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All Journal E-Journal Of Cultural Studies Lekesan: Interdisciplinary Journal of Asia Pacific Arts PRABANGKARA Capture : Jurnal Seni Media Rekam Visual Heritage: Jurnal Kreasi Seni dan Budaya Journal of Music Science, Technology, and Industry (JOMSTI) Jurnal IMAJI calaccitra: jurnal film dan televisi Journal of Aesthetics, Creativity and Art Management Retina Jurnal Fotografi
Arba Wirawan, I Komang
Institut Seni Indonesia (ISI) Denpasar
Arts Humanities Education Social Sciences Other

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“Ulam Asu”: Media Pergerakan Melawan Perdagangan Daging Anjing Di Bali Dalam Film Dokumenter Pandet, Putu Raditya; Arba Wirawan, I Komang; Lia Susanthi, Nyoman
Prabangkara : Jurnal Seni Rupa dan Desain Vol 22 No 1 (2018): Juni
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Anjing merupakan bagian dari kehidupan masyarakat Bali, sebagai hewan peliharaan serta hewan penjaga rumah. Anjing dalam budaya masyarakat Bali juga digunakan sebagai caru (sarana persembahan saat upacara yadnya), yang memiliki fungsi sebagai sarana pembersihan areal upacara. Fenomena perdagangan daging anjing di Bali belakangan ini kian marak. Dalam data Direktorat Jenderal Peternakan dan Kesehatan Hewan dikatakan bahwa daging anjing bukanlah kategori pangan karena tidak termasuk dalam kategori peternakan maupun kehutanan. Berdasarkan hal tersebut, penulis merasa perlu untuk membuka semua cerita terkait dengan perdagangan daging anjing di Bali dalam bentuk film dokumenter berjenis observasi partisipan sehingga nantinya dapat digunakan sebagai media pergerakan untuk melawan konsumsi daging anjing. Film dokumenter “Ulam Asu” memilih menggunakan metode observasi partisipan dengan genre investigasi karena penulis ingin penonton merasa memiliki kedekatan dengan filmmaker. Sehingga membuat dampak psikologis dan emosional yang didapat penonton menjadi lebih kuat. Penulis mengharapkan dampak yang beragam dapat dirasakan penonton sesuai dengan subjektivitas dan pengalaman dari setiap individu. Film ini mampu secara langsung maupun tidak langsung menjadi media pergerakan melawan perdagangan daging anjing di Bali. Secara langsung, film ini dapat dipergunakan oleh aktivis dan organisasi pecinta hewan untuk melakukan perlawanan terhadap perdagangan daging anjing di Bali. Secara tidak langsung, film ini memancing emosi dan imajinasi penonton untuk melakukan perlawanan terhadap perdagangan daging anjing di Bali. Penonton diajak untuk berpikir ulang tentang apa yang sedang terjadi di Bali saat ini terkait dengan isu perdagangan daging anjing dengan berpijak terhadap kearifan lokal budaya Bali.Dogs are part of the life of Balinese people, as pets as well as animals of house keepers. Dogs in Balinese culture are also used as caru (offerings during yadnya ceremonies), which has a function as a means of cleansing ceremonial area. The phenomenon of dog meat trade in Bali has recently become more widespread. In the data of the Directorate General of Animal Husbandry and Health said that dog meat is not a category of food because it is not included in the category of animal husbandry or forestry. Based on this, the writer felt the need to open all the stories related to the dog meat trade in Bali in the form of documentary type of participant observation so that later can be used as a medium of movement to fight the consumption of dog meat. The documentary film “Ulam Asu” chose to use participant observation methods with the investigative genre because the author wants the audience to feel closer to the filmmaker. So as to make the psychological and emotional impact for the audience gets stronger. The authors expect the diverse impact audience can feel in accordance with the subjectivity and experience of each individual. This film is able to directly or indirectly become a media movement against dog meat trade in Bali. Directly, the film can be used by animal activists and organizations to fight against the dog meat trade in Bali. Indirectly, this film provoked the emotions and imagination of the audience to fight against the dog meat trade in Bali. Spectators are invited to re-think about what is happening in Bali at this time related to the issue of dog meat trade based on local wisdom of Balinese culture.
Tenganan Pegringsingan Bali In Ethnography Wirawan, I Komang Arba
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol 2 No 2 (2019): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (810.632 KB) | DOI: 10.31091/lekesan.v2i2.895

