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All Journal Rekam : Jurnal, Fotografi, Televisi Animasi Tanra : Jurnal Desain Komunikasi Visual Fakultas Seni dan Desain Universitas Negeri Makassar Jurnal Pengabdian Kepada Masyarakat (Indonesian Journal of Community Engagement) ProTVF Texture : Art and Culture Journal Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Capture : Jurnal Seni Media Rekam Jurnal Rupa International Journal of Visual and Performing Arts Widya Komunika: Jurnal Komunikasi Pendidikan Narada : Jurnal Desain dan Seni Jurnal Pengabdian Seni Jurnal Abdimas Komunikasi dan Bahasa Prosiding Konferensi Nasional PKM-CSR Sense : Journal of Film and Television Studies Jurnal Visual Ideas eProceedings of Art & Design Pengabdian Seni

Dyah Ayu Wiwid Sintowoko

Telkom University

Author-ID : 971169

Arts Humanities Control & Systems Engineering Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Library & Information Science Nursing Public Health Social Sciences Other

Published : 83 Documents Claim Missing Document

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Kostum Dalam Membangun Karakter Tokoh Pada Film Soekarno Sintowoko, Dyah Ayu Wiwid; Sugihartono, Ranang Agung
Capture : Jurnal Seni Media Rekam Vol. 6 No. 1 (2014)
Publisher : Seni Media Rekam ISI Surakarta

This study discusses the procedures of costumes and characters in the Sukarnofilm. This qualitative descriptive research apply the Sukarno film as source of data. Thecollection of data by purposive sampling, with the method of observation, interviews,and literature. Data were analyzed through data reduction, data display, drawingconclusions and verification process. The results showed that the costumes portraythe characterization of the characters. Costume adjusted with basic clothing, headclothing, body clothing, legs underwear, and accessories are known for costume parts.Each character has a unique costume and a differentiator from other figures. Costumealso build characterization of actors according to the physiological dimension (neatness,cleanliness, beauty, beauty, valor, charm, charisma, and authority). Sociological dimensionsindicate socioeconomic class, role in the family / community, ideology, ancestry, levelof education, religion, ethnicity / race, and interaction between the actors. While thepsychological dimensions adapted to the atmosphere and scene. Color and layoutcostume describing feelings, honesty, sincerity, emotion, desire, desire, passion, inneraction, as well as the vision of each character in the film.Keywords: costume, characterization, actor, film, and Soekarno

Sunda Borangan dalam Karya Video Art Ramadhan, Muhammad Rizky; Sintowoko, Dyah Ayu Wiwid; Zen, Adrian Permana
Sense: Journal of Film and Television Studies Vol 7, No 1 (2024)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/sense.v7i1.12405

Borangan merupakan istilah Sunda yang berarti penakut. Borangan adalah gambaran dari sifat manusia yang kerap menghantui pikiran manusia dimana konsep Borangan ini menjadi dasar penciptaan film ekperimental. Penelitian ini bertujuan untuk memvisualisasikan bagaimana sifat Borangan kepada khalayak melalui medium video art. Rumusan masalahnya adalah bagaimana proses penciptaan Borangan dengan menggunakan medium Video Art. Adapun metode yang digunakan adalah practice-based study. Hasil penelitian tidak terlepas dari dua hal, yaitu : (1) Borangan sebagai budaya Sunda secara konseptual diciptakan sebagai sebuah refleksi diri orang Sunda dalam melawan rasa takut, sehingga penciptaan karya dalam penelitian ini dilakukan berbasis tiga babak permasalahan, pemecahan, dan penyadaran; dan (2) medium Video Art menekankan pada eksplorasi pengkarya tanpa harus mementingkan sisi komersialisasi. Oleh sebab itu, berbeda dengan medium film yang kental akan penekanan formalis film teori, video art pada karya Borangan lebih menggambarkan aspek kejujuran dan kesan apa adanya yang ditampilkan secara visual.

Designing play mats as a tool for gross motor stimulation for early childhood using design thinking Rahman, Yanuar; Sintowoko, Dyah Ayu Wiwid
International Journal of Visual and Performing Arts Vol 6, No 2 (2024)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v6i2.1660

The development of gross motor skills in early childhood is an important aspect of their initial growth stage. However, in the process of guidance, parents often face difficulties and limitations in stimulating their child's motor skills due to the lack of effective and adaptive play equipment. This research aims to address that gap by designing a practical play mat that can assist parents or institutions in supporting and stimulating the gross motor skills of early childhood children through design thinking steps. Qualitative research methods with a practice-based design approach were applied to develop a play tool that not only stimulates children's gross motor skills through movement but also supports social interaction and collaboration. The research results show that this tool facilitates parents and institutions in meeting children's gross motor development needs more effectively. These findings contribute in the form of practical and functional play mats, based on user-centered design, which can be applied in early childhood education institutions and family communities.

