Article Per Year (5 Year)
p-Index From 2021 - 2026
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This Author published in this journals
All Journal Journal of Animation & Games Studies Texture : Art and Culture Journal Sense : Journal of Film and Television Studies
Kus Sudarsono
Universitas Multimedia Nusantara
Arts Humanities Computer Science & IT Education Languange, Linguistic, Communication & Media Social Sciences Other

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Profil Penulis Perjalanan Bisnis Hak Cipta Hiburan dalam Konteks Perkembangan Hak Cipta Hiburan pada Kegiatan Hatch Kus Sudarsono
Texture:Art and Culture Journal Vol 5, No 1 (2022)
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (772.16 KB) | DOI: 10.33153/texture.v5i1.4405

Abstract

The journey of an entertainment IP may differ widely amongst IPs. However, there is a pattern that can be deducted from their journey. The journey starts from ideation and prototyping to licensing and partnership. The journey of an entertainment IP takes on multiple disciplines such as arts, marketing, business, public relation,  partnership,  and  many  more  disciplines.  Each  stage  provides  its  challenges  to  continue  the journey. Further, each stage must be mastered and well-designed by the IP owner. The stages are Value Propositions, Business Model Generation, Media selection and IP Protection, Monetizing and expanding media, Collaboration and Market expansion, Partnership, and Licensing. Hatch is a mentorship event for new content creator to expand their IP, conducted by Katapel.id.
Dukut Hendronoto: Animator Pertama Indonesia Rista Ihwanny; Kus Sudarsono; Annita Annita
Journal of Animation and Games Studies Vol 9, No 2 (2023): Oktober 2023
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jags.v9i2.8112

Abstract

Along with the massive development of technology, the artworks in the form of animation are increasingly produced. Indonesia is responding to the massive development of the animation industry with producing animation artworks such as advertisements, TV series, and also movies. This burgeoning industry is also supported by the increasing number of educational institutions that offer to teach animation production. This progress is unfortunately not accompanied by the emergence of researches related to the history of animation development in Indonesia. This study aims to introduce Pak Ooq (Dukut Hendronoto), Indonesia’s first animator. Very few have researched the history of Indonesian animation, especially the role of Pak Ooq in the development of Indonesian animation. By interviewing people closest to Pak Ooq, this research tries to explore his life and his works. This research certainly tries to pave the way for more researches to be carried out on the history of Indonesian animation and the important figures who contributed to its development.
VARIABILITAS REGIONAL DALAM KONSUMSI FILM DI INDONESIA: TINJAUAN KINERJA FILM “PASUTRI GAJE” Kus Sudarsono; Edelin Sari Wangsa
Sense: Journal of Film and Television Studies Vol 9, No 1 (2026)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/sense.v9i1.19717

Abstract

Penelitian ini bertujuan menawarkan pendekatan alternatif untuk memahami audiens film secara geografis di Indonesia dengan melampaui keterbatasan data box office agregat. Metode penelitian menggunakan data web-crawling atas performa harian film yang kemudian dirujuksilangkan dengan data demografis. Analisis didasarkan pada data empiris 166.874 penonton di 51 kota, 178 bioskop, dan 29 hari penayangan teatrikal (7 Februari–6 Maret 2024). Hasil penelitian menunjukkan adanya ketimpangan regional yang signifikan dalam keterlibatan penonton, tingkat okupansi, dan penetrasi pasar. Pulau Jawa mendominasi 75,3% total penonton meskipun hanya merepresentasikan 49% kota yang diamati, sedangkan Maluku dan Papua hanya menyumbang 0,9% audiens. Wilayah metropolitan Jabodetabek sendiri mencakup 48,2% penonton nasional, menandakan konsentrasi geografis yang sangat tinggi. Tingkat okupansi juga bervariasi, dari 34,5% di Maluku dan Papua hingga 64,3% di Kalimantan, yang mengindikasikan perbedaan kematangan pasar dan kapasitas infrastruktur. Secara temporal, 87,4% pendapatan diperoleh dalam dua minggu pertama penayangan. Penelitian ini merekomendasikan agar pemasar film dan distributor menyusun strategi promosi yang lebih terarah secara regional, sementara studi lanjutan dapat mengembangkan pendekatan ini untuk riset audiens film yang lebih komprehensif.
Co-Authors Annita Annita Edelin Sari Wangsa Rista Ihwanny