{"id":9671,"date":"2019-08-12T21:06:10","date_gmt":"2019-08-12T14:06:10","guid":{"rendered":"https:\/\/arkipel.org\/?p=9671"},"modified":"2019-08-13T02:09:27","modified_gmt":"2019-08-12T19:09:27","slug":"cinema-observing-its-images","status":"publish","type":"post","link":"https:\/\/arkipel.org\/cinema-observing-its-images\/","title":{"rendered":"Cinema Observing Its Images"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1565615400409{margin-bottom: 0px !important;}”]\n

Cinema Observing Its Images
\n<\/em><\/strong>Sinema Melihat Citra-Citranya<\/em><\/h1>\n

Host: Robby Ocktavian<\/strong><\/p>\n

Wednesday, August 21, 2019 | 19:00 | 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_1565615664859{margin-bottom: 0px !important;}”]Zaman internet adalah zaman tatkala informasi menyerebak ke dalam keseharian kita tanpa henti, menyasar penglihatan kita hampir tanpa seleksi; tidak terkecuali citra-citra, baik yang diam maupun yang bergerak. Mereka adalah entitas yang telah mengalami jutaan kali reproduksi, menjadi representasi yang bisa dibilang telah kehilangan sifat asalinya, lalu terus-menerus disebarkan\u2014juga berkali-kali\u2014oleh warganet melalui tindakan unduh-unggah-copy<\/em>–share<\/em>. Nyatanya, hampir semua citra-citra tersebut merupakan reproduksi dari rekaman-rekaman peristiwa masa lalu dan sebagian besarnya adalah turunan dari dokumen-dokumen yang diproduksi oleh otoritas pada zamannya. Keterbukaan akses yang dihadirkan teknologi masa kini memungkinkan warga mengakses dokumen-dokumen arsip milik penguasa meski dengan kualitas yang tidak sebaik materi aslinya.<\/p>\n

Dalam upaya menelusuri keterangan kasus-kasus tertentu melalui peramban, ataupun pada masa ketika TV masih mendominasi persebaran informasi, tidak jarang kita bertemu dengan citra atau visual yang sama, berulang-ulang. Dalam konteks budaya massa, citra-citra itu menjadi ikonik. Sebagai informasi kunci, keberadaan mereka sesungguhnya membuka kemungkinan atau spekulasi untuk mengajukan narasi-narasi historis tandingan yang lebih berpihak kepada kepentingan warga masyarakat umum.<\/p>\n

Sinema memiliki peluangnya sendiri dalam memilah, menjabarkan, dan mengonstruk secara baru suatu representasi berdasarkan citra-citra reproduktif itu. Praktik analisis melalui sinema, agaknya, bisa bertujuan untuk mendekonstruksi pemahaman kita mengenai representasi-representasi terbaru dari gejala-gejala global. Terutama, ketika kita berhadapan dengan perbandingan antara melihat citra-citra aktual dan meninjau citra-citra masa lalu. Maka, dalam konteks hubungan perbandingan itulah sebenarnya sinema memainkan peran, yaitu ketika sinema (dalam hal ini, bidikan kamera) menelusup ke dalam konteks-konteks tersirat dari citra-citra masa lalu yang hadir dalam bentuk reproduksinya itu, atau meluaskan tafsir atas citra-citra hari ini, serta merefleksikan reaksi dari manusia yang berada di dalam proses pemahaman akan hubungan keduanya (masa lalu dan sekarang).<\/p>\n

Lima filem yang dihadirkan dalam kuratorial ini menawarkan beragam bentuk eksperimen terhadap arsip-arsip tentang peristiwa-peristiwa dan lokasi-lokasi penting. Eksperimentasi visual pada filem, nyatanya, dapat berlaku di luar intervensi kamera sejauh kepekaan sinematik sutradara bekerja pada aspek konstruksi gambar, bahkan dengan mempertanyakan ulang proses dan prosedur dari pembuatan sebuah filem. Sifat-sifat dasariah dari citra pun kerap dipertanyakan, begitu pula dengan sikap manusia terhadap teknologi rekam.<\/p>\n

