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All Journal Dharma Bakti Texture : Art and Culture Journal Abdi Seni Capture : Jurnal Seni Media Rekam PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT International Journal of Engagement and Empowerment (IJE2) International Journal of Multidisciplinary Research and Literature (IJOMRAL) Sanggitarupa Framing: Journal of Art, Film, Television, Animation, Games and Technology
Setiawati, Sri Wastiwi
Institut Seni Indonesia Surakarta
Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Mathematics Physics Social Sciences Other

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Interior Setting as A Time Indicator on “Sabtu Bersama Bapak” The Series : - Marlief, Arasya Salshabila; Setiawati, S.Sn., M.Sn, Sri Wastiwi
TEXTURE Art and Culture Journal Vol. 8 No. 1 (2025)
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/texture.v8i1.6415

Abstract

This study uses interior settings as time indicators in the series Sabtu Bersama Bapak. The main objective of this study is to describe the artistic elements found in the interior settings, especially decorations and properties, which represent a certain period in the visual narrative. This study uses a qualitative descriptive method to produce a structured, detailed, and in-depth explanation of how visual elements play a role in strengthening the temporal context of the story. The analysis was carried out on several main settings in the series, namely the 1980s setting represented through Itje's house and Pak Edi's house, the 1990s setting shown in Gunawan's house, and the 2022 setting seen in Saka's office and Satya's house. Through this approach, the study aims to provide insight into the importance of the accuracy and precision of visual details as an integral part of building the atmosphere of the era, while strengthening the narrative power in film and television production.
Tembang Maduswara Sebagai Ide Penciptaan Film Dokumenter “Among” Melalui Gaya Ekspositori BARIROH, DINDA IMROATUL; Sri Wastiwi Setiawati
Journal of Art, Film, Television, Animation, Games and Technology Vol. 2 No. 2 (2023)
Publisher : Perkumpulan Program Studi Film dan Televisi Indonesia

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Abstract

Film dokumenter Among merupakan film yang terinspirasi dari sebuah karya tembang berjudul Maduswara yang diciptakan oleh Peni Candra Rini. Ia merupakan Akademisi karawitan di Institut Seni Indonesia Surakarta, komposer musik, serta penulis lagu. Film dokumenter Among menceritakan mengenai perjalanan Peni Candra Rini sebagai seorang Pesinden serta mengingatkan pada generasi Sinden akan makna yang sesungguhnya agar generasi Sinden tidak lupa akan asal muasalnya yang dituangkan dalam karya Maduswara. Oleh karena itu, dalam karya film dokumenter ini, kata “Among” dari bahasa Jawa kuno yang bermakna “menjaga” dipilih sebagai judul. Metode penciptaan dalam film ini menggunakan tiga tahap yakni praproduksi, produksi dan pascaproduksi. Film dokumenter Among menggunakan gaya ekspositori karena berisikan statement dari Peni Candra Rini sebagai penyampai pesan utama dan diperkuat dengan gambar pendukung dan teks. Selain itu, gaya ekspositori mempermudah sutradara dalam menyampaikan keberpihakannya dalam film. Film dokumenter Among menggunakan pendekatan secara naratif dengan membagi menjadi tiga sequence, sedangkan bentuk rekonstruksi dipilih untuk menggambarkan masa lalu yang tidak dapat digambarkan, struktur yang disusun secara kronologis, serta semiotika yang diterapkan untuk mendukung naratif dalam gaya ekspositori.
Citra Perfeksionisme Wanita Pada Iklan Mustika Ratu Dalam Majalah Kartini Wastiwi S., Sri
Capture : Jurnal Seni Media Rekam Vol. 2 No. 2 (2011)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v2i2.627

Abstract

The research of woman’s perfectionism image on advertisement of the Mustika Ratu beauty products, especially focused on advertisement of Lulur Krem dan Hand & Body Bengkoang Whitening products. The analysis technique used semiotic approach, in order to looking for sign, index, symbol, and connotation in the advertisement related to the products. Finally, the research found that the woman’s perfectionism image can be explained through several aspects, including model pose, costume, and narrative (text) existing in the advertisement. Key words: magazine, advertisement, woman, beauty product, perfectionism.
KOHERENSI ANTAR CERITA DALAM PENYUTRADARAAN DRAMA LEPAS SABTU SORE BERCERITA Isnaadi, Muhammad Aldila; Setiawati, Sri Wastiwi
Capture : Jurnal Seni Media Rekam Vol. 7 No. 2 (2016)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v7i2.1697

