{"id":9493,"date":"2019-08-11T19:20:56","date_gmt":"2019-08-11T12:20:56","guid":{"rendered":"http:\/\/arkipel.org\/?p=9493"},"modified":"2019-08-16T12:46:56","modified_gmt":"2019-08-16T05:46:56","slug":"the-mirror-that-cracked","status":"publish","type":"post","link":"https:\/\/arkipel.org\/the-mirror-that-cracked\/","title":{"rendered":"The Mirror that Cracked"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1565934413067{margin-bottom: 0px !important;}”]\n

The Mirror that Cracked
\n<\/strong>Cermin yang Retak<\/em><\/h1>\n

Host: Afrian Purnama<\/strong><\/p>\n

Wednesday, August 21, 2019 | 16:00 | GoetheHaus<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1565524058786{margin-bottom: 0px !important;}”]Art, it is said, is not a mirror, but a hammer: it does not reflect, it shapes. But at present, even the handling of a hammer is taught with the help of a mirror, a sensitive film which records all the movements<\/em>.[1]<\/a><\/span><\/p>\n

Sinema diumpamakan sebagai cermin. Setidaknya bagi Christian Metz, reproduksi gambar yang terjadi dalam layar filem membuatnya memiliki efek layaknya cermin.[2]<\/a> Walaupun konsep layar sebagai cermin ini berangkat dari teori Jacques Lacan tentang tahap pengenalan diri balita dan lingkungannya, Metz berpendapat bahwa layar sebagai cermin bekerja dengan cara sebaliknya: identifikasi terjadi dalam diri penonton dikarenakan mereka absen dan pasif di layar tersebut. Dalam keadaan demikian, penonton mengidentifikasikan dirinya sebagai kamera, yang mengikuti arah geraknya, lalu tanpa sadar penonton menjadi satu dengan kenyataan filemis yang hadir di layar itu.[3]<\/a><\/span><\/p>\n

Menariknya di tahun 1924, Leon Trotsky juga mengumpamakan sinema seakan-akan seperti cermin, walaupun di sini konteksnya sangat berbeda dengan Metz. Dalam tulisan yang kuotasinya menjadi pembuka naskah program ini, Trotsky berusaha mengkritisi pergerakan Futurisme di Uni Soviet saat itu yang menolak menoleh ke belakang \u2014 kepada seni dan kebudayaan lampau \u2014 dan berusaha membebaskan diri darinya dengan meninggalkan seni-seni tersebut secara total dan berfokus pada visi masa depan. Menurut Trotsky, seni yang hadir dari masa lampau itu sesungguhnya adalah upaya bagi masyarakat untuk merefleksikan diri (bercermin) dan membantu mereka untuk memahami kondisi sosio-politik saat itu. Trotsky kemudian memperluas arti \u2018bercermin\u2019 ini dengan penambahan makna bahwa di masa sekarang (di saat itu) terdapat cermin mutakhir yang mampu melakukan penggambaran akurat terhadap kenyataan, sehingga bisa menjadi alat edukasi massa, yaitu film<\/em>.<\/span><\/p>\n

Pada program penayangan ini, saya ingin mengintepretasikan secara berbeda perumpamaan seni dan cermin yang dikatakan oleh Trotsky dan Metz tadi. Benar bahwa pada satu titik, kamera seakan-akan bertindak seperti cermin yang mereproduksi representasi tubuh, benda, serta gerak yang terkoneksi dengan presepsi kita terhadap realitas sehari-hari. Namun di titik lain, filem juga mampu menghancurkan persepsi kita terhadap reproduksi kenyataan tersebut, dengan menghadirkan berbagai elemen berbeda terhadap apa yang kita alami di luar dari keseharian. Sehingga peran filem, bila kita ingin menggunakan analogi di atas, adalah sebagai cermin dan juga godam; filem merefleksikan kenyataan dan menghancurkannya pada waktu bersamaan.<\/span><\/p>\n