Adegan Yang Hilang Dari Petrus<\/em> Draft #4 <\/em>adalah contoh dari bagaimana perangkat lunak Microsoft Office memungkinkan aksi perekaman layar (screen recordings<\/em>) menjadi modus utama produksi sebuah filem. Di dalamnya, arsip visual yang menyimpan memori kolektif mengenai teror dari penguasa terdahulu disusun dengan teks-teks yang ditampilkan sebagai gambar bergerak beserta suara latar wawancara sebagai suatu komposisi untuk menarasikan peristiwa. Sementara itu, dengan metode yang hampir sama tapi berdasarkan perspektif yang berbeda \u2014 lebih analisis kritis ketimbang filemis \u2014 Real Time History <\/em>memanfaatkan teks berupa dialog untuk menginvestigasi gambar-gambar kekerasan perang yang diunggah warga di internet. Ontologi citra dipertanyakan dalam What Remains<\/em> lewat penarikan konteks sejarah dari istilah-istilah yang berkaitan dengan teknologi kamera, sedangkan esensi kemanusiaan dan relativitas dari moral kekuasaan yang terbingkai di dalam kamera dipertanyakan oleh The Trial<\/em> dengan menjukstaposisikan dua jenis arsip yang memiliki perspektif berbeda satu sama lain. Pada Bocamina<\/em>, akhirnya, sinema menawarkan pandangannya kepada kita mengenai orang-orang yang melihat citra.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1565615690195{margin-bottom: 0px !important;}”]The era of internet is an era when information continuously permeates into our daily life, targeting our sight almost without any selection \u2013 including still and moving images. They are entities that have experienced reproduction a million times; they have become a representation that has possibly lost its original nature, being spread continuously and repeatedly by netizens using the upload-download-copy-share method. In fact, most of the images are reproductions of the recordings of past events, and they are the derivation from documents produced by the authority during their reign. The openness of access brought by the technology today has enabled the public to access the archives owned by the authorities, even though its quality is not as good as its original one.<\/span><\/p>\n

In tracing some information with the web browser, or on TV when it used to dominate the distribution of information, we often see the same image or visual \u2013 repeatedly. In the mass culture context, that kind of image becomes iconic. As vital information, the existence of such an image opens up a possibility or speculation of an alternative historical narrative that is more aligned with the public\u2019s interests.<\/span><\/p>\n

Cinema has the chance to sort out, decipher, and reconstruct a representation based on those reproduced images. Analyzing through cinema can deconstruct our understanding about the most recent representations from global phenomena. This matters especially when we deal with the comparison between seeing the images of the present and reviewing images of the past. In the context of such comparison, cinema plays its role, that is when cinema (in this case, the camera shot) slips into the implied contexts from the past images that exist in the form of reproduction, or expanding the interpretation of images from today, as well as reflecting on the reactions of those who are in the process of understanding the relationship of those two images (past and now).<\/span><\/p>\n

Five films in this curation offer various forms of experiment on archives of important event and locations. The visual experimentation in the films is not limited to the intervention of the camera, it extends towards the director’s cinematic awareness in constructing images, in re-questioning the process and procedure of filmmaking. To also question the basic natures of the image, as well as the human\u2019s attitude toward the recording technology.<\/span><\/p>\n

Adegan Yang Hilang Dari Petrus <\/em>is an example of how Microsoft Office<\/em> software enables screen recordings to be the primary mode of film production. To narrate an event, the visual archives\u2013that stores collective memory of the terror committed by the past authorities\u2013 is combined with texts shown as a moving image along with interview voice(s) as its background sound. Meanwhile, using a similar method but based on a different perspective \u2013 a critical analysis rather than cinematic one \u2013 Real Time History<\/em> uses texts such as dialogue to investigate images of war violence uploaded by netizens. What<\/em> Remains<\/em> questions the ontology of image by examining the historical context of the camera-related terminology, while The Trial <\/em>questions the essence of humanity and moral relativity of the authorities by juxtaposing two kinds of archives that have different perspectives. In Bocamina, at last, cinema offers its perspective to us regarding the people who look at images.<\/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=”9520″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565617094404{margin-bottom: 0px !important;}”]\n

Bocamina<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Miguel Hilari<\/strong> (Bolivia)
\nInternational Title<\/em>\u00a0\u00a0Pithole
\n<\/strong>Country of Production<\/em>\u00a0\u00a0Bolivia
\n<\/strong>Language<\/em>\u00a0\u00a0Spanish
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

