cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
Ranang Agung Sugihartono
Contact Email
ranang@isi-ska.ac.id
Phone
-
Journal Mail Official
ranang@isi-ska.ac.id
Editorial Address
-
Location
Kota surakarta,
Jawa tengah
INDONESIA
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
 34   35   36   37   38 
THE CONCEPT OF CHINESE-INDONESIAN-NESS AS SEEN FROM ERNEST PRAKASA’S ROLES IN NGENEST, CEK TOKO SEBELAH, SUSAH SINYAL AND STIP & PENSIL Sutandio, Anton; Angjaya, Sonny
Capture : Jurnal Seni Media Rekam Vol. 11 No. 1 (2019)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i1.2665

Abstract

This article discusses four films entitled Ngenest (2015), Cek Toko Sebelah (2016), Susah Sinyal (2017), and Stip & Pensil (2017) in which Ernest Prakasa played a role, in the context of how the four films construct Chinese-Indonesian-ness. In the context of cinema, the appearance of Chinese-Indonesians on the screen during the New Order regime was scarce, and if there is any, the depiction was highly stereotyped. Only after Reform era in the late 1990s that Chinese-Indonesians and their culture began to re-appear on screen. Ernest Prakasa is one of few Chinese-Indonesians who publicly celebrates his Chinese-ness through entertainment platform.  Ethnic identity theory applied on the discussion of the film cinematography and mise-en-scene to show what the films say about the concept of Chinese-Indonesian-ness. The findings show that Prakasa not only celebrates being a Chinese-Indonesian, but he also performs a self-mockery as Chinese-Indonesians by explicitly emphasizing the Chinese-Indonesians stereotypes. He also tries to re-establish inter-ethnic relationship and introduce contemporary Chinese-Indonesian-ness concept through his films.
REPRESENTATION OF NOSTALGIA IN THE PROGRAM MEMORI MELODI IN TVRI NASIONAL Ramadhoni, Ayudha Eka; Sugihartono, Ranang Agung
Capture : Jurnal Seni Media Rekam Vol. 12 No. 1 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v12i1.2674

Abstract

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.
PARTISIPATORY DIRECTING IN THE FILM NOISE IN SILENCE Syam, Reskyana; Adji, Titus Soepono; Fauzi, Abas
Capture : Jurnal Seni Media Rekam Vol. 11 No. 2 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i2.2679

Abstract

Deaf people are social groups that are protected by the Law of the Republic of Indonesia Number 8 of 2016 concerning Persons with Disabilities, but they still feel injustice or unfair in the world of education and in society environment. The above problems are the basis for the creation of the documentary film Noise In Silence. The type of research used is artistic research which produces a documentary film work. Documentary film production is carried out using a participatory directing style, while the analysis uses a visual approach. The resulting documentary film shows the participatory style can support the discovery of answers to the director's doubts, and can reveal the subject's experience in depth so that it can be captured by the audience. In addition, the dramatization of the presentation was successfully realized, so that this film has a high influence on the emotional level of the audience.
EDITING CROSS-CUTTING IN THE FILM HAJI BACKPACKER Mulia, Prajanata Bagiananda; Dharsono, D.,
Capture : Jurnal Seni Media Rekam Vol. 11 No. 1 (2019)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i1.2686

Abstract

The aim of this research is the revealing the use of editing cross-cutting formed in Haji Backpacker’s film. This research uses qualitative research method: interpretative analysis formalist aesthetics approach, editing cross-cutting of Karel Reisz through Sergei Eisenstein’s montage theory. This research focuses on studying the aesthetic and the application of editing cross-cutting in Haji Backpacker’s film. Editing cross-cutting observed from the forms, functions, relations of themes, and motivation of existence, until analysis of Sergei Eisenstein’s montage, those are metric, rhythmic, tonal, overtonal and intellectual. The results of this research reveals the artistic meanings of Haji Backpacker’s film as formalist aesthetics, and editing cross-cutting’s concepts that formed in Haji Backpacker’s film by Danial Rifki through montage analysis of Sergei Eisenstein.
THE IMAGE OF PRESIDENT CANDIDATE JOKO WIDODO IN CAMPAIGN ADVERTISEMENT IN THE PRESIDENT ELECTION 2019 Ridwan, Muhammad Fauzi; Priyatna, Aquarini; Meilinawati, Lina
Capture : Jurnal Seni Media Rekam Vol. 11 No. 2 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i2.2706

