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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 406 Documents
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STRUKTUR NARATIF SERIAL ANIMASI UPIN DAN IPIN Saputra, Iwan Ady; Sugihartono, Ranang Agung
Capture : Jurnal Seni Media Rekam Vol. 5 No. 1 (2013)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v5i1.1779

Abstract

This study aims to describe the elements of narrative and narrative structure realisticpattern on the animated series Upin dan Ipin episodes Ramadhan Kembali Lagi and MenjelangSyawal.In order to examine a series of stories in the animated series Upin dan Ipin,the approachused is narrative structure. Sources of data in a research were video animation series pin danIpin.The data was obtained through observation role and literature.The process of data analysiscarried out in several stages, namely: data collection, data reduction, data analysis, andconclusions.The results of the research showed that Upin dan Ipin animated series set in abeautiful village, schools, courts, mosques, and homes of Upin and Ipin.The series uses a linearpattern,telling of the beginning of fasting until the feast.Perpetrators of these serial stories fromvarious tribes and religions.The conflict in this series is an external conflict,a conflict betweenthe main character and other characters.The purpose of this series is the physical (real).Thepattern of narrative structure used in the animated series Upin dan Ipin episodes RamadhanKembali Lagi and Menjelang Syawal is a three-stage pattern of alternative structures, namelyrealistic narrative.The series has a storyline floating,presenting a story of what it is like life itself.Although the pattern of realistic narrative has a clear goal but it is easily understood story.Keywords : Structure, narative, animation, Upin & Ipin
PENYUTRADARAAN PROGRAM DOKUMENTER DHUKUTAN : EKSISTENSI AGAMA JAWA Fibriani, Lina Bayu; Sjafi'i, Achmad
Capture : Jurnal Seni Media Rekam Vol. 5 No. 1 (2013)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v5i1.1781

Abstract

This artwork describes about Javanesse culture existence which is applied into Dhukutantradition in the Nglurah society. Problems of this research are how Dhukutan tradition in theMenggung's sites as a Javanese existence indicated in documentary movie? Meanwhile, theconcept of directing is used observation,interview,and books as a reference.Then,the series ofresearch were developed into ideas in treatment namely story telling non linier and expository.This documentary movie uses four segments in the treatment 1) short introducing about Java inthe Dhukutan tradition; 2) religion and Dhukutan tradition as a phenomenon in Nglurah village;3) Dhukutan tradition process, and 4) Menggung's sites. In addition, informative is as adocumentary characteristic movie having traditional information in Nglurah. In the educationside,Javanese existence is applied in the Dhukutan.Keywords : Director, Dhukutan, Javanese religion, and documentary
BENTUK DAN GAYA PENUTURAN FILM DOKUMENTER BERBASIS BUDAYA DAERAH PB XII: BERJUANG UNTUK SEBUAH EKSISTENSI D.A, N.R.A. Candra
Capture : Jurnal Seni Media Rekam Vol. 5 No. 1 (2013)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v5i1.1783

Abstract

This study aimed to describe the form,narrative style and dramatic flow of the film PBXII: Berjuang untuk Sebuah Eksistensi. So far, to understand the advantages and limitations ofdocumentary film in conveying messages is to divide it into three basic parts of documentaryfilm.Through aesthetic touches on the film, a documentary film director tries to convey thespecial things that became the basic theme of the documentary.IGP.Wiranegara, through workbased culture documentary film, seeks to show the form and style of its own narrative in thetheme of the film.The film is narrated dramatically by the director by give a viewpoint of thestrong character for the characters to show the relation of the content and message of the film.Through picture of the central figure and role model,the figure of a Pakubuwana XII tried hardin order that Surakarta palace still exist as part of the cultural community in Central Java,especially Surakarta (Solo).Keywords:Form,style,movies,documentary, culture,and the region
EKSPLOITAS1TUBUH WANITA DALAM FILM HOROR DARAH JANDA KOLONG WEWE NAFSU POCONG Sunarto, Ucu Andritama; Prilosadoso, Basnendar Herry
Capture : Jurnal Seni Media Rekam Vol. 5 No. 1 (2013)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v5i1.1785