Dalam kompilasi program ini, kita akan dihadapkan pada empat filem yang berupaya untuk mengungkap sesuatu yang sifatnya tidak hanya penyerupaan. Pembuat filem berusaha memvisualisasikan sebuah situasi dan kondisi keadaan manusia seperti teror, trauma, ingatan juga sensori panca indera lain di luar visual dan auditori. Penyampaiannya tentu menggunakan reproduksi yang lahir dari visi dan kenyataan fisik yang berada di sekitar pembuatnya, namun pembuat filem juga berusaha menyatakan sesuatu yang melampaui pengalaman visual dari reproduksi gambar tersebut. Seperti teror yang disampaikan melalui kursi yang dilempar ke arah tembok (Chairs<\/em>), obsesi dan fetisisme (Dulcinea<\/em>), kemencekaman yang hadir lewat repetisi gestur berbagai subjek (The Love of Statues<\/em>) dan kontradiksi antara ritus dan siklus (Absent Wound<\/em>).<\/span><\/p>\n

[1]<\/a> Trotsky, Leon. Literature and Revolution<\/em> [First Edition]. International Publishers. 1925<\/span><\/p>\n

[2]<\/a> Metz,\u00a0Christian. Psychoanalysis and Cinema: The Imaginary Signifier<\/em>. London, England: Palgrave Macmillan.1983<\/span><\/p>\n

[3]<\/a> ibid<\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1565523993070{margin-bottom: 0px !important;}”]Art, it is said, is not a mirror, but a hammer: it does not reflect, it shapes. But at present, even the handling of a hammer is taught with the help of a mirror, a sensitive film which records all the movements<\/em>.[1]<\/a><\/span><\/p>\n

Cinema is likened to a mirror. At least for Christian Metz, a reproduction of the image on screen gives it a mirror-like effect.[2]<\/a> Although the concept of screen as a mirror departs from Jacques Lacan’s theory of the mirror stage, which is about children’s recognition of self and their environment, Metz argues that this concept works the other way around: the identification occurs to the audience because they are absent and passive on the screen. In such circumstances, the audience identifies themselves as the camera, which follows the direction of their movements, thus the audience unconsciously becomes one with the film reality that exists on the screen.[3]<\/a><\/span><\/p>\n

Interestingly in 1924, Leon Trotsky also likened cinema to a mirror, although his context was very different from Metz. In his writing that has become the opening sentence of this piece, Trotsky tried to criticize the Futurist movement in the Soviet Union at that time, who refused to look back \u2013 to the arts and culture from the past \u2013 and who tried to free themselves from it by totally leaving the preceding arts and instead focusing on the vision of the future. According to Trotsky, the art that came from the past was actually an attempt of the people to reflect on themselves (mirroring) and to help them understand their socio-political conditions at that time. Trotsky then expanded the meaning of this ‘mirroring’ by adding that in the present (at that time) there was a sophisticated mirror capable of making accurate portrayals of reality so that it could become a mass educational tool, namely film<\/em>.<\/span><\/p>\n

In this program, I want to interpret differently the parable of art and mirror that Trotsky and Metz said earlier. It is true that at one point, the camera seems to act like a mirror that reproduces the representations of body, object, and motion, which are connected to our perception of everyday reality. But to some extent, cinema is also able to destroy our perception of the reproduction of this reality by presenting different elements of what we experience beyond everyday life. So, if we want to use the analogy above, that cinema can act as a mirror as well as a hammer; it reflects reality and destroys it at the same time.<\/span><\/p>\n

In this compilation, we will be confronted by four films that strive to uncover something that goes beyond the idea of similarities. The filmmakers try to visualize human conditions such as terror, trauma, memory as well as other sensory senses beyond visual and auditory ones. Of course, the filmmakers’ approaches use the reproductions born of the visual and physical reality around them, but they also try to express something that goes beyond the visual experience of the image reproduction. This can be seen in the terror that is conveyed as chairs that are thrown at a wall (Chairs<\/em>), in the obsession and fetishism (Dulcinea<\/em>), in the haunted feeling caused by the repetitive gestures of various subjects (The Love of Statues<\/em>), and in the contradiction between rites and cycles (Absent Wound<\/em>).<\/span><\/p>\n

