cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
Bambang Aris Kartika
Contact Email
ariskartika.fib@unej.ac.id
Phone
+6282140713839
Journal Mail Official
ariskartika.fib@unej.ac.id
Editorial Address
Jalan Kalimantan No. 37 Jember, Jawa Timur, 68121
Location
Kab. jember,
Jawa timur
INDONESIA
Rolling Jurnal Pengkajian dan Penciptaan Film, Televisi, dan Media Kontemporer
Published by Universitas Jember
ISSN : 30217393     EISSN : 29630835     DOI : https://doi.org/10.19184/rolling.v6i2
Core Subject : Humanities, Education, Art,
Arts Humanities Languange, Linguistic, Communication & Media
Rolling Journal is a peer-reviewed academic journal and also open to submissions and responses from any academy who concentrate in media and culture issues. We take seriously the need to move ideas outward, so that our cultural debates may have some resonance with wider political and cultural interests. Each issue is organised around a one word theme and is edited by one or two guest editors with a particular interest in that theme. Rolling Journal provides a forum for the presentation of research and discussion concerning the media within their political, economic, cultural and historical contexts. The journal is interdisciplinary, regularly engaging with a wider range of issues in cultural and social analysis. Its focus is on substantive topics and on critique and innovation in theory and method.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 76 Documents
 3   4   5   6   7 
The Estetika Penataan Artistik Film Sebelum Iblis Menjemput Ayat 2 Karya Timo Tjahjanto (2020) Abdul Rohim; Fajar Aji; Dwi Haryanto
ROLLING Vol 6 No 2 (2023): ROLLING Volume 6 Nomor 2 Tahun 2023
Publisher : Program Studi Film dan Televisi Universitas Jember

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19184/rolling.v6i2.35530

Abstract

The application of artistic order in films needs to consider the aesthetic value. The artistic arrangement of a film is more influential if every detail can contribute to the aesthetic value that is enjoyed and accepted by the audience to support the story. Sebelum Iblis Menjemput Ayat 2 released on February 27, 2020. Sebelum Iblis Menjemput Ayat 2 movie is a follow-up story from Sebelum Iblis Menjemput movie which was released in 2018. This article discusses the aesthetics of the artistic arrangement in Sebelum Iblis Menjemput Ayat 2 movie by Timo Tjahjanto. This study uses Doeana's theory of film and television artistic order as the main theory, and A.A.M. Djelantik's aesthetic theory includes form, weight or content, and appearance is a supporting theory. The type of research used is a type of qualitative research using descriptive writing techniques. The results of the study are that the aesthetics of artistic arrangement in ritual scenes and climax scenes are depicted through the use of room settings that tend to be dark, the use of properties in the form of goat heads and ancient Greek mythology books, as well as the use of make-up, and clothing that shows the identity of each character.
Directing a Short Movie Rawuh (Aplication Central Character One Pont of View On Jumarno Character) Agung Kurniawan; Fajar Aji; Muhammad Zamroni
ROLLING Vol 2 No 2 (2019): Rolling Volume 2 Nomor 2 Tahun 2019
Publisher : Program Studi Film dan Televisi Universitas Jember

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Indonesia is one of the countries which discloses migrant workers as an insolubility issue where several laborers are choosing illegality way of being migrant apprentices. Most reasons are caused by lack of understanding placement and protection procedures, limited information to access international job vacancy, inequitable registration through the unauthorized bureau, and lack of government involvement. As a result, many workers were unpaid and faced violent. In addition, human trafficking is also encountered migrant workers. Consequently, they are deported to their origins. Based on those backgrounds, the author would convey these issue into fiction movie through parents viewpoint as the person who left by migrant workers (Rabiger and Cheerrier, 2013:115). cinematic point of view, central character one point of view will be used to build narrative elements and cinematic elements in the film Rawuh, from the pre-production, production and post-production stages. RAWUH could depict Indonesian civilization, especially migrant worker issue that happened in Jember. The creator believes that directing with central character one viewpoint technique needs to develop in the future, especially on the storytelling scheme, mise en scene, cinematography, exploration of sound design, and editing.
The Mise-en-scene aspects in the scene of Soedirman journey to the Sobo village in Pacitan Created By Viva Westi Shafna Lailatul Fida
ROLLING Vol 4 No 1 (2021): Rolling Volume 4 Nomor 1 Tahun 2021
Publisher : Program Studi Film dan Televisi Universitas Jember

