{"id":9892,"date":"2019-08-16T01:56:07","date_gmt":"2019-08-15T18:56:07","guid":{"rendered":"https:\/\/arkipel.org\/?p=9892"},"modified":"2019-08-16T01:59:56","modified_gmt":"2019-08-15T18:59:56","slug":"bromocorah-preface-kultursinema-6-gelora-indonesia","status":"publish","type":"post","link":"https:\/\/arkipel.org\/bromocorah-preface-kultursinema-6-gelora-indonesia\/","title":{"rendered":"KULTURSINEMA #6: GELORA INDONESIA"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1565778797646{margin-bottom: 0px !important;}”]\n

KULTURSINEMA #6: GELORA INDONESIA
\n<\/em><\/strong><\/h1>\n

Curators:
\nAfrian Purnama<\/strong>,\u00a0Robby Ocktavian<\/strong>,\u00a0Dini Adanurani<\/strong>,\u00a0Luthfan Nur Rochman<\/strong>,\u00a0Prashasti W. Putri<\/strong>,\u00a0Wahyu Budiman Dasta<\/strong><\/h3>\n

August 18-25, 2019, Museum Nasional<\/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_1565778596995{margin-bottom: 0px !important;}”]KULTURSINEMA #6: GELORA INDONESIA<\/strong><\/p>\n

\u201cDalam rangka memperlancar pelaksanaan kebijakan mereka di wilayah pendudukan Jawa, pemerintahan militer Jepang memberikan perhatian besar tentang bagaimana \u2018menyita hati rakyat\u2019 dan bagaimana \u2018mengindoktrinasi dan menjinakkan mereka\u2019. Mereka beranggapan bahwa perlu memobilisasikan seluruh masyarakat dan membawa sepenuhnya mentalitas rakyat Indonesia menuju kesesuaian dalam ideologi Jepang tentang Lingkungan Kemakmuran Bersama Asia Timur Raya. Mereka berpikir bahwa orang Indonesia harus sepenuhnya dibentuk ke dalam pola tingkah laku dan cara berpikir Jepang. Dan propaganda dirumuskan sebagai suatu upaya untuk mengindoktrinasi rakyat Indonesia sehingga bisa menjadi mitra yang dapat dipercaya dalam Lingkungan Kemakmuran Bersama Asia Timur Raya,\u201d tulis Aiko Kurasawa dalam Mobilisasi dan Kontrol, Studi Tentang Perubahan Sosial di Pedesaan Jawa 1942-1945<\/em>.[1]<\/a><\/p>\n

Filem berita merupakan salah satu jenis filem yang memiliki sejarah panjang di Indonesia, selain filem fiksi dan filem dokumenter. Filem berita tumbuh dan berkembang sejak masa berkuasanya pemerintahan militer Jepang di Indonesia rentang 1942-1945. Di masa itulah, founding fathers <\/em>sinema Indonesia mengasah dan memperdalam pengetahuannya dalam hal produksi filem, serta memahami gagasan dan fungsi sinema yang tidak hanya berhenti pada nilai hiburan, tetapi juga memiliki kemampuan untuk mengonstruksi cita-cita identitas bersama. Tak lama setelah Proklamasi 1945, kelompok Berita Film Indonesia<\/em> terbentuk. Selain mendokumentasikan berbagai peristiwa bersejarah saat Revolusi 1945-1949, kelompok ini juga membuat tiga filem berita yang diberi judul Berita Film Indonesia<\/em> No. 1-3. Dan setelah penyerahan kedaulatan pasca Konferensi Meja Bundar, Perusahaan Film Negara (PFN) mulai memproduksi filem berita Gelora Indonesia<\/em>. Berbeda dengan filem berita Siaran Chusus<\/em> yang terfokus pada isu spesifik di setiap edisinya, Gelora Indonesia <\/em>menjadi semacam \u2018catatan harian pemerintah\u2019 yang memperlihatkan perkembangan negeri ini sejak ia diterbitkan pertama kali pada 5 Januari 1951 hingga berakhir di tahun 1976, dan kemudian diganti dengan Gelora Pembangunan<\/em> di masa Orde Baru. Sepanjang 1951-1976, Gelora Indonesia<\/em> sedikitnya telah memproduksi lebih dari 800 filem berita. Dari jumlah tersebut, 360 reel<\/em> telah didigitalisasi (mendekati 50%) oleh Arsip Nasional Republik Indonesia dan dapat diakses oleh masyarakat umum.<\/p>\n