Abstract

The purpose of this study is to create photos that visualize the activities of the Tenganan Pegringsingan community based on Tri Hita Karana’s cause of happiness to achieve balance and harmony. First, Parahyangan is a balanced relationship between humans and God, second, Pawongan a harmonious relationship between humans and humans, and thirdly Palemahan means a harmonious relationship between humans and the surrounding natural environment. This research and photography creation method was in the form of in-depth data exploration (depth observations) in the form of interviews and observations. Art and cultural activities and ceremonies in Pegringsingan Village were explored through in-depth research and presented with the concept of ethnophotography. Ethnography does not see a photograph of the work alone, but it is an ethnographic method of viewing society from an anthropological perspective. The anthropological world of photography emphasizes the extraordinary side of conventional things. The harmony of life-based on Tri Hita Karana was reflected in the Tenganan Pegringsingan community as the subject matter of ethnographic creation. Ethnographic results and analysis in Tenganan Village were dissected with the aesthetic theory of photography. First, the aesthetic of photography created through the beauty of photographs based on an ideational and technical level. It was the ethnographic ideational level of upakara in Tenganan Pegringsingan Village. The technical level was related to technical concerning the equipment used for creation. The second theory of semiotic photography analyzed photographs based on the signs contained in the photo. The results of the ethnographic creation of the community in Tenganan Pegringsingan Village found a harmonious relationship between the community and nature, humans and God in the village. This relationship is the subject of representative ethnophotography. The results of ethnographic creation reflect harmonious relationships through the implemented ceremonies that reflect Tri Hita Karana.
CONFLICT BETWEEN TWO VILLAGES ON TELEVISION SCREEN: ANALYSIS OF THE DISCOURSE OF BALI TV COVERAGE ON KEMONING-BUDAGA CASE Wirawan, I Komang Arba; Ardika, I Wayan Ardika; Wirawan, A.A. Bagus Wirawan
E-Journal of Cultural Studies Vol 8 No 2 (2015): Volume 8, Number 2, May 2015
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

This study is intended to analyze the discourse of Bali TV coverage on the Kemoning –Budaga case, Bali, a conflict which took place on 17 September 2011, which led to discourse of the dispersal of the traditional village ‘desa pakraman’. Such coverage of the case was considered blaming the Governor of Bali, Mangku Pastika. He was reported to intend to disperse the traditional villages in Bali. The Bali TV and Bali Post, which are under the Bali Post Media Group ‘Kelompok Media Bali Post’ (abbreviated to KMB) continuously exploited the discourse of the dispersal of the traditional village subjectively. The Governor of Bali, Mangku Made Pastika, did not accept that and prosecuted the Bali Post in Denpasar Court of First Instance ‘Pengadilan Negeri Denpasar’. The theory of discourse, the theory of agenda setting, the framing theory, and the theory of semiotics are used in the present study. The result of the analysis shows that the conflict between Kemoning Village and Budaga Village covered by the Bali Post was an extended discourse of the Bali Post printed media which was managed using a clear setting agenda for the social, political, and ideological interests of the KMB’s Ajeg Bali. The relation between the Governor of Bali, Mangku Made Pastika, and KMB, which was good in the beginning, changed into a serious conflict. It is interesting to explore the discourse of the Bali TV’s news release which aggravated the conflict in order to identify the subjective agenda of the news broadcasting policy and the counter discourse as the response to it. The main data of the present study are the discourse of the news released by the Bali TV on the Kemoning-Budaga case. The data were in the forms of the documents of the materials which were once presented. The Governor of Bali, Mangku Made Pastika, made use of the Department of the Public Relations of the Government of Bali Province and the media beyond the KMB such as the TVRI Bali and Radar Bali to present his counter discourse. The discourse on the Kemoning-Budaga Case shows a real example how the mass media do not pay attention to objectivity for the sake of power.
Original Soundtrack dan Scoring Film Televisi Drama-Musikal “Bung Karno di Bawah Pohon Sukun” Guntur Eko Prasetyo; Ketut Sumerjana; I Komang Darmayuda; Ni Wayan Ardini; I Komang Arba Wirawan; I Wayan Adnyana; Nyoman Lia Susanthi; Agustinus Sani Aryanto
Journal of Music Science, Technology, and Industry Vol. 5 No. 1 (2022)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

