{"id":9770,"date":"2019-08-13T01:52:59","date_gmt":"2019-08-12T18:52:59","guid":{"rendered":"https:\/\/arkipel.org\/?p=9770"},"modified":"2019-08-13T02:22:27","modified_gmt":"2019-08-12T19:22:27","slug":"money-the-visible-god","status":"publish","type":"post","link":"https:\/\/arkipel.org\/money-the-visible-god\/","title":{"rendered":"Money! The Visible God!"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1565637644884{margin-bottom: 0px !important;}”]\n

Money! The Visible God!
\n<\/em><\/strong>Uang! Tuhan yang Tampak!<\/em><\/h1>\n

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

Saturday, August 24, 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_1565635424833{margin-bottom: 0px !important;}”]Sinema Robert Bresson selalu mensugestikan adanya ruang lain yang berada di luar dari apa yang terlihat di layar. Keduanya \u2014 baik yang tampak maupun tidak tampak \u2014 saling berinteraksi membentuk kesatuan persepsi kepingan peristiwa. Konsepsi ini berbeda dengan kenyataan layar yang memiliki tendensi untuk mengarah ke luar (sentrifugal) seperti yang pernah dituliskan oleh Andre Bazin.[1]<\/a> Teori Bazin berdasar pada realita alamiah layar filem bila dibandingkan dengan medium seni lain seperti panggung teater dan kanvas lukisan. Sementara dalam filem-filem Bresson, interaksi antara ruang yang terlihat dan yang tidak terlihat terhubung dengan perpetualitas gerak, suara dan waktu. Dengan demikian, kita sering sekali melihat bidikan-bidikan bersifat medium<\/em> hingga close-up<\/em> yang diproduksi melalui lensa 50mm.[2]<\/a> Bresson merasa tidak perlu mengambil bidikan terhadap ruang secara utuh; dia mengisolasi waktu, figur dan gerak sehingga menciptakan sebuah bahasa visual eksklusif sinematik.<\/p>\n

Kasus: L\u2019Argent<\/strong><\/p>\n

L\u2019Argent <\/em>diangkat dari novel pendek berjudul \u0424\u0430\u043b\u044c\u0448\u0438\u0432\u044b\u0439 \u043a\u0443\u043f\u043e\u043d<\/em> (The Forged Coupon<\/em>\/Uang Palsu) karya Leo Tolstoy. Walaupun ada cukup banyak perbedaan antara versi novel dengan adaptasi yang dilakukan oleh Bresson; seperti latar belakang waktu dan pemenggalan alur cerita yang digunakan dalam filem, namun perbedaan paling mencolok adalah fokus ceritanya itu sendiri yang direfleksikan dalam judulnya. Dalam novel, judulnya sudah menjelaskan bahwa filem ini adalah kisah tentang uang palsu. Namun dalam filem karya Bresson ini, hanya satu kata yang dipakai: uang, yang menegaskan bahwa filem ini berkisah tentang keberadaan uang secara keseluruhan, terlepas dari apapun legalitasnya.<\/p>\n

Pertama-tama kita diarahkan pada transaksi uang palsu yang dilakukan oleh sekelompok anak sekolah di sebuah toko peralatan fotografi. Saat pemilik toko sadar bahwa uang tersebut palsu, dia menggunakan uang itu untuk membayar seorang petugas pengantar gas. Petugas itu \u2014 tidak menyadari bahwa uang yang diterimanya palsu \u2014 membayar minum menggunakan uang tersebut. Pengantar gas bernama Yvon Targe (dimainkan oleh Christian Patey) itu adalah satu-satunya orang yang tidak sadar bahwa dia menggunakan uang palsu ketika melakukan transaksi, dan dia satu-satunya yang dihukum karena kelalaiannya.<\/p>\n