Apakah seluruh rekaman-rekaman Gelora Indonesia<\/em> hanya menayangkan kebijakan negara dan aktivitas pemerintahan Soekarno dan Soeharto? Apakah Gelora<\/em> Indonesia<\/em> sama dengan pemerintah? Apakah Gelora<\/em> Indonesia<\/em> adalah filem berita propaganda? Mungkin jawabannya adalah Gelora<\/em> Indonesia<\/em> memang betul filem propaganda, kalau ditonton lengkap dengan mendengarkan suara narator yang mendeskripsikan, menyerukan jargon dan slogan propaganda. Namun jawabannya akan berbeda seandainya suara itu dihilangkan. Deskripsi, jargon, maupun slogan propaganda akan hilang pula. Jika begitu, bagaimana kemudian visual Gelora<\/em> Indonesia<\/em> bekerja? Apakah tetap akan disebut filem propaganda atau bahkan filem dokumentasi saja, atau bahkan hanya sekedar footage<\/em>? Ataukah ada narasi lain yang bisa dimunculkan dari arsip sejarah filem tersebut? Misalnya, adakah narasi-narasi kecil di dalam narasi besar pembentukan identitas nasional itu? Jika ada, apakah narasi kecil di dalamnya memiliki fungsi yang lain, selain dianggap sebagai \u2018sisipan\u2019? Ini mungkin sebagian dari pertanyaan-pertanyaan yang ingin diutarakan pada pameran ini.<\/p>\n

Pameran Kultursinema #6: Gelora Indonesia<\/em><\/strong> mengundang enam kurator untuk bersama-sama membaca Gelora<\/em> Indonesia<\/em>. Masing-masing kurator diberi kebebasan untuk memilih satu tema dari sekian banyak tema yang dapat diolah dari arsip filem tersebut, serta mencoba mengkonstruksi kembali narasi perjalanan sejarah bangsa ini dengan konteks tema besar festival, bromocorah<\/em>. Memanfaatkan arsip filem sebagai sumber sejarah di dalam pameran ini merupakan usaha untuk melihat seberapa jauh filem mampu menangkap sebuah peristiwa, membentuk persepsi dan perspektif publik, serta elemen sinematik dan rupa apa yang terdapat di dalam estetika bahasa sinema Gelora<\/em> Indonesia<\/em>.<\/p>\n

Luthfan Nur Rochman mencoba melihat bagaimana aktualitas peristiwa, teknifikasi peliputan, anonimitas kru, serta proses konstruksi sinematik Gelora<\/em> Indonesia<\/em> yang melibatkan pengendapan konstruksi agung dan juga instruksi dari penguasa saat itu, menjadi hal yang memberikan ketegangan baru untuk melihat adakah kepengarangan dalam Gelora<\/em> Indonesia<\/em>. Melalui pengimajinasian seleksi peristiwa Gelora<\/em> Indonesia<\/em> sebagai arsitektur pembangunan nasionalisme, Luthfan akan menyeleksi berita pembangunan dan membaginya menjadi proyeksi dua kanal berdasarkan kesadaran aspek komposisi dalam frame<\/em>; komposisi unsur geometris dan komposisi unsur biomorfis.<\/p>\n

Wahyu Budiman Dasta akan fokus membahas bagaimana peranan negara dalam sikap politis dalam bentuk olahraga yang terdapat di siaran Gelora Indonesia<\/em>. Sedangkan Prashasti Wilujeng Putri mencoba mengidentifikasi dan membandingkan dua jenis massa yang ada dalam Gelora Indonesia<\/em>. Keberadaan massa homogen di Gelora Indonesia <\/em>merupakan usaha untuk membuat orang-orang, atau penonton, percaya bahwa negara Indonesia, beserta seluruh komponennya \u2013 termasuk rakyat \u2013 adalah suatu negara yang sedang berjalan menuju kesempurnaan. Di samping itu terdapat juga massa heterogen, yang tidak punya identitas tunggal yang dapat membentuk persepsi penonton akan atribut identitas kenegaraan \u2013 salah satunya adalah imaji tentang rakyat yang mempunyai suatu identitas tunggal dan menginginkan kedaulatan atas negaranya.<\/p>\n