PRACTICAL LEARNING: ANALISIS VISUAL PADA KARYA ANAK-ANAK Sintowoko, Dyah Ayu Wiwid; Zen, Adrian Permana; Febrian, Yusep
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 13 No. 1 (2021)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v13i1.3624

Seni adalah salah satu media yang dapatmemicukreativitas dan imajinasi anak-anak. Penelitian ini mencoba untuk mengetahui bagaimana kecenderungan daya imajinasianak-anak diantara usia lima hingga delapan tahun dalam kreativitas menggambar dan mewarnai. Rumusan masalah penelitian ini adalah: (1) Apa dominasi karakter objek yang dilukis oleh anak-anak di Yayasan Siti Hajar Amali, Bandung, Jawa Barat? (2) Bagaimana representasi dominasi warna lukisan anak-anak di Yayasan Siti Hajar Amali, Bandung, Jawa Barat? Metode yang digunakan adalah kualitatif deskriptif dengan model practical learning terhadap anak-anak di Yayasan Siti Hajar, Bandung Jawa Barat. Hasil penelitian menunjukkan bahwa dari kesembilan objek penelitian didapatkan dua kategori visual analisis sesuaidenganimajinasimandirianak-anaktersebut. Dua kategori visual tersebut adalah arsitektur dan fauna dengan representasi kecenderungan warna sekunder. Warna pada gambar yang dibuat oleh anak-anak Yayasan Siti Hajar Amali dominan lebih banyak menggunakan warna sekunder. Warna ini seolah merepresentasikan adanya keinginan untuk berkembang dan mandiri sekaligus adanya control emosi yang cukup pada anak-anak di Yayasan Siti Hajar Amali, Bandung. Hal ini ditunjukkan melalui kecenderungan atau dominasi warna sekunder dalam karya-karya mereka. Dimana warna-warna sekunder ini dimaknai sebagai warna yang bersifat positif dan energik

Industri Film: Pemetaan Strategi Percepatan Ekonomi Kreatif Nasional Menuju Indonesia Maju 2040 Sintowoko, Dyah Ayu Wiwid
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 15 No. 1 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v15i1.4989

The focus on the Indonesian film industry's progress is just a mare centered on financial assistance for film appreciation and preparation for film production. This research was carried out because of critical thinking about the Indonesian film industry, which is now the time for a more structured design phase. This is because competition for foreign films, such as Korean films, is still fierce. To stem the high interest in foreign products in the country, a filter such as a well-thought-out design is required to map the direction of Indonesian film. As a result, this study intends to produce an outcome mapping the master plan for accelerating the creative economy in the film industry based on historical klasters phases 1.0 to 4.0. The method employed is analytical descriptive, with a film literature study approach. The study's findings indicate that progress in the film industry can be made from the ground up, such as through collaboration between government agencies and education, which complement each other. Mapping based on phases 1.0 to 4.0 is also intended to serve as the foundation for the proposed mapping of the pattern of the Indonesian film industry. The strategy adapted from Korean Cultural Industry as well.

PENGARUH DRAMA KOREA TERHADAP DRAMA PADA PERTELEVISIAN INDONESIA (Study Kasus Drama My Love From The Stars dan Kau yang Berasal dari Bintang) Sintowoko, Dyah Ayu Wiwid
Capture : Jurnal Seni Media Rekam Vol. 7 No. 1 (2015)
Publisher : Seni Media Rekam ISI Surakarta

This research tried to know the influence of Korean drama entitled My LoveFrom The Stars toward Indonesian drama Kau yang Berasal dari Bintang. This research constituted as qualitative descriptive research with those two dramas as the objects. The findings showed that the Indonesian drama Kau yang Berasal dari Bintang drama has similarity with the Korean drama My Love From The Star in the storyline, setting, and costumes. In the storyline, both dramas used a historical time describing love story between alien and human. In the costumes, Kau yang Berasal dari Bintang, used traditional costumes like Kebaya (to show the setting time in 400 years ago) and in the My LoveFrom The Stars used Hanbok as a traditional costumes too. The similarities in the setting are both of them used outdoor area (to describe pre-modernism) and crowded city (to describe modernization area).Keywords : Korean drama, storyline, costume, dan setting.

