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All Journal Journal of Urban Society´s Arts Batoboh : Jurnal Pengabdian Pada Masyarakat Indonesian Journal of Medicine Capture : Jurnal Seni Media Rekam Jurnal Abdidas Jurnal IMAJI Sense : Journal of Film and Television Studies Offscreen: film and television journal Ezra Science Bulletin Cinelook: Journal of Film, Television, and New Media
Hery Sasongko
Institut Seni Indonesia Padang Panjang
Arts Humanities Computer Science & IT Education Health Professions Languange, Linguistic, Communication & Media Mathematics Medicine & Pharmacology Public Health Social Sciences Other

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Penciptaan Seni Film Eksperimental “Sweet Rahwana” Sasongko, Hery
Journal of Urban Societys Arts Vol 13, No 1 (2013): April 2013
Publisher : Institut Seni Indonesia Yogyakarta

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Abstract

Akhir-akhir ini bioskop di Indonesia memutar film-film horor. Genre film yangmuncul di Indonesia sejak tahun 1941 melalui Film Tengkorak Hidoep ini jugadiminati banyak penikmat film tanah air. Sebut saja film Sundel Bolong dan NyiBlorong yang menggondol Piala Antemas FFI (Festival Film Indonesia) untuk FilmTerlaris 1982-1983. Film-film horor juga terus mampu meraup jumlah penontonyang besar dikarenakan bumbu adegan seks yang banyak ada di film-film hororIndonesia. Jika kembali mengaca pada sejarah termasuk sejarah perfilman Indonesia,penulis percaya akan ada titik jenuh. Penonton akan bosan dan kembali menjauhibioskop dengan film Indonesia. Kondisi ini pernah terjadi hanya sesaat sebelumdunia film Indonesia mati suri. Wayang bisa menjadi sumber inspirasi untukmengatasi kejenuhan tema film di Indonesia. Wayang adalah legenda yang tidakbisa dipisahkan dari cerita para tokoh tokohnya, salah satunya adalah karakter tokohRahwana yang selalu berwatak jahat. Unsur-unsur yang terdapat dalam karakterRahwana menjadi inspirasi untuk membuat karya film eksperimental agar menjadikarya dan tontonan alternatif bagi generasi muda Indonesia sehingga bisa menambahwawasan yang lebih luas. Dengan cara mengeksplorasi visual serta metode editingdengan teknik yang baru dan bermutu dapat menjadikan film eksperimental yangberkualitas untuk ditonton. “Sweet Ravana” an Experimental Film Art. Recently, cinemas in Indonesia play scarymovies. Scary movies have appeared in Indonesia since 1941 through a film entitled“Tengkorak Hidoep”. Many people got attracted with it. “Sundel Bolong” and “NyiBlorong” movies got achievement on Anthemas Cup FFI (Indonesian Film Festival)award for a best-selling movies category in 1982-1983. Scary movies have been succsesfullto get a lot of audiences because of many sex scenes in the Indonesian scary movies. Thewriter believes there will be a saturation point against its. The audience will be boredand keep away from Indonesian movie theaters. These conditions had occurred beforethe Indonesian cinemas collapsed. Puppet will be inspiration to heal the boredom inIndonesian movie themes. Puppet is a legend that cannot be separated from the charactersof the story. One of the puppet characters is Rahwana. He is always symbolized as a badcharacter. The elements contained in the character of Rahwana were the inspiration tomake an experimental film which can be the alternative movies for the Indonesian youngpeople, so they can have greater insight. Exploring visual and editing methods by using anew and good technique can make a good quality of experimental film.
The Effects of Combination of Range Motion and Deep Breathing Exercise on Pain in Post-Orthopedic Surgery Patients Sasongko, Hery; Sukartini, Tintin; Wahyuni, Erna Dwi; Putra, Made Mahaguna
Indonesian Journal of Medicine Vol 4, No 1 (2019)
Publisher : Masters Program in Public Health, Universitas Sebelas Maret, Indonesia

