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Muhammad Aditya Pratama
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imaji@ikj.ac.id
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Jalan Sekolah Seni No.1 (Raden Saleh, Kompleks Taman Ismail Marzuki Jl. Cikini Raya No.73, RT.8/RW.2, Cikini, Jakarta, Central Jakarta City, Jakarta 10330
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INDONESIA
Jurnal IMAJI
Published by Institut Kesenian Jakarta
ISSN : 19073097     EISSN : 27756033     DOI : https://doi.org/10.52290/JI
Core Subject : Humanities, Art,
Arts Humanities
Journal IMAJI accommodates a collection of various topics of film / audio-visual studies that contain ideas, research, as well as critical, fresh, and innovative views on the phenomenal development of cinema in particular and audio-visual in general. This journal aims to provide research contributions to film and audio-visual media which are expected to encourage the development of film, including photography, television and new media in Indonesia, so that they are superior and competitive at the national level and in the international world.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 206 Documents
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Analysis of the Development Typology of Film Content Creators: Seen from Content Strategy on the Instagram Platform. Syafitri, Ananda; Yulfianti, Yola; Gunawan, Iwan
IMAJI Vol. 17 No. 1 (2026): Film Artistik dan Film Komersial: Estetika, Industri dan Ideologi Hiburan
Publisher : Fakultas Film dan Televisi - Institut Kesenian Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52290/imaji.v17i1.425

Abstract

Pesatnya perkembangan media sosial telah melahirkan profesi kreator konten, termasuk dalam bidang film di berbagai platform, termasuk instagram. Meskipun jumlah kreator konten film di Instagram terus meningkat dengan beragam fokus dan gaya penyajian, kajian akademis yang mencakup sejauh mana perkembangan serta tipologi kreator konten film pada platform instagram masih terbatas. Penelitian ini bertujuan untuk menganalisis tipologi perkembangan kreator konten film di Instagram ditinjau dari strategi konten yang diterapkan. Penelitian menggunakan pendekatan deskriptif-kualitatif dengan metode etnografi digital. Subjek penelitian dibatasi pada akun pembuat konten film berbasis konten yang aktif dan konsisten. Data dikumpulkan melalui observasi akun Instagram yang diseleksi berdasarkan tingkat keaktifan dan dianalisis melalui aspek fokus konten, konsistensi visual akun, variasi format konten, serta relevansi konten. Hasil penelitian menunjukkan ekosistem pencipta konten film di Instagram sangat beragam. Kreator konten film global mendominasi jumlah dan menunjukkan variasi bahasan serta kekuatan identitas visual yang lebih konsisten dibandingkan kreator konten film nasional, yang masih cenderung mengandalkan materi visual bawaan film.
Relevansi Struktur The Replay Victoria Lynn Schmidt pada Film SORE: Istri dari Masa Depan (2025) Yohanes Yogaprayuda
IMAJI Vol. 17 No. 1 (2026): Film Artistik dan Film Komersial: Estetika, Industri dan Ideologi Hiburan
Publisher : Fakultas Film dan Televisi - Institut Kesenian Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52290/imaji.v17i1.429

Abstract

Artikel ini menelaah apakah kerangka struktur the replay dari Victoria Lynn Schmidt masih relevan untuk menjelaskan film SORE: Istri dari Masa Depan (2025) yang menggabungkan time travel dan time loop. Penelitian ini menggunakan metode kualitatif deskriptif dengan pendekatan analisis naratif struktural, melalui segmentasi cerita ke dalam tiga babak serta pemetaan adegan-adegan loop ke dalam elemen the replay yaitu traditional elements, new elements, dan questions. Hasil analisis menunjukkan bahwa struktur the replay tetap sesuai pada level fungsi dramatik dan model character-driven. Film memberi penanda awal pengulangan melalui time merge, menggerakkan cerita lewat reversal, menaikkan ketegangan pada problem intensifies, dan memutus siklus pada climax melalui perubahan cara pandang Sore dari kontrol menuju penerimaan. Struktur ini melampaui the replay pada empat titik, yaitu jumlah loop yang berjumah 23 loop sehingga perlu dibagi sebagai tiga fase besar, pivot strategi yang muncul lebih awal, hadirnya Waktu sebagai entitas transendental, serta penutup berupa timeline alternatif yang menuntut reintegrasi memori agar makna pengulangan tidak hilang.
Antara Tradisi dan Trauma: Ritual Sirompak dalam Praktik Film Esai sari, yolla
IMAJI Vol. 17 No. 1 (2026): Film Artistik dan Film Komersial: Estetika, Industri dan Ideologi Hiburan
Publisher : Fakultas Film dan Televisi - Institut Kesenian Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52290/imaji.v17i1.431