COSTUME AND FEMINISM: CHARACTER IN FILM KARTINI Sintowoko, Dyah Ayu Wiwid; Sari, Siwi Anjar
Capture : Jurnal Seni Media Rekam Vol. 13 No. 2 (2022)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v13i2.3796

Film Kartini, particularly the mise-en-scene aspect, appears to represent an era in the nineteenth century. The study focuses on Kartini's costumes. The research problem is how characters are constructed in the Film Kartini through costumes. The qualitative research method was employed for this study, and data collection was conducted using purposive sampling, with five scenes from Film Kartini serving as the primary data. The findings indicate that the costume’s four components, namely the top cloth, the body cloth, the leg cloth, and the accessories, are closely related to the character’s physiological, sociological, and psychological dimensions. The physical appearance of Kartini's costumes in its four components accurately reflects the physiological dimension. Meanwhile, Kartini appears to come from a noble family on the social dimension. Finally, on the psychological dimension, Kartini expresses her optimism for feminism through her costumes and movements but is confronted by the clash of Javanese traditions.

FILM TOURISM: A CASE STUDY OF SUMEDANG AS SUNDANESE CULTURAL PUSEUR Denny Nugraha, Novian; Erdhina Adi, Anggar; Budi Haswati, Sri Mharani; Sintowoko, Dyah Ayu Wiwid
Capture : Jurnal Seni Media Rekam Vol. 13 No. 2 (2022)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v13i2.4022

As a Sundanese Cultural Puseur (center), Sumedang Regency can arguably increase Local Own-Source Revenues (PAD – Pendapatan Asli Daerah) for the Sumedang Municipal Government. Hence, this artistic study aims to offer a positive identity for Sumedang Regency through film tourism. Specifically, this research employs a practical method to produce a film tourism creation titled “Historical Land of Pasundan.” The results indicate that the visual look of the Sumedang film tourism is quite complex and dynamic, demonstrating the regency’s superior potential, culinary offerings, and indigenous Sundanese culture. Sumedang is specifically labeled as the Sundanese Culture Puseur partly due to its historical significance and to attract a greater number of domestic and international tourists. This film tourism captures many images containing wide shots, close-ups, and camera movements and hence appears to be very dynamic as a part of the tourism and creative industry’s efforts to recover from the Covid-19 effects.

Women on the screen: A comparison of gender representation in Indonesian cinema Hasan, Yassar; Wulan, Roro Retno; Nurhayati, Iis Kurnia; Sintowoko, Dyah Ayu Wiwid
ProTVF Vol 9, No 1 (2025): March 2025
Publisher : Universitas Padjadjaran

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24198/ptvf.v9i1.58206

Background: The emergence of Indonesian female directors is expected to be able to represent female characters in films based on the perspective of women themselves. However, in one film directed by a female director, a scene was found showing the female lead wearing revealing clothing that is identical to the concept of the male gaze. Purpose: This study aims to see whether the director's gender influences the depiction of female characters in the films they direct. Methods: Therefore, an analysis was conducted on four films directed by two male directors and two female directors to see how the representation of female characters in films is based on the director's gender using Sara Mills' critical discourse analysis. Results: Several contrasting differences were found between male and female directors in depicting female characters in films, especially in the four films analyzed, namely 27 Steps of May, Imperfect (by male directors), and Marlina si Pembunuh dalam Empat Babak, Yuni (by female directors), which can be seen in the aspects of characterization, location setting, explanations regarding the fate of predators, and a number of issues touched upon. Conclusion: Based on the comparative results, it was found that the director's gender influences the representation of women in films. Implications: Indonesian filmmakers, especially women, are expected to utilize the mass media of film to correct various stigmas and problems that tend to marginalize women in order to create a social and work environment that is free from gender-based discrimination.

Pengarsipan Jejak Film Eksperimental Indonesia melalui Website berbasis Edutech : Studi Kasus Komunitas Ruang Film & Experimental Wiwid Sintowoko, Dyah Ayu; Ersyad, Firdaus Azwar; Azhar, Hanif
Jurnal Pengabdian Seni Vol 6, No 1 (2025): MEI 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jps.v6i1.14466

