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All Journal Texture : Art and Culture Journal Capture : Jurnal Seni Media Rekam Framing: Journal of Art, Film, Television, Animation, Games and Technology
Sari, Annisa Rachmatika
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Arts Humanities Education Social Sciences

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KAJIAN TIGA RUANG PSIKIS LACAN PADA NARATIF FILM IVANNA (2022) KARYA KIMO STAMBOEL Sari, Annisa Rachmatika; Wati, Wahyu Utami
TEXTURE Art and Culture Journal Vol. 7 No. 2 (2024)
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/texture.v7i2.6220

Abstract

Jacques Lacan divides the human psychic area or subject into three parts, namely The Real, The Imaginary, and The Symbolic. In The Ivanna by Kimo Stamboel, Ivanna passes through these three rooms as a ghost who is looking for her head. The Ivanna tells about the terror of the ghost of Ivanna, who suffered a tragic death because she was killed by Japanese soldiers. This research uses a qualitative descriptive method that processes selected scenes in the film Ivanna for analysis to find three psychic spaces that Ivanna passes through as a head-seeking ghost. The Real is experienced when Ivanna's ghostly body is destroyed, thrown in a well, and burned. Ivanna experienced The Imaginary when Ambar saw a projection on the wall regarding Ivanna's past. Ambar, who can translate the meaning of the projections on the wall, finds Ivanna's demands, in the form of bodily integrity. Meanwhile, Ivanna goes through The Symbolic while hunting for the heads of people living in a nursing home. Ivanna got her wish, but because the head she took did not match her wishes, she continued hunting for new heads
PERHATIAN DALAM FILM RIDINGTHE LIGHT Sari, Annisa Rachmatika; Ali, Matius
Capture : Jurnal Seni Media Rekam Vol. 8 No. 1 (2016)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (833.699 KB) | DOI: 10.33153/capture.v8i1.1895

Abstract

This paper examines forms of the audience attention in RidingThe Light movies which is produced by the impressions of the object adjustment to structure basic of audience thinking. Here, objects are introducing their self to the audience so that they can be accepted and been awared by them because of their condition.Then, object makes adjustments on twelve categories in the audience brain. For finding the audience attention, theory of photoplay Münsterberg serves as the basis of research assuming that audience processes mentality because there are self adaptation of movies in the human intellection of being in the form of space, time, and causality. Therefore, attention is a one of the audience mentality process when film objects, RidingThe Light, was introducing itself.Keywords : Attention, adjustment, RidingThe Light, and film
Aplikasi Prinsip Gestalt Untuk Membangun Protagonis Sebagai Figure Pada Film Pathok (2023) Moh Syahrul Syafik; Sari, Annisa Rachmatika
Journal of Art, Film, Television, Animation, Games and Technology Vol. 3 No. 2 (2024)
Publisher : Perkumpulan Program Studi Film dan Televisi Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Art director sebagai kepala pada divisi tata artistik, perlu membuat konsep visual sebagai pedoman divisi tata artistik dalam mengelola elemen visual yang mendukung narasi film. Pengelolaan yang dimaksud berupa kerja perancangan dan pengkonstruksian elemen-elemen visual, seperti: set, lokasi, dekorasi, properti, riasan wajah, dan kostum. Sebagai art director, penulis perlu membuat konsep visual yang mengakomodir tipe naratif film Pathok (2023), berbentuk character driven. Penulis menggunakan teori Gestalt untuk mengelola elemen visual dalam shot-shot tertentu, untuk menunjukkan protagonis sebagai figure yang perlu dimaknai ekspresinya dan dibedakan dengan karakter lainnya. Pada teori gestalt, bentuk dibedakan menjadi 2 bagian yaitu figure (ruang positif) dan ground (ruang negatif). Teori Gestalt adalah sebuah teori yang menjelaskan proses persepsi melalui pengorganisasian suatu komponen-komponen yang memiliki hubungan, pola, dan juga kemiripan yang bersatu menjadi satu kesatuan. Gestalt diterapkan penulis pada scene pada scene 6 untuk menunjukkan ekspresi kesedihan protagonis melalui penerapan prinsip kesamaan bentuk sekaligus kedekatan posisi. Di scene 8, Ali sebagai protagonist menjadi figure yang kontras dengan seluruh properti dan tokoh Sutikno sebagai antagonis di film Pathok (2023). Temuan penelitian ini berupa, aspek kedalaman frame film yang menunjukkan bahwa posisi objek tidak hanya dapat dikelompokkan dan diperhitungkan berdasarkan kedekatan posisi secara dua dimensi melainkan juga tiga dimensi, perlu diperhatikan art director pada proses pengelolaan elemen visual.
PERHATIAN DALAM FILM RIDINGTHE LIGHT Sari, Annisa Rachmatika; Ali, Matius
Capture : Jurnal Seni Media Rekam Vol. 8 No. 1 (2016)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v8i1.1895

Abstract

This paper examines forms of the audience attention in RidingThe Light movies which is produced by the impressions of the object adjustment to structure basic of audience thinking. Here, objects are introducing their self to the audience so that they can be accepted and been awared by them because of their condition.Then, object makes adjustments on twelve categories in the audience brain. For finding the audience attention, theory of photoplay Münsterberg serves as the basis of research assuming that audience processes mentality because there are self adaptation of movies in the human intellection of being in the form of space, time, and causality. Therefore, attention is a one of the audience mentality process when film objects, RidingThe Light, was introducing itself.Keywords : Attention, adjustment, RidingThe Light, and film
Co-Authors Ali, Matius Moh Syahrul Syafik Wati, Wahyu Utami