PENERAPAN KONSEP NARATIF MELALUI VISUAL PADA FILM FIKSI “CAKHRA KALA” I Komang Frederich Blessy; I Komang Arba Wirawan; I Nyoman Payuyasa
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 1 No. 1 (2021): Jurnal Calaccitra Juni 2021
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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Abstract

A narrative storytelling through audio visual that tells about the conflict of a new married couple. Narrative film with the concept of timeloop has uniqueness That means a looping scene that makes the main character could change each action. The concept of timeloop is still rarely used in the Indonesian Film Industry. Therefore, making the concept of timeloop can make a development for the film industry in Indonesia. The concept is packaged by combining a little culture about the elements of locality in the conflicts that occur in the patriarchal system in Bali. The patriarchal system places men as holders of power in the family. Some family life in Bali, which is the backbone is a woman. So narrative and visual will be applied in this writing. The creation of the fiction film " Cakhra Kala " was carried out to find out the process of translating a fictional story into an audio visual work. A concept created using the planning stage and the applied stage method. In the film " Cakhra Kala ", not only audio can deliver narrative stories, but a narrative is explained through images that have meaning. Images that have this meaning will lead the audience to enjoy the story. This narrative theory has reference from David Bordwell’s book named “Narration in the Fiction Film”.The result of this creation is a fictional film " Cakhra Kala " created with a gradual process. It starts with making story ideas, story lines, characterizations, the production process, and the post-production stage. The creation of the fiction film " Cakhra Kala " and narrative visual concept are expected to help the development of the Indonesian film industry in creating a unique story that can be raised and combined in line with the habits of the Indonesian people, especially in Bali.
KONSEP MANAJEMEN PRODUKSI DAN DESAIN PEMASARAN PADA FILM FIKSI “CAKHRA KALA” Robi’atul Yamania G; I Komang Arba Wirawan; Desak Putu Yogi Antari Tirta Yasa
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 1 No. 1 (2021): Jurnal Calaccitra Juni 2021
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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Abstract

The local film industry was on the brink of collapse in 2010 to 2011. The quality and theme of the film, which only pursued its sales without regard for the value it contained, is one of the reasons why Indonesia has lost interest in local films. Some observers note that the decline occurred as the saturated audience continues to be fed with the film formulaics. As a result, audiences' trust in the quality of Indonesian films was sparked. Furthermore, the perceived deficiencies from local films are the lack of managerial aspects of production regulated by the producer, as well as the resulting marketing plans. In this regard the writer formulates the problem that will be discussed in writing, which is the concept of production management and marketing design in the fictional film "Cakhra Kala". Through the film "Cakhra Kala" the writers tried to take care of the phenomenon. In spite of that "Cakhra Kala" was present with the time frame concept and time overlap in the Indonesian film industry makes it so interesting. The study aims to create a short film by knowing the steps of production management, the standard cultivation prosedure, and the marketing design that a film producer can make. The method of collecting data related to the management of a film and marketing design is literature and observation by reading books on film and watching films of the genre, mysteries, and horror. Research shows that creating good production management measures for the smooth production of films is by using management theories detailed into four elements of planning, organization, direction, and supervision. Then, when viewed from the marketing side, a film aimed at attracting the audience should be promoted to a segment it aims at, based on the use of promotional theory that has been finely defined into five aspects, including market opportunities, aiming for the spectator rate, using the right market timing, having the appeal of the spectators, and maintaining the quality of production. And film would be marketed through festivals and screenings.
PENERAPAN STRUKTUR DAN HARMON STORY CIRCLE PADA PENULISAN SKENARIO FILM “GETIR” Pande Ayur Sawitar Kumari; I Komang Arba Wirawan; I Nyoman Payuyasa
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 1 No. 2 (2021): Jurnal Calaccitra Agustus 2021
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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Abstract

