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All Journal Judikatif: Jurnal Desain Komunikasi Kreatif Socius: Social Sciences Research Journal
Ferry Agustian Sukarno
Universitas Bunda Mulia
Religion Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Economics, Econometrics & Finance Education Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media

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Cinematographic Composition in Building the Dramatization of Sadness in "Akhir Tak Bahagia” Music Video William Sanjaya; Hendi Thamrin; Inne Chaysalina; Ferry Agustian Sukarno
Judikatif: Jurnal Desain Komunikasi Kreatif Vol. 7 No. 2 (2025): December Issue
Publisher : fakultas Desain Komunikasi Visual

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35134/judikatif.v7i2.272

Abstract

Video is a form of mass media that has characteristics like a film. Music videos are videos that have a short duration as an accompaniment to music or songs. "Akhir Tak Bahagia" is a music video that tells the story of someone who loves the wrong person in her life. " Akhir Tak Bahagia " applied visual compositions in building a dramatization of sadness so that the message of the song's lyrics can be conveyed to the audience. This research discusses the application of visual composition in creating a dramatization of sadness to support the message in the music video "Akhir Tak Bahagia". The research method used is qualitative, while the approach uses a purposive sampling approach. The theory used is the theory of visual composition proposed by Gustavo Mercado. The research was carried out by elaborating the song lyrics, visual composition, and meaning as an emphasis on the dramatization of sadness, which supports the message of the lyrics of the music video song "Akhir Tak Bahagia". From the research conducted, it was concluded that the application of visual composition was in the form of a rule of thirds with empty areas and visual balance that showed scenes of sweet memories from the main character. The scene shows sweet, painful memories. On the other hand, the composition takes the form of a rule of thirds with a narrow area and visual continuity applied to the scene when Misellia sings a song with sadness. By applying this visual composition, the dramatization of sadness is conveyed so that the message of the song lyrics can be conveyed.
The Cultural Machine of Interpretation: Nietzsche, Guattari, And Foucault on The Production of Meaning Ferry Agustian Sukarno; Yohanes Maria Restu Dian Raharjo
Socius: Jurnal Penelitian Ilmu-Ilmu Sosial Vol 4, No 5 (2026): December 2026
Publisher : Penerbit Yayasan Daarul Huda Kruengmane

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5281/zenodo.24027411

Abstract

Human beings are simultaneously the producers and the products of the cultural machine of interpretation they themselves generate. Reading Friedrich Nietzsche, Félix Guattari, and Michel Foucault together yields a single layered model of that machine: interpretation as a drive that is never neutral but always imposes a particular perspective and value, expressed as the will to power; a mechanism through which that drive settles into culture as a machine that produces, reproduces, and standardizes texts, signs, and practices; and a set of discursive and disciplinary conditions, namely discourse, episteme, and biopolitics, through which that machine becomes socially operative. Four basic human potentials, intelligence, creativity, personality, and adaptability, serve as an anthropological starting point: the capacities through which human beings engage the world and are drawn to interpret it. On this basis, culture is better understood not as a finished outcome but as a temporary sedimentation of an unending, circular process: humans interpret the world and produce culture, while the culture thus produced returns, through its discourse and episteme, to shape humans as the subjects who interpret.
Co-Authors Hendi Thamrin Inne Chaysalina William Sanjaya Yohanes Maria Restu Dian Raharjo