Afrian Purnama mencoba melihat metode transisi di dalam Gelora<\/em> Indonesia<\/em>, baik ketika diproduksi di masa pemerintahan Soekarno maupun Soeharto. Transisi dalam Gelora Indonesia<\/em> lebih bertindak sebagai jembatan ketimbang pemisah. Pada Gelora Indonesia<\/em> sebelum 1965, transisi berbentuk visual dan sifatnya meruang. Sedangkan pada tahun 1965 dan setelahnya, transisi lebih memakai elemen lain, yaitu suara musik yang berbeda dan disesuaikan dalam tiap-tiap peristiwa. Kedua jenis transisi ini tidak diniatkan sebagai peristiwa utama, transisi bekerja dalam ranah ketidaksadaran. Selain menjembatani peristiwa satu dengan lainnya, transisi juga menjadi titian antara kognisi penonton dengan konten utama Gelora Indonesia<\/em>. Bila kita melihat Gelora Indonesia<\/em> sebagai bentuk propaganda, maka keberadaan transisi sesungguhnya vital bagi upaya doktrinasi ideologi yang dikandung Gelora<\/em> Indonesia<\/em>.<\/p>\n

Dini Adanurani mencoba melihat bagaimana gender perempuan dikonstruksi dalam Gelora Indonesia<\/em>, terutama dalam segmen Dunia Wanita. Dalam berita film ini, perempuan cenderung diarahkan kepada subjek yang estetis, yakni kecantikan, peragaan busana, dan perawatan kebun. Aktivisme perempuan yang diberitakan terbatas pada ranah sosial (bukan politik), yang berhubungan dengan perawatan, pangan, serta peran mereka sebagai ibu dan istri. Sedangkan Robby Ocktavian mencoba melihat bagaimana isu pembangunan dan pengembangan teknologi menjadi salah satu isu global yang penting menjelang, saat, dan pasca Perang Dingin.<\/p>\n

Selain menghadirkan enam kuratorial yang membaca isu-isu spesifik pada Gelora<\/em> Indonesia<\/em> sebagai usaha mendedah dan menambah perbendaharaan wacana dan penulisan sejarah sinema di Indonesia, pameran ini juga akan merentangkan \u2018catatan harian\u2019 perjalanan bangsa ini melalui arsip-arsip filem Gelora<\/em> Indonesia<\/em> yang telah terseleksi. Menghadirkan arsip-arsip filem Gelora<\/em> Indonesia<\/em> ke tengah masyarakat menjadi salah satu usaha untuk mendorong semakin banyaknya inisiatif masyarakat mengakses maupun menggunakan arsip-arsip tersebut untuk berbagai kepentingan. Pameran ini juga akan menyelenggarakan program publik yang melibatkan masyarakat di dalam rangkaian diskusi dan pemutaran filem yang terfokus pada isu arsip filem, sejarah, dan sinema. Serta, program khusus penayangan film-film karya Abduh Aziz, terutama karya dokumenternya, yang akan bekerja sama dengan Koalisi Seni Indonesia.<\/p>\n

\n

Kultursinema #6: Gelora Indonesia <\/em><\/strong>merupakan pameran bersama yang diselenggarakan oleh Pusat Pengembangan Perfilman Kementerian Pendidikan dan Kebudayaan, bekerja sama dengan ARKIPEL, Arsip Nasional Republik Indonesia, Perum Produksi Film Negara, dan Museum Nasional Indonesia.<\/p>\n

Tulisan ini kolaborasi para kurator Kultursinema, yaitu Afrian Purnama, Dini Adanurani, Luthfan Nur Rochman, Prashasti Wilujeng Putri, Robby Ocktavian dan Wahyu Budiman dengan dikompilasikan oleh Mahardika Yudha.<\/p>\n

[1]<\/a> Aiko Kurasawa, Mobilisasi dan Kontrol, Studi Tentang Perubahan Sosial di Pedesaan Jawa 1942-1945<\/em>, diterjemahkan oleh Hermawan Sulistyo, Grasindo, 1993, hlm. 229.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1565778584339{margin-bottom: 0px !important;}”]KULTURSINEMA #6: GELORA INDONESIA[1]<\/a><\/strong><\/p>\n

