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[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[FILM FICTION “TUAN X”: GESTUR APPROACH AS A PSYCHOLOGY MARK OF A MAIN FIGURE ]]>
<![CDATA[Angelina, Ayu Mella]]>;
<![CDATA[Abidin, Zainal]]>;
<![CDATA[Karyadi, FX. Yatno]]>
<![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.v10i1.2186
<![CDATA[The film Tuan X is a fictional film with the theme of psychology. This film is very closely related to one's personal life. Films that tell about the condition of someone who is experiencing severe frustration so that his psychological was disturbed and it made him did things that are not normal. The production of Tuan X film is based on the concepts of directing, videography, editing, and sound that have been set before. From the film that was successfully created, it appears that gestures can be used to show a psychological picture of a character. The right gestures can be supported by repetition of movements so that it strengthens a character of the figure, so that the intensity of the tension / thriller of the story in reaching a climax is in accordance to the genre raised. In addition, the gesturessucceeded in becoming a signifier of the psychological reality of the character. ]]>
<![CDATA[CREATIVE STRATEGY OF BW PURBA NEGARA IN CASTING AND DIRECTING OF FIGURE MBAH SRI IN FILM “ZIARAH” ]]>
<![CDATA[Akhlaq, Muna Rif'atil]]>;
<![CDATA[Setiawati, Sri Wastiwi]]>
<![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.v10i1.2187
<![CDATA[This study aims to descibe BW Purba Negara's creative strategy in casting and directing Mbah Sri character in the Ziarah film. The research method uses qualitative descriptive. The results showed, creative strategies in casting are done by going to villages looking for people who are suitable for the 3D character of Mbah Sri, based on physical suitability and the similarity of the story with the personal life of the actor Mbah Sri. In directing, creative strategies are done by reciting repeatedly and imitated, explaining explosively to be embedded in the memory of the character Mbah Sri, repeated repetition, and imitating a longdialogue.]]>
<![CDATA[BIOPIC FILM AND POLITICAL IDENTITY: CONTESTATION OF DIVERSITY OF IDEOLOGY IN INDONESIAN MOVIES TEXT POST-SOEHARTO REGIME ]]>
<![CDATA[Haryanto, Dwi]]>
<![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.v10i1.2196
<![CDATA[This discussion examines the textuality relationship between the historical facts of biography and the narrative structure of films that present figures who during the New Order (Orde Baru) regime were alienated from Indonesian historiography. Through a study of the films Gie, Soegija, Sang Kiai, Soekarno, and Jenderal Soedirman, they can deconstruct the meaning of historical films produced by the New Order regime which are dominated by Soeharto's image. The emergence of biopic films that narrate the characters with identity plurality is a deconstructive tipical and reflects the antithesis of filmmakers on film products in the era of the Soeharto regime. Whereas in the New Order era, films with epic historical genre, identical to the hegemony of the military struggle which are reduced by civil society narratives, such as moslem teacher (kiai) and moslem student (santri) and other minority groups, which in the context of historical facts also contributed greatly to the era of nation formation through representation of ethnic nationalism and civic nationalism. The Indonesiandiscourse which is reflected in the hidden meanings of biopic films studied represents a plurality of ideologies and identity political formation in popular culture products.]]>
<![CDATA[ANALYSIS OF X GENERATION IN FILM “TURAH” ]]>
<![CDATA[Patawari, Muhammad Yunus]]>
<![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.v10i1.2197
<![CDATA[The film is one of the media that can describe a generation of speech in an era. The stuttering of the older generation is often described as conservative-minded actors facing the changing times. On the other hand, the uncertainty of the young generation facing their own times is loaded with inherited values which are always in conflict with the principles of modern life. This paper tries to analyze how these generations are presented into the film. Taking the film Turah as a research material, the author wants to analyze further how the character of the figures in this film represents his generation. The author uses two sets of analysis, that is generation theory David and Jonah Stillman to identify generations and their characteristics. Secondly, the analysis of Christian Metz's shot to examine the relations of generation in the film Turah. Turah is the main character in the film representing the generation of X (middle aged). Generation X has a role as a bridge between the generations above it and the generation below it (millennial). The generation X's ability to absorb its predecessor values to be inherited to the millennials generations will shape the character of the generation Z, the farthest generation of its predecessors.]]>
<![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[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[FORM OF STANDARDIZATION AND STEREOTYPING PRACTICES THROUGH MESSAGE OF VIDEO ADS BUAVITA ]]>
<![CDATA[Narendra, Asnurul Novia]]>;
<![CDATA[Habsari, Sri Kusuma]]>;
<![CDATA[Ardianto, Deny Tri]]>
<![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.v10i2.2243
<![CDATA[This research focuses on the symbols contained in the four Buavita video ads, namely Buavita Mix Berries, Buavita Kelapa, Buavita Mangga, and Buavita Jambu. These ad videos seem to be able to segment the community into a type of society. The research aims to prove the existence of certain symbols in the Buavita advertisement video as a practice of hegemony and perpetuating gender inequality. This research uses descriptive qualitative method with four theories of cultural studies as the theoretical basis. The results showed that Buavita's ad-style healthy lifestyle became a trick of capitalism in inviting people to consume symbols and make profits. The video presentation of Buavita's advertisement is also a medium for the perpetuation of the concept of the traditional gender role that positions women as domestic agents, passive and consumptive, while men as non-domestic, active, and productive agents. ]]>
<![CDATA[GADANG HOUSE IN DOCUMENTARY FILM OF THE ADAT NAGARI SIJUNJUNG DISTRICT ]]>
<![CDATA[Fahriansyah, Elfit]]>;
<![CDATA[Sasongko, Hery]]>;
<![CDATA[Krishna, Adi]]>
<![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.v10i1.2244
<![CDATA[This documentary film entitled Perkampungan Adat Nagari Sijunjung (Traditional Village of Nagari Sijunjung) is trying to show the reality about the condition of the gadang house nowadays. This film was created with an expository documentary style, which uses the narrator as a single speaker. This documentary film describes one area that still maintains ‘gadang’ houses like their original functions, namely daily and customary functions. The daily function of the ‘gadang’ house is as a place to accommodate the daily activities of its inhabitants, as is usually the case with residential houses. While the traditional function of the ‘gadang’ house is the main house owned by a family belonging to a certain tribe. As the main house, the ‘gadang’ house is a place for traditional ceremonies and other importantevents from a large family of homeowners or fellow brothers of the same tribe. ]]>
<![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. ]]>