Uang dalam L\u2019Argent<\/em>, dengan cara yang baik dan buruk, mengikat dan membentuk masyarakat. Bresson sepertinya berupaya memperlihatkan dampak dari daya rusak sistem yang dibangun bedasarkan kepercayaan kepada uang ini. Keyakinan adalah tema konsisten yang diangkat dalam karya Robert Bresson. Dalam beberapa filemnya, keyakinan menjadi semacam pendorong kehendak atau hasrat tokoh di filem tersebut dalam bertindak. Dorongan tersebut terlihat di beberapa filemnya seperti Journal d’un cur\u00e9 de campagne <\/em>(1951), Proc\u00e8s de Jeanne d’Arc <\/em>(1962) dan Un condamn\u00e9 \u00e0 mort s’est \u00e9chapp\u00e9 ou Le vent souffle o\u00f9 il veut <\/em>(1956). Tokoh-tokoh dari filem Bresson tersebut berusaha mencari penebusan berdasar kepercayaan yang dimilikinya (hal ini terkait erat dengan keyakinan Bresson sendiri sebagai seorang Katolik). Namun di dua filem terakhirnya, Le diable probablement <\/em>(1977) dan L\u2019Argent <\/em>(1983), tokoh utamanya seakan bertindak justru sebaliknya; ketidakpercayaan terhadap suatu sistem itulah yang mendorong mereka untuk bertindak, dan mereka mencari penebusan di dunia dari ketidakpercayaannya itu. Penebusan tersebut seringkali diakhiri dengan satu peristiwa: kematian. Dalam L\u2019Argent<\/em>, rangkaian tindak kriminal Yvon Targe tidak lagi didorong oleh nafsu akan kebendaan yaitu uang, atau kepercayaannya terhadap sistem keuangan itu sendiri. Tapi lebih jauh lagi, tindakannya bisa dilihat sebagai ekspresi kehilangan kepercayaan atas suatu struktur dan norma masyarakat. Frasa yang diucapkan kawan Yvon Targe di kamar selnya \u201cOh uang! Tuhan yang tampak!<\/em>\u201d seakan lebih sebagai ejekan terhadap kepercayaan masyarakat terhadap uang tersebut.<\/p>\n

Model: sebagai moda naratif dan sinematografi.<\/strong><\/p>\n

Satu hal yang paling khas dalam kaidah pembuatan filem Robert Bresson adalah cara penyutradaraan pemainnya, atau \u2018model\u2019 dalam kaidah perumusan sinema yang diciptakan oleh Bresson, yang ia sebut sebagai sinematografi. Konsep ini, kembali lagi, adalah upayanya untuk menciptakan bahasa visual yang eksklusif yang hanya dapat diupayakan di sinema. Model-model ini bertindak, berbicara dan bergerak dengan presisi milimeter; yang artinya Bresson mengontrol secara total eksistensi mereka di filem, sehingga seakan-akan penonton tidak melihat adanya improvisasi dari model-model tersebut dalam bentuk apapun. Yang disaksikan penonton bukanlah bagaimana model itu berakting dalam kaidah teatrikal atau bagaimana mereka bereaksi secara ekspresif terhadap suatu keadaan, tapi lebih kepada rangkaian peristiwanya itu sendiri. Kenihilan ekspresi model, alih-alih mereduksi kekuatan peristiwanya, justru bertindak sebaliknya; peristiwa menjadi teramplifikasikan karena penekanannya beralih tidak lagi kepada ekspresi, namun kepada peristiwa sinematiknya. Model menjadi kendaraan bagi Bresson untuk menciptakan formula bentuk filemis, juga naratif murni tanpa ada residu dari elemen lain.<\/p>\n

