[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>\nIt 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>\nSyaiful 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>\nGIVE <\/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>\nFrom 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>\nAli, 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":"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. <\/p>\n","protected":false},"author":143,"featured_media":8957,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"Reading the Interaction in Space in Cinema","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":[480,481,192,431],"jetpack_publicize_connections":[],"yoast_head":"\n
Reading the Interaction in Space in Cinema — ARKIPEL<\/title>\n \n \n \n \n \n \n \n \n \n \n \n \n\t \n\t \n\t \n \n \n \n \n \n\t \n\t \n\t \n