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All Journal Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Rolling Jurnal Pengkajian dan Penciptaan Film, Televisi, dan Media Kontemporer Framing: Journal of Art, Film, Television, Animation, Games and Technology
Fajar Aji
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Arts Humanities Education Languange, Linguistic, Communication & Media Other

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ESTETIKA FILM NAGABONAR JADI 2 Fajar Aji
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 3 (2013)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (403.379 KB) | DOI: 10.33153/dewaruci.v8i3.1137

Abstract

Artikel ini merupakan hasil penelitian tentang film Nagabonar Jadi 2 karya Deddy Mizwar. Pembahasanyang menjadi pokok permasalahan dirumuskan ke dalam beberapa pertanyaan, antara lain: (1) Bagaimanakeberadaan film Nagabonar Jadi 2; (2) Bagaimana alur dramatik film Nagabonar Jadi 2; dan (3) Bagaimana filmNagabonar Jadi 2 apabila dikaji dengan pendekatan estetika? Film (Nagabonar Jadi 2) merupakan medium senihasil kreativitas manusia untuk mengungkapkan tujuannya melalui paduan gambar dan suara. Untukmengetahui maksud dan tujuan yang dimanifestasikan ke dalam paduan gambar dan suara tersebut,maka digunakan metode penelitian kualitatif yang bersifat interpretatif menggunakan pendekatan estetikadari Monroe Breadsley. Pendekatan estetika yang digunakan meliputi tiga tahapan yaitu unity (kesatuan),complexity (kerumitan), dan intensity (kesungguhan). Simpulan yang diperoleh adalah keberadaan filmNagabonar Jadi 2 pada tahun 2007 mampu menjawab kebosanan masyarakat sejak bangkitnya perfilman diIndonesia pada tahun 2007 berkaitan dengan tema nasionalisme dan genre drama komediyang diusung.Alur dramatik film Nagabonar Jadi 2 seperti alur film pada umumnya yang terdiri dari tahap pembukaan,pertengahan, dan tahap penutupan. Estetika film Nagabinar Jadi 2 melekat pada rangkaian peristiwa yangdimanivestasikan ke dalam paduan gambar dan suara, sehingga menghasilkan sebuah tayangan yangmampu memberikan pengalaman estetik yang membuat penonton ikut merasakan suasana lucu, sedih,haru, gembira, serta dapat menyerap maksud dan tujuan yang ingin disampaikan.Kata kunci: film Nagabonar Jadi 2, alur dramatik, dan estetika.
PENGGUNAAN ASPEK-ASPEK SINEMATOGRAFI UNTUK MEMBANGUN STRUKTUR DRAMATIK PADA FILM A QUIET PLACE Muhammad Arifin; Fajar Aji; Muhammad Zamroni
ROLLING Vol 2 No 2 (2019): Rolling Volume 2 Nomor 2 Tahun 2019
Publisher : Program Studi Film dan Televisi Universitas Jember

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Abstract

Penelitian ini membahas tentang aspek-aspek sinematografi yang membangun struktur dramatik pada film A Quiet Place. Tujuan penelitian ini dilakukan adalah untuk mendeskripsikan struktur dramatik dalam film A Quiet Place yang dibangun melalui aspek sinematografi. Data penelitian dikaji dengan menggunakan teori sinematografi dan struktur dramatik. Struktur dramatik digunakan untuk menentukan nilai dramatik, sedangkan sinematografi digunakan untuk menganalisis aspek-aspek visual yang membangun struktur dramatik dalam film A Quiet Place. Penelitian ini menggunakan jenis penelitian kualitatif dengan menggunakan metode deskriptif. Berdasarkan penelitian yang telah dilakukan, diketahui terdapat 7 adegan yang memiliki nilai dramatik tension. Aspek-aspek sinematografi seperti framing (camera angle, ukuran gambar, pergerakan kamera), durasi gambar dan komposisi mampu membangun nilai dramatik tension, sehingga dapat membawa emosi penonton.
MISE EN SCENE DALAM MEMBANGUN ADEGAN DRAMATIK PADA FILM GRAVE TORTURE KARYA JOKO ANWAR Nurlaily Dicha Aningtyas; Didik Suharijadi; Fajar Aji
ROLLING Vol 2 No 1 (2019): Rolling Volume 2 Nomor 1 Tahun 2019
Publisher : Program Studi Film dan Televisi Universitas Jember

