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Wahyu Nova Riski
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Cinelook: Journal of Film, Television, and New Media
Published by Institut Seni Indonesia Padang Panjang
ISSN : -     EISSN : -     DOI : -
Core Subject : Humanities, Education, Art, Social,
Arts Humanities Languange, Linguistic, Communication & Media Social Sciences
The main focus of the journal is to promote a global discussion forum and an interdisciplinary exchange among scholars exploring the topic of Television, Film and new media studies. This journal encourage innovation and research, contributing to a better understanding of the narrative, technological, economic, social, cultural, and political impact of Television program, film, and new media. To this end, some areas of interest will be: Narrative analysis of specific phenomena, with a focus on innovative television program; Studies on the influence and/or connection of TV, film, and new media driven by technologies; Analysis of TV program, film, and the content of new media as capable of advancing aesthetic thought; Study of the relationship between technology and creativity in the TV, film, and new media; Studies on the economic and innovative formulas in terms of production chain and marketing strategies for TV, film, and new media; The impact and significance of TV, film, and new media from a political, ethnological, or educational perspective; Historical approach in terms of media history in order to locate and identify influences on TV program, film, and new media; Analyses and studies focusing on audiences, artists, or industries, and producers.
Arjuna Subject : Seni dan Humaniora -
Articles 29 Documents
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KAJIAN ADVOCATE SEBAGAI TAHAPAN PEMASARAN FILM DOKUMENTER “EKSIL” Bangun, Zanetta Charissa Eliezer; Satria, Firmanda; Mansoor, Alvanov Zpalanzani
Cinelook: Journal of Film, Television, and New Media Vol 3, No 1 (2025): Cinelook: Journal of Film, Television, and New Media (Juanuary-June 2025)
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cl.v3i1.4288

Abstract

During the past 2024 general election of Indonesia, the public got encouraged to find out more about Indonesian politics, especially about sensitive Indonesian history. One of the mediums used to show history more effectively is historical documentary films. A historical documentary film which was recently released and went viral in early 2024 is “Eksil”, a film about the testimonies of Indonesian students who were exiled to European countries in 1965—1966 because of their disagreement towards the New Order. Because the film contains sensitive Indonesian history, the film crew of “Eksil” didn’t carry out extensive marketing and limited screenings of the film. The film crew and the audience mainly uses X and Instagram to market the film, especially using testimonies. Therefore, they unconsciously apply the 5A Marketing Model, primarily applying the advocate stage. This research is done to learn about how the film crew and the audience applied the advocate stage of the 5A Marketing Model to market “Eksil”.  Data is collected by collecting screenshots of X and Instagram posts of testimonies regarding the film and mapping them based on time, which are before, during, and after the release of the film in cinemas using content analysis and descriptive qualitative methods. The results show that the application of the advocate stage of the 5A Marketing Model made the public gain interest on watching the film with sixty thousand viewers garnered after 1,5 months of release in cinemas and the marketing isn’t centralized and spread separately, but is continuous from one account to another regardless of influence.
ANALISIS CONTINUITY EDITING DALAM MEMBANGUN UNSUR DRAMATIK PADA FILM SEJUTA SAYANG UNTUKNYA SUTRADARA HERWIN NOVIANTO Cahyo, Fitrian Nur
Cinelook: Journal of Film, Television, and New Media Vol 2, No 2 (2024): Cinelook: Journal of Film, Television, and New Media (July-December 2024)
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cl.v2i2.3444

Abstract

Penelitian ini bertujuan untuk mengetahui continuity editing yang diterapkan pada film Sejuta Sayang Untuknya , dan mengetahui continuity editing dalam membangun dramatisasi pada film Sejuta Sayang Untuknya untuk mencapai emosi penonton. Penelitian ini menggunakan pendekatan kualitatif. Teknik pengumpulan data dengan wawancara, observasi, dan studi pustaka. Analisis data dilakukan berdasarkan teori yang dikemukakan oleh Sugiyono yaitu reduksi data, sajian data, penarikan kesimpulan yang dikemukakan oleh H.B. Sutopo dan Penyajian data yang dikemukakan oleh Sudaryanto. Simpulan penelitian ini bahwa Continuity Editing dapat membangun dramatisasi pada film Sejuta Sayang Untuknya . Terlihat dari beberapa scene yang sudah penulis teliti menggunakan Continuity Editing untuk menjaga kesinambungan agar dapat membuat sebuah scene menjadi satu shot yang mengalir dan membuat penonton nyaman dan tidak bingung saat menonton. Hal tersebut dilakukan agar tercapainya emosi penonton.
VISUAL EFEK UNTUK MEMBANGUN ELEMEN VISUAL DALAM MENCIPTAKAN REALITAS PADA FILM MISSION : IMPOSSIBLE - DEAD RECKONING PART ONE KARYA BRUCE GELLER Usrah, jaisyul -; Sasongko, Hery
Cinelook: Journal of Film, Television, and New Media Vol 3, No 1 (2025): Cinelook: Journal of Film, Television, and New Media (Juanuary-June 2025)
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cl.v3i1.5713

