Capture : Jurnal Seni Media Rekam
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.
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<![CDATA[DIGITAL PLATFORM AS ALTERNATIVE MEDIA FOR WATCHING FILM AT JOGJA-NETPAC ASIAN FILM FESTIVAL (JAFF) 2020 ]]>
<![CDATA[Perdana, Ganesha]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 13 No. 1 (2021) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v13i1.3635
<![CDATA[Implementing a film festival on a digital platform could be a game-changer for the film industry in the Covid-19 era. It is then crucial to understand the role of digital platforms as a substitute for attending film festivals at JAFF 2020 because, in essence, films require spaces to interact with the audience regardless of the circumstances. This research is a qualitative study employing a case study methodology. The findings suggest that the role of digital platforms in implementing JAFF 2020 can be viewed as a means for a film festival to connect with its audience via new media. Additionally, the use of digital platforms is intended to act as a catalyst and carrier of energy for film crews to rise to the occasion in the face of a pandemic's uncertain conditions.]]>
<![CDATA[COMPOSITION IN LA LA LAND ]]>
<![CDATA[Agnia, Felia Arlitha]]>;
<![CDATA[Sari, Maya Purnama]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 13 No. 1 (2021) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v13i1.3650
<![CDATA[The film La La Land is a musical drama that is exceptionally well-made and features some of the best cinematography. As a result, this picture garnered numerous awards and earned a substantial income. This study seeks to analyze the visual composition in the film La La Land. This research uses qualitative descriptive approach with the film La La Land as the object. The data analysis process incorporated interpretative visual techniques, most notably interpretive video analysis. The results demonstrate that La La Land employs both symmetrical and asymmetrical (Rules of Thirds) compositions to create an aesthetic image. This composition adds excitement and vitality to the film La La Land.]]>
<![CDATA[INTERIOR MISE-EN SCENE IN ASIAN HORROR FILM’S SETTINGS ]]>
<![CDATA[Widyaevan, Dea Aulia]]>;
<![CDATA[Wiguna, Iqbal Prabawa]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 13 No. 1 (2021) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v13i1.3971
<![CDATA[Interior design is a process of conditioning a specific atmosphere, which relates to the concept of 'staging space.' As interior design is inherently designed to create an illusory world, the 'illusive, simulative' space can be used interchangeably with the real-imagined space of interior design and cinema. This article will examine three horror films to focus on how interior mise-en-scene is used to create a horror atmosphere. The films A Mother's Love, Tatami, and POB embodied semantic meanings into their spatial settings, serving as a projection of the characters; psyche, and story plots. A rhetorical visual method is used to interpret the relationship between spatial language, camera angle, character, and story plot. The research discovers that spatial language is an instrument of terror, as repeated patterns of liminal space, backlighting lights, and dream scene metaphors enhance the properties and camera angles to elicit an emotion of horror.]]>
<![CDATA[SOLO-YOGYA INTO 360-DEGREE PHOTOGRAPHY ]]>
<![CDATA[Jauhari, Jauhari]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 13 No. 1 (2021) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v13i1.3627
<![CDATA[Currently, technological developments have made it possible for photographic works not only to be present in the form of a flat 180 degree two-dimensional panorama, but even being able to present reality with a 360 degree perspective. This research on the creation of photographic works aims to optimize photographic equipment for photographing with a 360 degree perspective. Eventhough there are many 360 degree application in smartphones, but using a DSLR camera to create works with a 360 degree perspective has the advantage that it can be printed in large sizes with high resolution without breaking the pixels. The method of creating this work is based on the experimental process of developing DSLR camera equipment. This 360 degree photography creation technique uses the 'panning-sequence' technique with 'continuous exposure' which allows the images captured by the camera can be combined or mixed into one panoramic image. In addition to getting an important and interesting visual appearance, the presence of a 360 degree perspective in this work can also give a new nuances in the world of the art of photography.]]>
<![CDATA[THE GUNUNGAN METAPHOR IN THE URIP IKU URUP VIDEO ART ]]>
<![CDATA[adi, sigit purnomo]]>;
<![CDATA[Mohamed Saat, Mohammad Khizal]]>;
<![CDATA[Ajimahendra, Widy Dwi]]>;
<![CDATA[Tri Marutama, I Gusti Ngurah]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 13 No. 1 (2021) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v13i1.3994
<![CDATA[Urip Iku Urup is a highly printed artwork made from plastic waste that serves as video art. Environmentally friendly relief prints used as video artworks motivate studies on their meanings. Thus, this study's problem is how to visualize the metaphor of the mountains (Gunungan) in the Urip Iku Urup video art. This qualitative-descriptive study seeks to discover the Gunungan metaphor in the video art by using the metaphor approach. The findings demonstrate that Urip Iku Urup's work uses the Gunungan metaphor as a manifesto for the three relationships between God, man, and nature. Gunungan, as a teaching in Javanese life philosophy, implies human desire or hope for future accomplishments.]]>
<![CDATA[PETITION AS INDONESIAN FILM’S ROBBER: Theodor Adorno’s Perspective on Majority-Leaning Group’s Criticisms ]]>
<![CDATA[Nugroho, Sri Nugroho]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 13 No. 1 (2021) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v13i1.3631