Abstract

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
STEREOTYPING PEREMPUAN DALAM SUAMI-SUAMITAKUT ISTRI TRANSTV Zamroni, Muhammad; Primadewi, Nerfita
Capture : Jurnal Seni Media Rekam Vol. 5 No. 1 (2013)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v5i1.1787

Abstract

This research describes about one of television genre programs called Suami-suamiTakut Istri.The problem is how stereotyping of woman's character in the Suami-suamiTakut Istriprogram? In addition, this research uses qualitative design and semiotic signification. From theresult,this research showed the stereotype of the woman's figure.There are particularly threestereotypes showed character, acting territory, and the relationship between men and women.Furthermore,the kinds of stereotypes among others indicate that a figure is feminine,emotional,domestic acting, and as a male sex object.Therefore, it is a proof that the sitcom Suami-suamiTakut Istri in Trans TV is not a program which empowers women because it is still on thestereotype to women.Keywords: Stereotype,sitcom,and Suami-SuamiTakut Istri
REPRESENTASI IDENTITAS AGAMA DALAM KONSEP SPIRITUALITAS MELALUI KONFLIK CERITA FILM JOKOWI Pamungkas, Albertus Angga Adi; Sjafi'i, Achmad
Capture : Jurnal Seni Media Rekam Vol. 3 No. 2 (2012)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v3i2.1881

Abstract

The way in conveying the teachings of every religion known as religious identity. Filmshould be able to make sense of religious identity in the concept of spirituality as a universal wayto convey his message.Research on the representation of religious identity in the Jokowi aims tolook religious values which presenting in one of the central elements of narrative, the conflict.Representation of the concept of spirituality contained in the teachings of education in thefamily, attitudes courage, honesty, social norms, tolerance, and devotion to parents who allcomes down to the rules of how a man should live.All of this,is a form of representation of thereligious teachings of Islam on these aspects.This analysis uses the Cultural Circuit model to seethe representation system that worked on the Jokowi.Keywords:Religion,representation,identity,spirituality,and conflict.
TEKNIK ONE SHOT DAN PEWARNAAN KONTRAS DALAM PENATAAN KAMERATELEVISI KREATIF Suroko, Arif Pujo; Caturriyanto, Setyo Tohari
Capture : Jurnal Seni Media Rekam Vol. 3 No. 2 (2012)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v3i2.1883

Abstract

There are several television programs format,including the drama and non-drama.Videoclip is not drama or non-drama or journalism.However,video clips and commercials is a part ofa television program. Creative television is the format of audio-visual works that consist ofvideo clips and commercials. In making the creative television programs should be requiredcreative ideas for producing a visual work that is interesting and innovative.Video clip (musicvideo) is a tool for music producers to market a product or its artists through the medium oftelevision.So video clips can be defined as audiovisual works from a song produced by a group ofmusic in order to promote or popularize the music group along with their songs.Advertising isany forms of communication that is intended to motivate someone of potential buyers andsellers to promote a product or service.Advertising as a media campaign is divided into severalcategories,including:TV Commercial and Non-commercial ads.Commercial ads are advertisingthat aim to support the marketing campaign of a product or service. Meanwhile, noncommercial ads are ads in the form of a social marketing campaign to sell the idea or ideas forthe benefit or public service.Director of photography has an important role in determining thevisual concept. Changes of the script into a visual form is through the role of a camera personthinking through the medium of the camera.The use of One Shot shooting technique and colorcontrast are a visual concept that is applied in making this work.The One Shot technique is usedin the manufacture of video clips,while the contrasting coloring is applied in the manufacture ofadvertising is also on the video clip.With the visual concept is expected to give an idea of the feelof the new visualization mainly to the appreciation of communicative media are experimentaland educational, so as to form a pattern of thinking creatively in generating ideas artvisualization.Keywords :One Shot technique, color contrast, video clip, and creative television
PENYUNTINGAN CUTTO CUT DAN COMPOSITING VIDEO MUSIK PANTAIKU KALAMASOUL BAND Ambarwati, Endang Retno; Waskito, Setyo Bagus
Capture : Jurnal Seni Media Rekam Vol. 3 No. 2 (2012)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v3i2.1885

