{"id":9701,"date":"2019-08-12T21:23:47","date_gmt":"2019-08-12T14:23:47","guid":{"rendered":"https:\/\/arkipel.org\/?p=9701"},"modified":"2019-08-13T02:09:50","modified_gmt":"2019-08-12T19:09:50","slug":"observation-to-the-periphery","status":"publish","type":"post","link":"https:\/\/arkipel.org\/observation-to-the-periphery\/","title":{"rendered":"Observation to The Periphery"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1565618964298{margin-bottom: 0px !important;}”]\n

Observation to The Periphery
\n<\/em><\/strong>Observasi Periferi<\/em><\/h1>\n

Host: Luthfan Nur Rochman<\/strong><\/p>\n

Thursday, August 22, 2019 | 13:00 | 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_1565618977164{margin-bottom: 0px !important;}”]Dalam wacana filem dokumenter etnografis, perihal merepresentasikan subjek-subjek yang hidup di wilayah periferi turut melahirkan eksperimentasi estetika sinema. Ia sejalan dengan pergeseran paradigma ilmu sosial dan konsekuensi etik yang mengikutinya. Penjelajahan estetik mulai dari konstruksi dramatik yang serba-romantik a la<\/em> Flaherty sampai bagaimana menginderai sebuah kenyataan antropologi a la <\/em>filem-filem Sensory Ethnography Lab <\/em>mewarnai wacana perkembangan genre ini. Kecenderungan terakhir sinema ini memang menjadi observasional dan partisipatoris. Namun observasional dan partisipatoris ini tidak lepas dari problematikanya sendiri.<\/p>\n

Dalam merepresentasikan subjek periferal, lebih-lebih yang jauh atau kurang mendapat paparan teknologi media, ada godaan untuk menjadikannya sebuah \u201cpenemuan\u201d. Observasi dan partisipasi yang dilakukan oleh si pembuat filem, yang datang dari kondisi penggunaan media yang fasih, membuatnya berjibaku dengan artefak, situs, cara hidup, modus berada, dan spiritualitas subjek-subjek tersebut. Poin-poin tersebut di atas merupakan perangkat-perangkat yang sangat dapat dikategorisasikan dan digeneralisasi ke dalam hipotesis ilmu tertentu, selain dapat dieksploitasi untuk mendapatkan efek empatik untuk penonton. Kalau benar kredo seni adalah penemuan akan kebenaran universal, konstruksi bentuk filem bagaimana yang dapat mengartikulasikan tegangan periferi dengan universal itu?<\/p>\n

Syahdan, pembuat filem datang ke Desa Kondwal di Bhimashankar, India. Desa yang kental dengan kisah harimau dan dewa penjaga kampung. Ia memberikan kita imaji hutan, tebing, kampung dan bahkan ruang privat warga. Subjek-subjek (manusia) hadir dengan berdiri diam, tidur menghadap tembok, suara dari luar layar (non-diegetik), dan interteks. Dalam filem ini, kita melihat observasional, namun tidak dalam artian definitif. Permainan konstruksi filem lewat dekupase dari berbagai unsur sinematik \u2013 seperti suara, interteks, citraan, dan pengadeganan \u2013 mengisyaratkan sebuah capaian bentuk yang mengartikulasikan subjek periferi yang kompleks secara utuh.<\/p>\n

Pembuat filem lainnya datang ke Desa Tan Hiep di Provinsi Quang Tri. Provinsi Quang Tri adalah area yang terkena bom paling banyak ketika Perang Vietnam terjadi. Sebuah lokasi di mana waktu berhenti dan di saat bersamaan bergerak pasti menuju kematian. Filem ini observasional, dalam terma sesungguhnya. Kamera masuk ke ruang privat obrolan protagonis-protagonisnya, hingga sanggup menangkap momen ledakan emosi-emosi secara tak tergoyahkan. Hampir-hampir sulit membedakannya dengan pengadeganan. Ia menjadi capaian bentuk yang utuh karena keleburan kameranya, di samping strategi montasenya, sehingga berhasil menyibak trauma sejarah yang bersarang dalam diri para subjek beserta relasi sosialnya.<\/p>\n

