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All Journal Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Capture : Jurnal Seni Media Rekam
Dharsono, D.,
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Arts Humanities

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BATU NISAN ITU BERNAMA “IDENTITAS” Problem “Refleksivitas” dalam Pemikiran filsafat “Post-Modernisme” terhadap masyarakat multikultural Dharsono, D.,
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 7 No. 2 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (787.031 KB) | DOI: 10.33153/bri.v7i2.1603

Abstract

Post-Modern merupakan fenomena baru yang berkembang di dunia belahan barat. Sekelompok filosuf Perancis yang terlibat dalam upaya menjelaskan hal-hal yang berkaitan dengan kebenaran, makna dan subyektivitas: Foucault, Derrida, lyotard, Lacan dan Deleuze. Kaum Post-Strukturalis dan akhir-akhir ini sering disebut sebagai pemikir post-modernis mengajukan gugatan dan menentang pandangan dunia universal yang menyeluruh, tunggal dan mencakup; baik yang bercorak politik, religius maupun sosial seperti marxisme, kristianitas, kapitalisme, demokrasi liberal, humanisme, islam, fiminisme dan sains modern.Kaum post-modern juga mempertanyakan gagasan tentang kemajuan (progress) serta keunggulan masa kini atas masa lampau. Mereka tidak mengakui adanya batas yang tegas antara ilmu alam, humaniora, ilmu sosial, seni dan sastra, antara budaya dan kehidupan, fiksi dan teori, citra dan realitas. Mereka juga menolak gaya ‘discourse’ akademis yang konvensional (pemikiran modern). Penilaian yang negatif ini berasal dari kesalahan memposisikan pemikiran tradisi filsafat Barat secara umum. Pertama, pemikiran pukul-rata dan dimasukan ke dalam satu kotak dengan sesuatu yang jamak disebut “post-modernisme”. Kedua yaitu Dengan menyamaratakan dekonstruksi dengan post-modernisme, orang-orang cenderung memberikan label nihilis, relativis dan anarkis terhadap dekonstruksi. Ruang Fleksibilitas: mediasi musikal dalam konsep post-modernitas merupakan ruang inter-refleksitas terhadap masyarakat multikultur. Apabila di dalam konsep modern dalam mediasi kesenian  terikat oleh konvensi-konvensi yang beku maka di dalam pemikiran pos-modern secara konsepsi kembali ke konteknya walau dalam situasi yang berbeda oleh pranata sosial masyarakat Kunci: modern, dekontruksi, post-modern, ruang fleksibelitas
ANALYSIS OF DOCUDRAMA HISTORY AND REFERENTIAL RECONSTRUCTION OF SANG KIAI MOVIES: ADAPTATION OF BIOGRAPHICAL HISTORIOGRAPHIC TEXTS TO BIOPIC FILM Kartika, Bambang Aris; Prihatini, Nanik S.; Hastanto, Sri; Dharsono, D.,
Capture : Jurnal Seni Media Rekam Vol. 10 No. 2 (2019)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (700.541 KB) | DOI: 10.33153/capture.v10i2.2366

Abstract

This article discusses about the conception of adaptation of biographical historiographic texts into the medium text in the Sang Kiai film which is a type of historical docudrama film. Adaptation conception shows a transposition pattern of content from historical biographical narrative texts constructed into the text medium of Sang Kiai film. By conducting a study on the Sang Kiai film through approaches of adaptation and heuristic, hermeneutic, and internal criticism methodology has produced a pattern of referential reconstruction in the production of historical genre film texts, especially in the types of biopic films. The Sang Kiai film is a moving picture biography of the K.H. Hasyim Asy'ari figure who narrated historical facts about the nationalism of the founder of the Nahdlatul Ulama (NU) against the colonialist hegemony of Japanese and Allied fascist armies. Thus, the docudrama film which is positioned as a document of visualization of the historical facts about the past that is presented today through the reproduction of historical texts in the biopic film medium. The pattern of referential reconstruction shows that the biopic film of the Sang Kiai is a representation of the truth of the biographical facts of the K.H. Hasyim Asy'ari figure, although it was produced and presented through historical fiction film text 
EDITING CROSS-CUTTING IN THE FILM HAJI BACKPACKER Mulia, Prajanata Bagiananda; Dharsono, D.,
Capture : Jurnal Seni Media Rekam Vol. 11 No. 1 (2019)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i1.2686

Abstract

The aim of this research is the revealing the use of editing cross-cutting formed in Haji Backpacker’s film. This research uses qualitative research method: interpretative analysis formalist aesthetics approach, editing cross-cutting of Karel Reisz through Sergei Eisenstein’s montage theory. This research focuses on studying the aesthetic and the application of editing cross-cutting in Haji Backpacker’s film. Editing cross-cutting observed from the forms, functions, relations of themes, and motivation of existence, until analysis of Sergei Eisenstein’s montage, those are metric, rhythmic, tonal, overtonal and intellectual. The results of this research reveals the artistic meanings of Haji Backpacker’s film as formalist aesthetics, and editing cross-cutting’s concepts that formed in Haji Backpacker’s film by Danial Rifki through montage analysis of Sergei Eisenstein.
BATU NISAN ITU BERNAMA “IDENTITAS” Problem “Refleksivitas” dalam Pemikiran filsafat “Post-Modernisme” terhadap masyarakat multikultural Dharsono, D.,
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 7 No. 2 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/bri.v7i2.1603