The film “Getir” tells the story of a Balinese woman who is in an inharmonious marriage due to an extramarital affair. In the process of writing the screenplay, this film applies the story structure of Dan Harmon Story Circle. Dan Harmon Story Circle is an alternative story structure with a characteristic that divides the story into eight stages experienced by the main character. The application of this story structure aims to highlight the changes that occur in the main character. This can be seen from the comparison of conditions at the beginning of the story starting to the end of the story. The scenario preparation process uses a method consisting of the preparation stage and the cultivation stage. The preparation stage starts from determining the idea, theme, story target to the plot. The stages of cultivation are carried out by compiling the premise, synopsis, character profile, writing treatment, to the scenario. In the process of writing the screenplay, the writer uses several theories to develop the scenario. The theories that the author uses are Elizabeth Lutter's Scriptwriting theory, Narrative, Dan Harmon Story Circle structure, and Stage of Grief. “Getir“ film scenario consists of 22 scenes, genre drama with a story duration of 20 minutes, taking the setting of the story in several places such as houses and traditional markets.
PENERAPAN GAYA PENYUTRADARAAN DENGAN PENGUATAN TOKOH MELALUI PENDEKATAN REALISME DALAM FILM SURUH AYU Bimo Prasetyo; I Komang Arba Wirawan; I Ketut Muka
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 2 No. 1 (2022): Jurnal Calaccitra Maret 2022
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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Abstract

Tujuan penelitian dan Merdeka Belajar-Kampus Merdeka ini dibuat untuk menambah pengetahuan untuk masyarakat umumnya, serta menambah pengalaman Penulis khususnya. Film Suruh Ayu diproduksi dengan penerapan gaya penyutradaraan dengan penguatan tokoh melalui pendekatan realisme. Penguatan tokoh merupakan salah satu metode untuk menjadi gaya penyutradaraan sebuah film. Metode penguatan tokoh diharapkan dapat mempermudah sutradara dan pemain agar satu visi dalam peran yang akan dimainkan. Gaya penyutradaraan hadir agar menjadi pembeda antara sutradara satu dengan sutradara yang lain. Teori realisme sering digunakan oleh Sutradara Riri Riza di setiap film yang ia produksi. Proses penguatan tokoh dilakukan dengan metode pelaksanaan deskriptif kualitatif, yaitu menggunakan metode wawancara serta observasi untuk pengumpulan data. Metode Wawancara dilakukan kepada 3 orang narasumber yang bersangkutan terhadap sumber cerita. Metode observasi dilakukan oleh penulis selama 3 bulan terakhir. Semua dirangkum dan dirangkai menjadi cerita utuh. Hasil dari program Merdeka Belajar-Kampus Merdeka adalah film “Suruh Ayu” yang merupakan representasi dari kehidupan sehari-hari tentang kebimbangan seorang anak yang harus menerima lamaran atau perjodohan orang tua, namun anak tersebut sudah hamil terlebih dahulu. Suruh Ayu merupakan sebuah lambang seserahan untuk lamaran yang mempunyai arti keselamatan untuk kedua mempelai. Ketika Suruh Ayu ini berantakan, maka kehidupan calon mempelai pun direpresentasikan berantakan. Film Suruh Ayu merupakan hasil bimbingan dari dunia usaha dunia industri melalui kurikulum Merdeka Belajar-Kampus Merdeka. Film Suruh Ayu merupakan representasi dari hal tersebut. Pesan melalui penelitian serta penulisan ini adalah pernikahan butuh persiapan, baik dari orang yang akan melakukannya atau orang yang bersangkutan. Harapan penulis, film ini dapat didistribusikan dengan baik dan tersampaikan ke masyarakat untuk menjadi pengetahuan, hiburan, dan pembelajaran.
Artistic Arrangement as Semiotics of Criminal Messages in the Film “Marlina Si Pembunuh dalam Empat Babak” Gea Refika Ayu Zellya; I Komang Arba Wirawan; I Dewa Made Darmawan
Journal of Aesthetics, Creativity and Art Management Vol. 1 No. 1 (2022): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (447.587 KB) | DOI: 10.31091/jacam.v1i1.1592

