{"id":9756,"date":"2019-08-13T01:27:06","date_gmt":"2019-08-12T18:27:06","guid":{"rendered":"https:\/\/arkipel.org\/?p=9756"},"modified":"2019-08-13T02:19:35","modified_gmt":"2019-08-12T19:19:35","slug":"cinema-observes-cinema","status":"publish","type":"post","link":"https:\/\/arkipel.org\/cinema-observes-cinema\/","title":{"rendered":"Cinema Observes Cinema"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=&#8221;.vc_custom_1565632751772{margin-bottom: 0px !important;}&#8221;]\n<h1 style=\"text-align: center;\"><strong>Cinema Observes Cinema<em><br \/>\n<\/em><\/strong><em>Sinema Melihat Sinema<\/em><\/h1>\n<p style=\"text-align: center;\"><strong>Host: Robby Ocktavian<\/strong><\/p>\n<p style=\"text-align: center;\">Saturday, August 24, 2019 | 13:00 | GoetheHaus<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1565632767531{margin-bottom: 0px !important;}&#8221;]Detail, pada umumnya, bukanlah sebuah kepastian yang utuh dari sebuah ingatan. Kehadirannya acap kali berupa fragmen-fragmen, yang bisa bercampur-baur dengan fragmen dari suatu ingatan lain yang berbeda masa dan ruang. Ingatan, pada akhirnya, rentan menguap seiring kualitas signifikasi (penandaan) dari peristiwa dan waktu yang dilalui oleh subjek pengingatnya. Akan tetapi, teknologi kamera mendatangkan keuntungan bagi manusia dalam upaya-upaya menggenggam ingatan. Lewat kerja kamera, kita\u2014manusia\u2014bisa menonton kembali ingatan, dengan lebih rinci. Kamera, dengan demikian, memungkinkan detail menjadi hal yang patut dibingkai dan diolah, lagi dan lagi. Rekaman kamera juga memungkinkan orang-orang meninjau ingatan yang bukan miliknya. Dalam budaya menonton, citra-citra yang kita lihat barangkali hanyalah memang penggalan-penggalan ingatan, tetapi mereka dapat hadir secara utuh sebagai diri mereka sendiri dan membuka peluang untuk memantik kembali fragmen-fragmen ingatan lain yang terkait, menawarkan suatu signifikasi baru yang memadukan konteks personal dan massal sekaligus. Bahkan, citra bergerak dari kamera mempunyai caranya sendiri yang unik untuk mengingat diri dan sejarahnya, atau paling tidak mengajak kita untuk mengingatnya lewat fragmen-fragmen yang telah dikonstruk sebagai suatu jalinan tanda, yang melaluinya kita bisa mendapatkan pengalaman baru yang utuh: pengalaman sinematik.<\/p>\n<p>Sebagaimana dapat dirasa tatkala kita menonton <em>Distant Tropic<\/em>: tokoh \u201caku\u201d seolah merupakan kamera yang tengah bertutur. Dituntun berdasarkan penggalan kisah dari <em>log<\/em> milik \u201csi aku\u201d, kita diajak untuk mengalami narasi yang lindap, yang tumpang tindih antara kenangan masa kecil dan peristiwa aktual di garis pantai. Namun, dari penandaan visualnya, yaitu kehadiran bingkai periskop yang mendominasi narasi filem, kita bisa merasakan suatu intensi perluasan voyeurisme ke ranah pandangan mekanis; tentang daya intip melalui lensa yang memicu pertanyaan mengenai singgungan antara penglihatan insaniah dan penglihatan mesin. Adakah mungkin singgungan itu ialah simpul yang mencoba mempertemukan kita pada sinema yang sedang mengingat, atau justru melihat, sifatnya?<\/p>\n<p><em>The Plato<\/em> adalah filem yang mengapresiasi sebuah periode dalam sejarah sinema Iran \u2014 bukan hanya dari aspek eksperimentasi bahasa sinema, tetapi juga politik estetika dari bahasa sinema itu sendiri \u2014 melalui pengingatan terhadap adegan-adegan ikonik dalam kisah <em>Sang Sapi<\/em>-nya Darius Mehrjui. Ingatan itu dihadirkan, salah satunya, lewat eksplorasi bidikan yang melampaui batasan-batasan logika komunikasi manusia, tanpa menghilangkan eksistensi dari montase genial khas negerinya. Filem ini, bisa dibilang, juga menarik ingatan kita\u2014atau menawarkan acuan penting\u2014mengenai sejarah bahasa sinema itu dengan metode pembesaran atau perluasan terhadap sejumlah kesimpulan yang telah dipaparkan Mehrjui. <em>The Plato<\/em> seakan menjadi semacam <em>post-script<\/em> dari pendekatan sinema yang menaruh perhatian pada konsep-konsep kegilaan dan hasrat manusia. Sebagaimana filem pertama, ia pun menjadikan fragmen-fragmen ingatan personal yang berkait-jalin dengan perilaku masyarakat sebagai suatu memorabilia universal, sebagai puisi, yaitu sinema itu sendiri.[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1565632785404{margin-bottom: 0px !important;}&#8221;]Details, generally, are not a complete certitude of a memory. Often, it exists as fragments that can mix up with other fragments from a memory of another time and space. Memory, eventually, are prone to evaporate along with the quality of signification from the events and the time passed by its rememberers. However, the camera technology brings in advantages for human beings in their attempts to grip on the memory. Through the camera mechanism, we \u2013 human \u2013 could re-watch the memory in more details. In that way, the camera enables us to frame and process the details repeatedly. The recording from the camera also allows us to observe someone else\u2019s memory. In the cinema culture, the images we see probably are just fragments of memory, but they can exist as an integral unit and opens the chances to re-ignite other related fragments of memory, offering a new signification that integrates personal and mass context at once. The moving images resulted from camera possess its unique mechanism to remember its self and history, or at least to invite us to remember it through the fragments constructed as a network of signs, from which we can gain a whole new experience: the cinematic experience.