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

This study discusses aspects of the mise-en-scene in the journey of General Soedirman to the village of Sobo Pacitan which focuses on four elements of the mise-en-scene including settings, costumes and make-up, lighting, most recently the player's movements. The mise-en-scene aspects contained in the film General Sudirman were analyzed using the Aesthetic theory A.A.M Djelantik. The type of writing used is qualitative research. Data collection techniques are carried out using observation, documentation and literature study techniques. Data analysis techniques used are data reduction, data presentation, and drawing conclusions and verification. Based on the results of the study, there were 8 scenes of General Soedirman's journey to Sobo Pacitan Village. Discussion of the settings, properties, costumes and make-up of each scene has differences in each scene. The aspect of mise-en-scene is able to produce a sense of space and time, mood setting, and describe the character of the film with the support of settings, properties, costumes and make-up made as similar as possible to events in 1948. Discussion of the aesthetics contained in the film has 3 aspects namely (1). The form or appearance contained in each scene has a unity, emphasis and balance that reinforces the identity of each scene. (2). Weight or content (content, substance) describes the atmosphere in each scene. (3). The appearance, presentation of each scene differs in each setting, costume and make-up, lighting, and player movement.
ASPEK MISE EN SCENE DALAM MELUKISKAN FIGUR B.J. HABIBIE PADA FILM HABIBIE & AINUN Muhammad Bahrullah; Hary Kresno Setiawan; Dwi Haryanto
ROLLING Vol 1 No 1 (2018): Rolling Volume 1 Nomor 1 Tahun 2018
Publisher : Program Studi Film dan Televisi Universitas Jember

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Abstract This research is about painting figure of B.J. Habibie on the movie Habibie & Ainun. The purpose of this research is to know the figure of Habibie figure in film Habibie & Ainun. Research data is assessed using mise en scene aspect to know figure of figure B.J. Habibie. Qualitative descriptive research method is used to answer the problem formulation because this research using word. The results of the research using the mise en scene aspect theory. The personality structure in the Habibiei dir consists of 6 traits, the genius figure, the humble figure, the figure of the husband and the devoted friend, the idealist figure, the innovative figure, the high nationalist figure. When these six traits work equally, it will shape Habibie's personality. In the film Habibie & Ainun is told about a life that has a big dream and have a high spirit to unite the Indonesian nation.
ASPEK MISE EN SCENE DALAM MENGGAMBARKAN PERUBAHAN PERILAKU TOKOH MARIA PADA FILM LOOK AWAY GEMMA IRSYADIL IBAD; wajihudin wajihudin; Didik Suharijadi
ROLLING Vol 6 No 1 (2023): Rolling Volume 6 Nomor 1 Tahun 2023
Publisher : Program Studi Film dan Televisi Universitas Jember

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19184/rolling.v6i1.13789

Abstract

This study discusses mise-en-scene in describing changes in the behavior of Maria's characters in the film Look Away. The study was conducted to describe the behavior and behavior changes of Maria's characters in the film Look Away through the mise-en-scene aspect. The research data was examined using the theory of mise-en-scene and psychoanalysis Sigmund freud. Psychoanalysis Sigmund Freud was used to analyze behavior and changes in Maria's character behavior, while mise-en-scene was used to analyze visual aspects in describing changes in Maria's character's behavior in the Look Away movie. This study uses a type of qualitative research using descriptive methods. Based on the research that has been done, it is known that Maria is the main character who is kind and shy, while the figure of Airam is a supporting figure as well as an antagonist who has a bad character, and is the mastermind of the occurrence of all conflicts in the story in Look Away. Mise-en-scene elements such as settings, costumes and make-up, as well as players and movements are able to describe changes in Maria's character's behavior as a shy person who becomes a character who looks evil and gives a scary impression to friends who often make Maria worse.
Gaya Penyutradaraan Upi Avianto Dilihat dari Film Realita Cinta dan Rock n Roll, Radit dan Jani, dan Serigala Terakhir Luluk Azizatul Ayun
ROLLING Vol 3 No 1 (2020): Rolling Volume 3 Nomor 1 Tahun 2020
Publisher : Program Studi Film dan Televisi Universitas Jember

