Pintu terlarang A disconcerting spatial interpretation of urban dystopia

Bibliographic Data

ID6174692
AuthorsBayu Kristianto (0000-0002-3340-8200, University of California, Davis, corresponding author)
Year2012
Volume14
Issue1
Pages61-61
Publication date2012-04-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueWacana Journal of the Humanities of Indonesia (JOURNAL)
Journal identifiersISSN: 1411-2272 • E-ISSN: 2407-6899
PublisherWacana Journal of the Humanities of Indonesia (PUBLISHER)
DOI10.17510/wjhi.v14i1.49
OpenAlexW1968428762
LanguageEN
References cited12

The main character of the film Pintu terlarang (The forbidden door), Gambir, attains success in the art world by making statues of pregnant women. Part of his creative process is to insert dead foetuses into the wombs of the statues. His troubled soul meets a written request for help by a child he encounters in various places. The journey to find the child leads him to a secret door, revealing a terrifying reality of a dehumanized world. The city, commonly characterized by a sense of vastness, is set in opposition to small, enclosed spaces where individuals converse with their utmost self. The questions explored are: What is the role of space in engendering urban dystopia? In what ways does the selection of different space settings help create a dehumanized world? I argue that urban dystopia is created when the inhabitants of a city return to enclosed spaces in an effort to find an existence. When individuals prefer enclosed spaces and fail to reconstruct existing meanings, tendencies toward dystopia will come forward and city life will degenerate

Aesthetics · Art · Converse · Dehumanization · Dystopia · Environmental ethics · Epistemology · Interpretation (philosophy · Literature · Sociology · Urban space · Philosophy · Sexuality, Behavior, and Technology · Urban and Rural Development Challenges · Urban Planning and Governance

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