Articles
35 Documents
<![CDATA[RITME EDITING UNTUK MEMPERKUAT DRAMATIK ]]>
<![CDATA[Pitaloka, Canda]]>;
<![CDATA[Sasongko, Hery]]>;
<![CDATA[Andela, Jhori]]>
<![CDATA[ Offscreen Vol 3, No 1 (2024): Offscreen: Journal Of Film and Television (January-June 2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Padangpanjang ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26887/os.v3i1.4378
<![CDATA[The fictional film Katresnan is a family drama genre film, this film is based on the phenomenon of a family between parents, children and in-laws which causes the child to be depressedover two choices. This fictional film tells the story of a girl named Hayatri who has just married and asks her parents for permission to move house with her husband. However, it was not the blessing that Hayatri received, but a threat fiven by his parents to Hayatri to cancel his plans to move due to the weton problem which did not match the placement of he house. The concept applied is editing rhythm to strengthen the drama of the main character in dealing with conflict. The result of the application of rhythm editing in the fictional film Katresnan are slow rhythm and fast rhythm. Slow rhythm are applied to scene that build the sad and sad atmosphere of the main character which aims to provide dramatic pressure. Fast rhythms are applied when to strengthen emitions, be sensitive and increase the tension in the scene. The rhythm is presented throught shot duration and shot selection. Slow editing rhythm will use fewer cuts moving shots, while fast editing rhythms will use a larger number of shots.]]>
<![CDATA[ANALISIS TEKNIK SCREENLIFE/SCREEN RECORD: SEBUAH STUDI KASUS TENTANG PENGARUHNYA PADA PENCERITAAN FILM ]]>
<![CDATA[Fikri, Muhammad Ihsanul]]>
<![CDATA[ Offscreen Vol 3, No 1 (2024): Offscreen: Journal Of Film and Television (January-June 2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Padangpanjang ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26887/os.v3i1.4215
<![CDATA[creenlife/screen record, a filmmaking technique that utilizes screen recordings of electronic devices, has garnered significant attention from filmmakers and audiences in recent years. This research employs a qualitative approach with a case study method to analyze screenlife/screen record, focusing on its advantages and disadvantages, its influence on film storytelling, and the challenges faced by filmmakers. The research findings indicate that screenlife/screen record offers realism, audience immersion, and low production costs. However, this technique also presents limitations in story scope, the potential for audience boredom, and the requirement for specialized technical skills. Screenlife/screen record enables filmmakers to explore contemporary themes, deliver immersive and personal narratives, and introduce new perspectives in film storytelling. This research holds implications for filmmakers, academics, and the film industry as a whole. Filmmakers can utilize the research findings to understand the pros and cons of screenlife/screen record and to address the challenges encountered in filmmaking using this technique. Academics can contribute to the development of knowledge about screenlife/screen record and its role in film storytelling. The film industry can recognize screenlife/screen record as a potential genre to capture audience interest and drive innovation in filmmaking.]]>
<![CDATA[MISE-EN-SCENE DALAM MEMBANGUN REALISME PADA FILM “NYAI: A WOMAN FROM JAVA” ]]>
<![CDATA[Eko Nurcahyo, Dedi]]>
<![CDATA[ Offscreen Vol 2, No 2 (2023): Offscreen: Journal Of Film and Television (July-December 2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Padangpanjang ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26887/os.v2i2.3676
<![CDATA[ABSTRAKFilm Nyai: A Woman From Java merupakan film fiksi berdurasi 90 menit yang disutradarai oleh Garin Nugroho, diproduksi pada tahun 2016. Meninggalkan gaya bertutur film konvensional, film Nyai memadukan unsur teater dengan film. Penggunaan mise-en-scene disajikan serealistis mungkin secara teatrikal sesuai dengan apa yang terjadi di atas panggung. Realisme bertujuan untuk menciptakan ilusi realitas, yang diwujudkan dalam bentuk pemanggungan atau mise-en-scene yang menggambarkan situasi kehidupan manusia secara objektif tanpa distorsi di dalamnya. Unit analisis yang akan diteliti dalam penelitian ini meliputi setting, pencahayaan, kostum dan tata rias, pemain dan pergerakannya. Berdasarkan hasil kajian dapat disimpulkan bahwa pada unsur-unsur mise-en-scene dalam film “Nyai” teridentifikasi tanda-tanda realisme sehingga unsur-unsur mise-en-scene dalam film ini dapat mendukung kerealistisan yang tampak pada setiap adegan film ini.Kata kunci: Film “Nyai”, Mis-en-scene, Realisme]]>
<![CDATA[fillm realita imaji ]]>
<![CDATA[Muhlisiun, Arda]]>
<![CDATA[ Offscreen Vol 2, No 2 (2023): Offscreen: Journal Of Film and Television (July-December 2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Padangpanjang ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26887/os.v2i2.4407