<![CDATA[Filmmakers have felt the impact of numerous films that have been petitioned or rejected by groups acting in the majority’s interests. The groups carry religious issues and view films as a new force capable of undermining the values (dogma) they believe. The views were infiltrated by efforts to homogenize discourses for a particular purpose rather than pure objectivity, resulting in petitions opposing certain films. In this regard, Adorno’s perspective on the revolutionary objective basis leads to the eradication of critical thinking against individuals associated with capitalism. The term “capitalists” refer to persons who control the Indonesian film industry. The underlying phenomena of this research are alienation and oppression, and the research sources are film industry actors who are directly affected by the phenomena above. Using Bogdan’s and Taylor’s qualitative approach in Moleong (2018), this study reveals that capitalists attempt to paralyze the joints of critical thinking to steer Indonesian films toward uniform themes, namely religious ones, that are “safe” from mass organizations’ petitions and rejections. These efforts mark the end of critical thinking and ideas in the creative filmmaking process.]]>
<![CDATA[BIG ENTERTAINMENT’S FILM AND MUSIC CREATION DESIGN: PLATFORM-BASED BUSINESS MODEL CANVAS AND ENTERPRISE ARCHITECTURE ]]>
<![CDATA[Ruddin, Isra]]>;
<![CDATA[Santoso, Handri]]>;
<![CDATA[Indrajit, Richardus Eko]]>;
<![CDATA[Dazki, Erick]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 13 No. 1 (2021) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v13i1.3946
<![CDATA[BIG Entertainment is an application that offers unparalleled music and film entertainment. Previously, applications like Spotify were all about music, while Netflix, Joox, and Disney were all about movies. This entertainment combines movies and music into a single application. This research seeks to examine the Big Entertainment application's business model canvas. This study employs the literature review method, which gathers various scientific and relevant sources. The findings suggest that BIG Entertainment service providers work hard to expand their offerings in response to changing market trends and technology advancements. The business model offers both tangible and intangible assets for customers who require not only the final product (music service) but also a one-stop service. BIG Entertainment can generate profit while developing a distinctive and efficient business model if it successfully integrates tangible and intangible assets.]]>
<![CDATA[SOLO-YOGYA INTO 360-DEGREE PHOTOGRAPHY ]]>
<![CDATA[Jauhari, Jauhari]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 13 No. 1 (2021) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v13i1.3627
<![CDATA[Currently, technological developments have made it possible for photographic works not only to be present in the form of a flat 180 degree two-dimensional panorama, but even being able to present reality with a 360 degree perspective. This research on the creation of photographic works aims to optimize photographic equipment for photographing with a 360 degree perspective. Eventhough there are many 360 degree application in smartphones, but using a DSLR camera to create works with a 360 degree perspective has the advantage that it can be printed in large sizes with high resolution without breaking the pixels. The method of creating this work is based on the experimental process of developing DSLR camera equipment. This 360 degree photography creation technique uses the 'panning-sequence' technique with 'continuous exposure' which allows the images captured by the camera can be combined or mixed into one panoramic image. In addition to getting an important and interesting visual appearance, the presence of a 360 degree perspective in this work can also give a new nuances in the world of the art of photography.]]>
<![CDATA[PETITION AS INDONESIAN FILM’S ROBBER: Theodor Adorno’s Perspective on Majority-Leaning Group’s Criticisms ]]>
<![CDATA[Nugroho, Sri Nugroho]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 13 No. 1 (2021) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
Show Abstract
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DOI: 10.33153/capture.v13i1.3631
<![CDATA[Filmmakers have felt the impact of numerous films that have been petitioned or rejected by groups acting in the majority’s interests. The groups carry religious issues and view films as a new force capable of undermining the values (dogma) they believe. The views were infiltrated by efforts to homogenize discourses for a particular purpose rather than pure objectivity, resulting in petitions opposing certain films. In this regard, Adorno’s perspective on the revolutionary objective basis leads to the eradication of critical thinking against individuals associated with capitalism. The term “capitalists” refer to persons who control the Indonesian film industry. The underlying phenomena of this research are alienation and oppression, and the research sources are film industry actors who are directly affected by the phenomena above. Using Bogdan’s and Taylor’s qualitative approach in Moleong (2018), this study reveals that capitalists attempt to paralyze the joints of critical thinking to steer Indonesian films toward uniform themes, namely religious ones, that are “safe” from mass organizations’ petitions and rejections. These efforts mark the end of critical thinking and ideas in the creative filmmaking process.]]>
<![CDATA[DIGITAL PLATFORM AS ALTERNATIVE MEDIA FOR WATCHING FILM AT JOGJA-NETPAC ASIAN FILM FESTIVAL (JAFF) 2020 ]]>
<![CDATA[Perdana, Ganesha]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 13 No. 1 (2021) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v13i1.3635
<![CDATA[Implementing a film festival on a digital platform could be a game-changer for the film industry in the Covid-19 era. It is then crucial to understand the role of digital platforms as a substitute for attending film festivals at JAFF 2020 because, in essence, films require spaces to interact with the audience regardless of the circumstances. This research is a qualitative study employing a case study methodology. The findings suggest that the role of digital platforms in implementing JAFF 2020 can be viewed as a means for a film festival to connect with its audience via new media. Additionally, the use of digital platforms is intended to act as a catalyst and carrier of energy for film crews to rise to the occasion in the face of a pandemic's uncertain conditions.]]>