Abstract

This study analyzes the role of visual effects (VFX) in constructing cinematic reality in the film Mission: Impossible - Dead Reckoning Part One (2023). The central problem is to understand how modern films utilize advanced digital technologies not just for spectacle, but as a fundamental tool for constructing believable and immersive worlds. The aim is to investigate how specific VFX techniques, particularly Computer Generated Imagery (CGI), green screen compositing, and digital matte painting, are used to create visual elements that convince the audience of the reality constructed by the film. The study uses qualitative visual analysis methods, guided by Stephen Prince’s theory of perceptual realism, to deconstruct key scenes from the film. The results show that the film skillfully integrates practical action with digital environments to achieve a high level of perceptual realism. Through careful observation of the laws of physics, lighting, and environmental textures, the film creates artificial worlds - from vast deserts and mountains to chaotic train crashes - that feel authentic and real, effectively immersing the audience in the tension and scale of the narrative.
Analisis Smash Cut Dalam Memperkuat Unsur Dramatik Pada Film Asteroid City Karya Wes Anderson Haryadi, Ahmad
Cinelook: Journal of Film, Television, and New Media Vol 3, No 1 (2025): Cinelook: Journal of Film, Television, and New Media (Juanuary-June 2025)
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cl.v3i1.6037

Abstract

This study analyzes how the Smash Cut editing technique strengthens the dramatic elements, particularly Surprise, in Wes Anderson's film Asteroid City (2023). This research uses a qualitative method with a visual analysis approach to dissect the film's editing structure. The study identifies and analyzes 10 key scenes where smash cuts are strategically implemented. The findings reveal that the Smash Cut technique effectively creates surprise by generating abrupt and sharp contrasts in audio visual elements, scene atmosphere, and narrative flow. These transitions, from loud, chaotic scenes to silent, contemplative ones, or from public joy to private tension, deliberately break the audience's expectations. The application of this technique aligns with film editing theories from Gael Chandler, who defines its function as a tool to shock the audience; Bruce Block, on using visual contrast to generate emotional impact, and Walter Murch's Rule of Six, which prioritizes emotion and story over simple visual continuity. The research concludes that in Asteroid City, the Smash Cut is not merely a stylistic choice but a calculated narrative device used to control rhythm, intensify the dramatic experience, and amplify the element of Surprise.
PENYUTRADARAAN DENGAN PENDEKATAN DIRECTOR AS ACTOR UNTUK MENDUKUNG AKTING PRESENTASI DALAM FILM RUMONDANG hayati, afridah
Cinelook: Journal of Film, Television, and New Media Vol 3, No 2 (2025): Cinelook: Journal of Film, Television, and New Media (July-December 2025)
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cl.v3i2.3433

Abstract

Film is the right medium to convey a messages to the wider community. Rumondang is afictional social drama genre film with 16 scenes and 17 minute film. The film Rumondang tells the story of a woman named Rumondang who has hullucinations of her husband died. The author realizes the Rumondang character.To realize the concept of presentation acting, the author uses the theory of supporting directer as actor where the director as an actor with the aim that the actor will better understand what the director wants, but the actor does not have to imitate the whole actor as well as the opportunity to participate in thinking and developing what the director demonstrates. The concept of presentation acting is applied by the author in several scenes in the film. Actors must also be able to present natural acting which means reasonable acting and can convience the audiece.
PENYUTRADARAAN FILM FIKSI KATRESNAN DENGAN PENEKANAN EKSPRESI UNTUK MEMPRESENTASIKAN EMOSI HAYATRI Nisah, Khairun
Cinelook: Journal of Film, Television, and New Media Vol 3, No 2 (2025): Cinelook: Journal of Film, Television, and New Media (July-December 2025)
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cl.v3i2.3435

