{"id":9935,"date":"2019-08-16T03:06:32","date_gmt":"2019-08-15T20:06:32","guid":{"rendered":"https:\/\/arkipel.org\/?p=9935"},"modified":"2019-08-16T03:06:32","modified_gmt":"2019-08-15T20:06:32","slug":"bromocorah-within-film-aesthetics","status":"publish","type":"post","link":"https:\/\/arkipel.org\/bromocorah-within-film-aesthetics\/","title":{"rendered":"Bromocorah Within Film Aesthetics"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=&#8221;.vc_custom_1565899093062{margin-bottom: 0px !important;}&#8221;]\n<h2 style=\"text-align: center;\"><strong>Bromocorah Within Film Aesthetics<em><br \/>\n<\/em><\/strong><em>Bromocorah dalam Estetika Filem<\/em><\/h2>\n<p style=\"text-align: center;\">Moderator:<strong> Dhuha Ramadhani<br \/>\n<\/strong>Panelists:<strong> Garin Nugroho, Edwin, Manshur Zikri<br \/>\n<\/strong><\/p>\n<h5 style=\"text-align: center;\">Monday, August 19, 2019 | 12:30 | GoetheHaus<\/h5>\n[\/vc_column_text][vc_empty_space][vc_text_separator title=&#8221;Abstrak \/ Abstract&#8221; color=&#8221;black&#8221; border_width=&#8221;3&#8243;][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1565899111445{margin-bottom: 0px !important;}&#8221;]Sebagaimana diskursus seni bekerja, diskursus <em>bromocorah<\/em> selalu bergerak dinamis dan senantiasa progresif jika kita membingkainya sebagai sebuah fenomena sastraik ketimbang testimoni sejarah. Pembingkaian atas <em>bromocorah<\/em> dapat pula berarti mengkonstruksi konsep progresivitas. Energi <em>bromocorah<\/em> akan membawa kita terus keluar dari keteraturan sistem yang telah ada dan terlanjur diterima publik serta senantiasa dimapankan oleh sistem itu sendiri. Dengan bersepakat atas itu, maka dapat pula kita bersepakat bahwa \u201c<em>bromocorah<\/em> itu seni\u201d, atau lebih tepatnya \u201cseni itu <em>bromocorah<\/em>\u201d. Progresivitas yang terkandung dalam konsep <em>bromocorah<\/em> kemudian membukakan peluang bagi kita untuk menyelaminya lebih dalam di ranah sinema. Dalam genealoginya, secara teknologis maupun estetis, sinema lahir bersama progresivitasnya. Pada masa awalnya, ketimbang isu-isu kanonik atau gambar-gambar tentang keagungan, isu yang diangkat sinema pasti bersifat pinggiran: kriminalitas, perburuhan, humor <em>slapstick<\/em>, juga peristiwa massa yang dibingkai sebagai peristiwa sehari-hari di sekitar kita. Maka, secara genetik, sinema itu <em>bromocorah<\/em>. Sebagai konsep, <em>bromocorah<\/em> menjadi semacam virus yang menyusup ke dalam sistem \u2013 di dalam juga di luar tubuhnya \u2013 dan menggerogotinya. Dengan melihat <em>bromocorah<\/em> sebagai \u201ckemungkinan\u201d, melalui kultur sinema, para panelis diharapkan dapat memaparkan refleksi kritisnya dalam upaya membaca gejala-gejala ekonomi, sosial, politik, dan kultural terkini.[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1565899130526{margin-bottom: 0px !important;}&#8221;]\n<p style=\"text-align: left;\">Like how the discourse of art works, the discourse of <em>bromocorah<\/em> always moves dynamically and progressively if we put it as a literary phenomenon rather than a historical testimony. The act of framing <em>bromocorah<\/em> might also means constructing the concept of progressivity. <em>Bromocorah<\/em> energy will bring us out of the fixated system that already exists, previously accepted by the public, and established by the system itself. Based on that, we can also agree that &#8220;<em>bromocorah<\/em> is art,&#8221; or rather &#8220;art is <em>bromocorah<\/em>.&#8221; The progressivity contained in the concept of <em>bromocorah<\/em> then lays us opportunities to dive deeper into the realm of cinema. In its genealogy, technologically and aesthetically, cinema was born with its progressivity. In the early days, rather than canonical issues or images of greatness, the issues raised by cinema characterized as marginal: crime, labor, slapstick humor, as well as mass events that are framed as everyday events. So, genetically, the cinema is <em>bromocorah<\/em>. Analogically, <em>bromocorah<\/em> acts as some kind of virus that penetrates the system &#8211; inside and outside the body &#8211; and gnaws at it. By seeing <em>bromocorah<\/em> as a &#8220;possibility,&#8221; through the cinema culture, the panelists are expected to present their critical reflection in an attempt to read the latest economic, social, political and cultural phenomena.