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All Journal SOSIOHUMANIORA: Jurnal Ilmiah Ilmu Sosial dan Humaniora International Journal of Visual and Performing Arts Narada : Jurnal Desain dan Seni Kalatanda : Jurnal Desain Grafis dan Media Kreatif Wacadesain
Barry, Syamsul
Institut Seni Budaya Indonesia Bandung
Arts Humanities Education

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Continuity of resistance: indigenous participatory concepts in Purbalingga rural cinema culture Syamsul Barry; Pande Made Sukerta; Martinus Dwi Marianto; T Slamet Suparno
International Journal of Visual and Performing Arts Vol 4, No 1 (2022)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v4i1.658

Abstract

Purbalingga Regency, Central Java, is one area that has a unique and unique way of developing film-making. This article aims to find the concept of a participatory community approach in developing rural cinema through training/discussion programs, film production, and film screenings/Festivals from 2006 to the present. This study uses qualitative methods that include participatory, direct observation, and interviews with a data processing interactive analysis model. The results show that rural cinema encourages the empowerment of rural communities. Rural communities' high interest and participation in film activities are because the concept of cinema development comes from local cultural values (Banyumasan/Ngapak). This concept has succeeded in forming a unique, independent, and dynamic film ecosystem that can be a model for film development elsewhere
FENOMENA KOMUNITAS FILM Syamsul Barry
KalaTanda Vol 1 No 2 (2016): Kalatanda
Publisher : Universitas Telkom

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/kalatanda.v1i2.1374

Abstract

Era kebangkitan industri film nasional pada medio awal abad 21 membawa demam perfileman di tanah air. Teknologi terkini di bidang perfileman dengan cepat diadopsi sejalan dengan perkembangan teknologi baik teknologi kamera maupun telepon seluler dengan fasilitas dan aplikasinya. Perkembangan ini diikuti pula dengan maraknya pertumbuhan komunitas film di Indonesia, sehingga menyebabkan banyaknya produksi film. Praktek produksi pembuatan film di komunitas berbeda dengan apa yang dijalankan di lingkungan civitas akademik. Pada praktek produksi di komunitas dirasa lebih fleksibel mulai dari kegiatan perencanaan hingga proses perwujudan, dan semuanya mengikuti pada permasalahan yang akan dibuat sehingga dapat dikatakan relatif efisien. Sedangkan di lembaga pendidikan prosesnya berlangsung dengan mengikuti atau berbasis teori pengetahuan perfilman yang telah ada (baku) dan terkesan kaku. Selain memproduksi film, komunitas menyelenggarakan aktivitas berupa pemutaran, dan diskusi/workshop. Bahkan beberapa komunitas mempunyai jurnal yang di publikasikan pada situs di internet. Komunitas-komunitas ini juga membentuk semacam proyek wirausaha berupa melayani jasa pembuatan video program televisi, company profile perusahaan dan jasa dokumentasi hajatan (perkawinan, sunatan) dengan tujuan membiayai jalannya kegiatan di komunitas sekaligus kesejahteraan anggotanya. Penelitian ini menggunakan metode Kualitatif dengan pendekatan survei dan wawancara tidak terstruktur pada narasumber penggiat perfileman di komunitas untuk menemukan sumber ide penciptaan mereka, hingga proses bagaimana mereka berkarya. Data yang terkumpul akan dianalisis dengan secara deskriptif dengan tujuan bisa menjelaskan fenomena ini yang berasal dari bawah.
Narrative structure, symbolic meaning, and cultural expression in contemporary Indonesian horror cinema Abidin, Zainal; Riski, Wahyu Nova; Barry, Syamsul
International Journal of Visual and Performing Arts Vol 7, No 1 (2025)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v7i1.1790

Abstract

This study investigates narrative strategies in contemporary Indonesian horror films to understand how they convey cultural meanings and engage audiences. While horror is often dismissed as entertainment, Indonesian horror serves as a cultural mirror, reflecting societal fears, spiritual beliefs, and identity struggles. The study focuses on eight films released between 2019 and 2024, selected for their narrative complexity, cultural relevance, and critical reception. Using qualitative narrative analysis, the research applies Seymour Chatman's distinction between story and discourse alongside classical and modern narrative theories by Bordwell, Todorov, Genette, and others. The analysis identifies three-act and five-act structures and nonlinear, circular, and episodic narratives. These structures enhance suspense, emotional engagement, and thematic depth. The findings show that Indonesian horror films blend local folklore, Islamic rituals, and communal values with experimental storytelling. For example, Siksa Kubur uses fragmented timelines to depict trauma, while Qodrat integrates religious exorcism into its plot structure. Such strategies deepen audience immersion and articulate culturally specific anxieties. This research contributes to Indonesian cinema studies by highlighting how narrative form shapes meaning and emotional impact. It offers a framework for analyzing horror beyond Western paradigms and provides insights into how traditional and modern storytelling coexist in Southeast Asian media. Academically, it advances narrative theory in a non-Western context. Practically, it supports filmmakers and cultural producers in using horror to engage with social issues and connect with global audiences through culturally grounded storytelling.
BLINDFOLD SEBAGAI PEMBENTUKKAN IDENTITAS PENOKOHAN GANDARI Dalila, Ganesh Ahsha; Iskandar, Andang; Barry, Syamsul
Wacadesain Vol. 3 No. 2 (2022): Jurnal Wacadesain
Publisher : LPPM Universitas Adhirajasa Sanjaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51977/wacadesain.v3i2.868

