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[SOEGIJA BIOPIC FILM, POLITICAL AFIRMATION, AND POLITICAL IDENTITY: DECONSTRUCTION OF INDONESIAN HISTORIOGRAPHY ]]>
<![CDATA[Kartika, Bambang Aris]]>;
<![CDATA[Prihatini, Nanik Sri]]>;
<![CDATA[Hastanto, Sri]]>;
<![CDATA[Dharsono, Dharsono]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 12 No. 1 (2020) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v12i1.3111
<![CDATA[Soegija's movie is a biopic film based on the historiography of the highest leaders of the people and the Catholic church in Indonesia. Soegija's film is an antithesis of Indonesian historiography so far, especially the historiography of the era of the Indonesian independence revolution. This article discusses the political affirmation and identity politics of Soegija's film from the perspective of Derrida's Deconstruction. Derrida's Deconstruction approach and historical methodology consisting of Heuristics, Hermeneutics, and internal criticism are used to understand the position of Soegija's biopic on Indonesian historiography. The results of the study show that Soegija's film is a biography moving picture of the character Mgr. Albertus Soegijapranata, who narrated historical facts about the national attitude of the Catholic leadership as the first native bishop. In deconstruction, it appears that Soegija's biopic is a representation of the political affirmation and identity politics of educational cultural resistance to the truth of the historical facts of the character Mgr. Albertus Soegijapranata who is in binary opposition to Indonesian historiography.]]>
<![CDATA[CREATIVE STRATEGY OF PROGRAM DIRECTOR AT 4 CITIES WAYANG BEBER VICOLMING SHOW ]]>
<![CDATA[Ranangsari, Kosalalita Anggiyumna]]>;
<![CDATA[Fenda, Intan Yulia Febbyu]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 12 No. 1 (2020) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v12i1.3420
<![CDATA[The Covid-19 pandemic was responded to by the wayang beber art group quickly and creatively. They held shows wayang beber in 4 cities by utilizing video conferencing & live streaming (Vicolming). The new technology used for the performances of 4 remote puppeteers (dalang) was a challenge for the program director. This research is intended to explore the strategy of the program director in producing the 4 cities wayang beber Vicolming show. This study used qualitative descriptive research. The data collection used the interview and documentation methods, while the data analysis used the Interactive Analysis model. The result of this study is that the program director applies a strict strategy at the pre-production, production and post-production stages in this wayang beber Vicolming show. Creative strategies in pre-production include determining the topic of Covid-19; and the Video Conference & Live Streaming technology used, the preparation of video, audio and internet equipment for each art group in 4 cities; determination of the ideal schedule and duration, and live streaming rehearsals. The strategy at the production stage included: 1) The strategy of arranging a dalang's performance from one puppeteer to another is related to the quality of the image and sound as well as the internet connection, so that the rundown changed a lot; 2) Taking pictures is done limitedly, because the equipment between the puppeteers is different; The post-production stage strategy focused on preparing live streaming videos uploaded to the Youtube channel.]]>
<![CDATA[SEXY KILLERS : FILM AND ENVIRONMENTAL MOVEMENT ]]>
<![CDATA[Murfianti, Fitri]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 12 No. 1 (2020) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v12i1.3209
<![CDATA[This study focuses on how a documentary film entitled Sexy Killers can be part of the campaign for change. This film with the issue of environmental damage is interesting to study about the reading of the text by the audience as an active producer of meaning. In order to understand how the audience read the text, a Sexy Killers research was conducted using a Descriptive Qualitative approach. The data collection technique used Purposive Sampling with In-Depth Interviews, then the data were processed by Content Analysis. The results of this study indicate that there are different perspectives in reading this film, which can be categorized into anthropocentrism, biocentrism and eco-centrism. This differences in reading are influenced by differences in educational backgrounds, professions, and also interests. Film as a text, is not a unit, but rather a kind of battlefield to compete to accept, reject, or negotiate certain ideas. Understanding the results of this reading can be useful for determining the right steps in encouraging the environmental conservation movement]]>
<![CDATA[THE MEANING OF OPENING TEASER OF THE TALK-SHOW DUA SISI AS PROGRAM IDENTITY ]]>
<![CDATA[Oktora, Dina Dwika]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 12 No. 1 (2020) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v12i1.3264
<![CDATA[A television program is usually equipped with an opening teaser as the identity of the program. The opening teaser on TVONE's show, entitled "Dua Sisi" (Two Sides) looks simple but interesting to study. This research focuses on the meaning of the sign in the opening teaser of "Dua Sisi". This study used a qualitative descriptive approach. Data collection used purposive sampling technique, and data analysis used Rolland Barthes' Semiotics. The results showed that the meaning of the signs contained in this event had denotative and connotative meanings in accordance with the function of the opening teaser as the identity of the program.]]>