Abstract

There are a lot of reggae musics that can be taken advantage,among them can be usedas a means of delivering a moral message,voice calling for weak communities,provide relaxationand well able to bring a message of peace for others.Departing from this fact,producer seeks tocreate two music videos using different construction techniques, the Cut to Cut technique andCompositing technique to eliminate negative view of reggae musics and the choice was on mybeach songs created and sung by Kalamasoul Band.The Cut to Cut technique to arouse feelingsand emotions of the audience,so the audience feel being at the beach and can capture the moralmessages in the videos my beach music easily.The Compositing techniques to provide a varietyof different and interesting spectacle for the community that after seeing the music video, theaudience is not immediately forgotten of what he had just seen. Cultivation of the Pantaikumusic videos through three main stages, namely editing offline, online editing, and mixing. Byusing two different techniques on the same music,it turns out Pantaiku music video compositingtechniques packaging more attractive and entertaining. But seen from the delivery of themessage,the music video by cut to cut technique in my beach songs was more communicativeand easily received by the audience.Objective of the video was to create good music and finallyactractively reached.Keywords:Editing,cut to cut,compositing,Kalamasoul Band,dan Pantaiku
STRATEGI PROGRAM TVRI JAWATENGAH DALAM MENINGKATKAN KUALITAS MELALUI KONTEN BUDAYA PADA TEPOTULODHO Ersyad, Firdaus Azwar; Murfianti, Fitri
Capture : Jurnal Seni Media Rekam Vol. 3 No. 2 (2012)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v3i2.1887

Abstract

The background of this research is based on today problems of TVRI station bothintegral and influence quality programs.The aim of the research is to know whatTVRI strategiesto upgrade the quality which has locality content function in the Tepo Tulodho programs.Thisresearch use qualitative descriptive method to dig up the empirical phenomenon in TVRI,Central Java.In addition,there are three sources: informant,document,and book.To completethe data, this research uses observation, interview, and documentation.The research resultsshowed thatTVRI used dynamic pattern in strategy program. Program production was moredominate than acquisition. Supervision and program evaluation applied by Evaluation MeetingPress. Strategy of locality culture in the TepoTulodho program described Javanese culture andone of the supporting of pictured strategy.Keywords:Program strategy, local culture, picturisation, and rtistic design.
ANALISIS DRAMATURGI BANYOLAN KARTOLO EPISODE SETORAN DI JTVSURABAYA Wangi, Mega Pandan; P, Basnendar H
Capture : Jurnal Seni Media Rekam Vol. 3 No. 2 (2012)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v3i2.1889

Abstract

This study is based on the curiosity of the author regarding of aspects of thecharacterizations contained in the program JTV Surabaya namedBanyolan Kartolo (Kartolo Jokes),especially the episode 273 with the title“Setoran”.The study focused on the art of dramaturgyand the division of roles on the player.This study uses a qualitative research especially thefenomenology approach.With this approach disclosed to any phenomenon that occurs in theproduction of Kartolo Jokes. Data were analyzed using an interactive model, namely datareduction,data presentation,and then draw conclusions.The results of this study indicate thatthe elements that exist in Ludruk characterization Kartolo Jokes.In the jokes only use three typesof roles which the protagonist,antagonist and extras.Supporting element is the script,directors,steering studio, production assistants, camera person, lights man, sound engineers, and artisticdirector.Keywords:Ludruk,BanyolanKartolo,JTV Surabaya,and Dramaturgy

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