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
406 Documents
<![CDATA[TEKNIK EDITING DISKONTINUITI PADA DRAMA TELEVISI 44V ]]>
<![CDATA[Andhika, Yuditia Leo]]>;
<![CDATA[Rahman, Abdul]]>;
<![CDATA[Krishn, Adi]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 9 No. 1 (2017) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v9i1.2057
<![CDATA[This paper describes the creation of a television drama 44V. This work tells about the journey of a courier forwarder who works on a service offer. This work is packed with sitcoms and there is a social critique of the current situation of Indonesian society. Works created using discontinuity editing techniques. This editing technique is breaking the logic of space and time. Discontinuity editing places more emphasis on ignoring the principles and conventions of continuity editing. In combining several techniques with the discontinuity editing method, an editor is required to be creative aesthetically and skillfully enough to collaborate on such techniques either with transitions, visual effects and so forth.Keywords: 44V, discontinuity, and editing]]>
<![CDATA[REPRESENTASI CITRA LAKI-LAKI DALAM IKLAN GATSBY STYLING POMADE KAJIAN SEMIOTIKA ROLAND BARTHES ]]>
<![CDATA[Rahayu, Nur Umi]]>;
<![CDATA[Afrianto, Damar Tri]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 9 No. 1 (2017) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v9i1.2060
<![CDATA[Advertising is now creating a need for consumers. Advertising makes the wishes and expectations of consumers as a need that must be met and how the fulfillment of course by consuming the advertised product. This study aims to determine the representation of male image contained in the ad Gatsby Styling Pomade. The type of research used is qualitative research with semiology communication approach. The focus of this study is the representation of the male image formed from the symbols contained in the ad Gatsby Styling Pomade. Analysis technique used in this research is semiotics analysis method with Roland Barthes semiotics analysis approach which has two marking level denotation and connotation and myth. In this ad shows that men should always look perfect with a proportionate body shape and a neat hair. The male image is displayed, forming the notion that men should always look stylish and cool. Then it can be concluded that the image of men found in the ad Gatsby Styling Pomade included in the category of masculine image. Kerwords : Advertising, representation, image, semiotics, masculine  ]]>
<![CDATA[TURONGGO YAKSO IN ETHNO-PHOTOGRAPHY ]]>
<![CDATA[Perkasa, Mandira Citra]]>;
<![CDATA[Prasetyo, Andry]]>
<![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.v9i2.2063
<![CDATA[The idea of a photographic creation entitled Turonggo Yakso in Ethnophotography is a follow-up in addressing the disappearance of the handwritten textbook of the founder of the art of Turonggo Yakso, which contains important notes on the art of Dongkol Village society. The book contains about the history of the art of Turonggo Yakso, the design of motion, and all the rules regarding the Baritan ceremony. The purpose of the creation of this work in an attempt to re-collect records in the form of text data from the interview results of the artists Turonggo Yakso, and visual data from the show performances which are packaged in ethnophotographic photos. The process of creating this work using the ethnophotographic method supported by Dipti Desai ie Pseudo-Ethnography or "Pseudo" ethnography, where the creator not follow the ethnographic methods strictly, but rely more on field data from interviews by informants and environmental observations. The creation of this work presents ethnophotographic works about the folk art of Turonggo Yakso in Dongko community, Trenggalek regency, East Java province from preparation, during the performance, to the end of the show. ]]>
<![CDATA[DISCOURSE ANALYSIS OF POND'S MEN'S ADVERTISING “LELAKIMASAKINI” VERSION OF RIO DEWANTO ]]>
<![CDATA[Fauzi, Abas]]>
<![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.v9i2.2087
<![CDATA[ This research discusses how advertising producers provide a new formula for men nowdays. Through such as advertising, manufacturers are trying to create a standard male nowdays with efforts of disciplining the body. Pond's Mens it self always bring up the ad with a new concept when they put out a new product variant. The man of today is a manifestation of cooperation between the pond's makes Rio Dewanto as a brand ambassador. This research uses critical discourse analysis, model which Norman Fairclough classifies three dimensions of discourse consisting of text, discourse practices and socio cultural practices. The dimensions of the text simultaneously has three functions, namely the representation, relationships, and identity. The results showed that the ads were shown to men as a disciplinary body's efforts. In addition, this commercial bias occurs in practice meaning between scenes in the ad with the discourse of the present men. ]]>
<![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[VISUALIZATION SETTING AS TIMER APPOINTMENT IN THE MOVIE “AACH AKU JATUH CINTA” ]]>
<![CDATA[Sagita, Rio Putra]]>;
<![CDATA[DA, NRA. Candra]]>
<![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.v9i2.2090
<![CDATA[This study examines the film “Aach…Aku Jatuh Cinta” (Aach...I Fall in Love). This study aims to find out the visualization of the setting as a timepiece in the film “Aach…Aku Jatuh Cinta” through the size of the image. The type of research used is descriptive qualitative research. The selection of samples in this study was carried out by purposive sampling technique. Data collection is done by observation and interviews, while data analysis is done through the stages of data reduction, data presentation, and drawing conclusions and verification. Research focuses on setting as a timepiece visualized in the film “Aach…Aku Jatuh Cinta” through the size of the image. The results of the research of “Aach…Aku Jatuh Cinta” show the time settings are divided into three sequences, the settings that appeared in 1970, 1980 and 1990]]>
<![CDATA[PROGRAM STRATEGY OF HARD NEWS ON KOMPAS TV ]]>
<![CDATA[Rahayu, Sri]]>;
<![CDATA[Sugihartono, R.A.]]>
