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All Journal PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik ProTVF Cinematology Journal Anthology of Film and Television Studies
Pandu Watu Alam
Fakultas Ilmu Komunikasi Universitas Padjadjaran
Arts Languange, Linguistic, Communication & Media Social Sciences

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Semiotic Analysis and Mise En Scene Concept of Ancient Javanese Rituals in the Film BITING (2021) Nisrina Firdaus; Pandu Watu Alam
Cinematology: Journal Anthology of Film and Television Studies Vol 2, No 3 (2022): October
Publisher : Universitas Pendidikan Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17509/ftv-upi.v2i3.53946

Abstract

This article describes the semiotic analysis and the concept of mise en scene of ancient Javanese rituals in the film Biting (lidi). This film is interesting to study because the concept of ancient Javanese rituals is presented as a spectacle that can educate the public about the myths prevailing in ancient Javanese ritual culture. In addition, the concept of the existence of images presented adequately represents the essence of ancient Javanese culture through costumes, make-up, dialogue, settings. Location, artistic, camera position and lighting. This is the aim of research on reading signs and markers as well as the concept of mise en scene. A qualitative method with a semiotic approach and the concept of mise en scene is used in analyzing this film. This study found that all elements of semiotics starting from the meaning of denotation, connotation and myth are clearly visible in every scene. The concept of mise en scene can also be seen clearly depicting the appropriateness of the ancient Javanese rituals in each scene. The implications of this research can be a reference for researchers in analyzing ancient Javanese rituals in particular and other cultural structures in a film.
Intra-Extramusical Resonance of Western Pop Songs on Indonesians in a Communication Perspective Pandu Watu Alam; Riyan Hidayatullah
Cinematology: Journal Anthology of Film and Television Studies Vol 2, No 3 (2022): October
Publisher : Universitas Pendidikan Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17509/ftv-upi.v2i3.55185

Abstract

The song is music with lyrics, one of the aesthetic communication media that can convey one's ideas or thoughts. The message conveyed by a song does not only rely on intramusical factors but also extramusical factors that influence listeners in understanding a piece of work, especially with lyrics in foreign (Western) languages. This research aims to find out how the transmission of Western songs in Indonesia is from a communication perspective? What intra and extra-musical factors do Indonesians absorb in Western songs? What is the form of musical communication of Western songs in the context of Indonesian society? Qualitative methods are used in this study so that the results obtained can be described in the form of narration and illustrative chart images. From the results of the study, listeners to western pop songs in Indonesia initially tended to think that songs in foreign languages (English) were superior and even had a special place in the listeners' hearts. However, along with technological developments and all the conveniences they have, the intra-extramusical resonance of western pop songs is increasingly varied, no longer just following the trend of becoming fans of western pop songs, many Indonesian people also become creators and combine it with Indonesian traditional music or with other cultures. another (fusion). The intra-extramusical factor which is an element of musical communication that occurs in western pop songs in Indonesia seems to have been the reason for how effectively musical communication is used to convey messages, whether it is used in the world of basic education, health therapy, or intercultural communication (west and east). as a place for cultural acculturation. The progress of the times and the role of the media are inseparable from the massive resonance of the spread of western pop songs through digital platforms such as spotify, youtube, and others. So now connoisseurs of we
Diegetic and nondiegetic sounds in film scoring of Pengabdi Setan film Pandu Watu Alam; Rangga Saptya Mohamad Permana; Sri Seti Indriani
ProTVF Vol 7, No 2 (2023): September 2023
Publisher : Universitas Padjadjaran