<![CDATA[In visual arts, particularly in film, the relationship between reality and imagination creates a complex relation. Film, as a medium that amalgamates visual techniques, special effects, and cinematic direction, possesses the power to construct a highly realistic world. This enables the audience to experience emotional engagement with visuals, characters, and the narrative. This research aims to address the question: how does film establish engagement between reality and imagination? The proposed hypothesis is that the cinematic power and its creative elements generate a convincing representation of the world for the audience's perception, blurring the boundaries between reality and fantasy. The research methodology employs a narrative transportation approach and refers to a range of literature to highlight the intricacies of reality in film, where the emotional and cognitive involvement of the audience is crucial for a profound cinematic experience. This study seeks to provide an understanding of how films create complex relationships between images and reality. In conclusion, films not only produce visual images but also shape alternative realities that influence the perception and even behavior of the audience. Therefore, critical discussion of the boundaries between reality and imagination in films is very important).]]>
<![CDATA[REPRESENTASI FEMINISME DALAM FILM PENYALIN CAHAYA ]]>
<![CDATA[Mulyani, Try]]>;
<![CDATA[Handriyotopo, Handriyotopo]]>;
<![CDATA[Rustim, Rustim]]>
<![CDATA[ Offscreen Vol 3, No 1 (2024): Offscreen: Journal Of Film and Television (January-June 2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Padangpanjang ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26887/os.v3i1.4166
<![CDATA[This research focuses on the representation of feminism in the film Copyist Cahaya. This film is an interesting study to study because the content in the film contains survivors of sexual violence described by Suryani as a real manifestation of women's struggle for justice and gender equality that she is able to provide evidence of the abuse she experienced. The formulation of the problem in this research is how to represent feminism in the film Pengalin Cahya. This study aims to describe the value of feminism in the Syriac character in the film Pengalin Cahaya. This research uses descriptive qualitative research methods, with a Semiotics analysis approach. The data collection technique used purposive sampling, namely three pieces of the film scene of Copying Cahaya as the primary data. This data analysis technique uses Roland Barthes' semiotics technique which divides semiotics into two stages, namely denotation and connotation. The results of the research in the film Pengalin Cahaya, there is liberal feminism because Suryani is told as a woman who seeks justice starting from herself. The figure of a woman who has strength, a woman who has a leadership spirit, and a brave woman]]>
<![CDATA[PERAN PROGRAM CERDAS QUR’AN DALAM MENINGKATKAN KEBERADAAN PADANG TV ]]>
<![CDATA[Wahyudi, Reski]]>;
<![CDATA[Rahman, Abdul]]>;
<![CDATA[Eriswan, Eriswan]]>
<![CDATA[ Offscreen Vol 3, No 2 (2024): Offscreen: Journal Of Film and Television (July-December 2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Padangpanjang ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26887/os.v3i2.4949
<![CDATA[Padang TV is one of the local televisions in West Sumatra that has been able to maintain its existence for more than fifteen years. Various challenges are faced by local television in facing competition with local television to national television. Various strategies are carried out to improve its existence, one of which is producing the Cerdas Qur'an program which is produced in the midst of the community. The purpose of this research is to find out how the role of the Cerdas Qur'an program in increasing the existence of Padang TV. The theory used in this research is the strategy of producing television programs, and strategies in attracting audiences in maintaining the existence of Padang TV. The research methodology used in this research is qualitative method and data collection techniques by conducting interviews, observations, and document studies. The results showed that the Cerdas Qur'an Program has a strong role in increasing the existence of Padang TV through several strategies, namely, strategies for producing television programs, strategies for attracting audiences, strategies for producing programs in the community, and utilizing internet media.]]>
<![CDATA[Penulisan Naskah Dalam Pembuatan Film Pendek “Elegi Melodi” ]]>
<![CDATA[Muna, Riza Aliyatul]]>;
<![CDATA[Rohimi, Primi]]>
<![CDATA[ Offscreen Vol 3, No 2 (2024): Offscreen: Journal Of Film and Television (July-December 2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Padangpanjang ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26887/os.v3i2.4993
<![CDATA[Penulisan naskah merupakan elemen penting dalam proses pembuatan film. Naskah film pendek “Elegi Melodi” yang bergenre komedi pahit dan memiliki alur campuran ini memerlukan struktur yang mendalam agar pesan yang ingin disampaikan dapat diterima dengan baik. Oleh karena itu, peneliti tertarik untuk menganalisis naskah film pendek “Elegi Melodi”. Penelitian ini bertujuan untuk mengetahui penerapan teori struktur tiga babak Aristoteles dalam penulisan naskah film pendek “Elegi Melodi”. Teori yang digunakan dalam penelitian ini adalah teori struktur tiga babak yang terdiri dari Babak I, Babak II, dan Babak III. Metode penelitian yang digunakan adalah kualitatif dengan teknik studi dokumenter untuk mengumpulkan final draft naskah film pendek “Elegi Melodi”. Hasil penelitian menunjukkan bahwa penerapan struktur tiga babak pada naskah “Elegi Melodi” memberikan panduan yang jelas dalam membantu menyusun alur cerita. Pada babak I digunakan untuk pengenalan tokoh, babak II berhasil memunculkan konflik, dan babak III menyajikan penyelesaian yang memberikan dampak emosional pada penonton.]]>
