{"id":911,"date":"2013-07-21T22:44:36","date_gmt":"2013-07-21T15:44:36","guid":{"rendered":"http:\/\/arkipel.org\/?page_id=911"},"modified":"2017-08-08T04:12:50","modified_gmt":"2017-08-07T21:12:50","slug":"bangkok-experimental-film-festival","status":"publish","type":"post","link":"https:\/\/arkipel.org\/bangkok-experimental-film-festival\/","title":{"rendered":"Bangkok Experimental Film Festival"},"content":{"rendered":"

in collaboration with<\/small> Bangkok Experimental Film Festival<\/strong><\/p>\n[mk_divider style=”thin_solid” divider_width=”full_width” custom_width=”10″ align=”center” border_color=”#cccccc” thickness=”1″ margin_top=”40″ margin_bottom=”60″]\n[vc_row][vc_column width=”1\/1″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”true” align=”left” margin_bottom=”0″]\n

Program I: Aksi-aksi Kenangan<\/strong><\/h3>\n

Perhelatan ke-6 Festival Film Eksperimental Bangkok tahun lalu bertemakan \u201cmerampok arsip\u201d. Kami ingin memperlihatkan bagaimana seniman gambar bergerak dari seluruh dunia, baik seniman masa kini maupun masa lalu, menggunakan bentuk formal, dokumenter, dan kapasitas sensorik dari gambar bergerak untuk \u2018bermain\u2019 secara kritis dan imajinatif dalam ranah politik kenangan. Program ini menampilkan karya dari seniman asal Australia, Amerika Serikat, Thailand, Korea Selatan, dan Kanada dengan aksi sinematik mereka sendiri-sendiri untuk mengenang yang mulai terlupakan.<\/p>\n

 <\/p>\n

Oz@1950<\/em><\/strong><\/h4>\n

Dirk de Bruyn<\/strong>, 2010, 4:11<\/p>\n

Oz@1950 menampilkan kembali arsip visual untuk menyoroti ideologi kebijakan kuilt putih di Australia. Film ini menunjukkan bahwa prilaku politisi Australia sekarang ini terhadap manusia perahu ilegal bukanlah hal baru, tapi dapat dilacak balik ke ide \u2018Australia Baru\u2019\u00a0 yang ada sejak tahun 1950an.<\/p>\n

Memory Objects, Memory Dialogues<\/em><\/strong><\/h4>\n

Alyssa Grossman<\/strong> & Selena Kimball<\/strong>, 2011, 26:10<\/p>\n

Dua frame diproyeksikan berdampingan. Frame pertama adalah serangkaian wawancara yang menampilkan warga Bucharest berbagi kenangan mereka saat Romania masih berupa negara komunis. Mereka dirangsang dengan alat-alat rumah tangga yang berasal dari periode sebelum revolusi tahun 1989.<\/p>\n

Yang kedua menampilkan serangkaian animasi 16mm dari alat-alat rumah tangga pada frame pertama, termasuk sebuah animasi nampan es batu, patung porselen, botol tinta, miniatur buku masak, replika tumbuhan jamur, dan seragam anak sekolah.<\/p>\n

A Brief History of Memory<\/em><\/strong><\/h4>\n

Chulayarnnon Siriphol<\/strong>, 2010, 14:00<\/p>\n

Film ini didedikasikan untuk orang-orang yang tewas selama krisis politik di Thailand. Seorang ibu yang kehilangan anaknya pada bulan April 2009 mengingat masa-masa itu. Resonansi antara suaranya dan gambar abstrak serta menakutkan menciptakan ruang berkabung komunal.<\/p>\n

Untitled#1 <\/em><\/strong>from the series \u2018Eight Men Lived in the Room\u2019<\/em><\/strong><\/h4>\n

Hyewon Kwon<\/strong>, 2010, 5:56<\/p>\n

Proyek ini dimulai dengan ditemukannya berita cuplikan film di Arsip Nasional Korea Selatan. Rekaman 45 detik, difilmkan pada tahun 1961, melaporkan penyelesaian asrama pekerja di Seoul yang dihancurkan pada tahun 1999. Tidak ada catatan resmi lain dari bangunan ini ada kecuali klip ini. Untitled # 1 menggabungkan cuplikan berita asli dengan berita yang didasarkan fakta yang ditemukan dalam surat kabar dan dokumen pemerintahan.<\/p>\n

Lay Claim to an Island<\/em><\/strong><\/h4>\n

Chris Kennedy<\/strong>, 2009, 13:00<\/p>\n

Teks dari Pendudukan Orang Indian di Alcatraz pada 1969 dan surat dari para pendukung pendudukan itu mendorong eksplorasi kerinduan akan politik, arsitektur emansipatoris dan utopia yang gagal. Apa artinya untuk mengklaim tanah yang memiliki nilai lebih sebagai simbol dibanding sebagai tempat tinggal sebenarnya? Dan bagaimana bahwa fungsi simbol di luar batas geografisnya?<\/p>\n[mk_divider style=”thin_solid” divider_width=”full_width” custom_width=”10″ align=”center” border_color=”#cccccc” thickness=”1″ margin_top=”20″ margin_bottom=”60″]\n