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

ABSTRAK Film kini telah berkembang secara pesat dari masa ke masa baik dari segi kualitas maupun kuantitas. Setiap film yang telah dihasilkan seorang sutradara tentu memiliki ciri khas dan gaya tertentu. Indonesia juga memiliki sutradara wanita salah satunya Upi Avianto. Penelitian ini merupakan kajian terhadap gaya penyutradaraan Upi Avianto dalam tiga filmnya yakni Realita Cinta dan Rock n Roll (2006), Radit dan Jani (2008), dan Serigala Terakhir (2009) dengan menggunakan teori auteur sebagai alat bedah analisis. Penggunaan teori auteur dimaksudkan untuk memosisikan sutradara, dalam hal ini Upi Avianto, sebagai sosok kunci kreatif dalam proses pembuatan film. Penulis membatasi cakupan pembahasan hanya pada sisi mise-en-scene agar kajian lebih terarah dan focus. Tujuan dalam penelitian ini yaitu mencari dan menganalisis gaya penyutradaraan Upi menggunkan teori auteur melalui stylistic mise en scene. Penelitian ini merupakan penelitian kualitatif dengan teknik pengumpulan data wawancara kepada informan (Upi avianto) sebagai data primer. Hasil penelitian ini menyatakan bahwa terdapat konsistensi dan unsur-unsur kesamaan dari gaya penyutradaraan Upi Avianto di tiga film yang menjadi objek penelitian ini. Kekonsistesian adegan tersebut, yaitu (1) perkelahian, (2) asmara, (3) kejar-kejaran, (4) percekcokan dengan orang tua, (5) merokok, (6) minum, (7) rooftop, (8) telanjang dada, (9) jaket kulit, dan (10) kacamata gelap. Kata Kunci : Upi Avianto, gaya penyutradaraan, auteur, mise-en-scene Abstract Film has now grown rapidly from time to time both in terms of quality and quantity. Every film that has been produced by a director certainly has certain characteristics and styles. Indonesia also has a female director, one of whom is Upi Avianto. This research is a study of Upi Avianto's directing style in her three films, namely Reality of Love and Rock n Roll (2006), Radit and Jani (2008), and Serigala Terakhir (2009) by using the theory of auteur as an analytical tool. The use of the auteur theory is intended to position the director, in this case Upi Avianto, as a key creative figure in the filmmaking process. The author limits the scope of the discussion only to the mise-en-scene side so that the study is more directional and focused. The purpose of this research is to search and analyze Upi's directing style using auteur theory through stylistic mise en scene. This research is a qualitative research by combining the types of library research and field research. The results of this study state that there is consistency and similarity elements of Upi Avianto's directing style in the three films that were the object of this research. The consistency of the scenes, namely (1) fights, (2) romance, (3) chases, (4) fights with parents, (5) smoking, (6) drinking, (7) rooftop, (8) bare chest, (9) leather jackets, and (10) dark glasses. The conclusion of this study is that Upi has a consistent directional style seen from the third scene of the film. Keywords: Upi Avianto, directing style, auteur, mise-en-scene.
REALITAS DAN IMAJINASI DALAM FILM DOKUMENTER “ANAK MERAK” DENGAN PENDEKATAN OBSERVATORI DAN PARTISIPATORI saleksa srengenge; Muhammad Zamroni; Denny Antyo Hartanto
ROLLING Vol 3 No 2 (2020): Rolling Volume 3 Nomor 2 Tahun 2020
Publisher : Program Studi Film dan Televisi Universitas Jember

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Film dokumenter merupakan film yang didasarkan pada suatu pengalaman atau peristiwa dengan perlakuan kreatif namun masih menjunjung fakta yang nyata. Film dokumenter “Anak Merak” merupakan film dokumenter dengan gayaobservatori dan partisipatori. Gaya observatori menekankan pada kehidupan sehari-hari subjek yang diamati tanpa terganggu oleh keberadaan kamera sedangkan gaya partisipatori menekankan pada interaksi antara pengkarya dengan subjeknya. Penggunaan perpaduan dua gaya tersebut sebab pengkarya merasa dengan perpaduan dua gaya tersebut materi yang dibawakan dalam film dokumenter ini dapat tersampaikan sesuai dengan keinginan pengkarya. Gaya observatori digunakan untuk menunjukkan keseharian anak-anak Labuhan Merak sedangkan gaya partisipatori digunakan untuk menujukkan kegiatan yang dilakukan anak-anak Labuhan Merak bersama pengkarya. Film ini merupakan usaha untuk menunjukkan hubungan antara imajinasi dengan realitas yang dialami oleh anak-anak Labuhan Merak. Pengkarya meyakini bahwa bentuk imajinasi yang dimiliki manusia dipengaruhi oleh realitas yang terjadi di sekitarnya ataupun sebaliknya. Bentuk imajinasi anak-anak Labuhan Merak yang dituangkan dalam bentuk sebuah karya film menjadi landasan pengkarya dalam menemukan hubungan antara imajinasi mereka dengan kesehariannya. Film dokumenter “Anak Merak” juga merupakan usaha pengkarya untuk menginformasikan isu yang dihadapi oleh anak-anak Labuhan Merak.
Film Samsara: Representasi Alternatif Kritik Sosial dalam Wacana Modernitas Aldira Dhiyas Pramudika
ROLLING Vol 6 No 1 (2023): Rolling Volume 6 Nomor 1 Tahun 2023
Publisher : Program Studi Film dan Televisi Universitas Jember

