{"id":9245,"date":"2019-03-15T20:00:41","date_gmt":"2019-03-15T13:00:41","guid":{"rendered":"http:\/\/arkipel.org\/?p=9245"},"modified":"2019-07-05T03:09:24","modified_gmt":"2019-07-04T20:09:24","slug":"notes-on-forum-kultursinema-2","status":"publish","type":"post","link":"https:\/\/arkipel.org\/notes-on-forum-kultursinema-2\/","title":{"rendered":"Notes on Panel 2 of Forum Discussion Series on Film Archives: History Writing and Film Archives"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”catatan panel 2 forum kultursinema” css=”.vc_custom_1552897264627{margin-bottom: 0px !important;}”]Catatan Panel 2 Forum Kultursinema: Penulisan Sejarah dan Arsip Filem<\/strong><\/p>\n

Apabila pada panel sebelumnya kita telah membicarakan tentang daur ulang arsip yang dilakukan oleh pemrograman dan kuratorial untuk menjembatani antara audiens dengan filem dan arsip filem, pada panel kedua kita membicarakan tentang penulisan sejarah dan arsip filem. Sebagaimana kita pahami, bahwa membicarakan sejarah adalah membicarakan apa yang dicatat, sebuah arsip yang didokumentasikan dan dikonstruksi memiliki kepentingan, dan hal ini berkaitan dengan kekuasaan.<\/span><\/p>\n

Gagasan ini didiskusikan dalam diskusi \u201cPenulisan Sejarah dan Arsip Filem\u201d pada 9 Maret 2019 di Orbital Dago. Mahardika Yudha (tim Kultursinema) dan Gorivana Ageza (penulis dan pemrogram Bahasinema) hadir sebagai pembicara dalam diskusi ini, dengan dimoderatori oleh Luthfan Nur Rochman.<\/span><\/p>\n

Diskusi diawali oleh Mahardika Yudha dengan presentasinya yang berjudul \u201c<\/span>Unboxing Kultur Membuat Filem Sebelum Perang Dunia II<\/span>\u201d. Mahardika Yudha perbandingan pencatatan masuknya sinema di Indonesia dalam buku \u201cFilm Indonesia Bagian I (1900-1950)\u201d yang ditulis oleh Taufik Abdullah, H. Misbach Yusa Biran, dan S. M. Ardan, dan diterbitkan oleh Dewan Film Nasional di tahun 1993 dan \u201cThe Komedi Bioscoop: Early Cinema in Colonial Indonesia\u201d yang ditulis oleh Dafna Ruppin. Pada buku pertama, masuknya sinema di Indonesia pertama kali ditandai dengan pemutaran pertama di Tanah Abang di ruang tertutup pada 5 Desember 1900. Saat itu filem yang diputar adalah filem dokumentasi tentang aktivitas Ratu Wilhelmina. Tentunya hal ini menjadi hal yang penting, baik untuk orang-orang Belanda yang tinggal di Indonesia maupun untuk orang-orang pribumi, karena sebelum ini mereka hanya melihat representasi Ratu Wilhelmina pada gambar diam. Filem dokumentasi ini membuat Ratu Wilhelmina seakan benar-benar hidup. Di sini kita dapat melihat bahwa ada campur tangan negara dalam sejarah sinema di Indonesia. Sedangkan, menurut Dafna Ruppin, masuknya sinema di Indonesia dipengaruhi oleh pengusaha. Pengusaha-pengusaha dari Eropa membawa teknologi kamera ke Indonesia (saat itu Hindia-Belanda) karena Hindia-Belanda menjadi tempat pertarungan pasar.<\/span><\/p>\n

Bahkan sampai hari ini pun Indonesia masih menjadi tempat pertarungan pasar. Mahardika Yudha mengatakan, bahwa kita memang harus mengakui kalau kita bukanlah negara inventor, melainkan negara user. Oleh karena itu, kita harus fokus pada bagaimana menjadikan mesin-mesin yang datang dari luar itu dimanfaatkan. Dalam hal ini sinema menjadi gagasan, karena di Indonesia sendiri konsep sinema sudah ada dalam tradisi wayang dan relief candi, misalnya.<\/span><\/p>\n

