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[REYOG OBYOGAN IN PHOTO ESSAY ]]>
<![CDATA[Nugroho, Oki Cahyo]]>;
<![CDATA[Tricana, Deny Wahyu]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 11 No. 1 (2019) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v11i1.2247
<![CDATA[Reyog is one of the traditional arts that shows a richness of Indonesian culture. This art is unique and interesting to be realized in the form of visual works and meaningful, especially the art of photography. Photography has an important role as a medium for delivering information in the form of images, moreover images are a universal language. This research uses the method of creation with stages, namely observation, exploration, selection, and correction as well as analysis and presentation of data in order to uncover the phenomena that occur in Reyog Ponorogo. The results of this study indicate that 1) the shooting of an essay about performance of reyog obyogan Ponorogo's typical requires adequate photographic technical mastery; 2) the use of digital processing can support the visualization of photos essays of reyog obyogan; and 3) the mastery of technical shooting and digital processing is able to portray the characteristics of the reyog obyogan that are distinctive and full of traditional aesthetic values.]]>
<![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[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.]]>
<![CDATA[A CONCEPTUAL FRAMEWORK FOR QUALITATIVE RESEARCH: A LITERATURE STUDIES ]]>
<![CDATA[Guntur, Guntur]]>
<![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.v10i2.2447
<![CDATA[The conceptual framework is an important part of a research. However, there is still a lot of research, especially among students who ignore it. Indeed the conceptual framework has a strategic position and role in research. This article discusses about the conceptual framework in qualitative research. Specifically, it is aimed at providing understanding and practical guidance for students who will and / or are preparing research plans for their final assignments. This article consists of four main section / part. The first section discusses the understanding of research and research frameworks. The second section discusses the conceptual framework in qualitative research. The third section discusses how to develop / arrange a conceptual framework for qualitative research. The final chapter is a conclusion. ]]>
<![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. ]]>
<![CDATA[STYLOMETRY: STATISTICAL APPROACH INTO FILM STYLE ]]>
<![CDATA[Patawari, Muhammad Yunus]]>
<![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.v10i2.2451
<![CDATA[So far the study of cinema is still dominated by the use of a Narrative Analysis approach, where its weaknesses do not have empirical evidences, so the resulting analysis is assumptions which then followed by a text debate. Statistical Style Analysis or Stylometry is an alternative method in the study of cinema used to measure the director's formal (film style) parameters. This study applied Stylometry to the films by Chaerul Umam for decades (1970-2000). From this study it was found statistically that the Chaerul Umam style film underwent a change in the use of zoom techniques, the dominance of the use of medium shot (MS) and classified as small ASL units under 9 seconds / shot which is 6.6 / seconds. ]]>
<![CDATA[CREATIVE STRATEGY IN PRODUCTION OF PROMOTION VIDEO FOR THE RATTAN TOURISM VILLAGE OF TRANGSAN ]]>
<![CDATA[Morgana, Daniel Andhika]]>;
<![CDATA[Rizal H, Sigit]]>;
<![CDATA[Bilankawa, Firdana]]>;
<![CDATA[Ramadhian, Alpin]]>;
<![CDATA[Ardi Candra D.A, Nur Rahmat]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 11 No. 1 (2019) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v11i1.2581
<![CDATA[One aspect that affects the speed of development of a tourist village is the promotion of the village. Promotion of village tourism is very important especially for villages that are pioneering. Village promotion can be carried out by internal elements who carry out promotions and information intensively. Therefore, it is necessary to involve the village youth group "Susilo Bhakti" of Trangsan Village. Research methods with a focus on creative strategies implemented in the preproduction, production and post-production stages. The results of the study showed that 1) village youth group were able to make creative videos that highlighted the uniqueness of the Rattan Tourism Village of Trangsan; 2) Strategy in the preproduction stage is to emphasize the importance in determining ideas and concepts that are the main theme, 3) Strategy in the production phase is to focus on understanding about the several types of shooting of local village tourism objects, and 4) Strategy in the post-production stage is focus on image editing and publication on social media Youtube and Instagram.]]>
<![CDATA[ACTUALIZATION OF WOMEN IN DOMESTIC AREAS IN THE GALUH FILM ]]>
<![CDATA[Aryawaningrat, I Gusti Ayu Agung]]>;
<![CDATA[Santosa, Hendra]]>;
<![CDATA[Wirawan, I Komang Arba]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 11 No. 1 (2019) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v11i1.2651
<![CDATA[This research focuses on the actualization of women in the domestic area in the film Galuh. This film is an interesting study because the content in this film that contains local wisdom with the source of film ideas from marriage Pada Gelahang and also emphasizes the identity of conventional women with their domestic space. The formulation of the problem in the research is how the actualization of women in their domestic areas in the film Galuh. The purpose of this study is to study the actualization of women in their domestic territory in the film Galuh. This study uses descriptive qualitative research methods, with interpretive analysis. This research uses film’s elements such as narrative film and cinematic as well as ecofemism to present the spectrums that are seen in films that show women in quite different ways by complementing Galuh and which load more in the domestic area. The results of this study provide a specific understanding of Galuh through narrative and cinematic films that depict Galuh and her daughter as conventional and unconventional female characters with their domestic space.]]>
<![CDATA[CREATIVE DIRECTION OF IKA MAHARDIKA IN THE PREPRODUCTION OF THE UNREMEMBERED DOCUMENTARY FILM ]]>
<![CDATA[Syam, St. Hadidja]]>;
<![CDATA[Afrianto, Damar Tri]]>;
<![CDATA[Wastiwi S, Sri]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 11 No. 1 (2019) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v11i1.2661
<![CDATA[This study aims to describe Ika Mahardika's creative process in directing the documentary film The Unremembered, especially in the preproduction stage. The research method uses descriptive qualitative. The results showed that director Ika Mahardika's creativity in digging data about Salawati Daud lies in the ability to use ethnographic research methods in a coherent manner starting from literature search, field observations, interviews and documents. In addition, Ika Mahardika's creativity also lies in data processing starting from selecting data with consideration of the capacity of the information provided then how the data is displayed chronologically.]]>
<![CDATA[SEMIOSIS PROCESS IN THE SOUNDS OF GAMELAN AND PESINDEN IN SANDEKALA FILM ]]>
<![CDATA[Pratama, Andri Albertha]]>;
<![CDATA[Soewarlan, Santosa]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol. 11 No. 1 (2019) ]]>
Publisher : <![CDATA[Seni Media Rekam ISI Surakarta ]]>
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DOI: 10.33153/capture.v11i1.2664
<![CDATA[The research investigates the use of the sign (code) used by Amriy Ramadhan as the director when delivering messages through the sounds of ‘gamelan’ and ‘pesinden’ in the Sandekala film. Conflicts emerged when the signs that are used have broad interpretations for the audience. The signs are discribed and analyzed using the ten-sign classification analysis method from the Peirce semiotic trichotomy concept. This study shows the important meaning of the semiosis process of the distribution of other signs which in their presentation are interrelated to lead the audience's interpretation in the sounds of ‘gamelan’ and ‘pesinden’ presented in the Sandekala film. The using signs which the characteristic based are generally accepted convention such as non-verbal dialect (kinesics) can lead the audience's interpretation that the sound of ‘gamelan’ and ‘pesinden’ in the Sandekala film is a metonym of magical figure who has long hair, white dress based on the semiosis process of signs which are interrelated in the presentation of the narrative structure of the film with repeated indexical relationship patterns.]]>