[1]<\/a> Trotsky, Leon. Literature and Revolution<\/em> [First Edition]. International Publishers. 1925<\/span><\/p>\n

[2]<\/a> Metz,\u00a0Christian. Psychoanalysis and Cinema: the Imaginary Signifier<\/em>. London, England: Palgrave Macmillan.1983<\/span><\/p>\n

[3]<\/a> ibid<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Film List” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532969190362-a01badc7-fcf5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9498″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565524378817{margin-bottom: 0px !important;}”]\n

Dulcinea<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Luca Ferri<\/strong> (Italy)
\nInternational Title<\/em>\u00a0\u00a0Dulcinea
\n<\/strong>Country of Production<\/em>\u00a0\u00a0Italy
\n<\/strong>Language<\/em>\u00a0\u00a0Italian
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

64 min, stereo, 16mm\/HD, color, 2018[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565524457256{margin-bottom: 0px !important;}”]Sebuah interpretasi kontemporer dari novel besar Don Quixote<\/em> karya Miguel de Cervantes. Dulcinea<\/strong>, yang mana adalah salah satu tokoh dari novel tersebut diterjemahkan menjadi sebuah konsep yang dipersonifikasikan dalam bentuk hubungan antar manusia, rutinitas dan ritual.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565524447456{margin-bottom: 0px !important;}”]A contemporary interpretation of a great novel, Don Quixote<\/em>, by Miguel de Cervantes. Dulcinea<\/strong> is one of the characters from the novel that is translated into a concept personified in the form of relationships between humans, routines and rituals.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532969190418-0b77954e-9992″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9499″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565524562892{margin-bottom: 0px !important;}”]Luca Ferri<\/strong><\/em> (Bergamo, 1976) bekerja pada wilayah visual dan tulisan. Pada tahun 2005\/2008, ia menyutradarai filem pendek dan filem feature yang masuk dalam sejumlah kompetisi dan dihadirkan dalam pameran. Mempelajari filem secara otodidak, sejak 2011 ia telah mendedikasikan dirinya pada penulisan, sinematografi, dan penyutradaraan filem yang kemudian ditayangkan dalam berbagai festival filem di Italia dan internasional.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565524554528{margin-bottom: 0px !important;}”]Luca Ferri<\/strong><\/em> (Bergamo, 1976) works on images and words. In 2005\/2008 he directed short, medium and feature-length films that took part in competitions and were hosted in exhibitions. Self-taught, since 2011 he has dedicated himself to the writing, cinematography and direction of films presented in Italian and international film festivals.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1565524154929-a24defaf-20e3″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9487″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565524684802{margin-bottom: 0px !important;}”]\n

Chairs<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Avner Pinchover<\/strong> (Israel)
\nInternational Title<\/em>\u00a0\u00a0Chairs
\n<\/strong>Country of Production<\/em>\u00a0\u00a0Israel
\n<\/strong>Language<\/em>\u00a0\u00a0–
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

11 min 42 sec, stereo, HD, color, 2018[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565524716440{margin-bottom: 0px !important;}”]Seorang pria berdiri dan melemparkan kursi ke sebuah dinding dalam suatu ruangan. Tindakan repetitif ini membentuk sebuah wujud baru dan secara langsung membangunkan kesadaran kita terhadap apa itu kekerasan, juga ide-ide tentang spektakel yang terjadi di ruang pamer.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565524729660{margin-bottom: 0px !important;}”]A man stands and throws a chair on a wall inside a room. This repetitive motion forms a new shape and directly awakens our consciousness of what violence is as well as ideas of spectacle that occur in exhibition space.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565524155374-0d32eaec-05c0″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9500″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565524801980{margin-bottom: 0px !important;}”]Avner Pinchover<\/strong><\/em> meraih gelar diploma setara MFA dari Program Pascasarjana Seni Rupa, Sekolah Seni HaMidrasha, Israel. Ia sebelumnya juga meraih gelar B.Arch (summa cum laude) dari Technion – IIT dalam program multidisiplin, menggabungkan studi filem di Universitas Tel Aviv dan studi fotografi di Universitas Haifa. Karya-karyanya mencakup video, performans, instalasi, gambar, dan cetak grafis. Karya-karyanya telah dipamerkan di museum, galeri dan festival di Swiss, Portugal, Polandia, Austria, Amerika Serikat, dan Israel.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565524794626{margin-bottom: 0px !important;}”]Avner Pinchover<\/strong><\/em> holds an MFA equivalent diploma from the Postgraduate Fine Art Program, HaMidrasha Art School, Israel. He has received a B.Arch (summa cum laude) from the Technion \u2013 IIT in a multidisciplinary program, combining film studies at Tel Aviv University and photography studies at Haifa University. He works in video, performance, installation, drawing, and printmaking. His works have been exhibited in museums, galleries and festivals in Switzerland, Portugal, Poland, Austria, USA, and Israel.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1565524966208-5ee8593c-1f6f”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9501″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565525072419{margin-bottom: 0px !important;}”]\n