Abstract

The purpose of this study is to determine semiotics in the artistic arrangement of criminal messages in the film “Marlina Si Pembunuh dalam Empat Babak” (Marlina the Murderer in Four Acts). It uses a qualitative descriptive method that describes in detail the problems shown in this study. The analysis technique used is Roland Barthes' semiotic analysis where this theory is divided into two i.e. signifier and signified. The concept used is criminal messages in the elements of artistic arrangement, then the theory is the semiotic theory from Roland Barthes. The messages in the film contains many criminal ones. The film has meanings of signifier and signified in each scene. The criminal messages include robbery, murder, rape, assault, and threats. The meaning of the criminal message in this film describes the mistakes in people's lives today. The film has applied good elements of artistic arrangement, which pays attention to the aesthetics of each shot, so that such a film is able to present messages that are in accordance with the reality in society.
PERAN VMIX OPERATOR PADA LIVE STREAMING MELALUI APLIKASI VMIX I Made Wahyu Permana Putra; I Komang Arba Wirawan; Sri Supriyatini
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 2 No. 2 (2022): Jurnal Calaccitra September 2022
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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Penelitian ini bertujuan untuk mengimplementasikan visual live streamingmelalui aplikasi (software) vmix dan mengetahui penerapan teknis livestreaming sebagai media pembelajaran dan solusi permasalahan yangdilakukan pada produksi live streaming di perusahaan Boom production.Pada era modern saat ini, masyarakat dapat mengakses informasidimanapun dan kapanpun melalui media streaming, media streamingmenjadi salah satu pilihan masyarakat untuk menikmati dan menontonsebuah tayangan baik siaran langsung maupun tidak langsung. Livestreaming merupakan proses pengiriman data secara terus menerusmelalui internet dalam bentuk video untuk menyebarkan informasi bagisiapapun yang membutuhkan. Dan digunakan pada masa kini untukmenyiarkan video streaming yang di rekam melalui kamera serta bergunauntuk mengetahui keadaan secara langsung di suatu tempat. Livestreaming juga menyertakan proses editing dalam proses produksi yangmenggunakan aplikasi (software) seperti Vmix. Metode penelitian inimenggunakan deskriptif dan kualitatif, melakukan observasi terkaitpelaksaan proses kerja apliksi (software) vmix pada live streaming,melakukan wawancara dengan directur utama untuk mendapatkansejarah dan perkembangan perusahaan pada bidang live streaming, dandokumentasi ini bertujan agar membuktikan data yang di hasilkan dalamkegiatan magang/praktik kerja dengan menggunakan alat seeprti kamera.Dalam pelaksanaan proses magang/praktik kerja berupa produksi livestreaming, penulis memperhatikan teknis dan cara pengunaan fitur dalamaplikasi (software) vmix dalam produksi live streaming sehinggamendapatkan hasil visual yang layak di siarkan kepada audience. Hasilselama magang/praktik kerja mayoritas pekerjaan yang diberikan adalahproduksi live streaming pada divisi vmix operator. Sebagai vmix operatortidak hanya mengoperasikan aplikasi (software) melainkan membantu timteknis dari pra-produksi, produksi, sampai pasca produksi. Adapun pesanyang disampaikan dalam penelitian ini, agar mencapai hasil yang maksimalmelalui banyak permasalahan yang sulit sekaligus. Dalam produksi livestreaming memerlukan komunikasi serta kordinasi dengan rekan kerjaantar divisi yang bertujuan untuk kelancaran dan keberhasilan dalamsebuah pekerjaan atau produksi live streaming.
Co-Authors Agustinus Sani Aryanto Anak Agung Bagus Wirawan Aryawaningrat, I Gusti Ayu Agung BAYU PRAMANA, I MADE Bimo Prasetyo Darmawan, I Dewa Made Darmayuda, I Komang Desak Putu Yogi Antari Tirta Yasa Gea Refika Ayu Zellya I Dewa Made Darmawan I Gede Arya Sugiartha I Ketut Muka I Komang Frederich Blessy I Made Wahyu Permana Putra I NYOMAN PAYUYASA . I Wayan Adnyana I Wayan Ardika Irsyad, Muhamad Thomas Ketut Sumerjana, Ketut Muhamad Thomas Irsyad Ni Wayan Ardini, Ni Wayan Pande Ayur Sawitar Kumari Prasetyo, Guntur Eko Raditya Pandet, Putu Robi’atul Yamania G Santosa, Hendra Sri Supriyatini Susanthi, Nyoman Lia Tjahjadi, I Gusti Ngurah Ksatria Pinandhita