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Abstract

Background: Broken bones can cause soft tissue edema, bleeding in the muscles and joints, tendon rupture, damage to nerve tissue and damage to the vasculer and surgery are ways that are carried out to restore the movement function of extremitas and the impact that occurs due to these actions is pain. Acute pain is still found in postoperative non-pathological fracture patients who have received analgesic ketorolac.Subjects and Method: This was a quasy experiment study conducted at Dr. Soetomo Hospital, Surabaya, East Java. A sample of 46 patients post orthopedic surgery was selected for study by purposive sampling. The dependent variable was pain. The independent variables were range of motion and deep breathing exercises. Pain was measured by visual analog scale (VAS). The data were analyzed by t-test.Results: After treatment, pain level in the inter­vention group (mean = 2.43; SD = 1.41) was lower than the control group (mean= 3.48; SD= 1.38) with p= 0.014.Discussion: Combination of range of motion and deep breathing relaxation therapy effective to reduce pain among post orthopedic surgery patients.Correspondence: Hery Sasongko. Masters Program in Nursing, Universitas Airlangga. Email: herysasongko.ners­@gmail.com.Indonesian Journal of Medicine (2019), 4(1): 46-53https://doi.org/10.26911/theijmed.2019.04.01.08
Pelatihan Randai, Tata Rias Wajah dan Pembuatan Video Profil pada Program Nagari Binaan Firdaus Firdaus; Oktavianus Oktavianus; Hery Sasongko; FX Yatno Karyadi
Jurnal Abdidas Vol. 3 No. 1 (2022): February, Pages 1-227
Publisher : Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/abdidas.v3i1.547

Abstract

Masyarakat nagari Sumpur Kudus, Kabupaten Sijunjung memiliki sumber daya manusia, budaya dan sumber daya alam untuk pengembangan kemajuan ekonomi. Program nagari binaan berupaya mendorong pemberdayaan masyarakat melalui kegiatan pelatihan tari randai, tata rias dan pembuatan video profil. Metode yang dilakukan terdiri dari observasi, interview dan studi dokumen. Hasil yang diperoleh berupa peningkatan kemampuan menari, keterampilan merias wajah dan tersedianya materi publikasi tentang potensi nagari. Kesimpulannya bahwa pelatihan yang dilakukan menjadikan masyarakat terlatih dan terampil dalam mengembangkan karakter kelokalan dalam usahanya memajukan nagari.
PENCIPTAAN SKENARIO FILM FIKSI PEREMPUAN BERSTEMPEL MERAH DENGAN FORMULA EIGHT SEQUENCE STRUCUTRE Elin Siska Dayani; Hery Sasongko; Edi Suisno
Offscreen Vol 1, No 1 (2021): offscreen film and television journal (July-December 2021)
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (342.56 KB) | DOI: 10.26887/os.v1i1.2186

Abstract

 ABSTRAK Skenario Film Fiksi Perempuan Berstempel Merah yang bergenre drama sosial merupakan skenario dengan menggunakan formula eight sequence structure. Eight Sequence Structure adalah pola pengembangan yang memiliki delapan tahapan kerja dalam mencapai akhir dari skenario. Perempuan Berstempel Merah menceritakan tentang seorang perempuan yang berjuang untuk demi mengharapkan tempat pulang dan mencari perlindungan dari takdir buruk yang ia alami. Kekerasan seksual yang terjadi mengakibatkan dampak buruk kepada korbannya, untuk melindungi korban dan demi mengatasi hal buruk tersebut, maka hadirlah skenario ini. Skenario ini bertujuan memperlihatkan dua puncak permasalahan yang dihadapi oleh pemeran utama dalam menghadapi masalahnya. Selain itu dengan menggunakan eight sequence structure skenario memiliki pengembangan yang baik agar lebih tersusun, dan detail sehingga memudahkan menciptakan skenario dan memudahkan pembaca dalam memahami cerita. Skenario ini menggunakan metode penciptaan dari persiapan, elaborasi, sintesis, realisasi hingga penyelesaian.Skenario Perempuan Berstempel Merah bertemakan kekerasan seksual yang terdiri dari 52 scene penceritaan dan menggunakan eight sequence structure dalam tahap penceritaan. Ke delapan sequence tersebut adalah sequence 1 pengenalan tokoh hingga point of attack (scene 7), sequence 2 membangun permasalahan tokoh (scene 8-14), sequence 3 adalah penyelesaian permasalahan tokoh yang membuat masalah lebih besar (scene 15-17), sequence 4 puncak titik pertama (scene 18-30), sequence 5 adalah bagian-bagian tenang dalam skenario dan diperkenalkan tokoh baru (scene 31- 38), sequence 6 merupakan puncak titik ke dua dalam skenario (scene 39-42), sequence 7 ketika permasalahan tak terduga terlihat dan membuat karakter memaksa untuk berbalik dari tujuan utamanya (scene 43-51), sequence terakhir yaitu sequence 8, adalah akhir dari permasalahan dan mencapai titik dimana baik atau buruknya cerita telah terselesaikan, di sequence ini akan diperlihatkan epilog (scene 52).  Kata Kunci : Skenario, Perempuan Berstempel Merah, Eight Sequence Structure, SequenceABSTRACTPerempuan Berstempel Merah is scenario with genre social drama which is using eight sequence structure as the main structure. Eight Sequence Structure is a development formula that has eight stages of work in reaching the end of the scenario. Perempuan Berstempel Merah tells the story about a broken woman who struggles to hope for place to return seek refuge from the bad fate she is experiencing. The sexual harassment has a bad impact on the victim, to protect the victim and to overcome this bad thing, creator made this screenplay. This scenario aims to show two peaks of problems faced by the main characters in dealing with their problems. In addition, by using an eight sequence structure, the scenario has a good development so that it is more structured and detailed, making it easier to create scenarios and make it easier for readers to understand the story. This scenario uses the method of creation from preparation, elaboration, synthesis, realization to completion.The Scenario of Perempuan Berstempel Merah with the theme of sexual harassment have 52 narrative scenes and uses eight sequence structures for main structure. The eight sequences are sequence 1 character introduction to the point of attack (scene 7), sequence 2 builds character problems (scene 8-14), sequence 3 is solving character problems that create bigger problems (scene 15-17), sequence 4 is first culmination (scene 18-30), sequence 5 is the quiet part in the scenario and new characters are introduced (scene 31-38), sequence 6 is second culmination in the scenario (scene 39-42), sequence 7 when the problem is unexpected looks and makes the character force to turn away from his main goal (scene 43-51), the last sequence, sequence 8, is the end of the problem and reaches a point where the good or bad story has been resolved, in this sequence an epilogue will be shown (scene 52) .Keywords : Scenario, Perempuan Berstempel Merah, Eight Sequence Strucutre, Sequence
Sosialisasi Profesi Bidang Penyiaran Televisi untuk Pengayaan Proyeksi Cita-cita bagi Siswa Sekolah Dasar FX Yatno Karyadi; Muhammad Arief; Hery Sasongko
Jurnal Abdidas Vol. 3 No. 6 (2022): December Pages 944 - 1124
Publisher : Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/abdidas.v3i6.729