\u201cTo enforce the Japanese military reign\u2019s policy in the sector of population, they paid attention on potential ways to \u2018charm the hearts of the people\u2019, also on how to \u2018indoctrinate and domesticate them\u2019. They were keeping in mind the need to mobilize the mass through aligning the mentality of the Indonesian people into the Japanese ideology of the Commonwealth Zone with the Prospering East Asia. They saw that Indonesians had to be molded into the Japanese\u2019s way of acting and thinking. A propaganda was formulated as an attempt to indoctrinate the Indonesians, with the aim to conduct a trustworthy partner in building the Commonwealth Zone with the Prospering East Asia,\u201d Aiko Kurasawa wrote in Mobilization and Control: A Study of Social Change in Rural Java, 1942-1945<\/em>.[2]<\/a><\/p>\n

Newsreel is one of the films that has a long history in Indonesia besides fiction and documentary films. Newsreels started to develop during the Japanese military reign in Indonesia around 1942-1945. During that time, the founding fathers of Indonesian cinema were honing and deepening their knowledge of film production, gaining an insight into the notion and function of cinema beyond entertainment: that it also has the potential to construct an ideal of shared identity. Not long after the 1945 Proclamation of Indonesian Independence, the group Berita Film Indonesia<\/em> (Indonesian News Films) was initiated. Besides documenting various historical events during the 1945-1949 revolution, this group also produced three newsreels titled Berita Film Indonesia<\/em> No. 1-3. Later on, after the transfer of sovereignty in Konferensi Meja Bundar<\/em> (Round Table Conference), Perusahaan Film Negara<\/em> (National Film Company, abbreviated to PFN) started to produce the Gelora Indonesia<\/em> newsreels. Unlike the Siaran Chusus<\/em> (Special Broadcast) newsreels which focus on a specific issue in each of its editions, Gelora Indonesia<\/em> becomes “the government\u2019s weekly log”, showing the developments around the country since it was first broadcasted on January 5, 1951 up to 1976. In the New Order period, the title was changed into Gelora Pembangunan <\/em>(translated into English as the passion of development \u2013Ed). During 1951-1976, Gelora Indonesia<\/em> had produced more than 800 newsreels. 360 out of those reels have been digitized (almost 50% of the total) by Arsip Nasional Republik Indonesia (<\/em>National Archives of the Republic of Indonesia), and can be publicly accessed.<\/p>\n

Does Gelora Indonesia<\/em> only broadcast the country\u2019s policies along with Soekarno and Soeharto\u2019s governmental activities? Does Gelora Indonesia<\/em> speak as the government? Is Gelora Indonesia<\/em> a propagandist newsreel? The probable answer is that it is a propaganda film when it is watched with the descriptive voice of its narrator, who is proclaiming propaganda jargons and slogans. But then, the answer would be different if the narration is taken away. Of course, the descriptions, jargons, and slogans of propaganda will also be missing. If so, how do Gelora Indonesia<\/em>\u2019s visuals work? Can it still be called a propaganda film? Or will it become a documentary film or even mere footages? Can we bring to light some new narratives from this archive? For example, do smaller narratives exist within the grand narrative of national identity? If the answer is yes, what function do these small narratives have besides being “an empty filler”? This exhibition attempts to discuss some of these questions, and more.<\/p>\n

Kultursinema #6: Gelora Indonesia<\/em><\/strong> invites six curators to read Gelora Indonesia <\/em>together. Each curator is given the freedom to discuss one of the many themes that can be drawn from the film archives, and to reconstruct the narrative of the nation\u2019s history within the context of this festival theme, bromocorah<\/em>. In this exhibition, the treatment of film archives as a historical source is an attempt to examine the capability of film as a medium to capture an event, to form the public\u2019s perception and perspective, as well as to examine the types of cinematic and visual elements contained in Gelora Indonesia<\/em>\u2019s aesthetic languages.<\/p>\n

Luthfan Nur Rochman attempts to examine how an event\u2019s actuality, coverage technification, crew anonymity, and Gelora Indonesia<\/em>\u2019s cinematic construction process \u2013 which involves the interpolation of a grand construction and instruction from the ruling authorities \u2013can build a new tension on the question of auteurism in Gelora Indonesia<\/em>. By imagining that the selection of events in Gelora Indonesia<\/em> as the architect of nationalism development, Luthfan selects some newsreels on development and constructions, and divides them into a two-canal projection based on the awareness of compositions in frame: both the geometric and biomorphic compositions.<\/p>\n

