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.
Articles
407 Documents
<![CDATA[VISUAL PRESERVATION OF JARAN KEPANG IN TEMANGGUNG THROUGH ESSAY PHOTOGRAPHY ]]>
<![CDATA[Aziz, Abdul]]>;
<![CDATA[Felix, John]]>;
<![CDATA[Sonia, Candy Reggi]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 10 No. 1 (2018) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v10i1.2208
<![CDATA[Performance art of ‘braid horse’ (jaran kepang) Temanggung is one of the original traditional arts that developed on the island of Java, especially Temanggung Regency. The researcher tried to lift the Temanggung ‘braid horse’ as an object of artistic research with the theme of preservation of the visual arts. This is an effort to preserve the Temanggung ‘braid horse’ through visual media, namely photography. The researcher documented that art with photo media. The purpose of this artistic research is to make photography work as an effort topreserve the ‘braid horse’ art culture with a journalistic documentation genre in the form of essay photography. The research model used in this study is to use the Visual Methodology and also with Roland Barthes's Semiotic analysis, where the power of photography is the power of the visual language that will speak. The results of this study are an essay photography book as an effort to preserve ‘braid horse’ in the genre of journalistic documentation.]]>
<![CDATA[Peluang Dan Tantangan Industri Pencetak Insan Kreatif Dan Handal Di Dunia Pertelevisian 1 ]]>
<![CDATA[-, Handriyotopo]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 6 No. 1 (2014) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v6i1.713
<![CDATA[The growth of the television industry is quite rapid and gives a significant impacton the growth of the audiovisual information media . No exception that in this industryalso demands a reliable and creative human resources in preparing and developing thecontents of the program. Qualified human resources is the key word to be prepared infacing global competition in the television media industry. The power of television isstill able to hypnotize for everyone to search for information and entertainment.Considerable opportunities of this in the end gives a pretty good chance for thosewho want to engage in the creative industry of television programs. It is not surprisingthen that many emerging courses offered employment in the industry. Not only at thelevel of vocational but also on the level of D4 and S1 program broadcasting, television,and film.Keywords: opportunities, television industry, human resources]]>
<![CDATA[EKSPLOITAS1TUBUH WANITA DALAM FILM HOROR DARAH JANDA KOLONG WEWE NAFSU POCONG ]]>
<![CDATA[Sunarto, Ucu Andritama]]>;
<![CDATA[Prilosadoso, Basnendar Herry]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 5 No. 1 (2013) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v5i1.1785
<![CDATA[This research entitled Darah Janda Kolong Wewe Nafsu Pocong telling the backgroundabout the curiosity about why woman became a main actor or object in the movies in the everyscene. Hence, this research used qualitative concerning how woman image was visualized bysemiotics (Roland Barthes) showed at Darah Janda KolongWewe Nafsu Pocong. In addition, theresult showed that horror movies were commonly visualized with exploitation againts woman'sbody as an vulgar object.Keywords: Woman's body,horror movies,and exploitation]]>
<![CDATA[FILM AS CULTURAL DIPLOMATION ASSETS ]]>
<![CDATA[Suryanto, Hari]]>;
<![CDATA[Amri, Mariani]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 9 No. 2 (2018) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v9i2.2089
<![CDATA[ Indonesia's cultural wealth is one of the potential strengths to create harmony and the formation of national character. Cultural diffusion through diplomacy is a way that can build a good dialogue about the worthy values in culture to a wider society. The film consists of two elements, namely, the narrative element as a story builder framed in a theme to sharpen the story message. And cinematic elements that provide audio-visual support clearly and more detailed. The ability of films for diplomacy purposes in communicating the cultural values of this nation has no doubt. Film is a combination of various fields of art that flows unity in one and is supported by technology so that the film has the ability to be an effective medium of communication in the current era. ]]>
<![CDATA[KEALAMIAHAN HASIL DUBBING PADA FILM ANIMASI ANAK POCOYO EPISODE LITTLE DRUMMER DAN THE GREAT RACE ]]>
<![CDATA[Kurniawan, Donie Fadjar]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 2 No. 1 (2010) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v2i1.517
<![CDATA[This study is to explore how the voiceover or dubbing can fulfill all the criteria of a good job in the perspective of Target Language user. To produce voiceover or dubbing in kid film program is really a multi-dimensional job.. The first dimension is the linguistic aspects which rules two languages both source language (SL) and target language (TL). Sometimes we find a very long phrase or clause in SL and we finally get the voiceover or dubbing as a quite short phrase or clause and the vice versa. The second dimension is the scope of the social culture that also covers both sides. Sometimes, we find a very difficult terminology in SL to find the acceptability in TL. It is because the specific use relating to every social and cultural background. English has many words that is hardly fond in Indonesia Language. The next dimension is naturality. How a composition in SL should be voiceover or dubbing in the same naturality in the sense of TL. All of those conditions should be answered to the bet solution by the director of voice over or dubbing. Therefore the results must consider the naturalness language dubbing for children. Vocabulary is selected in such a way that the story can get into the domestic children. The subject of this study is Kid Film Program ‘Pocoyo’ episode A Little Drummer and the Indonesian voice over or dubbing version.Keywords: dubbing, the source language, target language]]>
<![CDATA[REALISM STILISTICS OF GENRE HORROR INDONESIAN MOVIES POST-REFORM: CASE STUDY OF FILM “KERAMAT” ]]>