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=&#8221;About the Panelist&#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;9936&#8243; img_size=&#8221;full&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565899199358{margin-bottom: 0px !important;}&#8221;]<em><strong>Garin Nugroho<\/strong><\/em> lahir di Jogjakarta dan menyelesaikan studi filmnya di Institut Kesenian Jakarta tahun 1985. Lalu melanjutkan studinya di Fakultas Hukum UI dan lulus di tahun 1991. Memulai karir sebagai sutradara lewat produksi film dokumenter, kemudian mulai mencari film cerita yang panjang, Cinta dalam Sepotong Roti (1990) yang langsung mendapat penghargaan Film Terbaik di Festival Film Indonesia 1991. Film lengkap, Surat untuk Bidadari (1992), bertemu ke sirkuit festival film internasional. Sejak itu, namanya melejit dan merambah ke berbagai festival film internasional. Pada Perayaan 250 tahun Mozart (2006), ia terpilih menjadi salah satu dari enam &#8216;sutradara inovatif&#8217; dunia untuk membuat film, yang kemudian menerima Opera Jawa.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565899221152{margin-bottom: 0px !important;}&#8221;]<span style=\"color: #808080;\"><em><strong>Garin Nugroho<\/strong><\/em> was born in Jogjakarta and completed his film studies at the Jakarta Art Institute in 1985. Then continued his studies at the Faculty of Law UI and graduated in 1991. Started his career as a director through the production of documentary films, then began to make a feature film, <em>Cinta dalam Sepotong Roti <\/em>(1990) who immediately won the Best Film award at the 1991 Indonesian Film Festival. The complete film, Surat untuk Bidadari (1992), met to the international film festival circuit. Since then, his name has skyrocketed and spread to various international film festivals. At the 250th anniversary of Mozart (2006), he was chosen as one of the six &#8216;innovative directors&#8217; of the world to make films, which later received Opera Java.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=&#8221;1\/6&#8243;][vc_single_image image=&#8221;9937&#8243; img_size=&#8221;full&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565899275030{margin-bottom: 0px !important;}&#8221;]<em><strong>Edwin<\/strong><\/em> (Surabaya, 1978)\u00a0 adalah seorang penulis , sutradara dan produser filem cerita, filem pendek dan dokumenter. Namanya melambung di berbagai festival filem nasional dan internasional. Beberapa karya Filem pendek Edwin yang telah mendapatkan penghargaan ialah <em>Kara, Anak Sebatang Pohon<\/em> (2005) masuk dalam Program Directors\u2019 Fortnight<em>\u00a0 <\/em>Cannes Filem Festival dan juga diputar di Festival Film Rotterdam. <em>Dajang Soembi, Perempoan jang Dikawini Andjing <\/em>\u00a0(2004) masuk ke dalam Unggulan TV5 Tiger Club Award, mendapatkan Piala Citra Festival Film Indonesia dan menjadi Pemenang kedua Jiffest Short Film Competition (Jakarta International Film Festival). Filem ini juga lolos seleksi dalam beberapa penayangan international seperti Singapore international Film Festival, Singapura. International Short Film Festival Hamburg, Jerman. Vancouver International Film Festival, Kanada. Taipei Golden Horse Festival, Taiwan. Pada tahun 2008 Edwin menyelesaikan filem panjang pertamanya <em>Babi Buta Yang Ingin Terbang <\/em>\u00a0dan menerima penghargaan FIPRESCI Intertional Critics\u2019 Prize 2009, memenangkan NETPAC Award pada Golden Horse Film Festival, dan tayang di Buenos Aires Festival Internacional de Cine Independiente serta Busan International Film Festival. Film panjang keduanya Postcard from the Zoo (2012), berhasil masuk kompetisi utama Berlin International Film Festival (Berlinale)\u2014satu dari tiga festival film terbesar dan tertua di dunia.\u00a0 Ia memenangkan penghargaan Piala Citra Untuk Sutradara Terbaik lewat Film Posesif (2017) dan namanya pernah masuk kedalam buku <em>The Future of Film: 100 New Directors<\/em>\u00a0(Phaidon, 2010).[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565899299398{margin-bottom: 0px !important;}&#8221;]<span style=\"color: #808080;\"><strong><em>Edwin<\/em><\/strong>\u00a0(Surabaya, 1978) is a writer, director and producer of story films, short films and documentaries. His name soared in various national and international film festivals. Some of Edwin&#8217;s short films that have been awarded are <em>Kara, Anak Sebatang Pohon<\/em> (2005) in the Directors&#8217; Program of the Fortnight Cannes Film Festival and also played at the Rotterdam Film Festival. <em>Dajang Soembi, Perempoan Dikawini Andjing<\/em> (2004) entered the TV5 Tiger Club Award, he got a Citra Award from Indonesia Film Festival and became the second winner of the Jiffest Short Film Competition (Jakarta International Film Festival). This film