Penutup<\/strong><\/p>\n

L\u2019Argent<\/em> adalah studi kompleks terhadap estetika sinema juga masyarakat dan kultur yang membentuknya. Sama seperti definisi bromocorah<\/em> itu sendiri bahwa yang terpinggirkan akan selalu bermutasi dan membentuk sistemnya sendiri, filem-filem Robert Bresson adalah contoh bentuk mutasi tersebut dalam bentuk konten dan estetika. Di akhir filem L\u2019Argent,<\/em> orang-orang melihat Yvon Targe dibawa keluar dari bar oleh polisi dan filem ditutup dengan adegan tersebut. Adegan ini memiliki gaung yang sama dengan akhir cerita pendek Bromocorah karya Mochtar Lubis; sang jagoan memutuskan untuk melanjutkan metode yang sudah diketahuinya, meneruskan apa yang sudah menjadi bagian dari diri dan kulturnya. Sementara dalam L\u2019Argent<\/em>, penonton sudah paham ke mana Yvon Targe pergi dan berakhir tanpa harus ditampilkan, yaitu kembali ke tempat sebelumnya \u2013 penjara. Keduanya menegaskan sebuah struktur yang membentuk satu putaran melingkar tanpa henti dan terus diwariskan, baik terlihat maupun tidak terlihat, dan seperti itulah kultur bromocorah<\/em>.<\/p>\n

[1]<\/a> Bazin, A. (2005).\u00a0What is cinema? (H. Gray, Trans.). <\/em>Berkeley: University of California Press.<\/p>\n

[2]<\/a> Bresson, R., & Bresson, M. (2016).\u00a0Bresson on Bresson interviews 1943-1983 (A. Moschovakis, Trans.)<\/em>. New York: New York Review Books.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1565635446972{margin-bottom: 0px !important;}”]Robert Bresson’s cinema always suggests that there is another space off the screen. Both the visible and invisible spaces interact with each other to form a perception that unites series of events in the film. This conception is different from the reality of screen which has a tendency to point itself outwards (centrifugal) \u2013 as written by Andre Bazin.[1]<\/a> Bazin’s theory is based on the original nature of the reality in the cinema screen if it is compared to other art mediums such as stage (theater) and canvas (painting). While in Bresson’s films, the interaction between the visible and invisible space are connected with the perpetuality of motion, sound and time. As such, we often see in his films the shots that range from medium to close-up using a 50mm lens.[2]<\/a> For Bresson, there is no need to shoot the whole space; he isolates time, figures and motion so as to create an exclusive cinematic visual language.<\/span><\/p>\n

Case: L’Argent<\/strong><\/span><\/p>\n

L’Argent<\/em> is based on a short novel titled \u0424\u0430\u043b\u044c\u0448\u0438\u0432\u044b\u0439 \u043a\u0443\u043f\u043e\u043d<\/em> (The Forged Coupon<\/em> \/ Counterfeit<\/em> Money<\/em>) by Leo Tolstoy. Although there are quite a number of differences between the novel and the adaptation made by Bresson such as the time period and the plots, the most striking difference is the focus of the story itself which is reflected in the title. The title of the novel indicates that the film will be about counterfeit money. But there is only one word used in Bresson’s film: money. Such title indicates that the film is about the existence of money as a whole, regardless of the legal status of that money.<\/span><\/p>\n

First, we are directed to the scene where a counterfeit money transaction is being carried out by a group of schoolchildren in a photo equipment store. When the shop owner realizes that the money is fake, he uses the money to pay his gas man. The gas man \u2013 unaware that the money he has received is fake \u2013 pays his drink using the money. The gas man named Yvon Targe (played by Christian Patey) is the only person who does not realize that he has used counterfeit money when making his transaction, and he is the only one convicted of his negligence.<\/span><\/p>\n

