Bagi yang ingin tahu film-film produksi mahasiswa Prodi Film Binus University, berikut sebagian karya mereka, dari 2010 hingga 2019. Semua produksi dalam daftar ini ini dibuat ketika sineasnya menjadi mahasiswa, dan di bawah bimbingan para dosen Binus.
Kali ini NB merayakan terbitnya buku "Memoar Garin Nugoro: Era Emas Film Indonesia 1998-2019" yang akan beredar akhir Juli nanti. Buku ini seperti mesin waktu yang mengajak kita kembali ke era-era sebelumnya, secara personal.
Nongkrong bareng kali ini berfokus pada sosok Garin Nugroho sebagai penulis, kritikus film, dan juga dosen film dan asisten dosen. Mulai dari liputan pertamanya ke Berlinale Film Festival (1988), juga sebagai dosen pengampu mata kuliah "Film dan Masyarakat" yang fasih membahas sosiologi film, dan sebagai asisten dosen Sumardjono dan Parakitri.
Mas Garin pun bercerita bagaimana dia memberontak melawan sistem rezim Orde Baru, seperti sistem magang, sejak film panjang pertamanya, "Cinta dalam Sepotong Roti" (1991), dan juga mengirimkan film-filmnya ke festival film luar negeri tanpa seizin Departemen Penerangan. Dia juga membahas konsekuensinya: berhadapan dengan "mafia media" yang dikontrol Deppen, mendapat surat teguran dari KFT berkali-kali, hingga disidang, serta perseteruannya dengan Teguh Karya.
Simak pula kedekatannya dengan sosok seperti Nyak Abbas Akub dan Djaduk Djajakusuma, nongkrong bareng Jafar Panahi dan Sydney Pollack, serta pergaulannya dengan kritikus dunia seperti Tadao Sato, Tony Rayns (Sight and Sound) dan Philip Cheah.
Tak lupa pula: bagaimana menghadapi kritik pedas dengan mengolah energi kemarahan menjadi hal yang reflektif dan energi penciptaan.
"Setiap film punya perannya masing-masing"
"Setiap film itu punya tanahnya sendiri".
Video editing: Asmayani Kusrini
https://www.youtube.com/watch?v=EdIpXfzUoh8
“Women in Indonesian Film and Cinema" : an international virtual conference Currently, there is a great international virtual conference titled “Women in Indonesian Film and Cinema” happening now. It is still open for video presentation, until the end of the month, just in case any of you have an idea related to topic and want to submit your video presentation (20 minutes duration).
There are several interesting panels, including plenary panel, women’s representation under Patriarchy, Career, Students and Young Filmmakers, History, Documentaries and Webseries, Adaptation, and Works by Female Filmmakers.
Alternatively, you can participate by watching the videos presentation and start the discussion by leaving your questions/comments. Don’t forget to register. BTW, I also submitted my video presentation at History panel. I am analysing “Lisa”, a 1971 progressive films considered by some film critics as “the first Indonesian horror film”. Please read the abstract, watch the video, and leave comments/questions.
video presentation: https://kafein.or.id/en/history-panel/ Abstract Lisa, an Anomalous Pre-State Ibuism Film Film Critics, Film Scholar, the Film Department, Universitas Bina Nusantara
Mainstream perspectives regarding gender issues, both in popular and scholarly works, underline that generally films in Indonesian New Order (1966-1998) apply State Ibusim theories. On and off-screen, women were marginalized and represented as weak, silent, negative, housewificationed, dan domestificationed. State Ibuism theory was coined by Julia Suryakusuma, formulated based from PKK program (Pembinaan Kesejahteraan Keluarga (Family Welfare Movement), “azas kekeluargaan” (Family Principle), amd and Dharma Wanita (official organization for the wives of civil servants), which were officially issued in 1978. The theory highlight the official attempt of domistification of Indonesian women during New Order era.
However, Lisa (M Syariefuddin A, 1971), produced 7 years before the programs, is an anomalous one. I argue that the film can be read as the window opportunity for producing the progressive film culture. I will answer how different the film with State Ibuism theory by undertaking textual analysis or a close reading of the film. And I will answer why it is different by undertaking New Cinema History approach and highlighting the paradoxes of New Order’s policies.