Selanjutnya, Mahardika Yudha memutar arsip filem zaman kolonial yang berjudul <\/span>Jongleur Javanais<\/span><\/i>, <\/span>Danse Javanaise<\/span><\/i>, dan <\/span>Lutteurs Javanais<\/span><\/i> yang dibuat oleh Alexandre Promio. Dalam ketiga filem ini, Promio bermaksud untuk menggambarkan manusia Jawa pada saat itu, namun pembuatannya ternyata bukanlah di Indonesia karena memang tidak ada bukti yang mencatat bahwa Promio pernah menginjakkan kaki di Indonesia. Hal ini merupakan contoh bahwa sinema mampu memberi ilusi akan ruang dan waktu. Mahardika menambahkan, bahwa saat itu memang sedang ramai-ramainya pameran kolonial yang sudah diadakan sejak tahun 1851. Orang-orang dari tanah jajahan dibawa ke Amerika atau Eropa untuk dipertontonkan. Pada titik ini, filem dianggap mampu menggantikan manusia-manusia jajahan tersebut untuk dibawa ke pameran kolonial demi pengurangan pengeluaran.<\/span><\/p>\n

Pembicara selanjutnya, Gorivana Ageza membicarakan tentang penulisan sejarah dan arsip filem dari sudut pandang Bahasinema. Untuk Bahasinema, filem adalah sesuatu yang merekam, dipengaruhi, dan mempengaruhi realitas. Segala hal terkait dengannya adalah teks yang bermakna, seperti kuratorial, reaksi penonton, dan <\/span>ruang menonton<\/span>. Gorivana Ageza mempertanyakan, di zaman sekarang ini, saat semua orang sangat dimungkinkan untuk memproduksi teks di Instagram, blog, Letterboxd, dan sebagainya, apakah jurnal ilmiah tentang filem lebih penting daripada tulisan-tulisan yang ada di media sosial itu? Kalau memang iya lebih penting, apakah tulisan jurnal ilmiah tersebut benar meresap ke tubuh-tubuh komunal?<\/span><\/p>\n

Di sini Bahasinema melihat bahwa daripada pusing akan kesulitan akses akan arsip-arsip masa lalu, lebih baik mengarsipkan hal-hal yang terjadi di masa kini. Misalnya dengan memproduksi teks tentang pemutaran-pemutaran yang terjadi di Bandung, baik festival maupaun pemutaran alternatif. Penulisan dan pembingkaian atas reaksi-reaksi masyarakat atas sebuah filem, atau efek sebuah filem terhadap gaya hidup masyarakat merupakan hal yang penting menurut Bahasinema. Menurut Bahasinema, pun teks non-tulisan juga penting untuk diproduksi, seperti ikut aktifnya orang-orang yang aktif di Bahasinema di acara-acara pemutaran ataupun kajian filem. Dengan begitu, tubuh pun ikut memproduksi teks.<\/span><\/p>\n

Saat ditanya tentang bagaimana sejarah kanon menandai peristiwa besar yang monumental dan bagaimana dengan keadaannya hari ini, Gorivana Ageza mengatakan, bahwa sekarang ini apa yang \u201cpenting\u201d sudah bukan tentang yang monumental atau tidak monumental. Dengan tsunami informasi dan hidup kita yang selalu terhubung, hal yang \u201ckecil\u201d juga menjadi penting. Justru perubahan medium sekarang ini memungkinkan semua orang untuk memproduksi sejarahnya masing-masing. Mahardika Yudha juga menambahkan, bahwa sekarang ini arsip banyak tersebar di internet, dan juga banyak orang sudah bisa menulis kritik dengan media mereka masing-masing. Akan tetapi yang masih menjadi persoalan adalah tidak ada yang menjadi penghubung atau mediator para kritikus-kritikus itu, juga pengumpul arsip-arsip yang tersebar di internet itu.<\/span>[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”notes on forum kultursinema 2″ css=”.vc_custom_1552897402117{margin-bottom: 0px !important;}”]Notes on Panel 2 of Forum Discussion Series on Film Archives: History Writing and Film Archives<\/b><\/p>\n

In the previous panel, we have discussed archive recycling by programming and curatorial to bridge the audience to film and film archive. In this second panel, we discussed history writing and film archive. as we have understood, talking about history is talking about what is recorded, a documented and constructed archive has an interest. And this is related to power.<\/span><\/p>\n

