PARA HARIMAU YANG MENOLAK PUNAH: ESTETIKA DOKUMENTER TELEVISI DI ERA PASCAREFORMASI

Romdhi Fatkhur Rozi, Renta Vulkanita Hasan

Abstract


ABSTRAK

Para Harimau Yang Menolak Punah(Imanda Dea Sabiella dan Edho Cahya Kusuma, 2013) merupakan judul dokumenter televisi produksi Eagle Institutedengan ciri filmis berupa paduan antara gambar dan tuturan (wawancara). Dokumenter ini merupakan objek material yang menarik untuk diteliti dalam konteks kontinuitas dan perubahan estetika, selama era pasca reformasi dengan zaman Orde Baru sebagai pembanding. Jika pada masa orde baru, kampanye pelestarian lingkungan melalui media dokumenter notabene diproduksi oleh pemerintah melalui estetika sinematik yang bersifat propagandis, maka saat ini dokumenter produksi Eagle Institutejustru menggunakan estetika sinematik yang kritis sebagai konter bagi pemerintah. Fakta dan fiksi (faksi) menjadi istilah yang digunakan dalam penelitian ini sebagai bentuk kontinuitas dan perubahan dokumenter televisi Indonesia. Alasan pemilihan istilah ini adalah dunia fenomenal dalam banyak kasus, seperti yang terlihat dalam dokumenter, seakan berbeda dari "dunia nyata", meskipun dalam kenyataannya rekaman itu berasal dari “dunia nyata/realitas”. Penelitian ini menggunakan pendekatan film kognitif untuk mengamati sejauh mana Faksi beroperasi sebagai media kritik yang secara estetis merangkai dokumenter tersebut. Struktur mental digunakan untuk menjelaskan Faksi melalui petunjuk filmis hingga diperoleh kesimpulan tentang kritik yang ingin disampaikan melalui dokumenter. 

ABSTRACT

Para Harimau Yang Menolak Punah (Imanda Dea Sabiella dan Edho Cahya Kusuma, 2013) is the title of a television documentary produced by Eagle Institute. The documentary has characters that specifically contains of expository shots. This documentary is an interesting material object to be examined in the context of continuity and aesthetic change, during the post-reform era with the New Order era as a comparison. During the new order era, environmental conservation campaigns through documentary media were produced by the government through propagandist cinematic aesthetics. Whereas, the post-reform documentary produced by Eagle Institute actually uses a critical cinematic aesthetic as a counter for the government. Fact and fiction (faction) became the term used in this study as a form of continuity and change of Indonesia documentary. The reason for choosing this term is the phenomenal world in many cases, as seen in the documentary, as though it were different from the "real world", even though in reality it came from "the real world". This study uses a cognitive film approach to observe the extent to which the Faction operates as a criticism medium which aesthetically assembles the documentary. The mental structure is used to explain the Faction through filmic clues to the conclusion of the criticism that the documentary wishes to convey.

 


Keywords


aesthetics, documentary, post-reform, faction

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Filmografi

Para Harimau Yang Menolak Punah, 2013, Sutradara: Imanda Dea Sabiella dan Edho Cahya Kusuma (Durasi: 21 menit, Sumber: Eagle Institute via https://www.youtube.com/watch?v=rUUHg2Jb4zs, Diakses: 11 September 2016).

Pendukung:

Wawancara kepada Imanda Dea Sabiella sutradara film “Para Harimau Yang Menolak Punah” dilakukan oleh Romdhi Fatkhur Rozi pada Agustus 2017.


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