*** Today, we are witnessing the complexit y of globa l civilization which has progressed beyond humans’ capacit y. It turns out that globa lization has a lso spread the pandemic evenly. The situation has sha ken down many established ideologies, systems, and concepts. The tipped sca les of globa l discourse have been ba lanced. We have heard that nowadays, not only the citizens of developing countries are being suspected and sub dominated when entering the territor y of developed countries. Now, citizens of the countries that have a lways felt superior experience the same bullying, suspicion, and disturbance any where they are. Historica lly, cinema experiments with its lang uage and medium to brea k away from the domination of the centra lized discourse. The most essentia l thing from such experimentation is to continuously reproduce rea lit y until it gets fur ther away from the truth. Through these ways, cinema can become a critica l discourse against the established electora l risk. It a lso functions as an apparatus to construct a gra nd illusion of authorit y, then regressed when media technolog y thrives unstoppably, progressing a long with the civilization. More sophisticated recording technologies were massively produced to facilitate ever yday life and become an apparatus of power. The circulation and mechanism of these recording technologies have produced information that constructs culture and eventua lly fuses the centra l ideolog y in the world. Ugeng T. Moetidjo (2016) wrote in the cata log ue of A R KIPEL social/kapital that, “Motives, forms, and impacts of our media behaviour do not concretely put us at our origina l position as sometimes we tend to admit, but put us through a big intermediar y that f ixes our each por tion of media behaviour.” We are inseparable from the waves of socia l a nd kapit a l fusing into the lives of the globa l communit y. Our contemporar y behaviours are under control that pushes us into uniformit y. This is our actua l form of imprisonment in the simulation room’s pena l colony, resembling a giant hot air ba lloon. We live inside it as wanderers, thinking that this is our nature. We belong on the verge of consciousness of the uniformit y in the horizonta l corridor f illed with the reciproca l relations bet ween rea lit y and its reproduction as experience replication - information - construction - absoluteness. However, cinema, being the cultura l agent of the world civilization, at tempts to criticize this life, which has become so far from our nature. A midst this imprisonment—in fact, when triggered by this imprisonment, cinema has the oppor tunit y to become another agent, provoking the ever y day by deviating from the corridor. The oppor tunit y to be involved in the democratization of technolog y revea led human nature as homoludens. Through playing, reproduction of rea lit y leaps into a direction where the concepts of avant-gardism are being reversed. Somehow, we have arrived at a stage where
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