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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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GENRE ANALYSIS THE FILM GUNDALA Sinulingga, Kinanthi N.V.M.; Wibawa, Satrya
Capture : Jurnal Seni Media Rekam Vol. 14 No. 1 (2022)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v14i1.3832

Abstract

Gundala (2019) is the latest Indonesian action film that was commercially successful, won national and international awards, and even ranked second in viewership in 2019. This study aims to identify the genre characteristics of Gundala. This paper utilized Nick Lacey's genre analysis, which analyzes films based on the repertoire of elements (narratives, characters, settings, iconography, and styles). The research shows that Gundala adopted the action genre characteristics, especially in the narrative, character, and style. However, the setting and iconography of the film have been modified to fit the local cultural context. Hence, the distinctiveness of Indonesian films can expand similar studies in film genres.
MINANGKABAU MATRILINEAL RELATIONSHIP IN THE LOVE FOR SALE 2 FILM Maharani, Anita Devi; Hudoyo, Sapto
Capture : Jurnal Seni Media Rekam Vol. 13 No. 2 (2022)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v13i2.3833

Abstract

Love for Sale 2 chronicles the life of a Minangkabau family living overseas. This tribe is highly distinctive due to the embraced and lived matrilineal culture. Accordingly, this study seeks to denote and connote the Minangkabau matrilineal relationship in the Sikumbang family as depicted in the film Love for Sale 2 by combining the descriptive method with Roland Barthes' semiotics in the analysis. The purposive sampling method selects scene samples. The findings of this study indicate that the Sikumbang family maintains the Minangkabau matrilineal relationship, which includes marriage as a communal affair, the importance of obtaining an ideal son-in-law, the'mamak-kemenakan' relationship, the 'bako anak pisang' relationship, and the mother's role in a matrilineal family.
“LONTAR PRASI” : THE PRESERVATION OF TENGANAN PAGRINGSINGAN TRADITIONAL VILLAGE Putra, I Nyoman Agus Suarya; Yusa, I Made Marthana; Willdahlia, Ayu Gede; Adiftia, Mohammad Ryan
Capture : Jurnal Seni Media Rekam Vol. 14 No. 1 (2022)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v14i1.3836

Abstract

Prasi art is a cultural heritage that remains in the traditional Balinese Aga (ancient) village of Tenganan Pagringsingan that must be preserved and promoted. One of the measures that may be implemented is the creation of informative and educative audio-visual works. The creation of this work focused on how to produce and draw on lontar prasi typical of Tenganan Pagringsingan traditional village. The creation of the work utilized an expository documentary approach involving pre-production, production, and post-production phases. The results of the work creation show that the video artwork was highly informative and detailed, appropriate to the context discussed, so it deserves to be presented.
BIG ENTERTAINMENT’S FILM AND MUSIC CREATION DESIGN: PLATFORM-BASED BUSINESS MODEL CANVAS AND ENTERPRISE ARCHITECTURE Ruddin, Isra; Santoso, Handri; Indrajit, Richardus Eko; Dazki, Erick
Capture : Jurnal Seni Media Rekam Vol. 13 No. 1 (2021)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v13i1.3946

Abstract

BIG Entertainment is an application that offers unparalleled music and film entertainment. Previously, applications like Spotify were all about music, while Netflix, Joox, and Disney were all about movies. This entertainment combines movies and music into a single application. This research seeks to examine the Big Entertainment application's business model canvas. This study employs the literature review method, which gathers various scientific and relevant sources. The findings suggest that BIG Entertainment service providers work hard to expand their offerings in response to changing market trends and technology advancements. The business model offers both tangible and intangible assets for customers who require not only the final product (music service) but also a one-stop service. BIG Entertainment can generate profit while developing a distinctive and efficient business model if it successfully integrates tangible and intangible assets.
INTERIOR MISE-EN SCENE IN ASIAN HORROR FILM’S SETTINGS Widyaevan, Dea Aulia; Wiguna, Iqbal Prabawa
Capture : Jurnal Seni Media Rekam Vol. 13 No. 1 (2021)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v13i1.3971

Abstract

Interior design is a process of conditioning a specific atmosphere, which relates to the concept of 'staging space.' As interior design is inherently designed to create an illusory world, the 'illusive, simulative' space can be used interchangeably with the real-imagined space of interior design and cinema. This article will examine three horror films to focus on how interior mise-en-scene is used to create a horror atmosphere. The films A Mother's Love, Tatami, and POB embodied semantic meanings into their spatial settings, serving as a projection of the characters; psyche, and story plots. A rhetorical visual method is used to interpret the relationship between spatial language, camera angle, character, and story plot. The research discovers that spatial language is an instrument of terror, as repeated patterns of liminal space, backlighting lights, and dream scene metaphors enhance the properties and camera angles to elicit an emotion of horror.
THE GUNUNGAN METAPHOR IN THE URIP IKU URUP VIDEO ART adi, sigit purnomo; Mohamed Saat, Mohammad Khizal; Ajimahendra, Widy Dwi; Tri Marutama, I Gusti Ngurah
Capture : Jurnal Seni Media Rekam Vol. 13 No. 1 (2021)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v13i1.3994