Money in L’Argent<\/em>, in good and bad ways, binds and shapes the society. It seems that Bresson is trying to show the destructive impact of the system built on the belief in money. Belief is a consistent theme in Robert Bresson’s works. In some of his films, it becomes the driving force or the desire of its characters. This can be seen in several films such as Journal d’un cur\u00e9 de campagne<\/em> (1951), Proc\u00e8s de Jeanne d’Arc<\/em> (1962) and Un condamn\u00e9 \u00e0 mort s’est \u00e9chapp\u00e9 ou Le vent souffle o\u00f9 il veut<\/em> (1956). The characters in his films try to find their redemption based on their belief (this is closely related to Bresson’s own conviction as a Catholic). But in his last two films, Le diable probablement<\/em> (1977) and L’Argent<\/em> (1983), the main characters seem to act in the opposite way; their disbelief in a system is what drives them to act, and they seek redemption in the world because of their disbelief. Their atonements often end with one event: death. In L’Argent<\/em>, Yvon Targe’s series of crimes is no longer driven by the lust for material things \u2013 namely money \u2013 or by his belief in the financial system. But rather, his actions can be seen as an expression on the loss of his belief toward the structure and norms of society. The phrase that Yvon Targe\u2019s comrade said in his cell room “Oh money! You visible God!\u201d seems more like a mockery of people’s trust in money.<\/span><\/p>\n

Model: as narrative and cinematographic mode.<\/strong><\/span><\/p>\n

One of the most distinctive features in Robert Bresson’s filmmaking is the way he directs his actors, or ‘models’ in his principles of cinema formulation, named as cinematography. This concept, again, is his attempt to create visual language that exclusively belongs to cinema. These models act, speak, and move with exact precision; it means that Bresson totally controls their existences to the extent that the audience are not aware of any of their improvisation in any form. What the audience witnesses is not how the models act in theatrical principles or how they express their reactions to a particular situation; they witness the sequence of events. Instead of reducing the strength of the event, the nullity of the models’ expressions amplifies it because the emphasis is no longer on expressions, but on cinematic events. The models become a means for Bresson to create the formula for a filmic form, as well as a pure narrative without any residue of other elements.<\/span><\/p>\n

Closing<\/strong><\/span><\/p>\n

L’Argent<\/em> is a complex study of the aesthetics of cinema as well as of the society and culture that shape it. Just like the bromocorah<\/em> definition in which the marginalized will always mutate and form its own system, Robert Bresson’s films are examples of these mutations in the form of content and aesthetics. At the end of this film, people see Yvon Targe being taken out of the bar by the police. This scene echoes the end of a short story titled Bromocorah<\/em> by Mochtar Lubis; the hero decides to continue with the methods he has already known, continuing what is already part of himself and his culture. While in L’Argent<\/em>, the audience already knows, without being shown, where Yvon Targe is going; he is returning to his previous place\u2013the prison. Both characters emphasize a structure that forms an endless loop and continues to be passed down, both visible and invisible, and that is the culture of bromocorah<\/em>.<\/span><\/p>\n

[1]<\/a> Bazin, A. (2005).\u00a0What is cinema? (H. Gray, Trans.). <\/em>Berkeley: University of California Press.<\/span><\/p>\n

[2]<\/a> Bresson, R., & Bresson, M. (2016).\u00a0Bresson on Bresson interviews 1943-1983 (A. Moschovakis, Trans.)<\/em>. New York: New York Review Books.<\/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=”9544″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565635572374{margin-bottom: 0px !important;}”]\n

L’Argent<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Robert Bresson<\/strong> (France)
\nIndonesian Title<\/em>\u00a0\u00a0Uang
\n<\/strong>Country of Production<\/em>\u00a0France
\n<\/strong>Language<\/em>\u00a0\u00a0French
\n<\/strong>Subtitle<\/em>\u00a0\u00a0Indonesian<\/strong><\/p>\n