Yang menjadi penting dari filem-filem di kompilasi ini adalah bagaimana mengukur sejauh apa eksperimentasi bentuk dalam mengartikulasikan apa-apa yang mengendap di dalam kesadaran kolektif subjek periferi. Diikat oleh hubungan erat manusia dengan situsnya, filem And What Is Summer Saying?<\/em> dan The Future Cries Beneath Our Soil<\/em> menawarkan mitos, sejarah, cara hidup, dan pandangan subjek-subjeknya tanpa harus jatuh kepada pakem filem dokumenter observasional yang umum. Bahwa fiksi dan dokumenter sama-sama ikhtiar menuju penemuan kebenaran universal dalam bentuk sinema.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1565618993664{margin-bottom: 0px !important;}”]In the discourse of ethnographic film, representing the subjects living in the periphery will bring forth the experimentation of cinema aesthetics. The experimentation is in parallel with the paradigm shifts in social science and ethics that follow it. The aesthetic explorations, which range from a dramatic construction with the romantic style of Flaherty up to how to perceive anthropological facts with the style of Sensory Ethnography Lab films, contribute to the discourse on the development of this genre. The latest tendency of this cinema is indeed observational and participatory. But these observation and participation bear their own problems.<\/span><\/p>\n

In representing peripheral subjects, especially those who are far or less exposed to media technology, there is a temptation to treat them as a “discovery\u201d. Through observations and participations, the filmmakers \u2013 who come from a condition wherein media are used fluently \u2013 are engaged with the subjects’ artifacts, sites, ways of life, mode of being, and spirituality.The points listed above are tools that can be categorized and generalized into certain scientific hypotheses, in addition to being exploited to evoke the empathy in the audience. If it is true that the creed of art is to discover universal truths, then how the film construction can articulate peripheral tension with that universality?<\/span><\/p>\n

Therefore, a filmmaker came to the village of Kondwal in Bhimashankar, India. Within the village, there is a grand tale of a tiger and the village deity. He gives us images of forests, cliffs, villages and even private spaces of inhabitants. Subjects (humans) present in standing still pose, facing a wall while sleeping, non-diegetic sounds and intertext. In this film, we see an observational approach but not in a definitive way. The film construction through its decoupag\u00e9 <\/em>of various cinematic elements \u2013 such as sound, intertext, imagery, and scene making \u2013 implies an achievement of form that articulates complex peripheral subjects as a whole.<\/span><\/p>\n

Another filmmaker came to Tan Hiep Village in Quang Tri Province. Quang Tri Province was the most bombarded area during the Vietnam War. It is a location where time stops and at the same time moves firmly towards death. This film is observational in the truest sense of the word. The camera enters the private space of the protagonists, to the extent that it can steadily capture the moments of explosive emotions. It becomes almost undistinguishable from well–<\/em>constructed mise-en-scene<\/em>. It becomes an integral form because of the camera’s fluidity and its montage <\/em>strategy, so that it manages to uncover the historical trauma that resides in the subjects and their social relations.<\/span><\/p>\n

What is important about the films in this compilation is how to measure the extent of experimentation of form in articulating the sedimentation within the collective consciousness of the peripheral subjects. Being tied up by close human relations with the site, the films And What Is Summer Saying?<\/em> and The Future Cries Beneath Our Soil<\/em> offer myths, history, ways of life, and worldviews of their subjects without having to fall into the common observational documentary film conventions. That fiction and documentary are both endeavors to discover universal truths in the form of cinema.<\/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=”9526″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565619118196{margin-bottom: 0px !important;}”]\n

And What Is Summer Saying<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Payal Kapadia<\/strong> (India)
\nInternational Title<\/em>\u00a0\u00a0And What Is Summer Saying
\n<\/strong>Country of Production<\/em>\u00a0\u00a0India
\n<\/strong>Language<\/em>\u00a0\u00a0Marathi
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

23 min, stereo, HD, color B\/W, 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_1565619140458{margin-bottom: 0px !important;}”]Imaji hutan, lanskap kampung, interior rumah, dan figur manusia keluar dari bunga teratai bersanding dengan suara rimba dan celoteh warga Desa Kondwal, Bhimashankar, yang berbagi mengenai mitos, ingatan, keseharian dan keinginan mereka. Terdengar reflektif, malu-malu, kadang berbisik, dan kadang merupa interteks dan pengadeganan. Upaya puitik mengurai jalin-jalin hubungan dalam suatu lokasi yang kental dengan the unknown<\/em>.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565619150685{margin-bottom: 0px !important;}”]Forest images, village landscapes, home interiors, and human figures come out of lotus flowers coupled with the sounds of the jungle and the chatter of the residents of Kondwal Village, Bhimashankar, who share their myths, memories, daily lives, and desires. Sounds reflective, shy, sometimes whispering, and sometimes intertext and attitude. Poetic efforts break down relations in a location that is thick with the unknown.<\/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=”9703″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565619210420{margin-bottom: 0px !important;}”]Payal Kapadia<\/strong><\/em> adalah pembuat filem dan seniman yang berbasis di Mumbai. Dia belajar Penyutradraan Filem di Institut Filem & Televisi India. Karyanya berkaitan dengan apa yang tidak mudah terlihat, tersembunyi di suatu tempat dalam lipatan ingatan dan mimpi. Di antara gerakan feminin kecil dan fanalah dia mencoba untuk menemukan kebenaran yang membentuk praktiknya. Karya-karyanya telah ditayangkan di berbagai festival filem internasional bergengsi.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565619199997{margin-bottom: 0px !important;}”]Payal Kapadia<\/strong><\/em> is a Mumbai based filmmaker and artist. She studied Film Direction at the Film & Television Institute of India. Her work deals with that which is not easily visible, hidden somewhere in the folds of memory and dreams. It is between minor, ephemeral feminine gestures where she tries to find the truth that makes up her practice. Her works have been presented in prestigious 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=”9527″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565619302973{margin-bottom: 0px !important;}”]\n