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24198/ptvf.v7i2.47281

Abstract

Background: This research examines the 2017 film Pengabdi Setan scoring function. Joko Anwar wrote and directed the film Pengabdi Setan, released on September 28, 2017. This film is a remake of a 1980 film of the same name. In this film, the score is essential for visually confirming symbols or incomplete messages. There are two types of sound: diegetic sound and non-diegetic sound. Purpose: This research aims to determine how diegetic and non-diegetic sound were used to create a horror atmosphere in the film Pengabdi Setan. Methods: The authors described the audio analysis results in the form of diegetic and non-diegetic sounds using a qualitative descriptive analysis. Documented assessment and observation were employed as data collection techniques. Results: The results indicate that infrasonic sound (infrasound) and sub-bass frequencies in the form of non-diegetic sounds emotionally impact audiences. The typical frequency is 31 Hz, and although it is inaudible to the human ear, the audience can sense the vibrations of this frequency. This frequency can typically only be perceived as a “chest rumble.” In general, both diegetic and non-diegetic sounds in the film Pengabdi Setan contribute to completing the defective message symbol. The combination of infrasonic sound effects, sub-bass, and musical composition validates the visual messages or symbols. Implications: This research can theoretically serve as a resource for future researchers interested in studying diegetic and non-diegetic sound in film. Directors and cinema sound engineers can use this research to construct diegetic and non-diegetic sound in their films, particularly horror films.
Psikoanalisis Musik terhadap Musik Film Sang Pencerah: Aktualisasi Biografis Tya Subiakto Ardy Aprilian Anwar; Pandu Watu Alam; Azuddin Asri
PROMUSIKA Vol 14, No 1 (2026): April 2026
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v14i1.17364

Abstract

Proses kreatif komposer dalam musik film, khususnya yang berkaitan dengan dimensi psikologis, merupakan ranah yang masih jarang dieksplorasi dalam literatur musikologi. Penelitian ini bertujuan untuk mendekonstruksi proses kreatif Tya Subiakto dalam skor film Sang Pencerah guna mengungkap relasi antara impuls bawah sadar dan keputusan musikal menggunakan perspektif mekanisme pertahanan diri Sigmund Freud. Penelitian ini menerapkan metode studi kasus kualitatif yang mengintegrasikan analisis tekstual musikal, wawancara biografis mendalam, dan studi dokumentasi. Temuan penelitian menunjukkan adanya manifestasi konkret mekanisme pertahanan Freud dalam struktur komposisi, yaitu: (1) Sublimasi yang teridentifikasi pada crescendo orkestra penuh tema 'Mars Muhammadiyah' (00:01:06) sebagai penyaluran obsesi masa kecil; (2) Represi yang termanifestasi dalam pola ritmis string section repetitif (00:02:15–00:03:00) sebagai pengelolaan ketegangan emosional; dan (3) Pemindahan (displacement) yang terbukti melalui adopsi progresi akor 'Child's Anthem' (Toto) pada tema dialog Dahlan-Nyai (01:10:00). Studi ini menyimpulkan bahwa biografi komposer bukan sekadar latar belakang sejarah, melainkan elemen konstitutif yang membentuk narasi musikal film. Kontribusi teoritis penelitian ini menawarkan model analisis interdisipliner yang memperkaya diskursus musikologi Indonesia dengan menjembatani psikoanalisis dan kritik musik film.Actualization of Tya Subiakto's Biography in the Music of Sang Pencerah: An Analysis of Musicological PsychoanalysisAbstractThe composer's creative process in film music, particularly its psychological dimensions, remains underexplored in musicological literature. This research aims to deconstruct Tya Subiakto's creative process in the Sang Pencerah film score to clarify the relationship between subconscious impulses and musical decisions, drawing on Sigmund Freud's perspective on defense mechanisms. This study employs a qualitative case study method, integrating musical textual analysis, in-depth biographical interviews, and documentary study. The findings demonstrate concrete manifestations of Freudian defense mechanisms within the compositional structure: (1) Sublimation, identified in the full orchestral crescendo of the 'Mars Muhammadiyah' theme (00:01:06) as a channel for childhood obsessions; (2) Repression, manifested in repetitive rhythmic patterns of the string section (00:02:15–00:03:00) as a means of processing emotional tension; and (3) Displacement, evidenced by the adoption of the 'Child's Anthem' (Toto) chord progression in the Dahlan-Nyai dialogue theme (01:10:00). This study concludes that a composer's biography serves not merely as historical background but as a constitutive element shaping the film's musical narrative. Theoretically, this research contributes an interdisciplinary analytical model that enriches Indonesian musicological discourse by bridging psychoanalysis and film music criticism.Keywords: Creative process; Film scoring; Freud psychoanalysis; Composer's biography; Tya Subiakto
Co-Authors Ardy Aprilian Anwar Azuddin Asri Nisrina Firdaus Rangga Saptya Mohamad Permana Riyan Hidayatullah Sri Seti Indriani