Wahyu Budiman Dasta focuses on the nation\u2019s role in forming political statements behind sport events in the Gelora Indonesia<\/em> newsreels. Meanwhile, Prashasti Wilujeng Putri attempts to identify and compare two kinds of masses in Gelora Indonesia<\/em>. On the one hand, the homogenous mass in Gelora Indonesia<\/em> aims to persuade the audience into believing that Indonesia, along with all its components including its people, is a nation walking its path to perfection. On the other hand, there is also the heterogenous mass, who stand without a singular identity that can form the audience\u2019s perception of national identity–one of them is the imagination about the people united by a single identity, aspiring for a sovereign nation.<\/p>\n

Afrian Purnama attempts to examine the method of transition in Gelora Indonesia<\/em>, both in Soekarno and Soeharto\u2019s era. The transition in Gelora Indonesia<\/em> functions as a bridge rather than a separator. In the Gelora Indonesia<\/em> editions broadcasted before 1965, the transition is spatial and is formed visually. While in the editions after 1965, the transition utilizes another element: a change in background music, chosen according to the events in the newsreels. Both of these transitions are not the main event; they work within the realms of unconsciousness. Other than bridging one event and another, the transitions also act as a tightrope between the audience\u2019s cognition and Gelora Indonesia<\/em>\u2019s main content. If we read Gelora Indonesia <\/em>as a form of propaganda, then the existence of transition is vital to the ideological indoctrination in Gelora Indonesia.<\/em><\/p>\n

Dini Adanurani attempts to read how women as a gender is constructed in Gelora Indonesia<\/em>, especially in the Dunia Wanita<\/em> (Women\u2019s World) segment. In this newsreel, women are generally associated with aesthetic subjects such as beauty, fashion pageants, and gardening. Displays of activism that involved women were limited to the social realm (not politics), which is related to caretaking, food, and their role as mother and wife. Meanwhile, Robby Ocktavian attempts to see how the construction and development of technology becomes one of the most important global issues before, during, and after the Cold War.<\/p>\n

Besides presenting six curations that interpret some specific issues in Gelora Indonesia<\/em> as attempts to dissect and enrich the discourse and historical writing of cinema in Indonesia, this exhibition will also elaborate “the journey log of the nation” through some selected Gelora Indonesia<\/em> film archives. Presenting the Gelora Indonesia<\/em> film archives to the public aims to increase the people\u2019s initiative to access and utilize these archives for various purposes. This exhibition will also hold a public program that involves the public in discussion and screenings on the issue of film archives, history, and cinema. In collaboration with Koalisi Seni Indonesia<\/em> (Indonesian Arts Coalition), there will also be a special screening of Abduh Aziz\u2019s films, especially his documentaries.<\/p>\n

\n

Kultursinema #6: Gelora Indonesia<\/em><\/strong> is the first joint exhibition held by Centre of Film Development in Ministry of Education and Culture, in collaboration with ARKIPEL, National Archives of the Republic of Indonesia, Public Corporation of the National Film Production, and National Museum of Indonesia.<\/p>\n

This writing is the collaboration of Kultursinema curators, namely Afrian Purnama, Dini Adanurani, Luthfan Nur Rochman, Prashasti Wilujeng Putri, Robby Ocktavian dan Wahyu Budiman compiled by Mahardika Yudha.<\/p>\n

[1]<\/a> The word gelora<\/em> means \u201cspirit\u201d or \u201cpassion\u201d, so the title Gelora Indonesia<\/em> can be translated roughly to \u201cthe passion of Indonesia\u201d.<\/p>\n

[2]<\/a> Aiko Kurasawa, Mobilization and Control: A Study of Social Change in Rural Java<\/em>1942-1945<\/em>, Indonesian language edition, translated by Hermawan Sulistyo, Grasindo, 1993, pg. 229.[\/vc_column_text][\/vc_column][vc_column][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”SCREENING | SATURDAY, AUGUST 24, 2019 | 10.00 WIB | MUSEUM NASIONAL” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text css=”.vc_custom_1565893931663{margin-bottom: 0px !important;}”]\n