This notion was discussed in ‘History Writing and Film Archive’ in March 9th, 2019 at Orbital Dago. The speakers were Mahardika Yudha (Kultursinema) and Gorivana Ageza (writer and Bahasinema programmer), moderated by Luthfan Nur Rochman.<\/span><\/p>\n

The discussion began with Mahardika Yudha’s presentation on ‘<\/span>Unboxing Culture Making Film Pre-World War II<\/span>‘. Mahardika Yudha compared the recording of the introduction of cinema in Indonesia in a book titled \u201cFilm Indonesia Bagian I (1900-1950)\/<\/span>Indonesian Film Part 1 (1900-1950)<\/span><\/i>\u201d by Taufik Abdullah, H. Misbach Yusa Biran, and S. M. Ardan, published by the National Film Council (Dewan Film Nasional) in 1993, with \u201cThe Komedi Bioscoop: Early Cinema in Colonial Indonesia\u201d by Dafna Ruppin. In the first book, the introduction of cinema in Indonesia was marked by the first screening in a closed space in Tanah Abang, December 5th, 1900. The screened film was a film documenting the activity of Queen Wilhelmina. This, of course, was important both for the Dutch living in Indonesia and Indonesian natives, who had only been looking at the representation of Queen Wilhelmina in a still image. The film made Queen Wilhelmina seemed to be more real and alive. This denotes state intervention in Indonesian cinema history. Whereas, according to Dafna Ruppin, the introduction of cinema in Indonesia was influenced by private sector. Private businessmen and businesswoman from Europe brought camera technology to Indonesia (Dutch East Indies at the time) as East Indies was a market battleground.<\/span><\/p>\n

Even up to this date, Indonesia is stil a market battleground. Mahardika Yudha noted that we had to acknowledge and admit the fact that Indonesia is not an inventor, but a user. \u00a0Hence, we had to focus on utilizing the machines coming from abroad. In this context, cinema became an idea, because the concept of cinema in Indonesia had already existed in Wayang tradition and temple reliefs.<\/span><\/p>\n

Next, Mahardika Yudha played a colonial film archive titled ‘Jongleur Javanais’, ‘Danse Javanaise’, dan ‘Lutteurs Javanais’ by Alexandre Promio. In the three films, Promio intended to picture Javanese people, but it turned out the production of these films was not in Indonesia. There was no record of Promio ever stepped a foot in Indonesia. This is an example of how cinema is able to give the illusion of time and space. Mahardika added that at the time, the Colonial Exhibition, which had been held since 1851, was quite bustling. People from the colony were brought to America or Europe to be displayed and exhibited. At this point, film was considered capable of replacing the people brought to the exhibition to cut expenses.<\/span><\/p>\n

The next speaker, Gorivana Ageza, talked about the history writing and film archive from the perspective of Bahasinema. For Bahasinema, film is something that records, is influenced by, and influences reality. Things related to are meaningful texts, such as curatorial, audience responses, and screening space. Gorivana Ageza questioned the importance of academic journals in the era where production of texts are very open and possible for public in Instagram, blog, Letterboxd; and if it is indeed more important (than the texts in media mentioned above), does it truly seep into the communal bodies?<\/span><\/p>\n

Bahasinema stated that instead of worrying about the difficulties of accessing archives in the past, it would be better to archiving the present. For example, producing texts on film screenings in Bandung, or festivals, or alternative screenings. Writing and framing of public responses of a film, or the effect of a film to lifestyle of the people was also important for Bahasinema. Non-writing texts were also important to produce, such as the participation of people active in Bahasinema in screenings or film studies. That way, the body also produced texts.<\/span><\/p>\n

When asked about how canon history marked a monumental event and how the current situation is, Gorivana Ageza stated that what was important was no longer about something monumental or not monumental. With the tsunami of information and interconnected lives, ‘small’ things were also important. The change of the medium enabled people to produce their own history. Mahardika Yudha also added that plenty of archives were spread in the internet nowadays, and people were able to write critics with their media. But the problem was that there was no one who took role to bridge or mediate those critics, as well as the collector of those archives spread on the internet.<\/span>[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row][vc_row][vc_column][mk_image_slideshow images=”9246,9247,9248,9249″ image_width=”1100″ image_height=”600″][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

In this second panel, we discussed history writing and film archive. as we have understood, talking about history is talking about what is recorded, a documented and constructed archive has an interest. 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