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The Ascension of a Photo-poet: Garin Nugroho's Quest for Beauty

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By the virtue of the ones engaged upon a profound journey, the world of the photo-poet sees images as a signification of the membrane, a colossus of events in their nerves that transpires the momentary engulfment of its meaning, subdued and forgotten by the spectators, but is an imprint in the sincere heart of the photo-poet. Existence to Garin seemed to be pointless without salvation and the spirit has to be communed towards recognizing the real. This, to Shklovsky (1917), is first and foremost a special way of thinking and knowing with images that determine it to be a piece of artwork, for without it, poetry will cease to exist.

Keywords: Garin Nugroho; Leaf on a pillow; Photo-poet; Tarkovsky; personalized; realism

Document Type: Research Article


Publication date: March 1, 2010

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  • Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.
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