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Capture : Jurnal Seni Media Rekam
Published by Institut Seni Indonesia Surakarta
ISSN : 2086308X     EISSN : 2338428X     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
The main focus of the journal will be to promote a global discussion forum and an interdisciplinary exchange among scholars exploring the topic of TV program, film or cinematography, animation, and photography from different perspectives.
Arjuna Subject : -
Articles 14 Documents
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Search results for , issue "Vol. 11 No. 1 (2019)" : 14 Documents clear
CREATIVE DIRECTION OF IKA MAHARDIKA IN THE PREPRODUCTION OF THE UNREMEMBERED DOCUMENTARY FILM Syam, St. Hadidja; Afrianto, Damar Tri; Wastiwi S, Sri
Capture : Jurnal Seni Media Rekam Vol. 11 No. 1 (2019)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i1.2661

Abstract

This study aims to describe Ika Mahardika's creative process in directing the documentary film The Unremembered, especially in the preproduction stage. The research method uses descriptive qualitative. The results showed that director Ika Mahardika's creativity in digging data about Salawati Daud lies in the ability to use ethnographic research methods in a coherent manner starting from literature search, field observations, interviews and documents. In addition, Ika Mahardika's creativity also lies in data processing starting from selecting data with consideration of the capacity of the information provided then how the data is displayed chronologically.
SEMIOSIS PROCESS IN THE SOUNDS OF GAMELAN AND PESINDEN IN SANDEKALA FILM Pratama, Andri Albertha; Soewarlan, Santosa
Capture : Jurnal Seni Media Rekam Vol. 11 No. 1 (2019)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i1.2664

Abstract

The research investigates the use of the sign (code) used by Amriy Ramadhan as the director when delivering messages through the sounds of ‘gamelan’ and ‘pesinden’ in the Sandekala film. Conflicts emerged when the signs that are used have broad interpretations for the audience. The signs are discribed and analyzed using the ten-sign classification analysis method from the Peirce semiotic trichotomy concept. This study shows the important meaning of the semiosis process of the distribution of other signs which in their presentation are interrelated to lead the audience's interpretation in the sounds of ‘gamelan’ and ‘pesinden’ presented in the Sandekala film. The using signs which the characteristic based are  generally accepted convention such as non-verbal dialect (kinesics) can lead the audience's interpretation that the sound of ‘gamelan’ and ‘pesinden’ in the Sandekala film is a metonym of magical figure who has long hair, white dress based on the semiosis process of signs which are interrelated in the presentation of the narrative structure of the film with repeated indexical relationship patterns.
THE CONCEPT OF CHINESE-INDONESIAN-NESS AS SEEN FROM ERNEST PRAKASA’S ROLES IN NGENEST, CEK TOKO SEBELAH, SUSAH SINYAL AND STIP & PENSIL Sutandio, Anton; Angjaya, Sonny
Capture : Jurnal Seni Media Rekam Vol. 11 No. 1 (2019)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i1.2665

Abstract

This article discusses four films entitled Ngenest (2015), Cek Toko Sebelah (2016), Susah Sinyal (2017), and Stip & Pensil (2017) in which Ernest Prakasa played a role, in the context of how the four films construct Chinese-Indonesian-ness. In the context of cinema, the appearance of Chinese-Indonesians on the screen during the New Order regime was scarce, and if there is any, the depiction was highly stereotyped. Only after Reform era in the late 1990s that Chinese-Indonesians and their culture began to re-appear on screen. Ernest Prakasa is one of few Chinese-Indonesians who publicly celebrates his Chinese-ness through entertainment platform.  Ethnic identity theory applied on the discussion of the film cinematography and mise-en-scene to show what the films say about the concept of Chinese-Indonesian-ness. The findings show that Prakasa not only celebrates being a Chinese-Indonesian, but he also performs a self-mockery as Chinese-Indonesians by explicitly emphasizing the Chinese-Indonesians stereotypes. He also tries to re-establish inter-ethnic relationship and introduce contemporary Chinese-Indonesian-ness concept through his films.
EDITING CROSS-CUTTING IN THE FILM HAJI BACKPACKER Mulia, Prajanata Bagiananda; Dharsono, D.,
Capture : Jurnal Seni Media Rekam Vol. 11 No. 1 (2019)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i1.2686

Abstract

The aim of this research is the revealing the use of editing cross-cutting formed in Haji Backpacker’s film. This research uses qualitative research method: interpretative analysis formalist aesthetics approach, editing cross-cutting of Karel Reisz through Sergei Eisenstein’s montage theory. This research focuses on studying the aesthetic and the application of editing cross-cutting in Haji Backpacker’s film. Editing cross-cutting observed from the forms, functions, relations of themes, and motivation of existence, until analysis of Sergei Eisenstein’s montage, those are metric, rhythmic, tonal, overtonal and intellectual. The results of this research reveals the artistic meanings of Haji Backpacker’s film as formalist aesthetics, and editing cross-cutting’s concepts that formed in Haji Backpacker’s film by Danial Rifki through montage analysis of Sergei Eisenstein.

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