<![CDATA[Aji, Fajar]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 10 No. 1 (2018) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v10i1.2182
<![CDATA[This article aims to describe the stylistic exploration of the ‘Keramat’ (‘Sacred’) film. Form and style are used as starting points to find out the exploration of stylistics film. Data information is identified based on similarities with the cinema movements that influence it. Subjectivity as an approach to the descriptive process by conducting interpretative analysis. The results showed that Cinema Verite and Italian Neorealism influenced the typical stylistic formula in the ‘Keramat’ film, especially supporting the characteristics of the horror genre including: creating a tense, frightening, and terror effect, also visualizing the concept of the realism of the events filmed.]]>
<![CDATA[PHOTO SELFIE AS WOMEN'S EXPRESSION OF FEMININITY ]]>
<![CDATA[Mecca, Ali]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 10 No. 2 (2019) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v10i2.2246
<![CDATA[In selfie photos, women are no longer positioned as objects from photographers, but rather act as subjects who take pictures as well as the subject being photographed. Women in this context become more aware of the values of femininity that have been attached to their bodies. This study aims to identify expressions of femininity represented in selfie. The method used in this study is audience research. The results of the study show two things. First, the physical beauty represented by selfie includes the brightness of facial skin, thin cheeks, and the reddish of red lips. Second, femininity as an expression of their body being identified again into three aspects, namely, women as objects, women as subjects, and women as both of subjects and objects. ]]>
<![CDATA[ANALYSIS OF DOCUDRAMA HISTORY AND REFERENTIAL RECONSTRUCTION OF SANG KIAI MOVIES: ADAPTATION OF BIOGRAPHICAL HISTORIOGRAPHIC TEXTS TO BIOPIC FILM ]]>
<![CDATA[Kartika, Bambang Aris]]>;
<![CDATA[Prihatini, Nanik S.]]>;
<![CDATA[Hastanto, Sri]]>;
<![CDATA[Dharsono, D.,]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 10 No. 2 (2019) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v10i2.2366
<![CDATA[This article discusses about the conception of adaptation of biographical historiographic texts into the medium text in the Sang Kiai film which is a type of historical docudrama film. Adaptation conception shows a transposition pattern of content from historical biographical narrative texts constructed into the text medium of Sang Kiai film. By conducting a study on the Sang Kiai film through approaches of adaptation and heuristic, hermeneutic, and internal criticism methodology has produced a pattern of referential reconstruction in the production of historical genre film texts, especially in the types of biopic films. The Sang Kiai film is a moving picture biography of the K.H. Hasyim Asy'ari figure who narrated historical facts about the nationalism of the founder of the Nahdlatul Ulama (NU) against the colonialist hegemony of Japanese and Allied fascist armies. Thus, the docudrama film which is positioned as a document of visualization of the historical facts about the past that is presented today through the reproduction of historical texts in the biopic film medium. The pattern of referential reconstruction shows that the biopic film of the Sang Kiai is a representation of the truth of the biographical facts of the K.H. Hasyim Asy'ari figure, although it was produced and presented through historical fiction film text ]]>
<![CDATA[MULTICULTURALISM IN ETHNIC IN CHILDREN'S POPULAR FILM IN INDONESIA POST 2010 ]]>
<![CDATA[Rozi, Romdhi Fatkhur]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 10 No. 2 (2019) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v10i2.2229
<![CDATA[This article discusses about multiculturalism in the popular film industry with the theme of children in Indonesia after 2010. The categorization of this popular film is based on the number of viewers. This study is intended to find many aspects of ethnic multiculturalism contained in child-theme films after 2010. The concept of children's films from Bezalgette and Stapless is used to review the children's theme films. The conclusions of this study are that multiculturalism is present in most children's films in Indonesia through various forms of moral messages, which are delivered from interactions between characters and characterizations, however the films have not succeeded in showing all multi-ethnic diversity in Indonesia yet. ]]>
<![CDATA[CHARACTER EDUCATION AND MORAL VALUE IN 2D ANIMATION FILM ENTITLED "PENDETA BANGAU" ]]>
<![CDATA[Anggara, I Gede Adi Sudi]]>;
<![CDATA[Santosa, Hendra]]>;
<![CDATA[Udayana, A.A. Gde Bagus]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 10 No. 2 (2019) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v10i2.2449
<![CDATA[Character is a very important and fundamental matter in a child's development. Character education has the same orientation with moral education, whereas moral education is very important in directing young generation to become good people through good values approach. In the midst of current IT advances, animated films are one of the effective and interesting media in transferring the values of character education and moral messages to children. The 2D animated film entitled Pendeta Bangau (The Priestess of Stork) is an animated film which source of story comes from Balinese folklore entitled Pedanda Baka. The aim of this study is to discuss the values of character education and moral messages/values contained in the animated film entitled “Pendeta Bangauâ€. This study uses qualitative research methods with qualitative data analysis techniques model of Miles and Huberman. The result of this study shows that the character education values from the animated film entitled Pendeta Bangau contains the values of honesty, tolerate, friendship / communicative, love of peace, and curiosity. While the moral message/value was seen in the final/end of film, namely the Bangau (stork) died due to its immorality. Its Bangau dead is related to the principal of Prarabda Karmaphala, namely Bangau, gets the results of his behavior in the present, and is now available without being there anymore. ]]>