Program 2:\u00a0<\/i>An Escalator in World Order<\/i><\/strong><\/h3>\n

sutradara<\/small> Kim Kyung-Man
\n<\/strong>2011, 118 min<\/p>\n

\"An-Escalator-in-World-Order-1<\/p>\n

Filem menakjubkan arahan Kim Kyung-man ini melihat Korea ke belakang saat dominasi Amerika Serikat di sana. Newsreel<\/i> dan footage<\/i> propaganda di susun ulang untuk menampilkan suatu parade dari para pemimpin masa lalu dengan janji-janji manis mereka masing-masing. Walau film ini menggambarkan hubungan Korea Selatan dan Amerika Serikat, filem ini secara subtil mempertanyakan kesamaan antara Korea Utara dan Korea Selatan. Film ini memenangkan audience award <\/i>di Festival Film Jeonju 2011.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”true” align=”left” margin_bottom=”0″]\n

Program I: Acts of Memory<\/strong><\/span><\/h3>\n

The 6th<\/sup> edition of the Bangkok Experimental Film Festival took place in Thailand last year under the theme of \u2018raiding the archives.\u2019 We wanted to show how moving image artists from around the world, both in present and past times, use the formal, documentary and sensorial capacities of the moving image to engage critically and imaginatively in the politics of memory. This touring programme, featuring artists from Australia, USA, Thailand, South Korea and Canada, highlights their cinematic acts of remembrance in the land of the victors\u2019 amnesia.<\/span><\/p>\n

 <\/p>\n

Oz@1950<\/em><\/strong><\/span><\/h4>\n

Dirk de Bruyn<\/strong>, 2010, 4:11<\/span><\/p>\n

Oz@1950 re-performs the visual archive to expose the ideology of the white Australian policy. The film suggests that contemporary Australian politicians\u2019 attitude to illegal boat arrivals is not new but is traceable to the 1950s\u2019 idea of the \u2018New Australian.\u2019<\/span><\/p>\n

Memory Objects, Memory Dialogues<\/em><\/strong><\/span><\/h4>\n

Alyssa Grossman<\/strong> and Selena Kimball<\/strong>, 2011, 26:10<\/span><\/p>\n

Two frames are projected side by side. On the first is a series of edited interviews featuring Bucharest residents sharing their recollections of the communist past stimulated by ordinary household objects associated with the period before the 1989 Revolution.<\/span><\/p>\n

The second displays a series of 16mm animations of these objects\u2014everyday, domestic items, including an ice cube tray, a porcelain figurine, an ink bottle, a set of miniature cookbooks, a wooden darning mushroom, and a schoolgirl\u2019s uniform.<\/span><\/p>\n

A Brief History of Memory<\/em><\/strong><\/span><\/h4>\n

Chulayarnnon Siriphol<\/strong>, 2010, 14:00<\/span><\/p>\n

Dedicated to the people who were killed during the political crisis in Thailand. A mother who lost her son in April 2009 recalls that day. The resonance between her voice and the abstract, eerie images create a communal space of mourning.<\/span><\/p>\n

Untitled#1<\/strong><\/em>, from the series \u2018Eight Men Lived in the Room\u2019<\/strong><\/em><\/span><\/h4>\n

Hyewon Kwon<\/strong>, 2010, 5:56<\/span><\/p>\n

This project started with the discovery of news film footage in South Korea\u2019s National Archive. The 45-second footage, filmed in 1961, reported the completion of a workers\u2019 dorm in Seoul which was demolished in 1999. No other official records of this building exist except this clip. Untitled#1 combines original news footage with scripted news performance based on facts found in newspapers and administrative documents.<\/span><\/p>\n

Lay Claim to an Island<\/em><\/b><\/span><\/h4>\n

Chris Kennedy<\/strong>, 2009, 13:00<\/span><\/p>\n

Texts from the 1969 American Indian Occupation of Alcatraz and letters from supporters propel an exploration of political yearning, emancipatory architecture and failed utopias. What does it mean to claim land that has more value as a symbol than as a potential home? And how does that symbol function beyond the boundaries of its geographic limits?<\/span><\/p>\n

[mk_divider style=”thin_solid” divider_width=”full_width” custom_width=”10″ align=”center” border_color=”#cccccc” thickness=”1″ margin_top=”20″ margin_bottom=”60″]<\/span><\/p>\n

Program 2:\u00a0<\/i>An Escalator in World Order<\/i><\/strong><\/span><\/h3>\n

director<\/small> Kim Kyung-Man<\/strong>,\u00a02011, 118 min<\/span><\/p>\n

\"An-Escalator-in-World-Order-1<\/span><\/p>\n

Kim Kyung-man\u2019s awesome film looks back at Korea in an age of US domination. Re-edited newsreel and propaganda footage present a parade of past leaders pledging one new dawn after the other\u00a0 \u2013 the return of the same haunting an existentially homeless present. Although ostensibly about the relationship between South Korea and the USA, this film subtly asks what similarities persist between North and South. Winner of the 2011 Jeonju International Film Festival audience award.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]\n","protected":false},"excerpt":{"rendered":"

This touring programme, featuring artists from Australia, USA, Thailand, South Korea and Canada, highlights their cinematic acts of remembrance in the land of the victors\u2019 amnesia.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","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":[361,349],"tags":[253],"class_list":["post-911","post","type-post","status-publish","format-standard","hentry","category-festival-theme-arkipel-2013","category-special-presentation-program","tag-bangkok"],"jetpack_publicize_connections":[],"yoast_head":"\nBangkok Experimental Film Festival — ARKIPEL<\/title>\n<meta name=\"robots\" content=\"index, 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