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Abstract

This research is about mise-en-scene in building dramatic scenes in the film Grave Torture by Joko Anwar. The purpose of this research is to describe the dramatic elements in the Grave Torture film and find out the role of mise en scene in building dramatic scenes in the film Grave Torture. Research data was assessed using Elizabeth Lutters’ dramatic theory, mise-en-scene and cinematography. Dramatic elements are used to determine dramatic scenes in the film Grave Torture, while mise-en-scene and cinematography are used to analyze visual aspects in building dramatic scenes in the film Grave Torture. This research uses a qualitative research type using descriptive method. Based on the research that has been done, there are 5 dramatic scenes in the film Grave Torture. Mise-en-scene elements such as settings, costumes and make up, lighting, and the player and movement help build dramatic scenes in the film Grave Torture.
Directing a Short Movie Rawuh (Aplication Central Character One Pont of View On Jumarno Character) Agung Kurniawan; Fajar Aji; Muhammad Zamroni
ROLLING Vol 2 No 2 (2019): Rolling Volume 2 Nomor 2 Tahun 2019
Publisher : Program Studi Film dan Televisi Universitas Jember

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Abstract

Indonesia is one of the countries which discloses migrant workers as an insolubility issue where several laborers are choosing illegality way of being migrant apprentices. Most reasons are caused by lack of understanding placement and protection procedures, limited information to access international job vacancy, inequitable registration through the unauthorized bureau, and lack of government involvement. As a result, many workers were unpaid and faced violent. In addition, human trafficking is also encountered migrant workers. Consequently, they are deported to their origins. Based on those backgrounds, the author would convey these issue into fiction movie through parents viewpoint as the person who left by migrant workers (Rabiger and Cheerrier, 2013:115). cinematic point of view, central character one point of view will be used to build narrative elements and cinematic elements in the film Rawuh, from the pre-production, production and post-production stages. RAWUH could depict Indonesian civilization, especially migrant worker issue that happened in Jember. The creator believes that directing with central character one viewpoint technique needs to develop in the future, especially on the storytelling scheme, mise en scene, cinematography, exploration of sound design, and editing.
The Meaning of Indomie's 50 Years of Advertising (Roland Barthes' Semiotic Analysis) Suci Mardiarini; Muhammad; Fajar Aji
Journal of Art, Film, Television, Animation, Games and Technology Vol. 2 No. 1 (2023)
Publisher : Perkumpulan Program Studi Film dan Televisi Indonesia

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Abstract

The image and the product message shown in the advertisement are spread by relating it to social issues in society and visualized as attractively as possible in the hope that the product can be accepted by a wide audience. This article discusses the meaning in the advertisement of 50 Years of Indomie which is supported by cinematic elements as one of the building elements of an audiovisual work. This research uses Roland Barthes's semiotic theory as the main theory in uncovering hidden meanings in advertising and Thompson and Bowen's cinematographic theory as a supporting theory. The cinematography in this study was used as a vision goggle in watching and reading advertisements for 50 Years of Indomie so that it could support the meaning process carried out. The type of research used in this study is qualitative research supported by descriptive methods. The results of the research obtained in the form of advertisements 50 Years of Indomie try to instill the myth that Indomie is a food product that must always be present and enjoyed anytime and anywhere, thus making Indomie an instant noodle product that always accompanies every situation in the lives of Indonesians and abroad. In addition, there is also the Ideology of Consumerism and the Ideology of Class and Racial Equality that seeks to be infiltrated behind this 50 Years of Indomie advertisement.
Co-Authors Agung Kurniawan Didik Suharijadi Muhammad Muhammad Arifin Muhammad Zamroni Nurlaily Dicha Aningtyas Suci Mardiarini