also passed the selection in several international screenings such as the Singapore International Film Festival, Singapore. International Short Film Festival Hamburg, Germany. Vancouver International Film Festival, Canada. Taipei Golden Horse Festival, Taiwan. In 2008 Edwin completed his feature film \u201c<em>Babi Buta Yang Ingin Terbang\u201d <\/em>\u00a0and received the FIPRESCI Intertional Critics Prize 2009 award, won the NETPAC Award at the Golden Horse Film Festival, and aired at the Buenos Aires Internacional de Cine Independiente Festival and the Busan International Film Festival. His second feature film Postcard from the Zoo (2012) made it into the main competition Berlin International Film Festival (Berlinale) \u2014 one of the three largest and oldest film festivals in the world. He won the Citra Award for Best Director from <em>Posesif <\/em>(2017) and his name was included in the book The Future of Film: 100 <em>\u00a0<\/em><em>New Directors<\/em>\u00a0(Phaidon, 2010).<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=&#8221;1\/6&#8243;][vc_single_image image=&#8221;8119&#8243; img_size=&#8221;full&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565899407099{margin-bottom: 0px !important;}&#8221;]<em><strong>Manshur Zikri<\/strong><\/em>\u00a0(Pekanbaru, 1991) adalah seorang penulis-peneliti independen, kritikus, dan aktivisi kultural di bidang media, seni, dan filem. Anggota Forum Lenteng, sebuah organisasi egalitarian dan non-profit\u00a0 yang berbasis di Jakarta, berfokus pada kerja-kerja aktivisme kultural.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565899419333{margin-bottom: 0px !important;}&#8221;]<span style=\"color: #808080;\"><b><em>Manshur Zikri<\/em>\u00a0<\/b>(Pekanbaru, 1991) is an independent writer-researcher, critic and cultural activist in the field of media, arts and film. A member of\u00a0<a style=\"color: #808080;\" href=\"http:\/\/forumlenteng.org\/en\/\">Forum Lenteng<\/a>, an egalitarian and non-profit organization based in Jakarta which focuses on cultural activism.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_text_separator title=&#8221;About the Moderator&#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;9844&#8243; img_size=&#8221;full&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565899475034{margin-bottom: 0px !important;}&#8221;]<em><strong>Dhuha Ramadhani<\/strong><\/em>\u00a0(lahir 23 Februari 1995, di Jakarta) adalah pembuat film dan kurator. Menyelesaikan pendidikan sarjana di Departemen Kriminologi, Fakultas Ilmu Sosial dan Ilmu Politik, Universitas Indonesia. Anggota Forum Lenteng, aktif sebagai salah satu peserta program AKUMASSA. Sekarang, dia juga seorang peserta dalam Milisifilem Collective. Sejak 2018, ia adalah kurator program Candrawala di ARKIPEL \u2013 Jakarta International Documentary and Experimental Film Festival. Pada Juli 2019 ia mempresentasikan kuratorialnya di Asia Forum 3 untuk EXiS \u2013 Experimental Film and Video Festival 2019, Seoul, Korea Selatan. Film-film terbarunya adalah\u00a0<em>Jakarta Unfair<\/em>\u00a0(2016) dan\u00a0<em>Into The Dark<\/em>\u00a0(2018).[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565899486280{margin-bottom: 0px !important;}&#8221;]<span style=\"color: #808080;\"><em><strong>Dhuha Ramadhani<\/strong><\/em>\u00a0(b. February 23, 1995, in Jakarta) is a filmmaker and curator. Completed undergraduate education at the Department of Criminology, Faculty of Social and Political Sciences, University of Indonesia. Member of the Forum Lenteng, active as one of the AKUMASSA program participants. Now, he is also a participant in the Milisifilem Collective. Since 2018, he is the curator of Candrawala program at ARKIPEL \u2013 Jakarta International Documentary and Experimental Film Festival. On July 2019 he presented his curatorial on Asia Forum 3 for EXiS \u2013 Experimental Film and Video Festival 2019, Seoul, South Korea. His latest films are\u00a0<em>Jakarta Unfair<\/em>\u00a0(2016) and\u00a0<em>Into The Dark<\/em>\u00a0(2018).<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>Like how the discourse of art works, the discourse of bromocorah always moves dynamically and progressively if we put it as a literary phenomenon rather than a historical testimony.<\/p>\n","protected":false},"author":1,"featured_media":9474,"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":[532,307],"tags":[526,528,300],"jetpack_publicize_connections":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Bromocorah Within Film Aesthetics &#8212; 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