Abstract

Fashion adalah cara seseorang berusaha menampilkan ekspresi individualitas untuk menghasilkan cita rasa melalui pemilihan pakaian atau properti yang dipakainya. Hasil dari pemakain atribut tersebut menjadi sebuah pembentukan identitas pada dirinya sebagai tokoh, lalu adanya peran penilaian sosial setempat yang menunjukan sikap dan peran sosial dari dampak pakaian atau atribut yang digunakan. Tujuan penelitian ini adalah mengetahui bagaimana properti busana blindfold (penutup mata) dapat merepresentasikan identitas Gandari dalam penokohannya di cerita epos Mahabarata. Metode yang digunakan pada penelitian ini adalah penelitian kualitatif dengan teknik Observasi non-partisipan. Hasil penelitian dapat diambil kesimpulan bahwa blindfold pada tokoh Gandari adalah hasil dari komunikasi Gandari terhadap relasi atau tokoh lainnya di Gandari sebagai ekspresi kesetiaan pada sang suami, Destarata sekaligus ekspresi protes karena dinikahkan dengan seorang yang buta. Arti pembentukan identitasnya sebagai ratu dilihat dari tanda warna, perasaan dan relasi sosial bagaimana mereka menilai Gandari sebagai tokoh yang (isi sendiri). Identitas diri pada blindfold Gandari juga penanda bahwa status sosial dan kondisi magis – religius terbentuk.
FESTIVAL SENI BERBASIS REALITA VIRTUAL: STUDI KASUS TATA KELOLA PENYELENGGARAAN SUMONAR 2020 Oktala, Dwi; Barry, Syamsul; Hidayat, Dicky
Narada : Jurnal Desain dan Seni Vol 11, No 3 (2024)
Publisher : Universitas Mercu Buana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22441/narada.2024/v11.i3.006

Abstract

This study examines the governance of the Sumonar 2020 virtual art festival using a risk management approach. Organized by the Jogjakarta Video Mapping Project (JVMP), the festival focuses on video mapping and new media art, which has been offline since 2019. However, in 2020, the festival transitioned to a web-based virtual format in response to the Covid-19 pandemic. This study aims to analyze the success of Sumonar 2020 in utilizing virtual spaces as a form of risk mitigation for festival organization, as well as to identify the organizers' considerations and key factors contributing to its success, including technical strategies, creative innovations, and festival presentation. The research employs a qualitative approach to gain in-depth insights. Data collection was conducted through interviews and observations. The findings indicate that adopting a virtual format enables operational cost efficiency and reduces the risk of festival cancellation. The success of Sumonar 2020 reflects the organizers' ability to manage changes and highlights the importance of adaptability in festival management under various circumstances.
Uncovering post-traditional practices and thought in Yogyakarta video mapping Syamsul Barry; Tohari Tohari; Shauma Silmi Faza; Dwi Oktala; Insanul Qisti Barriyah
SOSIOHUMANIORA: Jurnal Ilmiah Ilmu Sosial dan Humaniora Vol 12 No 2 (2026): SOSIOHUMANIORA: Jurnal Ilmiah Ilmu Sosial dan Humaniora
Publisher : LP2M Universitas Sarjanawiyata Tamansiswa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30738/sosio.v12i2.22711

Abstract

This study examines how Yogyakarta's video mapping practices reinterpret Javanese cultural traditions through digital media. Using a qualitative approach based on observation, interviews, and documentation, the research analyzes the visual, narrative, and conceptual strategies employed by the Jogjakarta Video Mapping Project (JVMP). The findings demonstrate that video mapping functions as a post-traditional cultural practice in which traditional symbols are not merely digitized but reflexively reconstructed as dynamic expressions of local identity. Rather than preserving tradition in its original form, these works reinterpret cultural heritage through contemporary visual languages while maintaining its symbolic and philosophical significance. The study's main theoretical contribution is the conceptualization of "revisualization of local identity," which explains how digital media transforms cultural symbols into sites of negotiation between tradition and modernity. This framework extends post-traditional theory by showing that new media art serves not only as a medium of cultural representation but also as a mechanism for cultural revitalization, enabling local identities to remain meaningful within global digital culture.
Co-Authors Andang Iskandar, Andang Dalila, Ganesh Ahsha Dicky Hidayat Dwi Oktala Insanul Qisti Barriyah M. Dwi Marianto Oktala, Dwi Pande Made Sukerta Shauma Silmi Faza T Slamet Suparno Tohari Tohari Wahyu Nova Riski Zainal Abidin