Abstract

Post-Modern merupakan fenomena baru yang berkembang di dunia belahan barat. Sekelompok filosuf Perancis yang terlibat dalam upaya menjelaskan hal-hal yang berkaitan dengan kebenaran, makna dan subyektivitas: Foucault, Derrida, lyotard, Lacan dan Deleuze. Kaum Post-Strukturalis dan akhir-akhir ini sering disebut sebagai pemikir post-modernis mengajukan gugatan dan menentang pandangan dunia universal yang menyeluruh, tunggal dan mencakup; baik yang bercorak politik, religius maupun sosial seperti marxisme, kristianitas, kapitalisme, demokrasi liberal, humanisme, islam, fiminisme dan sains modern.Kaum post-modern juga mempertanyakan gagasan tentang kemajuan (progress) serta keunggulan masa kini atas masa lampau. Mereka tidak mengakui adanya batas yang tegas antara ilmu alam, humaniora, ilmu sosial, seni dan sastra, antara budaya dan kehidupan, fiksi dan teori, citra dan realitas. Mereka juga menolak gaya ‘discourse’ akademis yang konvensional (pemikiran modern). Penilaian yang negatif ini berasal dari kesalahan memposisikan pemikiran tradisi filsafat Barat secara umum. Pertama, pemikiran pukul-rata dan dimasukan ke dalam satu kotak dengan sesuatu yang jamak disebut “post-modernisme”. Kedua yaitu Dengan menyamaratakan dekonstruksi dengan post-modernisme, orang-orang cenderung memberikan label nihilis, relativis dan anarkis terhadap dekonstruksi. Ruang Fleksibilitas: mediasi musikal dalam konsep post-modernitas merupakan ruang inter-refleksitas terhadap masyarakat multikultur. Apabila di dalam konsep modern dalam mediasi kesenian  terikat oleh konvensi-konvensi yang beku maka di dalam pemikiran pos-modern secara konsepsi kembali ke konteknya walau dalam situasi yang berbeda oleh pranata sosial masyarakat Kunci: modern, dekontruksi, post-modern, ruang fleksibelitas
ANALYSIS OF DOCUDRAMA HISTORY AND REFERENTIAL RECONSTRUCTION OF SANG KIAI MOVIES: ADAPTATION OF BIOGRAPHICAL HISTORIOGRAPHIC TEXTS TO BIOPIC FILM Kartika, Bambang Aris; Prihatini, Nanik S.; Hastanto, Sri; Dharsono, D.,
Capture : Jurnal Seni Media Rekam Vol. 10 No. 2 (2019)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v10i2.2366

Abstract

This article discusses about the conception of adaptation of biographical historiographic texts into the medium text in the Sang Kiai film which is a type of historical docudrama film. Adaptation conception shows a transposition pattern of content from historical biographical narrative texts constructed into the text medium of Sang Kiai film. By conducting a study on the Sang Kiai film through approaches of adaptation and heuristic, hermeneutic, and internal criticism methodology has produced a pattern of referential reconstruction in the production of historical genre film texts, especially in the types of biopic films. The Sang Kiai film is a moving picture biography of the K.H. Hasyim Asy'ari figure who narrated historical facts about the nationalism of the founder of the Nahdlatul Ulama (NU) against the colonialist hegemony of Japanese and Allied fascist armies. Thus, the docudrama film which is positioned as a document of visualization of the historical facts about the past that is presented today through the reproduction of historical texts in the biopic film medium. The pattern of referential reconstruction shows that the biopic film of the Sang Kiai is a representation of the truth of the biographical facts of the K.H. Hasyim Asy'ari figure, although it was produced and presented through historical fiction film text 
EDITING CROSS-CUTTING IN THE FILM HAJI BACKPACKER Mulia, Prajanata Bagiananda; Dharsono, D.,
Capture : Jurnal Seni Media Rekam Vol. 11 No. 1 (2019)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i1.2686

Abstract

The aim of this research is the revealing the use of editing cross-cutting formed in Haji Backpacker’s film. This research uses qualitative research method: interpretative analysis formalist aesthetics approach, editing cross-cutting of Karel Reisz through Sergei Eisenstein’s montage theory. This research focuses on studying the aesthetic and the application of editing cross-cutting in Haji Backpacker’s film. Editing cross-cutting observed from the forms, functions, relations of themes, and motivation of existence, until analysis of Sergei Eisenstein’s montage, those are metric, rhythmic, tonal, overtonal and intellectual. The results of this research reveals the artistic meanings of Haji Backpacker’s film as formalist aesthetics, and editing cross-cutting’s concepts that formed in Haji Backpacker’s film by Danial Rifki through montage analysis of Sergei Eisenstein.
Co-Authors Bambang Aris Kartika, Bambang Aris Mulia, Prajanata Bagiananda Prihatini, Nanik S. Sri Hastanto