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Aryo Danusiri
Universitas Indonesia
Social Sciences

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Intersubjektivitas dan Gaya Kamera dalam Film Etnografi Aryo Danusiri
Antropologi Indonesia Vol 39, No 1 (2018): Antropologi Indonesia
Publisher : Department of Anthropology

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Abstract

This article is about the use of observational camera style in articulating intersubjectivity. The case is my experience in making Lukas' Moment (2005), an ethnographic film shot in Merauke, Papua. The film is about Papuans’ intersubjectivity toward indigeneity in the post-2000 riot Papua. I observed the experiences of three Papuan entrepreneurs in processes of building their enterprises which in different ways involve politics of indigeneity. Following the existential-phenomenological anthropology approach, I explicate intersubjectivity as instable formation of subjects engaging in their process of being-in-the-world. In the filming process, I experienced two modalities of observational camera, which I called hunting and fishing modes of visuality. The hunting mode focuses on searching for preconceived images of targeted social scenes to satisfy a research goal, while the fishing mode is about building correspondence with the rhythm of the subject’s social processes in everyday life in order to capture the unexpected social scenes. As it is characterized by establishing cinematic correspondence with the subject’s path of life, I argue that the fishing mode is more suitable as an ethnographic endeavor which aims to broaden the horizon of humanity instead of predicting it.
Kronotop Kontra Politik dan Visualitas Korban dalam Film Dokumenter: Kajian Antropologi Media Aryo Danusiri
Antropologi Indonesia Vol 39, No 2 (2018): Antropologi Indonesia
Publisher : Department of Anthropology

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This article is my retrospective account on the making of one of my testimonial documentaries, “Kameng Gampoeng Nyang Keunong Geulawa” (The Village Goat that Takes the Beating, 1999) which was commissioned by a human rights-defender NGO based in Jakarta. The aim was to offer critical views on the Aceh conflict to the Indonesian public. By using chronotopes (Bakhtin, 1981) as the analytical tool, I delineate the way the Indonesian state and its military constituted a dominant view of Aceh as the Other by applying a semiotic model of authoritarian nationalism that circulated in the public sphere. As the counter-politics, I developed particular testimony chronotopes as a strategy to capture victims’ points of view as embodied experience. In my reflection, I argue that instead of producing a complex visuality of the Aceh actors as human beings, my portrayal of the victims had taken on a sustained oppressor-victim binary opposition view which framed victims as the articulation of singular experience. This study contributes to the emerging interest in media anthropology and the study of non-mainstream film genres and independent cinema works.
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