Abstract

This research focuses on Joko Widodo's and KH Maruf Amin's campaign in the 2019 presidential election. The purpose of this study is to find out how Joko Widodo imaged himself in his political campaign adverts, and how ideas and meanings are articulated in political advertisements. The study uses a descriptive qualitative research with Roland Barthes's Semiotic analysis approach. The results showed that Joko Widodo was represented as a simple leader, populist, and close to a low society, and could bring Indonesia forward and prosper through some of his programs are Kartu Prakerja or the Pre-Employment Card, Kartu Indonesia Pintar Kuliah or Indonesia Smart College Card, and Kartu Sembako Murah or Cheap Basic Food Cards.
THE RICHARD'S MASCULINITY IN FILM LOVE FOR SALE 1 Ramadhana, Reza Chandra; Utami, Citra Dewi
Capture : Jurnal Seni Media Rekam Vol. 11 No. 2 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i2.2770

Abstract

This research focuses on the masculinity of a male character named Richard Achmad in the film Love for Sale 1 directed by Andibachtiar Yusuf. The purpose of this study was to determine the social construction of men depicted in the masculinity of Richard's character. This type of research is qualitative research with the technique of collecting Saturated Sampling data. Observation and Literature Study method as a data collection method. Data analysis uses Interactive Data Analysis including data reduction, data display and conclusion drawing / verification. The reading of John Beynon's masculinity is used as an approach to find the masculinity in Richard's character. The results showed that the male social construction built in the film Love for Sale 1 is a representative of the social construction picture that exists in real life. There are similarities in the social construction of masculinity between Richard's character in the film Love for Sale 1 and in real life. 
PRODUCT PLACEMENT IN THE FILM ADA APA DENGAN CINTA Santika, Amelia Putri; Rosmiati, Ana
Capture : Jurnal Seni Media Rekam Vol. 11 No. 2 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i2.2775

Abstract

Nowdays film is not only a medium of entertainment, but also a medium for product promotion or as a medium for advertising products or public service advertisements. This function can be found in the film Ada Apa Dengan Cinta 2. The purpose of this study is to analyze the characteristic of the product advertisement inserted in the film Ada Apa dengan Cinta 2. The type of research used is Descriptive Qualitative. Data collection techniques using Purposive Sampling to obtain three research samples, namely Aqua, Loreal, and Line. Data analysis was done by Interpretative Video-Analysis. The results showed that in the film Ada Apa dengan Cinta 2 there are four adverts characteristic, namely: Public Presentation appears in 1 scene, Persuasiveness appears in 2 scenes, Amplified Expresiveness appears in 2 scenes, and Impersonality appears in 4 scenes. The product placement in this film appears that the Impersonality advertisement is very dominant, then followed by the Amplified Expresiveness and Persuasiveness advertisement. Meanwhile, advertising in a Public Presentation characteristic only appears in one scene.
GIMMICK IN THE REALITY SHOW RUMAH UYA Oktora, Dina Dwika
Capture : Jurnal Seni Media Rekam Vol. 11 No. 2 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i2.2817