The Love of Statues<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Peter Samson<\/strong> (UK)
\nInternational Title<\/em>\u00a0\u00a0The Love of Statues
\n<\/strong>Country of Production<\/em>\u00a0\u00a0UK
\n<\/strong>Language<\/em>\u00a0\u00a0English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

20 min, stereo, HD, B\/W, 2019[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565525093925{margin-bottom: 0px !important;}”]Dijahit dari berbagai footage<\/em> dan juga rekaman-rekaman yang direkam oleh pembuatnya, The Love of Statues<\/em> berusaha menggambarkan satu kondisi auratik tertentu yang dibentuk oleh ruang visual yang berbeda namun disatukan oleh gerak ritmik yang spesifik.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565525104073{margin-bottom: 0px !important;}”]Stitched from various footages including those recorded by the filmmaker, The Love of Statues<\/em> tries to describe a certain auratic condition formed by different visual spaces but united by specific rhythmic motions.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565524966682-031d6de0-c9f7″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9502″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565525156804{margin-bottom: 0px !important;}”]Peter Samson<\/strong><\/em> berkarya sebagai pelukis sambil memanfaatkan media filem sebagai kanal rasa pembebasan. Ia belajar melukis di Manchester dan RCA, kemudian mulai bereksperimen dengan filem di akhir tahun enam-puluhan saat mengajar kelas kursus dasar di kampus Doncaster. Karya filemnya mencerminkan proses pendidikannya sebagai pelukis dalam hal penggunaan keterhubungan visual\/kepuitisan dan penekanannya pada bentuk.<\/span><\/p>\n

Disarikan dari https:\/\/lux.org.uk\/artist\/peter-samson<\/a>\u00a0 dan http:\/\/petersamson.artsident.org<\/a><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565525177861{margin-bottom: 0px !important;}”]Peter Samson<\/strong><\/em> works as a painter while utilizing the medium of film instilled a sense of liberation. He learned painting at Manchester and the RCA, then began experimenting with film in the late sixties while teaching on the foundation course at Doncaster college. His film work reflects his early training as a painter in its use of visual\/poetic linkage and its emphasis on form.<\/span><\/p>\n

Retrieved from https:\/\/lux.org.uk\/artist\/peter-samson<\/a> and http:\/\/petersamson.artsident.org<\/a><\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1565525207810-22221d03-0546″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9503″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565525330353{margin-bottom: 0px !important;}”]\n

Absent Wound<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Maryam Takafory<\/strong> (Iran)
\nInternational Title<\/em>\u00a0\u00a0Absent Wound
\n<\/strong>Country of Production<\/em>\u00a0\u00a0Iran, UK
\n<\/strong>Language<\/em>\u00a0\u00a0Persian, English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