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19184/rolling.v6i1.38987

Abstract

The aim of this research is to portray the function of documentary film as social criticism in modernity discourse. This research scrutinizes the poetic documentary film Samsara as the primary source of the study. The method used in this research is qualitative: the descriptive analysis through Michael Rabiger's documentary function theory. The label of 'alternative documentary' attached to poetic documentary film also becomes a focus of this study, especially the linkages of the delivery efficiency of the social issues. The result of this research reveals that image fragments represent the social issues in modernity discourse as follows: (1) Criminality, (2) Population, (3) Poverty, (4) Prostitution, and (5) Environment.
PENGGUNAAN GAYA PENYUTRADARAAN OBSERVASI DALAM FILM DOKUMENTER “SISAN NGEDHUR” Rizki Mei Kurniawan; Muhammad Zamroni; Sigit Setiawan
ROLLING Vol 2 No 1 (2019): Rolling Volume 2 Nomor 1 Tahun 2019
Publisher : Program Studi Film dan Televisi Universitas Jember

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Kabupaten Bojonegoro memiliki sebuah kesenian tradisional bernama Sandhur yang dahulu sempat punah tetapi kini telah mampu hidup dan digandrungi kembali oleh masyarakat Kabupaten Bojonegoro. Film Sisan Ngedhur mampu mengenalkan kesenian Sandhur dan upaya-upaya pelestariannya kepada masyarakat di luar Kabupaten Bojonegoro, serta sebagai upaya bentuk dokumentasi kesenian Sandhur. Penyampaian informasi kesenian Sandhur kepada penonton diberikan dengan pengaplikasian gaya penyutradaraan observasi. Gaya penyutradaraan observasi ini ditujukan untuk memberikan informasi apa adanya kepada penonton film Sisan Ngedhur sehingga mampu menginterpretasi sendiri informasi yang diberikan oleh film Sisan Ngedhur.
Ecranisation of the Artistic Setting of the Dilan he was Dilanku year 1990 Novel by Pidi Baiq and Dilan 1990 Film by Fajar Bustomi riyana sulaiman
ROLLING Vol 5 No 1 (2022): Rolling Volume 5 Nomor 1 Tahun 2022
Publisher : Program Studi Film dan Televisi Universitas Jember

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

There was a reduction in the setting of the film to save on production costs and its impact on the duration of playback, the addition of settings raised in the film to clarify the story and location of the story that is not raised in the novels, and the varied settings changes that appear in the film to customize the flow, message, and dramatization of the story. The ecranization of settings in the novel to the form Of Dilan 1990 film There is a reduction of the 42 section description, the addition of 19 section descriptions, and the material of 20 section descriptions.

Page 5 of 8 | Total Record : 76

 3   4   5   6   7 

Filter by Year

2018 2025


Reset
Filter By Issues
All Issue Vol. 8 No. 1 (2025): ROLLING Volume 8 Nomor 1 Tahun 2025 Vol. 7 No. 2 (2024): ROLLING Volume 7 Nomor 2 Tahun 2024 Vol. 7 No. 1 (2024): ROLLING Volume 7 Nomor 1 Tahun 2024 Vol. 6 No. 2 (2023): ROLLING Volume 6 Nomor 2 Tahun 2023 Vol 6 No 2 (2023): ROLLING Volume 6 Nomor 2 Tahun 2023 Vol. 6 No. 1 (2023): Rolling Volume 6 Nomor 1 Tahun 2023 Vol 6 No 1 (2023): Rolling Volume 6 Nomor 1 Tahun 2023 Vol 5 No 2 (2022): Rolling Volume 5 Nomor 2 Tahun 2022 Vol 5 No 1 (2022): Rolling Volume 5 Nomor 1 Tahun 2022 Vol 4 No 2 (2021): Rolling Volume 4 Nomor 2 Tahun 2021 Vol 4 No 1 (2021): Rolling Volume 4 Nomor 1 Tahun 2021 Vol 3 No 2 (2020): Rolling Volume 3 Nomor 2 Tahun 2020 Vol 3 No 1 (2020): Rolling Volume 3 Nomor 1 Tahun 2020 Vol 2 No 2 (2019): Rolling Volume 2 Nomor 2 Tahun 2019 Vol 2 No 1 (2019): Rolling Volume 2 Nomor 1 Tahun 2019 Vol 1 No 1 (2018): Rolling Volume 1 Nomor 1 Tahun 2018 More Issue