Abstract

This research focuses on the gimmick in reality television shows, namely the Rumah Uya program which is broadcasted by ANTV station. This research uses a qualitative descriptive approach, data collection uses purposive sampling techniques, and data analysis uses content analysis. The results showed that the gimmick added to this event was not only a sound effect, but also create the acting of talents with dialogues that tended to be vulgar and showed impolite behavior. This contradicts with the applicable broadcasting regulations, namely the policies set out in the Indonesian Broadcasting Commission (Komisi Penyiaran Indonesia) regulation. Adding gimmicks to the reality show program can be done as long as it does not conflict with decency, law, and applicable regulations.
COMBINATION OF DOCUMENTATION, ANIMATION, AND LIVE ACTION IN THE FILM PINK PASTEL Biosa, Sito Fossy; Marianto, M. Dwi
Capture : Jurnal Seni Media Rekam Vol. 11 No. 2 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i2.3008

Abstract

Film Pink Pastel with visual documentation, animation and live action (called Trisikon; three situation and condition) is used in response to the dangerous phenomenon of ‘idam pica’ (pica cravings). The writer tried to make a film that is not a cliché, not just a play of dramaturgy, gesture, mimic, and exploratory dialogue from the actor himself. The author explored the visual (mise en scene) by dissecting cliches and not cliches artwork. All action ranging from phenomena, maternal ecstasy, to visual realization. It is intended to create random Audio visual spaces, chaotic, and broken. The combination of documentation, animation, and live action in this film is able to realize the Deleuze’s Logic Sensation theory, that there were two powers owned by chaos at the same time, destructive power, and life power. The modified form in the film Pink Pastel can help the filmmakers to open the possibility of wider cinema visual.
THE DRAMATIC STRUCTURE OF TOURISM ADVERTISEMENT “WONDERFUL INDONESIA EPISODE TORAJA-MAKASSAR” Afrianto, Damar Tri; Santiko, Putut Bayu
Capture : Jurnal Seni Media Rekam Vol. 11 No. 2 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i2.3011

Abstract

The study of digital advertisement of the tourism was based on the potential of dramatic elements seen in the "Wonderful Indonesia episode of Toraja-Makassar"  advertisement released by the Ministry of Tourism of Republic Indonesia. This research uses the approach and theory of William Wells’s advertising video and Gustav Freytag's dramatic structural theory. The results of this study indicate that important elements in the "Wonderful Indonesia episode Toraja-Makassar" included Rambu Solo', Masilaga Tedong, creative process of weaving, carving, and Tau-Tau sculpture. Voice over in audio uses English. Talent is very good at material. Advertising props contains of South Sulawesi tourism destinations. Setting of advertisement video located in cultural centers in South Sulawesi. Lighting uses soft light and hard light. The graph varies by using long shots, and close ups. Pacing is in normal speed. This ads presents a coherent structure starting from exposition, conflication, climax, conclusion and resolution. In addition, the advertising scenario is packed close to the reality, so that the audience is carried away to the real life This is able to motivate the North Toraja government to create tourism promotion content through video ads that are more attractive. 

Page 36 of 41 | Total Record : 406

 34   35   36   37   38 

Filter by Year

2009 2024


Reset
Filter By Issues
All Issue Vol. 15 No. 1 (2024) Vol. 14 No. 3 (2023) Vol. 14 No. 2 (2023) Vol. 14 No. 1 (2022) Vol. 13 No. 2 (2022) Vol. 13 No. 1 (2021) Vol. 12 No. 2 (2021) Vol. 12 No. 1 (2020) Vol. 11 No. 2 (2020) Vol. 11 No. 1 (2019) Vol. 10 No. 2 (2019) Vol. 10 No. 1 (2018) Vol. 9 No. 2 (2018) Vol. 9 No. 1 (2017) Vol. 8 No. 2 (2017) Vol. 8 No. 1 (2016) Vol. 7 No. 2 (2016) Vol. 7 No. 1 (2015) Vol. 6 No. 2 (2015) Vol. 6 No. 1 (2014) Vol. 5 No. 2 (2014) Vol. 5 No. 1 (2013) Vol. 3 No. 2 (2012) Vol. 3 No. 1 (2011) Vol. 2 No. 2 (2011) Vol. 2 No. 1 (2010) Vol. 1 No. 2 (2010) Vol. 1 No. 1 (2009) More Issue