Abstract

This article examines the Sirompak ritual within Minangkabau culture through an archive-based essay film practice. Rather than verifying the ritual as a cultural tradition, the study approaches Sirompak as a cultural narrative situated between the legitimization of tradition and unresolved experiences of trauma. The film does not produce new footage; instead, it reconfigures existing visual and audio archives through layering, fragmentation, and sound composition. This strategy positions the essay film as a mode of visual thinking that interrogates how ritual is produced, represented, and displayed within contemporary visual culture. The analysis focuses on three key aspects: ritual as visual interpretation, the female body as a site of myth-making, and ritual within the logic of spectacle. The findings suggest that the essay film does not resolve the meaning of ritual but sustains the tension between tradition and trauma as a critical strategy. In this sense, the essay film functions as an artistic practice that opens an ideological space for negotiating the representation of ritual.
Sore: Istri dari Masa Depan (2025) dalam Ruang Ekonomi Rasa: Kerentanan, Care, dan Komodifikasi Kerja Emosional Manggarsari, Kintan Labiba; Lindsy, Hanandhia
IMAJI Vol. 17 No. 1 (2026): Film Artistik dan Film Komersial: Estetika, Industri dan Ideologi Hiburan
Publisher : Fakultas Film dan Televisi - Institut Kesenian Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52290/imaji.v17i1.432

Abstract

This article analyzes Sore: Istri dari Masa Depan by tracing how its affective force emerges from the convergence of ontological vulnerability, the relational demands inherent in practices of care, and cinematic strategies that aestheticize emotional labor. Drawing on the object-relations theory of Nancy Chodorow, the concept of relational ontology developed by Judith Butler, the notion of emotional labor articulated by Arlie Russell Hochschild, and the framework of affective economies proposed by Sara Ahmed, the analysis shows that Sore’s vulnerability functions not merely as a narrative device but as a reflection of the relational condition of human life—one that is simultaneously circulated and endowed with value within a space of affective economy. The motif of temporal repetition is read as a figure for cycles of care expected to continue without resolution, suspending loss while sustaining possibility. In this sense, the film reveals how vulnerability and emotional work are not only personally experienced but also shaped into affective resonances that can be recognized, shared, and culturally consumed.
Film Film Artistik Sebagai Ideologi Hiburan Baru: Studi Pada Jatuh Cinta Seperti di Film-Film karya Imajinari: : Studi Pada Jatuh Cinta Seperti di Film-Film karya Imajinari Jaya, Eko Pebryan
IMAJI Vol. 17 No. 1 (2026): Film Artistik dan Film Komersial: Estetika, Industri dan Ideologi Hiburan
Publisher : Fakultas Film dan Televisi - Institut Kesenian Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52290/imaji.v17i1.434

Abstract

The debate between artistic and commercial films has tended to be understood as a binaryopposition between artistic autonomy and market logic. This article analyzes how Imajinari'sfilm "Jatuh Cinta Seperti di Film-Film" repositions artistic aesthetics as a form ofentertainment in the contemporary Indonesian cinematic landscape. Through PierreBourdieu's theory of the cultural production arena, this study reads the film as a culturalpractice that negotiates within the national film production field. The method used is JohnFiske's semiotic analysis at the levels of reality, representation, and ideology to identify theaesthetic codes that construct the meaning of entertainment. The results show that the filmarticulates entertainment not as a spectacle, but as a reflective experience legitimized throughblack-and-white visual strategies, contemplative narrative rhythms, and metacinematicdialogue. These strategies place the film in an ambivalent position between autonomous andheteronomous poles, thus blurring the artistic-commercial dichotomy. These findingsemphasize that the film does not simply combine two production logics, but produces a newideological configuration of quality entertainment in the Indonesian cinematic arena.Keywords: Cultural Production Arena, Artistic Film, Entertainment Ideology, John Fiske'sSemiotics, Contemporary Indonesian Cinema
English: Pembingkaian Adegan Romansa dalam Serial Film dengan Rasio Vertikal Adeline Tandian, Erina
IMAJI Vol. 17 No. 1 (2026): Film Artistik dan Film Komersial: Estetika, Industri dan Ideologi Hiburan
Publisher : Fakultas Film dan Televisi - Institut Kesenian Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52290/imaji.v17i1.437

Abstract

Movies first appeared in the late 1800s using a horizontal 4:3 (1.33:1) aspect ratio. Over time, film aspect ratios have undergone various changes to meet needs. In today's digital era, many films and videos have emerged with vertical formats, adapting to the shape of smartphones as one of the streaming media. This article aims to determine how framing is used in several Indonesian vertical screen format film series, also known as microdramas, especially romantic dramas that often highlight intimate scenes between two people. This study uses qualitative research methods, with observation technique or textual analysis on visual scenes from several Indonesian microdramas. The results of the analysis indicate that the vertical aspect ratio in romance series can restrain intimacy between characters. This disruption in framing is also attempted to be overcome by several creative strategies, one of which is rotating the camera position ninety degrees to accommodate medium two shot.

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