Abstract

Nowadays, Omnibus is the soap opera program which rarely appears on the televiseprogram in Indonesia. With soap opera program, there are so many short movies which arebroadcasted by televise stations. But, the story of short movies should be repackaged. Inaddition,duration of Soap Opera Sabtu Sore Bercerita is 48 including 3 stories of short movies.Adirector was covering three short movies through coherency to connect locations, an artist,and time.Keywords:Omnibus, coherency, soap opera,and Sabtu Sore Bercerita
PROSES KREATIF EDDIE CAHYONO DALAM PENCIPTAAN FILM SITI Nugroho, Widhi; Adji, Titus Soepono; Wastiwi S, Sri
Capture : Jurnal Seni Media Rekam Vol. 8 No. 2 (2017)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v8i2.2049

Abstract

The Siti film directed by Eddie Cahyono deserves to be appreciated as a work of long fiction films by creative production. Evidently, the film funded with a budget under 150 million rupiah, able to deliver it into the nomination of film festivals, even this film is able to win awards in a number of prestigious film festivals in various countries. It can not be separated from the creative work of Eddie Cahyono as a scriptwriter and director at the filmThis creative work isdue to his role as a meticulous person,looking deeply,appreciating the role of women,elevating her dignity and then transferring it in a film. Siti is a reflection of women living in confinement, debt induced,taking care of families and husbands paralyzed by sea accidents as fishermen.Siti just want to be free and independent of it all, it is a statement to be conveyed Eddie Cahyonothrough this film.The stages in reviewing this creativity include Eddie Cahyono's work steps in writing film scenarios that include the process of finding ideas, themes, story settings, story conflicts to the whole siti movie scenario,while to examine the directing process including the preproduction process (script breakdown, casting, reading, rehearsal), production process (shooting in the field) and post-production process through the mise en scene in the Siti film.Keywords: Siti film,creativity,scriptwriter,and director
CREATIVE STRATEGY OF BW PURBA NEGARA IN CASTING AND DIRECTING OF FIGURE MBAH SRI IN FILM “ZIARAH” Akhlaq, Muna Rif'atil; Setiawati, Sri Wastiwi
Capture : Jurnal Seni Media Rekam Vol. 10 No. 1 (2018)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v10i1.2187

Abstract

This study aims to descibe BW Purba Negara's creative strategy in casting and directing Mbah Sri character in the Ziarah film. The research method uses qualitative descriptive. The results showed, creative strategies in casting are done by going to villages looking for people who are suitable for the 3D character of Mbah Sri, based on physical suitability and the similarity of the story with the personal life of the actor Mbah Sri. In directing, creative strategies are done by reciting repeatedly and imitated, explaining explosively to be embedded in the memory of the character Mbah Sri, repeated repetition, and imitating a longdialogue.
CREATIVE DIRECTION OF IKA MAHARDIKA IN THE PREPRODUCTION OF THE UNREMEMBERED DOCUMENTARY FILM Syam, St. Hadidja; Afrianto, Damar Tri; Wastiwi S, Sri
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.v11i1.2661

Abstract

This study aims to describe Ika Mahardika's creative process in directing the documentary film The Unremembered, especially in the preproduction stage. The research method uses descriptive qualitative. The results showed that director Ika Mahardika's creativity in digging data about Salawati Daud lies in the ability to use ethnographic research methods in a coherent manner starting from literature search, field observations, interviews and documents. In addition, Ika Mahardika's creativity also lies in data processing starting from selecting data with consideration of the capacity of the information provided then how the data is displayed chronologically.
Setting as a Marker of Space Time: Historical Mise en Scene in Hamka & Siti Raham Vol. 2 Attabik Ahmad; Sri Wastiwi Setiawati
Sanggitarupa Vol. 6 No. 1 (2026): Sanggitarupa
Publisher : Institut Seni Indonesia Surakarta

