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All Journal Imaji: Jurnal Seni dan Pendidikan Seni Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Capture : Jurnal Seni Media Rekam Gelar : Jurnal Seni Budaya IRAMA JURNAL SENI DESAIN DAN PEMBELAJARANNYA
pauhrizi, erik muhammad
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Arts Humanities Education Environmental Science Social Sciences

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Merancang Treatment Film “Sang Seniman” melalui Paradigma Estetika (Aesthesis) Dekolonial pauhrizi, erik muhammad
IRAMA Vol 2, No 1 (2020): February
Publisher : Universitas Pendidikan Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1316.775 KB) | DOI: 10.17509/irama.v2i1.29946

Abstract

Sebagai salah satu produk kebudayaan popular, terdapat potensi gambar bergerak atau film yang bisa dihasilkan dari sebuah konten keberlanjutan sejarah masyarakat sebelum dilakukannya invasi dan kontekstual hidup paska kemerdekaan, dengan membangun pengetahuan dan subjektifitas lokal yang bisa membentuk khasanah estetika sinema lokal Indonesia. Indonesia memiliki beragam tradisi tutur gambar dari 1.128 adat. Namun perkembangan tradisi tersebut terputus akibat panjangnya kolonialisme dan berkembangnya medium-medium visual modern saat ini. Menurut data statistik Pemandangan Umum Industri Film Indonesia 2019 kebergaman konten yang masih diartikan secara sempit yaitu genre, lewat pendekatan narasi sinema mainstream Hollywood. Sinema Negara Ketiga adalah sebuah opsi metode untuk mengadaptasi ekspresi gambar lokal dalam menyampaikan situasi mengenai masyarakat pribumi yang berkembang dari pengalaman kolonialisme paska negara-negara terbentuk. Berdasarkan permasalah tersebut, peneliti merancang sebuah proses berpikir estetika dekolonial, untuk mengekplorasi dan bereksperimentasi ruang berpikir estetika dan bahasa rupa gambar bergerak Indonesia. Metodologi yang digunakan dalam penelitian ini menggunakan pendekatan teori-teori kontekstual paskakolonialisme, eksistensialisme, dan absurdisme dan Teater Absurd nya Samuel Beckett.
Digital Conflict Experimentation: Strategies for Film/Video Art-Making Practise in Educational Fields Pauhrizi, Erik Muhammad; Erika Ernawan; Dedi Warsana; Danendra Alfathadiningrat
Capture : Jurnal Seni Media Rekam Vol. 15 No. 1 (2024)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v15i1.5603

Abstract

This research describes strategies in experimental film studio space, with a subjective creation process approach through the management of personal experiences of digital trauma conflicts of students of the internet user generation. The formulation of this research questions the ability of practical studio space to become a bridge of expression. This research aims to obtain the perspective of the psychological state built from the condition of trauma towards the selection of the visual language. Participatory Action Research (PAR) is conducted by reviewing and analyzing comprehensively so that all data in this study can be accounted for. The results showed that most of the students were able to recognize and manage their conflicts without being burdened by the standards of Blockbuster cinema or High Art to be empowered with creative ideas and works. In the context of self, they are able to increase their confidence as artists or academic filmmakers. This research implies that it can serve as a basis for shaping new knowledge, skills and attitudes towards the emergence of other methods of expression of film or video art creation in the future.   Keywords: education; digital conflict; experimental film; video art; engaged art.
Integrasi Pendekatan Teater dalam Pembelajaran Seni Pemeranan untuk Mahasiswa Film: Studi Kasus pada Metode Stanislavsky dan Games and Exercise Warsana, Dedi; Pauhrizi, Erik Muhammad
Dance and Theatre Review Vol 7, No 2: November 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v7i2.13905

Abstract

Penelitian ini mengkaji penerapan pendekatan teater dalam pembelajaran seni pemeranan untuk mahasiswa film, khususnya dengan mengadopsi metode Stanislavsky dan Augusto Boal. Fokus penelitian adalah pada efektivitas metode memori emosional (emotional memory) dari Stanislavsky dengan pendekatan games and exercise dalam membantu mahasiswa memahami karakter peran mereka, serta bagaimana integrasi latihan teater dan film dapat meningkatkan kualitas performa dalam produksi film. Penelitian ini juga mengeksplorasi pengaruh latihan intensif terhadap kesiapan aktor dan hasil akhir teater dan film, dengan tujuan memberikan kontribusi terhadap pengembangan kurikulum pendidikan film serta model pembelajaran seni pemeranan yang lebih komprehensif dan aplikatif, dengan menekankan pentingnya seni pemeranan sebagai bagian integral dari proses produksi film.
Kota Kata Kita #3: Interpret the City Through the Perspective of the Performing Arts Warsana, Dedi -; Supiarza, Hery -; Pauhrizi, Erik Muhammad; Sarbeni, Irwan
Gelar: Jurnal Seni Budaya Vol. 20 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v20i2.4412

Abstract

This study discusses the Dramaturgy lecture process using a direct acting practice approach in a theater performance project where the city is positioned as object material, then interpreted and articulated by students through the process of creating theatrical performances. The creation process went through collaborative learning from research on cities, script writing, to creation of works, while Dramaturgy is placed as a theoretical approach in theater creation. This research is an effort to provide empirical experience to students in creating teamwork as a basis for film and television work patterns. This study uses a participatory action research method where the author is involved in all actions taken by film and television (FTV) students. This study found that through project: 1) students gain an understanding of dramaturgy as a science of analyzing drama with all kinds of derivatives related to it, 2) it is more effective to gain empirical experience as a real provision when creating film and Television works, 3) students can create works based on real cases. This research is expected to be able to strengthen KBK in FTV study program and become a treasure trove of intellectual property particularly in Universitas Pendidikan Indonesia and generally become a strategy for developing dramaturgy learning for Indonesia Society
The traumatized body and the camera lens: Reading WATI in the context of female cinematography Desyukra, Joyandi; Pauhrizi, Erik Muhammad; Warsana, Dedi
Imaji: Jurnal Seni dan Pendidikan Seni Vol. 23 No. 2 (2025): October
Publisher : FBSB UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21831/imaji.v23i2.89810

Abstract

This study investigates how cinematography, informed by the female gaze, functions as a medium for articulating women's trauma in the context of domestic violence, as exemplified by the short film WATI. The research utilizes a practice-based methodology, positioning the film creation process as the primary data source. The analysis centers on key still photographs, applying a descriptive-reflective approach to examine framing, lighting, blocking, and body gestures. Findings reveal that extended close-ups and asymmetrical framing foreground Wati’s body as a locus of internal experience, while low-key and underlighting accentuate the psychological dimensions of trauma. Restrictive domestic compositions and passive gestures, such as silent submission, subtly communicate resistance. The faint smile in the after-credit scene operates as a mask of trauma, inviting viewers to engage with the character’s internal wounds. Collectively, WATI advances the discourse on the female gaze by rejecting objectification and presenting the female body as a site of tension among wounds, resignation, and defiance.
Co-Authors Danendra Alfathadiningrat Dedi Warsana Desyukra, Joyandi Erika Ernawan Supiarza, Hery - Warsana, Dedi Warsana, Dedi -