22 min, 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_1565615923238{margin-bottom: 0px !important;}”]Miguel membawa audiens untuk menyusuri Cerro Rico, yakni gunung yang menjadi lokasi pertambangan di kota Potosi, yang juga menjadi saksi peradaban di kota tersebut. Ia lekat dengan sejarah dan mitos-mitos yang menyertainya, yang kemudian dituturkan langsung oleh para pelajar yang hidup berdampingan dengan gunung tersebut, dan bahkan menjadi pekerja di pertambangan di dalamnya.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565615938461{margin-bottom: 0px !important;}”]Miguel brought the audience to venture to Cerro Rico \u2013 a mountain that becomes a mining site in the city of Potosi, as well as the witness of that city\u2019s civilization. The mountain is closely attached to the history and the myths embedded to it, that are spoken directly by the students who coexist with it, and even become workers in the mines within.<\/span><\/p>\n[\/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=”9675″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565615984230{margin-bottom: 0px !important;}”]Miguel<\/strong> Hilari<\/strong><\/em> (1985, Aymara\/Jerman) adalah seorang sutradara\/produser berbasis di La Paz yang fokus pada pembuatan filem dokumenter. Antara tahun 2006 dan 2009, ia mengambil studi perfileman di La Paz dan di Santiago, Chili. Pada tahun 2011, ia memproduksi filem pendek JUKU dan ia diberikan beasiswa MAEC untuk kursus Master Dokumenter Kreatif UAB. Filem-filemnya telah diputar di berbagai festival filem internasional.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565615998151{margin-bottom: 0px !important;}”]Miguel Hilari<\/strong><\/em> (1985, Aymara\/German) is a La Paz-based filmmaker\/producer focused on documentary filmmaking. Between 2006 and 2009, he studied cinema in La Paz and in Santiago, Chili. In 2011, he produced the short film JUKU and he was granted a MAEC scholarship for the UAB Creative Documentary Master\u2019s course. His films have been screened in numerous 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=”9521″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565616088538{margin-bottom: 0px !important;}”]\n

Real Time History<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Foundland Collective<\/strong> (Syria)
\nInternational Title<\/em>\u00a0\u00a0Real Time History
\n<\/strong>Country of Production<\/em>\u00a0\u00a0Syria
\n<\/strong>Language<\/em>\u00a0\u00a0Arabic & English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

22 min 30 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_1565616137138{margin-bottom: 0px !important;}”]Filem ini merupakan proyek yang sedang berlangsung dari Foundland Collective<\/em>. Proyek ini menggunakan elemen-elemen internet sebagai aparatus penyampai narasinya. Teks-teks ditampilkan dalam bingkai berbentuk peramban dan menggunakan arsip-arsip rekaman warga di lapangan yang dapat diakses melalui situs-situs daring. Praktik ini mengkritik subjektivitas pemberitaan dari media massa global dan transparansi pemerintah mengenai isu senjata pemusnah massal di Suriah, serta bagaimana pemberitaan palsu begitu mudahnya diproduksi.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565616145779{margin-bottom: 0px !important;}”]This film is an ongoing project of Foundland Collective. It utilizes elements from the internet as an apparatus to deliver the narratives. The texts are displayed in a browser-shaped frame, and it uses the video archives from the people available on online websites. This practice criticizes the subjectivity of news reporting in global mass media and the government transparency on the issue of weapons of mass destruction in Syria, as well as the ease on the production of fake news reporting.[\/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=”9676″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565616218721{margin-bottom: 0px !important;}”]Foundland Collective<\/strong> <\/em>dibentuk pada tahun 2009 oleh dua orang seniman: Lauren Alexander dari Afrika Selatan dan Ghalia Elsrakbi dari Suriah. Sejak tahun 2014, mereka berbasis di Amsterdam dan Kairo. Kolaborasi keduanya mengeksplorasi narasi politik dan sejarah yang kurang terwakili dengan bekerja bersama arsip melalui seni, desain, penulisan, pendidikan, pembuatan video, dan bercerita. Sepanjang perkembangan mereka, keduanya secara kritis merenungkan apa artinya menghasilkan karya yang terlibat secara politis dari posisi seniman non-Barat yang bekerja di kawasan Eropa dan Timur Tengah.<\/p>\n

http:\/\/foundland.info<\/a>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565616204218{margin-bottom: 0px !important;}”]Foundland Collective<\/strong><\/em> was formed in 2009 by South African Lauren Alexander<\/em> and Syrian Ghalia Elsrakbi<\/em> and since 2014 is based between Amsterdam and Cairo. The duo collaboration explores underrepresented political and historical narratives by working with archives via art, design, writing, educational formats, video making, and storytelling. Throughout their development, the duo has critically reflected upon what it means to produce politically engaged work from the position of non-Western artists working between Europe and the Middle East.<\/span><\/p>\n

http:\/\/foundland.info<\/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=”1565616240946-d0e81eca-f3a7″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9522″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565616391651{margin-bottom: 0px !important;}”]\n