Abstract

Apart from the blessing of parents, there are some restrictions that couples who are about to get married should not do. One of them is the ban on marriage, namely from the Javanese community the prohibition on the marriage of the first child with the first child. The film Katresnan tells the story of the main character who experiences many problems in his life after getting married. Hayatri is a child of Hastomo, a person who is guided by primbon books which contain customs and habits that exist in Javanese society. Hayatri's expressions are emphasized in the direction of the fiction film Katresnan which aims to present Hayatri's emotions. The object of the creation of the film Katresnan is a scenario that tells of a girl named Hayatri who wants to marry a man of her choice, but her father doesn't approve because there are several things that become problems in the primbon book. Likewise, after getting married, Hayatri wanted to move house, but her father didn't approve because the house didn't suit their weton either.The aesthetic concept for the creation of the Katresnan film is in the emphasis on expression, presenting Hayatri's emotions by depicting facial expressions, voice, attitudes and gestures. The Katresnan film is embodied in a 23-minute film with a rich family drama genre with expressions to add to the attractiveness of the scene. Key words: Fiction film, directing, expression, emotion
PENYUTRADARAAN FILM FIKSI MELUKIS GERAK MENTARI DENGAN MENGOPTIMALKAN EKSPRESI UNTUK MEMPERLIHATKAN TRAUMATIK TOKOH UTAMA Hadif, Ahmad Januar
Cinelook: Journal of Film, Television, and New Media Vol 3, No 2 (2025): Cinelook: Journal of Film, Television, and New Media (July-December 2025)
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cl.v3i2.3582

Abstract

Film MELUKIS GERAK MENTARI bercerita tentang seorang anak perempuan yang mengalami konfilk batin sejak dini, akibat kehilangan ayahnya. Karya ini diciptakan dalam bentuk format film fiksi agar informasi dari setiap visual yang diciptkan dapat terwujud. Metode yang digunakan berupa pengembangan sebuah ide lalu dikembangkan menjadi sebuah skenario dan penentuan konsep yang akan diterapkan. Teori yang digunakan sebagai penunjang karya diantaranya, teori ekspresi, teori director as interpetator, dan teori acting. Film Melukis Gerak Mentari diciptakan dengan mengoptimalkan Ekspresi untuk memperlihatkan Traumatik tokoh Tasya. Ekspresi merupakan salah satu cara berkomuniasi secara non verbal, Ekspresi merupakan bagian dari pikiran dan perasaan seseorang yang hadir secara alami. Untuk penyajian karya ini berbentuk sebuah film pendek berdurasi 18 menit. 
GAYA HYPERREALIS DENGAN SOUND EFFECT FILM FIKSI PANDORA TANARA Shaputra, Ded Ded
Cinelook: Journal of Film, Television, and New Media Vol 3, No 2 (2025): Cinelook: Journal of Film, Television, and New Media (July-December 2025)
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cl.v3i2.3438

Abstract

The film Pandora Tanara tells the story of a mother named Tanara who locks up her son Seren, Tanara gives drugs which cause paralysis to the child. Seren has a pen pal named Gany. The concept of sound arrangement in this film is the application of a hyperrealist style to create suspense in the story. To apply the hyperrealist style the author uses sound effects as an application of the hyperrealist style. The application of a hyperrealist style with sound effects can be enhanced using the Foley technique. The foley technique can be applied to several sound effects that sound non-dominant to become dominant or sounds that are not real become real. Thus the sound that is applied with the Foley technique will sound real like the sound of a heartbeat.
ANALYSIS OF VISUAL EFFECTS IN “EVERYTHING EVERYWHERE ALL AT ONCE” (2022) : BUILDING A MULTIVERSE NARRATIVE Jane, Aileen
Cinelook: Journal of Film, Television, and New Media Vol 3, No 2 (2025): Cinelook: Journal of Film, Television, and New Media (July-December 2025)
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cl.v3i2.4401

Abstract

To investigate the role of visual effects in facilitating a multiverse story within a movie, the article Analysis of Visual Effects in the Film 'Everything Everywhere All at Once' (2022) in Building the Audience's Imagination through Integration of Multiverse World Narrative is used. The purpose is to examine how visual effects help introduce narrative structure, develop characters, enrich theme and enhance overall audience participation. This will be achieved by using Shilo T. McClean’s theory about integrating narratives with visuals; this approach will involve closely analyzing scenes where visual effects play crucial roles in filmmaking. The paper asserts that differentiating various universes and amplifying the film’s narrative coherence and emotional impact are among key functions visual effects perform. In view of this, it was concluded that live-action elements must be smoothly integrated with special effects for complicated storytelling and better empathy between viewers and storylines. Further investigation highlights how digital storytelling has made it possible for contemporary films to use visual effects as transformative tools within cinematic works.

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