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Abstract

This article examines the role of year-transition settings as spatial and temporal markers in Hamka & Siti Raham Vol. 2. The study is prompted by the tendency of historical biopic scholarship to treat setting primarily as a supporting visual background, despite its significant contribution to create historical authenticity and narrative meaning. This study employed a qualitative approach by means of textual-contextual analysis to mise-en-scène elements, including architecture, set decoration, props, materials, color, lighting, and spatial organization. The data consist of scenes representing the historical periods of 1947, 1959, 1964, 1966, 1970, 1972, and 1975. The findings revealed that setting operates through three interrelated dimensions: locative, temporal, and symbolic functions. Its locative function was manifested through distinctive spatial environments that represent different stages of Hamka’s life, ranging from refugee shelters and family residences to detention cells, public religious platforms, mourning spaces, hospital rooms, and the Indonesian Ulema Council (MUI) National Congress Hall. The temporal function was constructed through period-specific visual elements, such as kerosene lamps, Jengki-style furniture, classic microphones, glass intravenous bottles, and state symbols. Meanwhile, the symbolic function emerged through the capacity of settings to reflect shifts in Hamka’s social position and life trajectory, from hardship and stability to imprisonment, recovery, reconciliation, loss, and eventual institutional recognition. The study also identified several instances of anachronism in textiles, materials, furniture, and typography. Nevertheless, these inconsistencies did not substantially diminish the setting ’s ability to construct a coherent spatial-temporal framework within the narrative. This article contributes to Indonesian biopic film studies by positioning setting as a primary analytical device for understanding the construction of temporality, spatiality, and historical reconstruction in cinematic representation.
STRENGTHENING SELF-EXPRESSION OF PERSONS WITH DISABILITIES THROUGH FILM SCRIPTWRITING TRAINING AT RUMAH VOKASI HANENDA Sri Wastiwi Setiawati; Cito Yasuki Rahmad; Ahmad Fajar Ariyanto; Rizqullah Ramadhan Panggabean
International Journal of Engagement and Empowerment (IJE2) Vol. 6 No. 1 (2026): International Journal of Engagement and Empowerment
Publisher : Yayasan Education and Social Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53067/ije2.v6i1.251

Abstract

The short film scriptwriting training for persons with disabilities, organized by Rumah Vokasi Hanenda in collaboration with the Indonesian Institute of the Arts (ISI) Surakarta, aims to enhance narrative literacy, creativity, and inclusive participation of people with disabilities within the filmmaking ecosystem. The program was implemented through a community-based empowerment approach that positioned participants as active subjects using methods such as discussion, hands-on practice, and production. The activity involved 11 participants from 10 special-needs schools (SLB) in Yogyakarta, supported by 12 accompanying teachers who served as adaptive facilitators. The training materials covered ideation, premise development, character building, and the writing of simple scripts, all adjusted to the needs of deaf, blind, and intellectually disabled participants. The outcomes demonstrate improvements in the participants’ scriptwriting skills, self-confidence, and creative expression. The four scripts produced reflect human values, inclusion, and the participants’ lived experiences. This program not only strengthens individual capacities but also fosters a collaborative space that promotes authentic representation of disability in film. The initiative serves as an inclusive learning model that can be replicated to empower people with disabilities in the arts and cultural sector.
english Representasi Sinematik Interior Arsitektur Jengki dalam Film Tiga Dara (1956): Representasi Sinematik Interior Arsitektur Jengki dalam Film Tiga Dara (1956) Ahmad Fajar Ariyanto; Sri Wastiwi Setiawati; Zaqia Ramallah; St. Andre Triadiputra
International Journal of Multidisciplinary Research and Literature Vol. 5 No. 3 (2026): INTERNATIONAL JOURNAL OF MULTIDISCIPLINARY RESEARCH AND LITERATURE
Publisher : Yayasan Education and Social Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53067/ijomral.v5i3.425

Abstract

Jengki architecture is a distinctive manifestation of Indonesian modernism that emerged in the 1950s, shaped by the post-independence spirit and a deliberate rejection of colonial aesthetic dominance. In the same period, Indonesian cinema developed as a visual medium capable of recording social change, cultural transformation, and shifting urban lifestyles. This study investigates the representation of Jengki architectural interiors in Tiga Dara (1956), directed by Usmar Ismail, using a cinematic approach and Roland Barthes’ semiotic analysis. Employing a qualitative descriptive method, the research draws on literature review, frame-by-frame visual observation, and documentation of film scenes featuring interior spaces. The analysis identifies denotative and connotative meanings of interior elements, including spatial layout, architectural components, lighting, ventilation, furniture, and furnishings as part of the film’s mise-en-scène. The findings reveal that Jengki interiors are represented through asymmetrical spatial compositions, flexible layouts, slanted forms, climatic responsiveness, and hybrid furniture influenced by international modernism. At the connotative level, these visual representations articulate ideas of modernity, freedom, innovation, and national optimism in the construction of post-independence identity. This study highlights the role of film as a valuable visual archive for understanding the development of interior design and architectural discourse in Indonesia’s transition toward national modernity.
Co-Authors Adji, Titus Soepono Afrianto, Damar Tri Ahmad Fajar Ariyanto Akhlaq, Muna Rif'atil Andre Triadiputra Angga Setyo Apriyono Anggit Dwi Hartanto Attabik Ahmad BARIROH, DINDA IMROATUL Cito Yasuki Rahmad I Putu Syuhada Agung Isnaadi, Muhammad Aldila Marlief, Arasya Salshabila Moh. Rusnoto Susanto nugroho, widhi Oka Sugawa Ramallah, Zaqia Rizqullah Ramadhan Panggabean St. Andre Triadiputra Syam, St. Hadidja Titus Soepono Adji Widhi Nugroho