The Trial<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Bouge Alexandra<\/strong> (France)
\nInternational Title<\/em>\u00a0\u00a0The Trial
\n<\/strong>Country of Production<\/em>\u00a0\u00a0France
\n<\/strong>Language<\/em>\u00a0\u00a0Romanian & English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

13 min, color, 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_1565616411052{margin-bottom: 0px !important;}”]Sebuah penyajian montase gambaran keruntuhan rezim pemerintahan diktator di Rumania, dijukstaposisikan dengan tayangan ulang rekaman bagaimana keadilan itu bekerja. Komposisi dua arsip tersebut hadir pada masa sekarang, menghantam sisi kemanusiaan, yang dinarasikan melalui hubungan sebab-akibat.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565616424085{margin-bottom: 0px !important;}”]A montage of the depiction of a collapse of a dictatorship regime in Romania, that is juxtaposed with the replay of the footage on how justice works. The composition of those two archives exists today, striking the humanity, narrated through a causality.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565616241604-98415150-ac85″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9680″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565616476213{margin-bottom: 0px !important;}”]Alexandra Bouge<\/strong><\/em> adalah pembuat filem, seniman plastis, dan penyair yang lulus dari jurusan Seni Plastis dan Komunikasi, Universitas Sorbonne. Puisi-puisinya telah diterbitkan dalam ulasan seni “Tout pour le Freak.” Sedangkan filem-filemnya telah diputar di berbagai festival filem, baik secara nasional maupun internasional.<\/p>\n

http:\/\/alexandrabouge.tumblr.com\/<\/a>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565616489894{margin-bottom: 0px !important;}”]Alexandra Bouge<\/strong><\/em> is a filmmaker, plastic artist, and poet who graduated from Sorbonne University of Plastic Arts and Communication. Her poems have been published in the art review “Tout pour le Freak<\/em>.” Her films have been screened in various film festivals, both nationally or internationally.<\/span><\/p>\n

http:\/\/alexandrabouge.tumblr.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_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1565616505960-358fd6f4-cebb”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9377″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565616614505{margin-bottom: 0px !important;}”]\n

Adegan Yang Hilang dari Petrus draft #4<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Arief Budiman<\/strong> (Indonesia)
\nInternational Title<\/em>\u00a0\u00a0Adegan Yang Hilang dari Petrus draft #4
\n<\/strong>Country of Production<\/em>\u00a0\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0\u00a0Javanese & Indonesian
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

5 min, stereo, HD, color, 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_1565616661602{margin-bottom: 0px !important;}”]Sebuah rekaman dari bedahan skrip yang sedang disunting digulirkan pada layar. Ia hadir dengan menampilkan arsip-arsip untuk mengadegankan kembali sebuah peristiwa tentang bagaimana agenda penembakan misterius bermula. Rancangan adegan investigatif tersebut dirangkai dengan narator yang seolah-olah adalah saksi dari peristiwa tersebut.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565616645571{margin-bottom: 0px !important;}”]A recording of an on-editing script is scrolled on the screen. It show the archives to reenact an event on how the extrajudicial killings agenda occurred. The design of the investigative scene was arranged by the narrator as if he were a witness to the incident.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565616506582-1770cde7-150c”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9684″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565616717639{margin-bottom: 0px !important;}”]Arief Budiman<\/em> <\/strong>adalah seniman kelahiran Depok yang kini menjalani studi mengenai sinema di Yogyakarta. Arief menggunakan gambar bergerak sebagai medium utama karyanya. Di samping melakukan eksplorasi bentuk secara spontan dan intuitif, ia juga membahas isu tentang gaya hidup atau perilaku masyarakat terkini dan pengaruh Internet. Ia aktif di Piring Tirbing, sebuah kelompok produksi dan pengembangan konten audio visual. Selain itu ia ikut mengurus program Video Battle dan Cafe Society Cinema di Ruang Mes 56.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565616766155{margin-bottom: 0px !important;}”]Arief Budiman<\/strong><\/em> is a Depok-born artist who is now studying cinema in Yogyakarta. Arief used moving images as the primary medium of his work. In addition to exploring forms spontaneously and intuitively, he also discusses issues about current lifestyle or community behavior and the influence of the Internet. He is active in Piring Tirbing, a group that produces and develops audio-visual content. Also, he took care of the Video Battle program and Cafe Society Cinema in Ruang Mes 56.<\/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=”1565617114120-160584fe-0a6c”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9524″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565617886969{margin-bottom: 0px !important;}”]\n