M\u00f9a C\u00e1t V\u1ecdng<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Pham Thu Hang<\/strong> (Vietnam)
\nInternational Title<\/em>\u00a0\u00a0The Future Cries Beneath Our Soil
\n<\/strong>Country of Production<\/em>\u00a0\u00a0Vietnam
\n<\/strong>Language<\/em>\u00a0\u00a0Vietnamese
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

95 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_1565619333264{margin-bottom: 0px !important;}”]Si residu, desa Tan Hiap, provinsi Quang Tri, adalah area yang paling sering dibom ketika Perang Vietnam. Kini ia menjadi tempat tinggal para protagonisnya yang tua bersama serpihan bom. Bagi para tokoh, saat ini yang ada hanya sakit badan, kerja ladang, minuman keras, dan lagu-lagu tentang perang dan yang ditinggal perang. Sementara di kejauhan, tokoh yang lain (masih) mencari serpihan logam dengan pendeteksi logam rakitan sambil bersaing dengan para penyapu ranjau profesional bayaran negara dan lembaga donor. Sebuah ode tentang menjadi tua dan kesempatan-kesempatan yang hilang (dan timbul) karena trauma sejarah.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565619346956{margin-bottom: 0px !important;}”]The residue, Tan Hiap village – Quang Tri province was the area most frequently bombarded during the Vietnam War. Now it is home to the old protagonists along with bomb fragmentations. For the leaders, at present, there are only body aches, fieldwork, liquor, and songs about war and those left behind by the war. While in the distance, other figures (still) were looking for metal fragments with metal detector assemblies while competing with professional mine sweepers paid by the state and donor organization. An ode about getting old and missing (and arising) opportunities due to historical trauma.<\/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=”9704″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565619408403{margin-bottom: 0px !important;}”]Pham Thu Hang<\/strong><\/em> telah bekerja sebagai peneliti di Institut Kebudayaan dan Seni Vietnam sejak tahun 2004. Dia kemudian bergabung dengan HanoiDoclab, sebuah pusat film dokumenter dan seni video di Hanoi. DI sana, ia membuat beberapa film dokumenter pendek. Sejak itu, ia memutuskan untuk menambahkan suaranya di komunitas pembuat filem dokumenter independen kecil dan aktif di Vietnam.<\/p>\n

Hang baru-baru ini memperoleh gelar Master dalam bidang Penyutradraan Dokumenter di sebuah konsorsium tiga universitas di Eropa di bawah program Master Joint DocNomads di Lisboa, Budapest dan Brussels.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565619427235{margin-bottom: 0px !important;}”]Pham Thu Hang<\/strong><\/em> has worked as a researcher in Vietnam Institute of Culture and Art since 2004. She later joined HanoiDoclab, a breakthrough documentary and video art center in Hanoi where she made several short documentary films. She has since decided to add her voice in the small but active and growing community of young independent documentary filmmakers in Vietnam.<\/span><\/p>\n

Hang recently obtained her Master\u2019s in Documentary Directing in a consortium of three universities in Europe under the DocNomads Joint Master program in Lisbon, Budapest and Brussels.<\/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=”9707″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565619553239{margin-bottom: 0px !important;}”]Luthfan Nur Rochman<\/strong><\/em>\u00a0(19 Agustus 1993) adalah seorang pembuat film yang berbasis di Jakarta. Lulusan Arkeologi, Universitas Indonesia, ini sehari-harinya juga berkegiatan di Milisifilem Collective, sembari menyalurkan hobinya dalam mengulik budaya manga Jepang.<\/p>\n

Luthfan 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_1565636984029{margin-bottom: 0px !important;}”]Luthfan Nur Rochman<\/strong><\/em>\u00a0(August 19, 1993) is a filmmaker based in Jakarta. A graduate of Archaeology, University of Indonesia, in his daily life he is a member of Milisifilem Collective while still doing his hobby in invoking Japanese manga culture.<\/span><\/p>\n

Luthfan 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":"

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