<![CDATA[PENEGASAN KARAKTER PSIKOLOGIS TOKOH SURYANI MELALUI KOSTUM PADA FILM PENYALIN CAHAYA KARYA WREGAS BHANUTEJA ]]>
<![CDATA[Dewita, Mutiara]]>
<![CDATA[ Offscreen Vol 3, No 2 (2024): Offscreen: Journal Of Film and Television (July-December 2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Padangpanjang ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26887/os.v3i2.5009
<![CDATA[This study examines the Light Copying Film that raises the teme against injustice. This research aims to analyze the psychological character of Syriac characters in the Light Copying Film through the use of costumes. The method used was a descriptive qualitative analysis of the costume changes Syriac wore throughout the film. This study uses the theory of mise en scene, color psychology, and character 3D analysis to reveal the relationship between costume changes and Syriac psychological dynamics, research results suggest that costumes play an important role in describing the psychological development of Syriac characters. The choice of colors, textures, and costume styles consistently reflects the emotional state, internal conflicts, and character travel from stress to self-empowerment. The dominant dark and neutral colors at the beginning of the story indicate a somber mood and a sense of alienation, while the transition to lighter colors indicates a Syriac attempt to escape psychological distress. The character's 3D approach also highlights the relationship between costumes and Syriac interactions with the environment as well as other characters in the narrative. These results can serve as a reference for filmmakers in optimizing visual aspects to strengthen psychological characterization in cinema. Keywords: Injustice Psychological Character, Costume, Light Copier, Descriptive Qualitative, Suryani.]]>
<![CDATA[ANALISIS PACING DALAM MEMBENTUK SUSPENSE PADA FILM JOKER KARYA TODD PHILLIPS ]]>
<![CDATA[Persada, Taruna Satria]]>
<![CDATA[ Offscreen Vol 3, No 2 (2024): Offscreen: Journal Of Film and Television (July-December 2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Padangpanjang ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26887/os.v3i2.4623
<![CDATA[The Joker movie shows the journey of Arthur Fleck as he slowly turns into the Joker. The researched aspect of this movie is the editing aspect with a focus on pacing techniques in shaping one of the dramatic elements, suspense. This research uses a qualitative method that is presented descriptively based on theories that contain pacing and dramatics.The results of this research prove that pacing has an important role in shaping the dramatic elements of suspense, by withholding information through cutting with three methods, which are: rate of cutting, rate of change or movement within a shot, and rate of overall change. The dramatic pattern of suspense in the Joker movie has three stages, which are before, during, and after, which are related to each other in shaping the dramatic elements of suspense.]]>
<![CDATA[HYPERREALIST SOUND EFFECT DALAM MEMBANGUN UNSUR DRAMATIK PADA FILM THE BIG 4 KARYA TIMO TJAHJANTO ]]>
<![CDATA[Fikrie, M Faezul]]>
<![CDATA[ Offscreen Vol 4, No 1 (2025): Offscreen: Journal Of Film and Television (January-June 2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Padangpanjang ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26887/os.v4i1.5146
<![CDATA[Film adalah suatu bentuk seni dan hiburan yang menggunakan unsur audio dan visual untuk menceritakan kisah, menggambarkan emosi, dan menyampaikan pesan kepada penonton. Film yang menggunakan efek suara dengan gaya hyperrealist mampu membangun konflik, menciptakan ketegangan, rasa ingin tahu, dan menciptakan kejutan yang dirasakan saat menonton. Penulis dalam penelitian ini menggunakan gaya hyperrealist sebagai landasan dalam menganalisis efek suara yang digunakan untuk mendukung munculnya unsur dramatik. Penelitian ini menggunakan metode penelitian kualitatif, dengan teknik observasi, wawancara, dan studi pustaka. Penelitian ini bertujuan untuk menganalisis efek suara dengan gaya hyperrealist yang digunakan pada film The Big 4 dalam menunjuang unsur dramatik (konflik, ketegangan, kejutan, dan rasa ingin tahu) pada karya sutradara Timo Tjahjanto. Analisis yang telah dilakukan penulis dapat dipastikan bahwa pendukung unsur dramatik yang dirasakan ketika menonton film aksi adalah efek suara dan musik yang digunakan dalam setiap adegan yang dirasa mampu membangun drama selama film berlangsung. Musik yang digunakan pada film The Big 4 memiliki dua kategori musik yaitu musik perkusi dan non-konvensional. Penggunaan teknik dengan baik dan benar dapat menciptakan rasa percaya dan dapat membuat penonton merasa terlibat dalam cerita. Proses penggabungan dan menyeimbangkan suara menjadi satu kesatuan yang harmonis dengan tepat menjadi faktor berhasilnya membangun unsur dramatik.]]>