<![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.v9i2.2105
<![CDATA[This study describes the problem about the strategy of hard news program conducted by Kompas TV. The object of this research is the hard news program on Kompas TV which is examined by using qualitative descriptive approach. The sampling technique used in this research is purposive sampling. Methods of data collection using participative observation, interviews, and literature study. The results of the study show that the strategy undertaken by producers and programming team in Kompas TV includes strategy in program planningconsisting of program product arrangement, and program promotion. Strategy in self production (in house production) and program purchase through three systems. The strategy on program execution involves broadcasting the program according to the broadcast pattern and in accordance with the target audience. In addition, the program supervision strategy is conducted through internal control quality by the producer and programming team that refersto Broadcasting Behavior Guidelines and Broadcast Program Standards (P3SPS) and external supervision by Indonesian Broadcasting Commission (KPI), as well as strategies that are compiled through daily and weekly evaluation.]]>
<![CDATA[STUDY OF FORMER STREET KID RECEPTION TO MOVIE “ALANGKAH LUCUNYA NEGERI INI” ]]>
<![CDATA[Agustian, Jaka Farih]]>;
<![CDATA[Irawanto, Budi]]>
<![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.v9i2.2106
<![CDATA[Social problems in the aspect of street children in Indonesia is still difficult to solve. The Data 2017 issued by the Minister of Social Khofifah Indar Parawansa said there are 4.1 million Indonesian children who are displaced and need protection. Thus, various media attempts to provide criticisms about social conditions in Indonesia, especially through the construction of street children's films. Film of Alangkah Lucunya Negeri Ini describes social problems of street children happening in Indonesia. This study aims to explain how the reception of exformer street children in watching the film Alangkah Lucunya Negeri Ini using the method of reception proposed by Stuart Hall, namely the concept of dominant hegemony, negotiation, and opposition. The results show that informant receptions arise due to different social and cultural dimensions in life as street children in the past. The informants also made the film Alangkah Lucunya Negeri Ini as reflection based on life experience. Thus, the presence of the film gives negative stigma of street children in social relations of society. Scene of film also brings the informant to feel the pleasure of watching that is expressed through both entertaining and emotional forms. Meanwhile, audience also responded activelly to the construction of street children films in social, educational, and religious discourse. Informants who are in the dominant code express their interest in film programs motivated by behavior and social experience as street children. While informants who are in a negotiating position try to be adaptive in adjusting the message in the film, but also have an attitude of opposition as a form of rejection. While the informants who placed themselves in the opposition expressed a different attitude to the construction offered in the film program. There is an element of discomfort with the presence of street children movies in their lives. ]]>
<![CDATA[“KITA PUNYA BENDERA”: CHINESE ETHNIC AND NATIONALISM NARRATIVES ]]>
<![CDATA[Wibawa, Satrya]]>
<![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.v9i2.2130
<![CDATA[This paper discusses Indonesian cinema‟s representation of children after the fall of the New Order and during the Reform era. Thus, I explore Kita Punya Bendera1 (2008) that seemingly stands as the first children‟s film that places a Chinese ethnic background child as the main narrative which also focuses on the complicated situation of being a Chinese in Indonesia. Considering the state‟s overpowering political hegemony during the New Order, the key question with respect to the period of transition concerns that which remains the same amidst the change. The paper argues that, in spite of deep transformations, the cinematic representation of children remains as an ideological model for projecting Indonesia as an improved nation, which is done by featuring ethnic and racial diversitiy as it intersects with a changing idea of children and its significant relation with family culture and the education system in Indonesia.]]>
<![CDATA[APROPRIATION OF METAFORA IN FILM ADVERTISING “MANDIRI SECURITAS” ]]>
<![CDATA[Handriyotopo, Handriyotopo]]>;
<![CDATA[Lastoro, GR Lono]]>;
<![CDATA[Gustami, SP]]>
<![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.v10i1.2181
<![CDATA[ Mandiri Securitas Advertising Film is an advertising film using the rhetoric strategy of visual communication of the kris masters as a creative approach. The theme as a basic idea for the creation of the Mandiri Securitas advertisement film seeks to understand the effort of working hard to produce details from the master's work to produce a keris blade, created with metaphorical rhetoric to represent the image of Mandiri Securitas in serving its customers whether they can work well or not by looking at each the role of the political rhetoric domain and banking rhetoric in both. The purpose of this study was to critically identify the two domain metaphorical rhetoric by looking at each role of the constituent elements of the Mandiri Securitas advertising film. This research method uses descriptive qualitative deconstruction by "appropriation minus one" technique through the dismantling of the banking domain and the domain of perkerisan to see the position of the filmmatic metaphorical rhetoric of the Mandiri Securitas  advertisement. Advertising films contain constituent elements such as visual, audio, animated effects and voice over that support the formation of advertising metaphors. Through appropriation "minus one" can be found the position of visual rhetoric of the keris domain is able to deliver messages from products desired by Mandiri Securitas , but if "animated text" and "voice over" are removed, there is no rhetorical relationship in both. ]]>