Abstract

Profesi bidang penyiaran televisi termasuk salah satu profesi masa depan yang selalu berkembang dan memerlukan tenaga profesional. Kegiatan sosialisasi ini bertujuan memberikan pengetahuan tentang profesi bidang penyiaran televisi. Bentuk sosialisasi dilakukan dengan cara mengenalkan profesi-profesi utama yang dibutuhkan untuk terselenggaranya penyiaran televisi. Metode yang digunakan berupa ceramah, demonstrasi dan simulasi. Hasil kegiatan menunjukkan bahwa antusiasme peserta mampu menguatkan pengetahuan dan dapat menjadi gambaran cita-cita para siswa, selain profesi-profesi populer yang sebelumnya telah diketahui.
Eksplorasi Constructive Editing pada Film Batapatih Fella Ridalva; Hery Sasongko; Muhamad Arief
Cinelook: Journal of Film, Television, and New Media Vol 1, No 01 (2023): Cinelook: Journal of Film, Television, and New Media
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cl.v1i01.3420

Abstract

The creation of this Final Project entitled "Ekplorasi Constructive Editing pada Film Batapatih " is a form of accountability for the achievement of an audio visual that applies the concept of Constructive Editing, how is the placement of two shots that have no relationship but produce new meanings and give the impression that the audience not only believes but also feel the atmosphere. This means that when watching a film, the audience doesn't just stop at just getting information, but also builds up emotional aspects. The object of the creation of this Batapatih film is a child who lacks the warmth and love of his family so when he is at home the child receives warmth and affection from the people he meets. This becomes a phenomenon of how an environment can affect the character of a child. Through this work, it provides a spectacle that can build people's way of thinking in forming character towards children.
RITME EDITING UNTUK MEMPERKUAT DRAMATIK Pitaloka, Canda; Sasongko, Hery; Andela, Jhori
Offscreen Vol 3, No 1 (2024): Offscreen: Journal Of Film and Television (January-June 2024)
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/os.v3i1.4378

Abstract

The fictional film Katresnan is a family drama genre film, this film is based on the phenomenon of a family between parents, children and in-laws which causes the child to be depressedover two choices. This fictional film tells the story of a girl named Hayatri who has just married and asks her parents for permission to move house with her husband. However, it was not the blessing that Hayatri received, but a threat fiven by his parents to Hayatri to cancel his plans to move due to the weton problem which did not match the placement of he house. The concept applied is editing rhythm to strengthen the drama of the main character in dealing with conflict. The result of the application of rhythm editing in the fictional film Katresnan are slow rhythm and fast rhythm. Slow rhythm are applied to scene that build the sad and sad atmosphere of the main character which aims to provide dramatic pressure. Fast rhythms are applied when to strengthen emitions, be sensitive and increase the tension in the scene. The rhythm is presented throught shot duration and shot selection. Slow editing rhythm will use fewer cuts moving shots, while fast editing rhythms will use a larger number of shots.
Entitas Budaya Minangkabau dan Kearifan Lokal dalam Film Dokumenter Transformasi Bentuk Wayang Kulit Sawahlunto Sasongko, Hery; Fitri, Diniya; Putra, Gilang Febriano
Sense: Journal of Film and Television Studies Vol 7, No 2 (2024)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/sense.v7i2.13835