<![CDATA[RESTRAINING THE MOOD FOR LOVE: A SEMIOTIC ANALYSIS OF WONG KAR WAI’S IN THE MOOD FOR LOVE ]]>
<![CDATA[Sutandio, Anton]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 12 No. 1 (2020) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v12i1.3086
<![CDATA[This article attempts to explore the visual signs in Wong Kar Wai’s In the Mood for Love in the context of how they support and emphasize the topic of restraint through the film’s cinematography and misè-en-scèene. As the theoretical foundation, Peirce’s classification of signs into symbol, icon, and index is chosen in addition to Barthes’ five systems of meanings that are applied to cinema. The visual signs in focus are not limited to objects within the film, but also the characters’ actions as well as the cinematography. The findings show that certain signs are effectively displayed to signify and amplify the idea of restraint. Not only that, some signs evolve into different signs through intentional repetition to further emphasize the aforementioned idea and the arbitrary nature of the signs, and at the same time open the possibilities of different interpretations of the signs within the film. ]]>
<![CDATA[REPRESENTATION OF NOSTALGIA IN THE PROGRAM MEMORI MELODI IN TVRI NASIONAL ]]>
<![CDATA[Ramadhoni, Ayudha Eka]]>;
<![CDATA[Sugihartono, Ranang Agung]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 12 No. 1 (2020) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v12i1.2674
<![CDATA[This study describes the representation of nostalgia in the “Memori Melodi” music program in the episode Tribute To Yon Koeswoyo. This study uses a construction approach from the representation of Stuart Hall. The sampling technique uses purposive sampling technique. Data collection used is observation without a roleplay and interviews. Data analysis used Miles and Huberman model data analysis which consisted of data reduction, data presentation, conclusion drawing and verification. The results of this study indicate there is a nostalgic representation in the music program of “Memori Melodi” episode Tribute To Yon Koeswoyo. The appearance of nostalgic is constructed through verbal and non-verbal language in each segment. The construction of social interactions between the performers (host, singer, audience) and sensory input (music, visual, narrative about Koes Plus and Yon Koeswoyo, and expressions of the performers) is a form of nostalgia in the Tribute To Yon Koeswoyo's episode. This nostalgic representation is useful knowledge about the reappearance of nostalgia in music programs on television.]]>
<![CDATA[THE EFFECT OF WILDLIFE ORANGUTAN PHOTOS IN THE WORLD WILDLIFE FUND FOR NATURE ADVERTISEMENT ON STUDENT AWARENESS ON ENDANGERED ANIMAL CONSERVATION ]]>
<![CDATA[Novianti, Erlina]]>;
<![CDATA[Amanda, Silviana]]>;
<![CDATA[Sanggrawati, Malcheni]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 13 No. 2 (2022) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v13i2.3688
<![CDATA[Orangutans are native to Indonesia that must be preserved because they are on the verge of extinction. One of the non-profit organizations, World Wildlife Fund for Nature (WWF) which involves outside parties with orangutans through campaign using photo media. This study aims to determine the effect of photos of wild orangutans in the WWF advertisement on students' awareness of conserving endangered species. This research uses an approach to study orangutan wildlife photos which are used as WWF advertisement media and use questionnaires for data collection. The results of this study indicate that the quality of orangutan wildlife photos that meet the rules of wildlife photography can convey information and messages effectively according to the WWF advertisement. WWF's advertisement photos can have a positive influence on respondents, which in the end can make them aware to participate in conserving the endangered orangutan.]]>
<![CDATA[METAPHOR IN THE FILM SETAN JAWA ]]>
<![CDATA[Fenda, Intan Yulia Febbyu]]>;
<![CDATA[Handriyotopo, Handriyotopo]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 12 No. 2 (2021) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v12i2.3441
<![CDATA[The Setan Jawa film depicts the two main characters' fascinating and expressive body language and motions (Setio and Asih). Accordingly, we formulate the research problem of the Setan Jawa film’s metaphor values. This study uses the metaphorical approach to search for the meanings of the film by analyzing the source and target domains. Our findings indicate that Setan Jawa encompasses both the romance source domain and the tragedy target domain. In sum, Setan Jawa is a film about perseverance, courage, intention, self-sacrifice, and ambition. ]]>
<![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[CONCEPT OF FORM IN THE FILM DILAN 1990 ]]>
<![CDATA[Rohma, Naafi Nur]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 12 No. 2 (2021) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v12i2.2446
<![CDATA[The Dilan 1990 is an adaption film that chronicles the romance of high school teenagers in the 1990s. This film ranked first in terms of viewership in 2018. The allure of this film that warrants further analysis is its shape notion. This study aims to analyze the Dilan 1990 film's notion of form. This qualitative descriptive study analyzes data using the form concept methodology created by David Bordwell and Kristin Thompson. The findings indicate that the film's forms and processes are extremely complicated. The constructed elements are connected in such a way that they can excite the audience's emotions, most notably their expectations.]]>