10 min, stereo, HD, color, 2017[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565525356981{margin-bottom: 0px !important;}”]Sebuah siklus yang terjadi bulanan dan dituturkan dengan puitis. Absent Wound<\/em> menghadirkan sebuah gagasan terhadap apa itu ruang yang dibatasi oleh gender juga ingatan terhadap siklus itu sendiri.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565525366371{margin-bottom: 0px !important;}”]A monthly cycle that is depicted poetically. Absent Wound<\/em> presents an idea of what is space, limited by gender and also memory towards the cycle itself.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565525208360-950a0dcb-ee71″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9504″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565525416347{margin-bottom: 0px !important;}”]Maryam Tafakory<\/strong><\/em> (lahir Shiraz, Iran) adalah seorang seniman dan sutradara yang tinggal dan bekerja di London. Karyanya mengacu pada gagasan tentang ‘ yang personal sebagai yang politis’ dalam narasi yang terbelah yang melibatkan negosiasi halus antara faktual dan fiksi, mengeksplorasi bentuk-bentuk alegoris narasi visual, menggunakan motif abstrak, simbolik dan tekstual serta representasi mereka di layar. Karyanya telah dipresentasikan secara internasional termasuk di Rotterdam IFFR, Edinburgh EIFF, Festival Film Zurich, Melbourne MIFF, Hamburg IKFF, ICA London, BFI London, LSFF London, Ji.hlava IDFF, Barbican Centre London, Bloomberg New Contemporaries, New York UnionDocs, dan BBC Three.<\/span><\/p>\n

http:\/\/www.maryamtafakory.com<\/a><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565525431380{margin-bottom: 0px !important;}”]Maryam Tafakory<\/em> (<\/strong>b. Shiraz, Iran) is an artist-filmmaker living and working in London. Her work draws on the notion of \u2018personal as political\u2019 in a fractured narrative that involves a subtle negotiation between factual and fiction, exploring allegorical forms of visual narrative, using abstracted, symbolic and textual motifs and their on-screen representation. Her work has been presented internationally including in Rotterdam IFFR, Edinburgh EIFF, Zurich Film Festival\u200b, Melbourne MIFF, Hamburg IKFF, ICA London, BFI London, LSFF London, Ji.hlava IDFF, Barbican Centre London, Bloomberg New Contemporaries\u200b, New York UnionDocs, and BBC Three.<\/span><\/p>\n

http:\/\/www.maryamtafakory.com<\/a><\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Host” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8364″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565524892785{margin-bottom: 0px !important;}”]Afrian Purnama <\/strong><\/em>(Jakarta, 1989) adalah kritikus dan kurator film, anggota Forum Lenteng, dan penulis utama di Jurnal Footage<\/em> (www.jurnalfootage.net)<\/a>. Lulus dari Jurusan Ilmu Komputer, Universitas Bina Nusantara, tahun 2013.<\/span><\/p>\n

Afrian adalah salah satu anggota tim selektor ARKIPEL bromocorah.<\/em><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565636918565{margin-bottom: 0px !important;}”]Afrian Purnama <\/em><\/strong>(Jakarta, 1989) is a film critic and curator, a member of Forum Lenteng and a main writer at <\/em>Jurnal Footage (<\/em>www.jurnalfootage.net)<\/em><\/a>. He graduated Computer Science at the Universitas Bina Nusantara in 2013.<\/em><\/span><\/p>\n

Afrian<\/em> is one of the selector members at ARKIPEL bromocorah<\/em>.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

Cinema is likened to a mirror. At least for Christian Metz, a reproduction of the image on screen gives it a mirror-like effect.[2] Although the concept of screen as a mirror departs from Jacques Lacan’s theory of the mirror stage, which is about children’s recognition of self and their environment, Metz argues that this concept works the other way around: the identification occurs to the audience because they are absent and passive on the screen. In such circumstances, the audience identifies themselves as the camera, which follows the direction of their movements, thus the audience unconsciously becomes one with the film reality that exists on the screen.<\/p>\n","protected":false},"author":1,"featured_media":9505,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"The Mirror that Cracked","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[532,344],"tags":[526,528,192],"jetpack_publicize_connections":[],"yoast_head":"\nThe Mirror that Cracked — ARKIPEL<\/title>\n<meta name=\"description\" content=\"Cinema is likened to a mirror. 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