What Remains<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Belit Sa\u011f<\/strong> (Turkey)
\nInternational Title<\/em>\u00a0\u00a0What Remains
\n<\/strong>Country of Production<\/em>\u00a0\u00a0Turkey
\n<\/strong>Language<\/em>\u00a0\u00a0Turkish
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

7 min 5 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_1565617810320{margin-bottom: 0px !important;}”]Upaya merelasikan tubuh manusia dengan ontologi produksi gambar secara bolak-balik dengan menggunakan arsip sebuah upacara kematian akibat kekacauan di Suriah. Melalui narasi yang filosofis, tubuh diposisikan sebagai perekam. Merujuk pada sejarah awal fotografi, tubuh yang mati direproduksi citranya sehingga tampak hidup. Citra tubuh yang tampak hidup tersebut dapat mengalami kerusakan, begitu pula citra digital yang berpontensi mengalami gangguan dead pixel<\/em>. Kondisi ini serupa dengan kondisi tubuh manusia yang kelak pun akan mengalami kerusakan.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565617825761{margin-bottom: 0px !important;}”]It is an attempt to reciprocally relate the human body with the ontology of image production by using the archive of a funeral rite caused by the chaos in Syria. A philosophical narrative sets the body as a recording device. Referring to the early history of photography, a reproduction of the image of a dead body makes it seem alive. That image could experience decay, so could the digital image that potentially experiences interference of dead pixel. A similar condition also happens to the human body that will decay later.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565617114940-3d43627a-e7b6″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9690″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565617764039{margin-bottom: 0px !important;}”]Belit Sa\u011f<\/strong><\/em> adalah pembuat video yang berbasis di Amsterdam. Ia mempelajari Matematika di Turki, Seni di Belanda, dan baru-baru ini menyelesaikan residensi di Rijksakademie. Latar belakang videonya berakar pada lingkup aktivis video dan kelompok seniman alternatif di Ankara dan Istanbul, tempat ia bersama-sama memprakarsai beberapa proyek video.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565617748249{margin-bottom: 0px !important;}”]Belit Sa\u011f<\/strong><\/em> is a video-maker based in Amsterdam. She studied mathematics in Turkey, art in the Netherlands, and recently completed a residency at Rijksakademie. Her video background is rooted in alternative video-activist and artist groups in Ankara and Istanbul, where she co-initiated some video projects.<\/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=”9699″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565618312024{margin-bottom: 0px !important;}”]Robby Ocktavian<\/strong><\/em> (Samarinda, 20 Oktober 1990) gemar menayangkan filem di celah-celah kota Samarinda bersama kawan-kawan Sindikat Sinema. Kadang juga main band untuk sekedar berhura-hura. Menyelesaikan studi Hubungan Internasional di Universitas Mulawarman Samarinda yang kemudian belajar memahami dan memproduksi visual di Forum Lenteng dalam program Milisifilem. Saat ini bekerja dan sebagai anggota aktif di Forum Lenteng.<\/p>\n

Robby 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_1565636955008{margin-bottom: 0px !important;}”]Robby Ocktavian<\/strong><\/em> (b. October 20, 1990, in Samarinda) routinely exhibits films in the Samarinda city\u2019s suburbs with his Sindikat Sinema collective. Sometimes he also involves in some bands just for fun. Completing international relations studies at Mulawarman University at Samarinda, which later learned to understand and produce visuals at the Forum Lenteng in Milisifilem Collective program. Currently working as an active member of Forum Lenteng.<\/span><\/p>\n

Robby 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":"

The era of internet is an era when information continuously permeates into our daily life, targeting our sight almost without any selection \u2013 including still and moving images. They are entities that have experienced reproduction a million times; they have become a representation that has possibly lost its original nature, being spread continuously and repeatedly by netizens using the upload-download-copy-share method. In fact, most of the images are reproductions of the recordings of past events, and they are the derivation from documents produced by the authority during their reign. The openness of access brought by the technology today has enabled the public to access the archives owned by the authorities, even though its quality is not as good as its original one. <\/p>\n","protected":false},"author":1,"featured_media":9524,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"Cinema Observing Its Images","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":"\nCinema Observing Its Images — ARKIPEL<\/title>\n<meta name=\"description\" content=\"The era of internet is an era when information continuously permeates into our daily life, targeting our sight almost without any selection \u2013 including still and moving images. 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