<\/p>\n<p>As we can experience when we watch <em>Distant Tropic<\/em>: the figure of \u201cI\u201d seems like a camera acting as a storyteller. Guided by the fragment of memory from the log of \u201cI,\u201d the film invites us to experience vague narratives, intertwining between childhood memory and actual events that occur in the coastline. But, from its visual signification, which is the presence of a periscope frame dominating the film narrative, we could sense the intention to expand voyeurism into the mechanical gaze; the voyeuring ability through the lens that triggers the question about the crossing between humane gaze and mechanical gaze. \u00a0Can the crossing possibly be a knot that brings us to a cinema that is trying to remember, or even observe its nature?<\/p>\n<p><em>The Plato <\/em>is a film that appreciates a period in the history of Iranian cinema \u2013 not only from its experimentation of cinema language but also from the politic of aesthetic from its cinema language \u2013 by remembering the iconic scenes from <em>The Cow<\/em> (<em>G\u0101v<\/em> \u2013 1969) by Darius Mehrjui. Such memory was expressed, one of it, through the exploration of camera shots that goes beyond the limitations of human communications, without eliminating the presence of Iran\u2019s unique genial montage. It is possible to say that this film also draws our memory \u2013 or offers essential reference \u2013 about the history of cinema language by magnifying or expanding some conclusions exposed by Mehrjui. <em>The Plato<\/em> acts like a post-script from an approach of cinema that focuses on the concept of human madness and desire. Like the first film, it situates the fragments of personal memory that intertwines with society\u2019s behavior as universal memorabilia, as a poem, that is cinema itself.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=&#8221;Film List&#8221; color=&#8221;black&#8221; border_width=&#8221;3&#8243;][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=&#8221;modern&#8221; spacing=&#8221;2&#8243; active_section=&#8221;1&#8243;][vc_tta_section title=&#8221;FILMWORK&#8221; tab_id=&#8221;1532969190362-a01badc7-fcf5&#8243;][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;9397&#8243; img_size=&#8221;full&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1565632916469{margin-bottom: 0px !important;}&#8221;]\n<h2><strong>The Plato<\/strong><\/h2>\n<p><em>Filmmaker\u00a0<\/em><strong>Mohammad Ghanbari<\/strong> (Iran)<br \/>\n<em>International Title<\/em>\u00a0\u00a0<strong>The Plato<br \/>\n<\/strong><em>Country of Production<\/em>\u00a0<strong>Iran<br \/>\n<\/strong><em>Language<\/em>\u00a0\u00a0<strong>Persian<br \/>\n<\/strong><em>Subtitle<\/em>\u00a0\u00a0<strong>English<\/strong><\/p>\n<p>69 min 15 sec, stereo, digital, color, 2019[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1565632936040{margin-bottom: 0px !important;}&#8221;]Hubungan benci dan cinta antara si konservatif Plato dengan Khardezeh, seekor keledai betina uzur miliknya yang sudah tidak mampu bekerja. Mereka berdua menghadapi modernitas yang telah berada di depan pintu rumah mereka. Modernitas yang hadir tersebut dianggap mengganggu tradisi-tradisi yang telah dijalani dan dijaga oleh Plato sepanjang ia hidup.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1565632957081{margin-bottom: 0px !important;}&#8221;]<span style=\"color: #808080;\">The love and hate relationship between the conservative Plato and Khardezeh \u2013 an old female donkey who has been unable to work. They must face modernity that has arrived at their doorstep. That modernity is considered as disturbances for the traditions that have been lived and maintained by Plato throughout his life.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=&#8221;FILMMAKER&#8221; tab_id=&#8221;1532969190418-0b77954e-9992&#8243;][vc_row_inner][vc_column_inner width=&#8221;1\/6&#8243;][vc_single_image image=&#8221;9757&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565632996992{margin-bottom: 0px !important;}&#8221;]<em><strong>Mohammad Ghanbari<\/strong><\/em> adalah penulis naskah dan sutradara berbagai filem pendek, seperti <em>Nadir<\/em>, <em>Jabeja<\/em>, <em>Breath of Water<\/em>, <em>Tigers<\/em>, <em>Sparks<\/em>, <em>Help.<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565633017648{margin-bottom: 0px !important;}&#8221;]<span style=\"color: #808080;\"><em><strong>Mohammad Ghanbari<\/strong><\/em> is the author and director of a number of short films, such as: <em>Nadir<\/em>, <em>Jabeja<\/em>, <em>Breath of Water<\/em>, <em>Tigers<\/em>, <em>Sparks<\/em>, <em>Help.