{"id":9002,"date":"2018-08-17T17:46:05","date_gmt":"2018-08-17T10:46:05","guid":{"rendered":"http:\/\/arkipel.org\/?p=9002"},"modified":"2018-08-19T00:55:28","modified_gmt":"2018-08-18T17:55:28","slug":"homoludens-a-unique-mixture-of-old-and-new-cinema-a-la-kidlat-tahimik","status":"publish","type":"post","link":"https:\/\/arkipel.org\/homoludens-a-unique-mixture-of-old-and-new-cinema-a-la-kidlat-tahimik\/","title":{"rendered":"A Unique Mixture of Old and New Cinema a la Kidlat Tahimik"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Catatan tentang Focus on Kidlat Tahimik program 3″ css=”.vc_custom_1534614924511{margin-bottom: 0px !important;}”]\n

Perpaduan Unik Sinema Lawas dan Baru ala Kidlat Tahimik<\/strong><\/h2>\n

Dalam hal sinema dokumentasi sejarah, tidak jarang kita akan menemui hasil produksi yang terkesan begitu serius dengan suara narator yang berat. Sinemanya akan terlihat begitu grande <\/em>dengan menyisipkan cuplikan-cuplikan filem lawas asli dari arsip khusus. Namun, kita tidak akan menemukannya di dalam dokumentasi sejarah yang dibuat oleh Kidlat Tahimik, seorang seniman Filipina; dalam filemnya yang berjudul Balikbayan #1 Memories of Overdevelopment Redux VI, <\/em>yang ditampilkan di ARKIPEL homoludens: 6th<\/sup> Jakarta International Documentary and Experimental Film Festival <\/em>pada Rabu, 15 Agustus 2018 pukul 19.30 WIB.<\/p>\n

Dalam filem berdurasi 150 menit ini, penonton akan disuguhkan pengalaman menonton sinema dengan perpaduan antara sinema lawas dan baru. Bagaimana tidak, sebab filem Balikbayan<\/em> yang berarti \u201dorang yang kembali\u201d dibuat dalam dua masa yang berbeda, yakni pada tahun 1979 dan 2015. Penonton merasakan pengalaman seakan menonton sinema lawas karena kamera 16mm yang digunakan mengambil gambar pada bagian awal filem mengeluarkan bunyi \u201ckrutkrutkrut\u201d seperti rol filem yang diputar, dipadukan dengan sinema anyar ala milenial yang jernih dan tajam. Eksperimentasi sinematik Kidlat dalam filem ini tidak hanya berhenti sampai di sana\u00a0 saja, tapi tapi juga pengoperasian kamera pada filem lawas dan filem baru yang hampir tidak menggunakan tripod, <\/em>sehingga akan terasa betul gambar-gambar yang bergetar dan spontanitas produksi sinematiknya.<\/p>\n

\"\"

Kidlat memberikan pengantar tentang filem Balikbayan #1 Memories of Overdevelopment Redux VI<\/p><\/div>\n

Dalam filem ini, Kidlat membuat sebuah dokumentasi sejarah abad ke-16 tentang Enrique, seorang pemuda pedalaman Malaka yang secara tidak sengaja terbawa ikut dengan kapal dagang dan menjelajahi Malaka dan berakhir di Eropa. Di Eropa, Enrique bertemu dengan seorang penjelajah Portugis bernama Ferdinand Magellan, dan akhirnya menjadi budak bagi Magellan selama perjalanan ekspedisi. Keunikan nampak dari bagaimana Kidlat muda, memerankan Enrique dalam filem Balikbayan<\/em> versi tahun 1979 dengan penuh humor dan spontanitas. Kidlat sendiri dalam filem itu terlihat begitu menolak ketegasan cerita masa lalu kolonial yang kaku. Riset-risetnya mengenai Magellan ia tumpahkan dalam filem ini dengan versi spontan, produksi sinematik dengan kamera yang dipegang dengan tangan, dan gambaran-gambaran humor serta kepolosan Enrique yang tidak jarang membuat penonton tertawa terpingkal-pingkal.<\/p>\n

Setidaknya bagi saya, pengalaman baru dalam menonton sesungguhnya terjadi ketika Kidlat memadukan rekaman teranyarnya pada tahun 2015, yang juga diperankan oleh Kidlat sendiri ketika sudah menua, dengan menjadi sosok Enrique yang telah kembali ke kampung halaman. Rekaman barunya ini menjadi sebuah narasi sendiri untuk menjelaskan kisah Enrique yang digarap dalam versi tahun 1979. Narasi ini dibentuk oleh seorang pemeran pemuda yang mencari keberadaan Enrique, di mana hasil jepretan fotonya selalu tersisip wajah Enrique, seperti seolah-olah ia dihantui. Lantas, dalam pencariannya itulah, selalu diselipkan cuplikan film lawas garapan Kidlat tersebut. Penggarapan sinema dokumentasi sejarah semacam ini memang biasa dilakukan, tapi menjadi tidak biasa ketika cuplikan lawas dan cuplikan baru sama-sama digarap dan diperankan oleh orang yang sama, yang rentang waktu penggarapannya nyaris mencapai umur empat dekade.<\/p>\n