83 min, mono, color, 1.66 : 1, 35 mm in digitized version, 1983[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565635590144{margin-bottom: 0px !important;}”]Diadaptasi dari novelet karya Leo Tolstoy berjudul\u00a0The Forged Coupon<\/em>, Uang<\/em> adalah kisah tentang seorang pria yang tidak sengaja terperangkap dalam arus transaksi uang palsu, yang kemudian menjerumuskannya lebih dalam lagi ke pusaran lingkaran kejahatan. Kisah pria tersebut bisa dianggap tidak hanya mewakili suatu cerita tunggal saja, tapi juga tentang masyarakat secara keseluruhan.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565635601463{margin-bottom: 0px !important;}”]Loosely inspired by Leo Tolstoy\u2019s novella the Forged Coupon<\/em>, L\u2019Argent<\/em> is a story of a man who was trapped inadvertently within the current of forged money, that later brought him further into the vicious circle of evil. That man\u2019s story can be considered not only to represent a single story but also about society in general.<\/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=”9775″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565635854698{margin-bottom: 0px !important;}”]Robert Bresson<\/span><\/strong><\/em> lahir<\/span> di <\/span>Prancis<\/span> tanggal<\/span> 25 September 1901<\/span>. <\/span>Ia<\/span> dianggap<\/span> sebagai<\/span> salah <\/span>satu<\/span>praktisi<\/span> dan <\/span>pemikir<\/span> terhebat<\/span> dalam<\/span> sejarah<\/span> sinema<\/span>. <\/span>Karya-karyanya<\/span> dianggap<\/span> bertanggung<\/span>jawab<\/span> sebagai<\/span> jawaban<\/span> atas<\/span> problematika<\/span> sinema<\/span> terhadap<\/span> kenyataan<\/span>, <\/span>representasi<\/span>, juga <\/span>bentuk<\/span>sinema<\/span> sebagai<\/span> medium <\/span>seni<\/span> yang <\/span>mapan<\/span>. <\/span>Mela<\/span>l<\/span>ui<\/span> karya-karyanya<\/span>, <\/span>beliau<\/span> juga <\/span>dikenal<\/span> memiliki<\/span>pandangan<\/span> yang <\/span>kritis<\/span> dalam<\/span> konteks<\/span> sosio-politik<\/span> saat<\/span> itu<\/span>.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565635833770{margin-bottom: 0px !important;}”]Robert Bresson<\/span><\/strong><\/em> was born in France on September 25, 1901. He is considered one of the <\/span>most excellen<\/span>t practitioners and thinkers in the history of cinema. His works are <\/span>regard<\/span>ed as<\/span> the<\/span>answer to the problems of cinema against reality, representation, as well as the form of cinema as an established <\/span>medium of <\/span>art. Through his works, he is also known to have a critical <\/span>perspective<\/span>o<\/span>n the socio-political context at that time<\/span>.<\/span><\/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 Curator” 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_1565635679444{margin-bottom: 0px !important;}”]Afrian Purnama\u00a0<\/strong><\/em>(Jakarta, 1989) adalah kritikus dan kurator film, anggota Forum Lenteng, dan penulis utama di\u00a0Jurnal Footage<\/em>(www.jurnalfootage.net)<\/a>. Lulus dari Jurusan Ilmu Komputer, Universitas Bina Nusantara, tahun 2013.<\/p>\n

Afrian adalah salah satu anggota tim selektor ARKIPEL\u00a0bromocorah.<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565635703068{margin-bottom: 0px !important;}”]Afrian Purnama<\/em>\u00a0<\/strong>(Jakarta, 1989) is a film critic and curator, a member of Forum Lenteng and a main writer at\u00a0Jurnal Footage(www.jurnalfootage.net)<\/a>. He graduated Computer Science at the Universitas Bina Nusantara in 2013.<\/p>\n

Afrian<\/em>\u00a0is one of the selector members at ARKIPEL\u00a0bromocorah<\/em>.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

Robert Bresson’s cinema always suggests that there is another space off the screen. Both the visible and invisible spaces interact with each other to form a perception that unites series of events in the film. While in L’Argent, the audience already knows, without being shown, where Yvon Targe is going; he is returning to his previous place\u2013the prison. 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