<\/em><\/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=&#8221;modern&#8221; spacing=&#8221;2&#8243; active_section=&#8221;1&#8243;][vc_tta_section title=&#8221;FILMWORK&#8221; tab_id=&#8221;1565627063299-bf510960-5bb5&#8243;][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;9385&#8243; img_size=&#8221;full&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1565633187264{margin-bottom: 0px !important;}&#8221;]\n<h2><strong>Tr\u00f3picos Distantes<\/strong><\/h2>\n<p><em>Filmmaker\u00a0<\/em><strong>Marcelo Costa<\/strong> (Brazil)<br \/>\n<em>International Title<\/em>\u00a0\u00a0<strong>Distant Tropics<br \/>\n<\/strong><em>Country of Production<\/em>\u00a0\u00a0<strong>Brazil<br \/>\n<\/strong><em>Language<\/em>\u00a0\u00a0<strong>Portuguese<br \/>\n<\/strong><em>Subtitle<\/em>\u00a0\u00a0<strong>English<\/strong><\/p>\n<p>35 min 15 sec, stereo, digital, color, 2018[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1565633207241{margin-bottom: 0px !important;}&#8221;]Penyintas perang yang terisolir dalam kapal selam melihat dunia luar melalui mata mekanik. Dengan perangkat tersebut, ia mengamati dari jarak kejauhan bagaimana kehidupan dan perilaku penduduk pribumi yang tinggal di pinggir pantai, yang mengingatkannya pada masa lalunya. Dalam amatan itu, ditunjukkan pula bagaimana para pribumi tersebut menyambut dan menerima kedatangan yang asing, juga menyelesaikan masalah yang ditimbulkannya.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1565633223048{margin-bottom: 0px !important;}&#8221;]<span style=\"color: #808080;\">War survivors who are isolated in submarines see the outside world through a mechanical eye. With this device, he observed from a distance how the lives and behavior of the natives living on the coast, which reminded him of his past. In that observation, it was also shown how the natives welcomed and accepted foreign arrivals, as well as resolving the problems they caused.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=&#8221;FILMMAKER&#8221; tab_id=&#8221;1565627063746-e331ca79-ea40&#8243;][vc_row_inner][vc_column_inner width=&#8221;1\/6&#8243;][vc_single_image image=&#8221;9764&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565634224683{margin-bottom: 0px !important;}&#8221;]<em><strong>Marcelo Costa<\/strong><\/em> adalah penulis skenario dan sutradara filem. Dia juga seorang profesor perguruan tinggi di bidang perfileman dan seni visual, dengan fokus pada skenario, penyuntingan filem dan pembuatan filem. Sebagai kritikus filem, ia pernah meliput Venice Film Festival pada tahun 2008 dan 2009. <em>Distant Tropics <\/em>adalah film pertamanya.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565634250251{margin-bottom: 0px !important;}&#8221;]<span style=\"color: #808080;\"><em><strong>Marcelo Costa<\/strong><\/em> is a screenwriter and film director. He is also a college professor in cinema and visual arts, with a focus on screenplay, film editing and filmmaking. As a film critic he covered the Venice Film Festival in 2008 and 2009. <em>Distant Tropics<\/em> is his first movie.<\/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=&#8221;About the Host&#8221; color=&#8221;black&#8221; border_width=&#8221;2&#8243;][vc_row_inner][vc_column_inner width=&#8221;1\/6&#8243;][vc_single_image image=&#8221;9699&#8243; img_size=&#8221;full&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565633955338{margin-bottom: 0px !important;}&#8221;]<em><strong>Robby Ocktavian<\/strong><\/em>\u00a0(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<p>Robby adalah salah satu anggota tim selektor ARKIPEL\u00a0<em>bromocorah<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565637571686{margin-bottom: 0px !important;}&#8221;]<span style=\"color: #808080;\"><em><strong>Robby Ocktavian<\/strong><\/em>\u00a0(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<p><span style=\"color: #808080;\">Robby is one of the selector members at ARKIPEL\u00a0<em>bromocorah<\/em>.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>Details, generally, are not a complete certitude of a memory. Often, it exists as fragments that can mix up with other fragments from a memory of another time and space. Memory, eventually, are prone to evaporate along with the quality of signification from the events and the time passed by its rememberers. However, the camera technology brings in advantages for human beings in their attempts to grip on the memory. <\/p>\n","protected":false},"author":1,"featured_media":9761,"comment_status":"open","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":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[532,344],"tags":[526,528,192],"jetpack_publicize_connections":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Cinema Observes Cinema &#8212; ARKIPEL<\/title>\n<meta name=\"description\" content=\"Details, generally, are not a complete certitude of a memory. 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