Pemutaran Filem Hasil Restorasi dan Digitalisasi<\/h5>\n

Pusat Pengembangan Perfilman Kementerian Pendidikan dan Kebudayaan RI mempunyai program digitalisasi dan restorasi film-film yang telah dilakukan sejak tahun 2016. Beberapa hasil digitalisasi dan restorasi itu akan diputar di dalam rangkaian program Pameran Kultursinema #6: Gelora Indonesia sebagai usaha untuk melihat hasil dari digitalisasi dan juga restorasi film yang telah dilakukan selama ini. Pemutaran film ini akan fokus pada isu situasi awal masyarakat Indonesia pasca Revolusi; Darah dan Doa<\/em><\/strong> (Usmar Ismail, 1950), Inspektur Rachman<\/em><\/strong> (Moh Said, Nawi Ismail, 1950), dan Pulang<\/em><\/strong> (Basuki Effendi, 1952).[\/vc_column_text][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1565891078113-89c97785-8276″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9897″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565890959326{margin-bottom: 0px !important;}”]\n

Darah dan Doa<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Usmar Ismail<\/strong> (Indonesia)
\nCountry of Production<\/em>\u00a0\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0\u00a0Indonesia
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

1950. Indonesia. 128 minutes. BW. Digital. Sound[\/vc_column_text][\/vc_column_inner][vc_column_inner][vc_column_text css=”.vc_custom_1565890985940{margin-bottom: 0px !important;}”]Mengisahkan perjalanan panjang (long march<\/em>) prajurit RI, yang diperintahkan kembali ke pangkalan semula, dari Yogyakarta ke Jawa Barat. Rombongan hijrah prajurit dan keluarga itu dipimpin Kapten Sudarto (Del Juzar). Ditunjukkan ketegangan sepanjang jalan dan dalam menghadapi serangan udara dari musuh, Belanda. Juga ketakutan dan penderitaan lainnya. Tak ketinggalan disinggung adanya pengkhianatan. Perjalanan diakhiri dengan telah berdaulat penuhnya Republik Indonesia pada 1950. Filem yang ditayangkan merupakan hasil restorasi Pusat Pengembangan Film Kementerian Pendidikan dan Kebudayaan.<\/p>\n

Sinopsis disarikan dari filmindonesia.or.id<\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9906″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565893464316{margin-bottom: 0px !important;}”]\n

Inspektur Rachman<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Moh Said & Nawi Ismail<\/strong> (Indonesia)
\nCountry of Production<\/em>\u00a0\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0\u00a0Indonesia
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

1950. Indonesia. 64 minutes. BW. Digital. Sound[\/vc_column_text][\/vc_column_inner][vc_column_inner][vc_column_text css=”.vc_custom_1565893474506{margin-bottom: 0px !important;}”]Karena membunuh dan dipenjara, Mochtar (Awaludin) meninggalkan istri dan anaknya yang masih kecil. Setelah dewasa, Rachman (Chatir Harro), sang anak kecil itu, jadi polisi hingga berpangkat inspektur. Ia sering mendapat tugas untuk menangkap gerombolan perampok, yang antara lain dipimpin Mochtar dan Agus (Djauhari Effendy).<\/p>\n

Sinopsis disarikan dari filmindonesia.or.id<\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9908″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565893520956{margin-bottom: 0px !important;}”]\n

Pulang<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Basuki Effendi<\/strong> (Indonesia)
\nCountry of Production<\/em>\u00a0\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0\u00a0Indonesia
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

1952. Indonesia. 75 minutes. BW. Digital. Sound[\/vc_column_text][\/vc_column_inner][vc_column_inner][vc_column_text css=”.vc_custom_1565893530122{margin-bottom: 0px !important;}”]Pemuda desa Tamin (Turino Djunaedi) termasuk yang terbujuk oleh propaganda Jepang, jadi Heiho. Ia ikut ke Birma (Myanmar) di masa perang dunia kedua itu sebagai anggota Palang Merah. Waktu Jepang runtuh (1945) Tamin dan kawan-kawan dibawa ke Jawa untuk diserahkan kepada Belanda yang coba menjajah kembali Indonesia. Tamin dipaksa masuk tentara Belanda (KNIL) untuk memerangi bangsa sendiri. Setelah Indonesia berdaulat penuh (1950) Tamin memilih pulang ke desa. Hatinya tak bisa tenteram, karena sindiran teman-temannya, bahwa ia tak pernah berjuang untuk RI.<\/p>\n