\"\"

Situasi Kineforum dalam program kedua Focus on Kidlat Tahimik<\/em><\/p><\/div>\n

Ekperimentasi sinematik yang dilakukan oleh Kidlat Tahimik ini bukan tanpa maksud dan pesan mendalam. Ia mengaku dalam filem ini, ia juga melibatkan sosok-sosok seperti ibunya dan anaknya sendiri dalam filem lawas dan barunya, yang akan menjadi sebuah bentuk kesejarahan tersendiri bagi dirinya dan keluarganya. Ia bahkan juga menyelipkan pesan kepada para sutradara-sutradara, bahwa lewat filem itu, di mana ia menunjukkan bahwa tidak peduli biaya yang minim atau rentang waktu yang sangat lama, filem toh nyatanya pasti dapat diselesaikan juga, yang tentunya harus digarap dengan kreativitas dan niat yang bulat.[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”notes on Focus on Kidlat Tahimik program 3″ css=”.vc_custom_1534614762566{margin-bottom: 0px !important;}”]\n

A Unique Mixture of Old and New Cinema a la Kidlat Tahimik<\/strong><\/h2>\n

When in comes to the cinema documenting the history, it is unusual for us to find a serious production with heavy voice of its narrator. The cinema will appear very grande<\/em> by inserting footages from the original old film from a specific archive. However, we don\u2019t find such things in the documentary of history made by Kidlat Tahimik, an artist and filmmaker from Phillipines. In his film entitled Balikbayan #1 <\/em>Memories of Overdevelopment Redux VI,<\/em> screened in ARKIPEL h<\/em>omoludens: 6th<\/sup> Jakarta International Documentary and Experimental Film<\/em> Festival<\/em> on Wednesday, August 15 2018 at 7.30 PM.<\/p>\n

In this 159 minutes film, the audiences will get aan experience of watching a mixture of new and old cinema. Such thing might happen because Balikbayan<\/em>, which means \u201csomeone who return from faraway\u201d, was produced in two different era: in 1979 and 2015. The audience felt the experience as if watching the old cinema because the 16mm camera utilized to record the early part of the film made a sound of \u201ckrutkrutkrut\u201d like a rolling film roll, combined with the new cinema a la millenial using clear and sharp image. The cinematic experimentation of Kidlat Tahimik in this film doesn\u2019t stop only in this point, but also in the way the camera operates in the old and new film which almost neveruse tripod, which makes these trembling images and the spontaneity of its cinematic production gave strong feelings.<\/p>\n

\"\"

Kidlat gives an introduction about the Balikbayan # 1 Memories of Overdevelopment Redux VI film<\/p><\/div>\n

In this film, Kidlat made a documentary of the history in the 16th century about Enrique, a young lad from the hinterland of Malacca who accidentaly included in a merchant ship and sailed exploring the Malacca, ended up in Europe. In Europe, Enrique met a Portuguese explorer named Ferdinand Magellan, and eventually became a slave to Magellan during an expedition trip. The uniqueness emerged from how young Kidlat appeared, portraying Enrique in the 1979 version of the Balikbayan<\/em> film with humor and spontaneity. Kidlat in that film seemed to strongly refuse the rigid past colonial story. His researches about Magellan were expressed spontaneously in this film, the cinematic production using his hand held camera, and humorous picture and the innocence of Enrique made the audience often laughed.<\/p>\n

At least for me, the new experience of watching cinema happened when Kidlat mix his current recording on 2015, performed by Kidlat himself when he is older, by playing as Enrique who had returned to his homeland. His current recordings are a stand alone narrative to elaborate the story of Enrique he made in the version of 1979. This narrative was constructed through teh journey of a young man who is seeking for the existence of Enrique, carrying along a photograph of Enrique, as if he was haunted by Enrique. On that search, there is always a footage from the old film Kidlat made in 1979 in between. This style of historical documentary is actully something usual. What makes it unusual is because teh footage from the new and old film were played by the same person, within almost four decades as its period of filmmaking process.<\/p>\n

\"\"

The situation of Kineforum in the second program Focus on Kidlat Tahimik<\/p><\/div>\n

This cinematic experimentation is not without any important message or intention. He admitted that in this film, figures like his mother and sons were also included in his new and old film. This will also create a certain historic for him and his family. He even inserted a message for other directors through this film, where he shows that it doesn\u2019t matter how low is the budget or how long is the process for filmmaking, in the end the film will be finished, as long as it is made with creativity and determination.[\/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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