Abstract

Urip Iku Urup is a highly printed artwork made from plastic waste that serves as video art. Environmentally friendly relief prints used as video artworks motivate studies on their meanings. Thus, this study's problem is how to visualize the metaphor of the mountains (Gunungan) in the Urip Iku Urup video art. This qualitative-descriptive study seeks to discover the Gunungan metaphor in the video art by using the metaphor approach. The findings demonstrate that Urip Iku Urup's work uses the Gunungan metaphor as a manifesto for the three relationships between God, man, and nature. Gunungan, as a teaching in Javanese life philosophy, implies human desire or hope for future accomplishments.
FILM TOURISM: A CASE STUDY OF SUMEDANG AS SUNDANESE CULTURAL PUSEUR Denny Nugraha, Novian; Erdhina Adi, Anggar; Budi Haswati, Sri Mharani; Sintowoko, Dyah Ayu Wiwid
Capture : Jurnal Seni Media Rekam Vol. 13 No. 2 (2022)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v13i2.4022

Abstract

As a Sundanese Cultural Puseur (center), Sumedang Regency can arguably increase Local Own-Source Revenues (PAD – Pendapatan Asli Daerah) for the Sumedang Municipal Government. Hence, this artistic study aims to offer a positive identity for Sumedang Regency through film tourism. Specifically, this research employs a practical method to produce a film tourism creation titled “Historical Land of Pasundan.” The results indicate that the visual look of the Sumedang film tourism is quite complex and dynamic, demonstrating the regency’s superior potential, culinary offerings, and indigenous Sundanese culture. Sumedang is specifically labeled as the  Sundanese Culture Puseur partly due to its historical significance and to attract a greater number of domestic and international tourists. This film tourism captures many images containing wide shots, close-ups, and camera movements and hence appears to be very dynamic as a part of the tourism and creative industry’s efforts to recover from the Covid-19 effects.
YOUTUBE AS AN ALTERNATIVE MEDIUM FOR APPRECIATING INDEPENDENT SHORT FILMS Sekarnegara, Zafira Saraswati Yasmin; Handriyotopo, Handriyotopo
Capture : Jurnal Seni Media Rekam Vol. 14 No. 1 (2022)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v14i1.4056

Abstract

The Covid-19 pandemic has forced people to use Youtube social media when enjoying entertainment, especially films, including independent short films. This study seeks to illustrate YouTube as an alternative medium for appreciating independent short films, particularly in Surakarta City. This study employs a qualitative research method that emphasizes a thorough and critical point of view and is supported by a phenomenological perspective. Data were collected through observation and literature study and analyzed qualitatively. The research results consider using YouTube as an alternative media for appreciating independent short films suboptimal. Most filmmakers, communities, or production houses use streaming platforms like  YouTube only to promote their continued existence and create networks between filmmakers.
THE BAHU LAWEYAN LEGEND IN PHOTOGRAPHIC WORK Putra, Rahdan Hutama; Handriyotopo, Handriyotopo
Capture : Jurnal Seni Media Rekam Vol. 13 No. 2 (2022)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v13i2.4061

Abstract

There is a legend of Bahu Laweyan in Surakarta, which is also found in the 19th-century Serat Witaradya by R.N. Ronggowarsito. Bahu Laweyan is a cursed woman; if she marries, her husband will die mystically soon, and the curse will not be lifted until she has been married seven times. The legend of Bahu Laweyan is a concept of folklore re-actualization to be visualized through a Romanticism-influenced photographic medium. The creative process involves three stages: experimentation, reflection, and formation. The photographic visualization of Bahu Laweyan’s stature or characteristics illustrates a charismatic, charming, extremely elegant, beautiful woman, who has a bright face but also dark shadows and lethal powers. This Romanticism-styled photograph synthesizes folklore values (legend) and modern technology (photography).
SRIKANDI IN THE DOCUMENTARY FILM: NUSANTARA DOCUMENTARY ASSOCIATION’S REKAM PANDEMI Rembulan, Dara Bunga; Swaradesy, Rufus Goang
Capture : Jurnal Seni Media Rekam Vol. 13 No. 2 (2022)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v13i2.4084

Abstract

Gender inequality persists in the documentary film genre. It is assumed that women in the documentary field face so many obstacles that it contributes to the shortage of female documentary filmmakers. This research aims to examine the potentials of female filmmakers in the TVRI's Pandemic Recording program. This study is qualitative descriptive research. The research subjects were female filmmakers who participated in the TVRI's Pandemic Recording program and selected a purposive sampling technique. The data collection techniques relied on structured interviews. The analysis was carried out through data reduction, data presentation, conclusion, and verification. The findings indicate that the selection of female filmmakers in TVRI's Pandemic Recording Omnibus program reflects the achievements and potentials of female filmmakers, including "multitasking," a more feminist perspective, feeling and instinct, and a connection to the subject at hand. 

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