Salah satu tugas film adalah menjadi alat untuk bercerita. Dan sumber cerita sesungguhnya ada di mana-mana: di jalan, di rumah, di sekolah, di kantor, dan… di rumah sakit. Masalahnya, berapa banyak film Indonesia yang merepresentasikan kisah kaum wanita dengan berbagai seluk beluknya? Lebih fokus lagi: berapa banyak yang bercerita pasal problematika para perempuan yang sedang menanti kelahiran anak pertama mereka? SELENGKAPNYA »

Director / Writer : Lars Von Trier
Kirsten Dunst, Charlotte Gainsbourg, Kiefer Shuterland

I’ve been waiting too long to write this note about Lars Von Trier’s Melancholia. When I first saw it, I remember I really, really, really liked it without knowing why, yet. I had as mixed feelings as Melancholia’s reception in Cannes that year. Lars Von Trier made it even worse by making a scandal, –ended up being kicked out from the festival–, which had grown bigger than the movie itself. So I waited. I thought, maybe I will change my mind after a few days, or months, or even years. SELENGKAPNYA »

OPEN SUBMISSION!

OK. Video FLESH – 5th Jakarta International Video Festival 2011
Exhibition / Competition / Discussion / Public Program
6 – 17 October 2011 / National Gallery of Indonesia, Jakarta

CALL FOR ENTRIES / PENDAFTARAN KARYA VIDEO

OK. Video Festival 2011 conceives flesh as a metaphor of biological entity of the human body that transforms into digital entity (images, sounds, texts) through the advancement of audiovisual technology. It also represents video that progressively shows its organic characters: grow in virtual sphere across the dimensional and temporal boundaries, metamorphoses into various medium and consistently reproduces itself by the reason of virality. This phenomena is continuously celebrated by the contemporary society within the progression of information and communication technology.

The festival invites public to discuss various questions: how far this kind of new flesh interacts with social, political and cultural aspects? Are we really celebrating democracy or is it just another virtual euphoria? How does the intersection between private and public domain continuously expand and shift? How do social and power structure cope with these changes? Thus, what are the consequences in relation with the discourses of history, tradition, religion, urban and rural culture, popular culture, mass media, sexuality, identity and violence? OK. Video placed these phenomena as a possibility to be celebrated, read, and interpreted critically.

OK. Video Festival focuses on non-narratives video works and opens for reconstructions, recording manipulations and an array of experiments of the audiovisual language. We accept video works with various approaches. Three best video works will be rewarded and announced at the opening ceremony of OK. Video FLESH – 5th Jakarta International Video Festival 2011.

download registration form: http://okvideofestival.org/

OK. Video FLESH melihat daging sebagai metafora dari entitas biologis tubuh manusia yang berubah menjadi entitas digital (citraan, suara, teks) melalui perkembangan teknologi audiovisual. Ia juga merepresentasikan video yang semakin memperlihatkan sifat-sifat organik: tumbuh dan berkembang di dalam ruang virtual yang melampaui batas spasial dan temporal, bertransformasi ke dalam berbagai medium, dan terus-menerus bereproduksi karena sifatnya yang viral. Fenomena ini terus dirayakan oleh masyarakat dalam beberapa tahun terakhir melalui perkembangan teknologi informasi dan komunikasi.

Festival ini mengajak siapapun untuk sama-sama merefleksikan berbagai pertanyaan: sejauh mana video dalam sifatnya yang organik bersinggungan dengan aspek sosial, politik, dan budaya kontemporer? Apakah masyarakat sedang betul-betul merayakan demokrasi atau sekadar ilusi virtual?, bagaimana persilangan antara yang privat dan yang publik terus bergerak dan berkembang?, bagaimana sistem sosial dan kekuasaan berhadapan dengan perubahan?, konsekuensi apa yang kemudian terjadi dalam kaitannya dengan isu sejarah, tradisi, agama, budaya urban dan rural, budaya populer, media massa, seksualitas, identitas, bahkan kekerasan? OK. Video menempatkan fenomena tersebut sebagai kemungkinan yang hadir untuk dirayakan, dibaca, dan dimaknai secara kritis.

OK. Video Festival fokus pada karya-karya non-naratif dan terbuka bagi rekonstruksi, manipulasi rekaman, juga berbagai eksperimen bahasa audiovisual. Kami menerima karya video dengan berbagai pendekatan. Tiga karya terbaik akan mendapat penghargaan khusus dan diumumkan pada pembukaan OK. Video 2011 di Galeri Nasional Indonesia.

