdf<\/a>. Accessed on 13 August 2018, 4.55 pm.[\/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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Dhianti (Jakarta, 27 September 1995) adalah lulusan Kriminologi dari Universitas Indonesia. Menyukai film, makanan gratis dan bercita-cita untuk dapat bereinkarnasi sebagai Jeff Goldblum di kehidupan selanjutnya. Di luar aktivitasnya dalam kegiatan sukarela, ia bekerja sebagai pekerja lepas desain grafis. Sapa dia di akun Twitternya @27Aulia untuk mengobrol soal\u00a0\u00a0 makanan, komik dan kucing. - Aulia A. Dhianti (Jakarta, September 27th 1995) is a Criminology graduate at Universitas Indonesia. Love films, free food and aspire to be reincarnated as Jeff Goldblum in her next life. When she's not joining any volunteering works, she's accepting work commision as a graphic designer freelancer. 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Dhianti (Jakarta, 27 September 1995) adalah lulusan Kriminologi dari Universitas Indonesia. Menyukai film, makanan gratis dan bercita-cita untuk dapat bereinkarnasi sebagai Jeff Goldblum di kehidupan selanjutnya. Di luar aktivitasnya dalam kegiatan sukarela, ia bekerja sebagai pekerja lepas desain grafis. Sapa dia di akun Twitternya @27Aulia untuk mengobrol soal\u00a0\u00a0 makanan, komik dan kucing. - Aulia A. Dhianti (Jakarta, September 27th 1995) is a Criminology graduate at Universitas Indonesia. Love films, free food and aspire to be reincarnated as Jeff Goldblum in her next life. When she's not joining any volunteering works, she's accepting work commision as a graphic designer freelancer. 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