Sinopsis disarikan dari filmindonesia.or.id<\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_text_separator title=”SCREENING | SATURDAY, AUGUST 24, 2019 | 14.45 WIB | MUSEUM NASIONAL” color=”black” border_width=”3″][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532969190362-a01badc7-fcf5″][vc_column_text css=”.vc_custom_1565894070435{margin-bottom: 0px !important;}”]\n

Pemutaran Filem Fokus: Abduh Aziz<\/h5>\n

Selain itu, Kultursinema #6: Gelora Indonesia juga akan menampilkan penayangan khusus Tribute to Abduh Aziz<\/em><\/strong>, selaku aktivis, sutradara, dan produser film yang sangat memperhatikan arsip film Gelora Indonesia. Program ini berisi kumpulan 4 film pendek yang merupakan program kampanye anti korupsi.<\/p>\n

Sinopsis disarikan dari filmindonesia.or.id<\/em>[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9907″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565891300504{margin-bottom: 0px !important;}”]\n

Kita Vs Korupsi<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Lasja Susatyo, Emil Heradi, Ine Febriyanti, dan Chairun Nisa<\/strong> (Indonesia)
\nCountry of Production<\/em>\u00a0\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0\u00a0Indonesia
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

2012. Indonesia. 71 minutes. Color. Digital. Sound[\/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=”PUBLIC DISCUSSION | SUNDAY, AUGUST 25, 2019 | MUSEUM NASIONAL” color=”black” border_width=”3″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565895277729{margin-bottom: 0px !important;}”]\n

Panel 1 \u2013 Masa Depan Arsip Film<\/strong><\/h2>\n

 <\/p>\n

Speakers <\/em>representative of ANRI, Pusbang, & PFN<\/strong>
\nModerator<\/em>\u00a0\u00a0Mahardika Yudha
\n<\/strong><\/p>\n

Sunday, August 25, 2019 | 10.00 WIB<\/h5>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565894948751{margin-bottom: 0px !important;}”]\n

Panel 2 \u2013 Arsip Sinema ke dalam Interpretasi Baru<\/strong><\/h2>\n

Speakers <\/em>Otty Widasari, Luthfan Nur Rochman, Ruddy Hatumena<\/strong>
\nModerator<\/em>\u00a0\u00a0Dini Adanudarni
\n<\/strong><\/p>\n

Sunday, August 25, 2019 | 13.00 WIB<\/h5>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About Kultursinema” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9866″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565779183779{margin-bottom: 0px !important;}”]Kultursinema<\/strong><\/em> merupakan salah satu program ARKIPEL \u2013 Jakarta International Documentary and Experimental Film Festival<\/em> yang berlangsung sejak tahun 2014. Pameran ini diselenggarakan sebagai upaya untuk mengumpulkan, mendata, membaca, dan memaknai kembali kultur sinema di Indonesia dalam segala aspek yang telah berkembang selama lebih dari satu abad. Kultursinema selalu berupaya menghadirkan tema-tema spesifik yang beririsan dengan poros tema festival di setiap penyelenggaraannya.<\/p>\n

Dalam perhelatan keenam dan juga pada perhelatan berikutnya, pameran ini akan mencoba mempraktikkan moda kuratorial bersama yang melibatkan beberapa kurator untuk saling berdiskusi, membaca, dan menerjemahkan sejarah sosial dan sejarah estetika sinema di Indonesia melalui arsip-arsip sinema.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565779200425{margin-bottom: 0px !important;}”]Kultursinema<\/em><\/strong> is one of the programs in ARKIPEL \u2013 Jakarta International Documentary and Experimental Film Festival since 2014. This exhibition is held as the effort to collect, record, read and reinterpret the cinema culture in Indonesia in all aspects that has progressed for more than a decade. Kultursinema always attempts to bring forth specific themes that touch upon the festival themes each year.<\/span><\/p>\n

In its sixth and following exhibition, Kultursinema will try to implement collective curatorial that involves several curators to collectively discuss, read and interpret the social history and aesthetic of cinema history in Indonesia through the archives of cinema.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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