We accept your video work(s) in a format: DVD (hardcopy) & softcopy (video Link(s) for download) / Duration 3 – 15 minutes / Production 2009 – 2011 / Deadline 31st August 2011 / Free registration fee

Kami menerima karya video dalam format: DVD (hardcopy) & data lunak (softcopy melalui tautan video untuk diunduh) / Durasi 3 – 15 menit / Produksi 2009 – 2011 / Batas waktu pengiriman 31 Agustus 2011 / Pendaftaran karya gratis

download registration form: http://okvideofestival.org/

ASIAN FEATURE FILM COMPETITION

1. All genres are accepted.
2. Must be produced in Asian countries and regions or be Asia-related.
3. Films related to Asian people or Asian countries are aso eligible for
entry, even if the films are made outside Asia by non-Asian filmmakers.
4. Each entry must has the minimal duration of 40 minutes.
5. Entries must be completed after January 1st, 2010.
6. Entries made in languages other than English must have English subtitles.
7. Applicants are responsible for all necessary copyright clearances for their film.
8. All shipping expenses for the materials addressed to Jogja-NETPAC Asian  Film Festival are the applicants responsibility.
9. All entries must be accepted the Festival committe by July 7th, 2011.
The committe has the right to reject late entries.

ASIAN SHORT FILM COMPETITION

1. All genres are accepted.
2. Must be produced in Asian countries and regions or be Asia-related.
3. Films related to Asian people or Asian countries are also eligible for
entry, even if the films are made outside Asia by non-Asian filmmakers.
4. Each entry must not exceed running time of 30 minutes.
5. Entries must be completed after January 1st, 2010.
6. Entries made in languages other than English must have English subtitles.
7. Applicants are responsible for all necessary copyright clearances for  their film.
8. All shipping expenses for the materials addressed to Jogja-NETPAC Asian  Film Festival are the applicants responsibility.
9. All entries must be accepted the Festival committe by July 7th, 2011.
The committe has the right to reject late entries.

For further inquiries for film submission, please visit the official
JOGJA-NETPAC ASIAN FILM FESTIVAL website: http://www.jaff-filmfest.com/ or  contact us by email at: info@jaff-filmfest.com

Jogja-NETPAC Asian Film Festival (JAFF) is the only film festival in
Indonesia which focuses on the development of Asian cinemas, with a humble  character and its role for the society, education, entertainment, tourism  and cultural arts. The films presented in JAFF are curated by Philip Cheah.

Each year, JAFF gives awards to the best film in Asia through several
awards such as Golden Hanoman Awards, Silver Hanoman Awards, NETPAC  Awards, Geber Awards, and Blencong Awards.

JOGJA-NETPAC ASIAN FILM FESTIVAL
Jl. Jayeng Prawiran No. 18B, Pakualaman,
Yogyakarta, Indonesia 55112
Telp: +62 274 540249
E-mail: info@jaff-filmfest.com
Website: http://www.jaff-filmfest.com/

Tadi sore baru saja saya sowan ke rumah pak H Misbach Yusa Biran, di Sentul City. Saya pergi bersama rombongan Binus School of Film, yaitu Tito Imanda dan Adilla Amelia. Ini adalah beberapa sketsa pemikiran yang sempat saya rekam di ingatan tentang diskusi dengannya.

SELENGKAPNYA »

Call for papers

7th Annual Southeast Asian Cinemas Conference

THE POLITICS, PRACTICES, AND POETICS OF THE ARCHIVE

SINGAPORE
19 – 22 JUNE, 2012

Eight years since the first Annual Southeast Asian Cinemas Conference which heralded the resurgence of cinematic new waves in the region, we turn our eyes to the state of film archiving and the relationship between cinema and the archives. Filipino film critic Alexis Tioseco’s 2009 open letter to the Film Development Council of the Philippines mentions current holdings stored in ‘deplorable conditions’. In his letter, Tioseco praises the National Film Archive of Thailand for its work in doing so much with so little. In Indonesia, the Sinematek Indonesia which was established in the early 1970s has also seen cuts that make the archive a shadow of its former glory. It is only in Singapore that a young Asian Film Archive (est. 2005) has taken root.

The 7th Southeast Asian Cinemas Conference (2012) emphasizes the politics, practices, and poetics of the archive. How does one define an archive? And who can be said to do archival work? Might DVD pirates, private collectors, cinephiles, film bloggers and film societies be considered film archivists of a sort when governments do not or no longer perceive the need to fund national film archives? If so, how does this change the public nature of an archive, and what implications does it have on the production of knowledge? What might film curators take into consideration when they select and preserve films for the archive? What are the social, political, aesthetic, and scholarly roles of the archive? How does the archive negotiate issues of power and accessibility? What is the role of the archive in the digital age of new media?

SELENGKAPNYA »