Pengarsipan film khususnya eksperimental sangat perlu dilakukan untuk jejak sejarah sinema Indonesia. Website ini dirancang untuk mendukung literasi akademisi khususnya pengajar film eksperimental yang saat ini sudah mulai dilakukan sejak tahun 2023 di Bandung. Ruang Film & Experimental melakukan benchamark pengarsipan di Arkipel dan Sinematek untuk melihat jejak arsip sinema Indonesia. Metode yang digunakan adalah observasi partisipatif dengan melihat 2.750 film seluloid dan ribuan film lain dalam format pita analog, pita magnetik, dan format digital dengan genre film baik cerita maupun film noncerita (dokumenter). Kegiatan pemberdayaan ekosistem perfilman juga dilakukan di Arkipel, Forum Lenteng, dan Cinelogue dari Jerman untuk melihat lanskap produksi film alternatif. Hasil kegiatan ini menghasilkan empat pokok untuk pemberdayaan Ruang Film & Experimental khususnya di bidang edukasi, yaitu (1) international benchmark bersama Cinelogue. Cinelogue merupakan bagian dari jaringan global praktisi dan akademisi film dan seni visual yang menggunakan sinema sebagai promosi budaya dan film eksperimental; (2) benchmark pengarsipan secara digital yang sudah dilakukan dengan Arkipel; (3) benchmark edukasi sejarah sinema Indonesia melalui arsip analog Sinematek; dan (4) diseminasi secara internasional. Kegiatan selanjutnya adalah pengadaan kompetisi festival film eksperimental skala nasional untuk mencapai tujuan sinema inklusif. Archiving films—especially experimental works—is essential to preserving the historical trajectory of Indonesian cinema. This website was developed to support academic literacy, particularly for educators of experimental film, a field emerging in Bandung since 2023. Ruang Film & Experimental conducted benchmarking activities with Arkipel and Sinematek to trace the archival footprint of Indonesian cinema by employing participatory observation to analyze 2,750 celluloid films and thousands more in analog tape, magnetic tape, and digital formats, covering both fiction and non-fiction genres. Film ecosystem development efforts were also carried out at Arkipel, Forum Lenteng, and Germany’s Cinelogue to examine the landscape of alternative film production. These activities resulted in four key strategies to empower Ruang Film & Experimental in education: international benchmarking with Cinelogue, collaboration with Arkipel on digital archiving, educational benchmarking through Sinematek’s analog archives, and international dissemination of experimental film practices. The next phase involves organizing a national experimental film festival competition to advance the goal of fostering inclusive cinema.

Co-Authors Adeseptian, Ricco Adrian Permana Zen Akbar, Mohammad Zydan Akhmadi Akhmadi Alfianto, Rynaldi Alghonyu, Dhara Alifiardi, Lukman Alifyan, Muhammad Daffa Amalia, Shalvinna Ananda Risya Triani Anggar Erdhina Adi Arfi Andrian Arini Arumsari Ariq, Nadhif Jasir Arsyafitri, Yasmin Annisaa Aryawijaya, Emir Hakim Asfar, Muhammad Qessar Ashila, Muhammad Azka Avianto Nugroho Azahra, Qonita Rahima Azwar, Azwin Bahri, Rizki Fahreza Belinda, Geby Ayu Budi Haswati, Sri Maharani Cucu Retno Yuningsih Didit Endriawan Donny Trihanondo Dony Tri Hanondo Dwitama, Muhamad Rizki Epri Diningrum, Anisa Ersyad, Firdaus Anwar Fadhilla, Alya Fauzan, Emir Ahmad Febrian, Yusep Febriana, Sheva Pahlevi Fiallco, Yoppyndra Fikriansyah, Muhammad Rizki Firdaus Azwar Ersyad, Firdaus Azwar Firdaus, Firdaus Azwar Ersyad Firdaus, Ivan Fauzy Ganjar Gumilar Gregorius Kresna Haga Ginting Gumelar, Muhammad Handriyandi, Muhammad Adli Hanif Azhar Hasan, Yassar Herliana, Zhira Ananda Iis Kurnia Nurhayati Ikhlas, Nazryl Akmallul Iqbal Prabawa Wiguna Isroni Muhammad Miraj Malau, Nova Astrit Febrianty Martiyadi Nurhidayat Miftahussurur, Giat Agus Muchammad Zaenal Al Ansory Muhammad Arief Fauzi Muhammad Rizky Ramadhan Nacazeta, Alghofiri Omar Nathaniel, Sibyl Negara, Fajar Wijaya Novian Denny Nugraha Nugraha, Arjuun Khanif Alfin Nugraha, Yudhistira Farhanda Nurul Fitriana Bahri Paku Kusuma Pratama, Febrian Aggy Putra, Edwar Fernanda Dwi Putri, Anisa Silviana Putri, Jade Elisa Putri, Shalomitha Debora Rahmah, Fathiyah Nurshabrina Ramadhan, Muhammad Sabili Ramadhana, Syahdila Novanza Ranti Rachmawanti Rapekan, Muhammad Fakhrinur Shiyam Refi Rifaldi Windya Giri Ridzky, Axel Ramadhan Roro Retno Wulan Salsabila, Siela Salma Semesta, Cakrawala Jagad Shafy Putra, Muhammad Situmeang, Ezra Dereno Siwi Anjar Sari Soni Sadono Sugihartono, Ranang Agung Sukarso, Dwie Alfhyandy Sumarnis, Nisa Teddy Ageng Maulana Vega Giri Rohadiat Wijayanti, Sheila Nurfitri Yanuar Rahman

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