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All Journal Didaktik : Jurnal Ilmiah PGSD STKIP Subang Jurnal Ilmiah Wahana Pendidikan calaccitra: jurnal film dan televisi Pratyaksa: Jurnal Ilmu Pendidikan, Sosial dan Humaniora
I Wayan Agus Mahardika
Institut Seni Indonesia Bali
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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Estetika Sejarah Desa Jimbaran Dalam Sajian Film Eksperimental Mahardika, I Wayan Agus; Suardina, I Nyoman; Udayana3, Anak Agung Gde Bagus
Jurnal Ilmiah Wahana Pendidikan Vol 9 No 22 (2023): Jurnal Ilmiah Wahana Pendidikan
Publisher : Peneliti.net

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5281/zenodo.10118160

Abstract

The story of Sri Dalem Batu Putih and Sri Dalem Batu Ireng told the history of the formation of Jimbaran Village. This story was presented in the form of an experimental film. The purpose of making this film was to introduce a new nuanced film by bringing elements of local culture and history of an area to the public. This work used the concept of an experimental film so that it could stimulate the minds of the audience and easily understand the flow and meaning conveyed from the historical film of Jimbaran Village. It used experimental theory from Himawan Prasista. The production used the method of pre-production, production and post-production creation. The film was supported by videographic composition techniques, two-dimensional animation, conventional shooting with cameras and aerial shots (shooting with drones). The visual presentation is also supported by the selection of gold and green as the dominant colors in the animation section. The gold color symbolized the wiser character, while the green color symbolized grandeur and prosperity that balanced emotions and tranquility which contained in the historical story of Jimbaran Village
Filosofi Arca di Pura Sarin Bwana dalam Film Eksperimental: Kisah Perjalanan Sri Dalem Batu Putih dan Sri Dalem Batu Ireng di Desa Jimbaran I Wayan Agus Mahardika
Pratyaksa: Jurnal Ilmu Pendidikan, Sosial dan Humaniora Vol. 1 No. 1 (2025): Januari
Publisher : Samsara Institute Publisher

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Abstract

In this research, we studied the statues at the Sarin Bwana Temple, Jimbaran Traditional Village. This statue has a strong appeal in terms of aesthetics and magical/religious cultural value orientation. The main problem is that the shape of the remaining statue is unclear and requires more detailed analysis. The aim of this research is to (1) analyze the aesthetic aspects of the Sarin Bwana Temple statue and (2) identify the harmony of magical and religious cultural values ​​in the statue. The method used in this research is a qualitative descriptive method based on djelantik aesthetic theory and functionalist theory. The research results show that the statues at Sarin Bwana Temple are rich in aesthetic symbolism and have shapes that reflect deep religious and magical values. The presence of the statue is not just a work of art, but also a means of preserving and realizing the cultural beliefs of the local community. This study provides a deeper understanding of the relationship between aesthetics, religious function, and cultural values ​​contained in these statues.
ANALISIS TEORI NUSANTARA PADA FILM “PETAK IRENG” SEJARAH DESA JIMBARAN DAN PURA ULUNSWI I Wayan Agus Mahardika
Didaktik : Jurnal Ilmiah PGSD STKIP Subang Vol. 11 No. 01 (2025): Volume 11 No. 01 Maret 2025 In Proccess
Publisher : STKIP Subang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36989/didaktik.v11i01.5710

Abstract

Penelitian ini bertujuan untuk memberikan suatu informasi dan pengetahuan tentang sejarah desa Jimbaran dan Pura Ulunswi. Cerita ini memiliki pesan moral yang berguna bagi masyarakat baik itu anak – anak maupun orang dewasa di wilayah desa Jimbaran pada khususnya dan Bali pada umumnya. Didalam menganalisis artikel ini menggunakan teori mukti trilila, Asta Sara Widya Lango dan panca sastra kawia secara selektif. mukti trilila membahas tentang arsaning pengarsa (Minat Penggemar), Asta Sara Widya Lango Meliputi Sara Suksma (Intisari) dan pada panca sastra kawia membahas tentang murda kata (tema / judul), Mula Carita (Permulaan Cerita), Reka Kanda (Alur), Jatma Murti (Penokohan) dan Widya Laya (Setting). Didalam arsaning pengarsa terdapat minat penggemar yang menjadi sasaran dalam pembuatan film ini, Sara Suksma meliputi intisari nilai yang terkandung di dalam film i, murda kata membahas tentang pemilihan tema atau judul didalam film, mula carita merupakan permulaan cerita yang menjadi dasar dalam pembuatan filmi, reka kanda membahas mengenai alur yang terdapat didalam film, jatma murti meliputi tokoh atau penokohan didalam filmi, dan widya laya meliputi setting pada film.
SINEMATOGRAFI DALAM PENYAMPAIAN EMOSI NON-VERBAL PADA FILM TAK KEMBALI LAGI I Gusti Agung Deta Nanda Nugraha; I Made Denny Chrisna Putra; I Wayan Agus Mahardika
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 6 No. 1 (2026): Jurnal Calaccitra Juli 2026
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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Abstract

The short film Tak Kembali Lagi is a fictional drama-romance work that explores the dynamics of a relationship breakdown through a non-verbal emotional approach. This work is based on the idea that conflicts in relationships do not always emerge through explicit verbal confrontation, but rather develop gradually through silence, emotional distance, and routines that lose their meaning. Therefore, cinematography is positioned as the primary visual language in conveying the characters’ inner states and relational dynamics. This article examines the creative process of Tak Kembali Lagi with a focus on the role of the Director of Photography (DOP) in designing and implementing visual aesthetics that support emotional storytelling. A realist approach is employed as the aesthetic foundation through the application of cinematographic techniques such as long takes, natural lighting, negative space composition, and frame-in-frame. The creation method consists of concept exploration, pre-production, production, and post-production stages. The results indicate that cinematography plays a significant role in communicating non-verbal emotions and enhancing the audience’s emotional experience without reliance on dialogue.
Co-Authors Anak Agung Gde Bagus Udayana I Gusti Agung Deta Nanda Nugraha I Made Denny Chrisna Putra I Nyoman, suardina