Abstract

The production of the documentary film Transformation of the Sawahlunto shadow puppet form aims to be a reference material both for learning and awareness and in archive form as well as presenting an entertaining and educational presentation. The creation method applies stages and procedures in the television program production process consisting of Development, preproduction, production, post production. Arranged in a logical order, from simple to increasingly complex, from light to heavy. Also think about refreshing elements to make the film interesting. This film tells the story of the existence of Sawahlunto shadow puppets whose characters and forms are inspired by the historical story of coal mining and all the life that accompanies it due to the fact that workers were brought in from outside the area, thus indirectly fostering a new culture in Sawahlunto. However, this does not necessarily eliminate local culture, they go hand in hand which in the end actually becomes a strength. Philosophically, the story is expressed in the characters and forms of the Sawalunto shadow puppets. It is very important to prepare the production of a mature documentary film in the pre-production stage, during research it is best to approach the environment that will be used as the production location first. One thing that must be remembered is that when conducting research and selecting sources, it must be based on track records with the aim of getting a lot of accurate information to further strengthen the content of the story that will be built in the documentary film. 
GADANG HOUSE IN DOCUMENTARY FILM OF THE ADAT NAGARI SIJUNJUNG DISTRICT Fahriansyah, Elfit; Sasongko, Hery; Krishna, Adi
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 | Full PDF (1215.019 KB) | DOI: 10.33153/capture.v10i1.2244

Abstract

This documentary film entitled Perkampungan Adat Nagari Sijunjung (Traditional Village of Nagari Sijunjung) is trying to show the reality about the condition of the gadang house nowadays. This film was created with an expository documentary style, which uses the narrator as a single speaker. This documentary film describes one area that still maintains ‘gadang’ houses like their original functions, namely daily and customary functions. The daily function of the ‘gadang’ house is as a place to accommodate the daily activities of its inhabitants, as is usually the case with residential houses. While the traditional function of the ‘gadang’ house is the main house owned by a family belonging to a certain tribe. As the main house, the ‘gadang’ house is a place for traditional ceremonies and other importantevents from a large family of homeowners or fellow brothers of the same tribe. 
CONSTRUCTIVE EDITING UNTUK MEMBANGUN EMOSI PADA FILM MALAM PANJANG PENDOSA AMATIR Caniago, Defri Karizal; Sasongko, Hery
EZRA SCIENCE BULLETIN Vol. 3 No. 1 (2025): January-June 2025
Publisher : Kirana Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58526/ezrasciencebulletin.v3i1.254

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Film fiksi Malam Panjang Pendosa Amatir menggunakan penyuntingan Constructive Editing untuk membangun Emosi. Constructive Editing ini menempatkan dan menjuktaposisikan visual yang tidak selalu terhubung namun memiliki tema yang sama untuk menciptakan respons emosional tertentu pada penonton. Penulis menggunakan metode penciptaan yang melibatkan tahapan pra-produksi, produksi, dan pasca-produksi. Cerita film fiksi Malam Panjang Pendosa Amatir terfokus pada karakter Nala dan Arka, dua mahasiswa yang baru saja merantau ke ibu kota untuk menjalani kehidupan yang lebih bebas. Konflik muncul ketika Nala merekayasa cerita tentang kondisi Arka yang jatuh sakit dan tidak sadarkan diri setelah mereka melakukan hubungan. Hasil dari penggarapan karya film fiksi Malam Panjang Pendosa Amatir menggunakan Konsep Constructive Editing ini bertujuan untuk meningkatkan emosional penonton melalui visual yang di rangkai dari tiap tiap shot. Simpulan dari karya film fiksi ini dengan pendekatan Constructive Editing sehingga, emosi yang ada dalam film, dapat di capai melalui visual yang di hadirkan.
Co-Authors Andela, Jhori Caniago, Defri Karizal Edi Suisno Edy Suisno Elin Siska Dayani Fahriansyah, Elfit Febriano, Gilang Fella Ridalva Firdaus Firdaus Fitri, Diniya Fitri, Dynia FRANSISKUS XAVERIUS YATNO KARYADI Krishna, Adi Made Mahaguna Putra Muhamad Arief Muhammad Arief Oktavianus Oktavianus Persada, Taruna Satria Pitaloka, Canda Putra, Gilang Febriano Rosta Minawati Septian, Farell Siti Maisyarah Syahputra, Andri Tintin Sukartini Sukartini, Tintin Sukartini Usrah, jaisyul - Wahyuni, Erna Dwi