cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
Febri Adi Prasetya
Contact Email
garuda@apji.org
Phone
+6285726173515
Journal Mail Official
info@asdkvi.or.id
Editorial Address
Perum. Cluster G11 Nomor 17, Jl. Plamongan Indah, Pedurungan, Semarang, Provinsi Jawa Tengah, 50195
Location
Kota semarang,
Jawa tengah
INDONESIA
Abstrak: Jurnal Kajian Ilmu Seni, Media dan Desain
Published by Asosiasi Seni Desain dan Komunikasi Visual Indonesia
ISSN : 30322456     EISSN : 30321670     DOI : 10.62383
Core Subject : Art,
Arts
Journal of Arts, Media and Design Studies is a journal that is peer-reviewed and open. The fields of study in this journal include the Arts, Media and Design sub-groups. Abstract : The Journal of Arts, Media and Design Studies accepts articles in English and Indonesian
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 161 Documents
 13   14   15   16   17 
Perancangan Animasi 2D Legenda Condet Cerita Rakyat dari Jakarta Timur Jordhy Fernando Alfon’s
Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 3 No. 4 (2026): Juli : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/abstrak.v3i4.1152

Abstract

The 2D animation Legend of Condet is an artistic work that adapts a folk tale from East Jakarta, presenting the origin of Condet and the cultural values of the Betawi community. Condet has a rich historical background with local legends that contain values of courage, cooperation, environmental awareness, and cultural preservation. This animation tells the story of Astawana, a young hero who plays an important role in protecting his village from external threats. His bravery and wisdom become an inspiration for the community to maintain harmony and defend their cultural identity. This work utilizes 2D animation techniques to create attractive visual presentations through detailed illustrations, color compositions, and cultural elements that strengthen the local atmosphere. The animation incorporates Betawi characteristics, including traditional music, clothing, and everyday language, to provide an authentic representation of local culture. Beyond entertainment, Legend of Condet serves as an educational medium to introduce Indonesian folklore, history, and local wisdom to younger generations. This study employs a qualitative method through literature studies, interviews with historical experts, and direct observation of locations related to the Condet legend. The research focuses on understanding the design process of an engaging and educational 2D animation, as well as exploring the implementation of promotional strategies through launching activities and media applications. The results of this study are expected to contribute to cultural preservation efforts by utilizing animation as an effective medium for introducing local heritage in the digital era.
Peran Sutradara dalam Pembuatan Film Dokumenter “Jejak Tradisi Peuyeum Ketan Kabupaten Kuningan” Rifa Qalbia; Teddy K. Wirakusumah; Aat Ruchiat Nugraha
Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 3 No. 4 (2026): Juli : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/abstrak.v3i4.1155

Abstract

Peuyeum ketan is a fermented sticky-rice product that has long been part of the culture and local economy of Tarikolot Village, Cibeureum District, Kuningan Regency, West Java. This study examines the director’s role in producing the documentary film Jejak Tradisi Pembuatan Peuyeum Ketan Kabupaten Kuningan. The film adopts an expository documentary approach using voice-over narration and features four informants representing the village government, business owner, marketing staff, and consumer. Data were collected through literature review, field observation, and in-depth interviews, then developed through the stages of pre-production, production, and post-production. During pre-production, the director developed the concept, conducted research, selected informants, and prepared production documents. In production, the director supervised cinematography, interviews, and narration. In post-production, the director organized the narrative, supervised editing, and addressed technical challenges. The findings indicate that limited crew members expanded the director’s responsibilities beyond conventional roles, including production planning and direct coordination with informants. The documentary serves as a medium for preserving the Peuyeum ketan tradition while demonstrating its continuing cultural and economic value.
Implementasi Teknik Editing J-Cut & L-Cut pada Produksi Film Dokumenter “Jejak Tradisi Peuyeum Ketan Kabupaten Kuningan” Grecia Rahel Nadya Napitupulu; Teddy K. Wirakusumah; Aat Ruchiat Nugraha
Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 3 No. 4 (2026): Juli : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/abstrak.v3i4.1159

Abstract

Peuyeum ketan is a traditional culinary heritage of Kuningan Regency that faces preservation challenges due to globalization and changing public preferences. Documentary films provide an effective medium to document, preserve, and promote local cultural heritage. This study aims to produce the documentary film Jejak Tradisi Peuyeum Ketan Kabupaten Kuningan while implementing J-Cut and L-Cut editing techniques to create smooth audiovisual continuity and enhance audience engagement. The production process consisted of three stages: pre-production, production, and post-production. Pre-production included literature review, observation, concept development, scriptwriting, and production planning. The production stage involved video recording, interviews with resource persons, and documentation of the traditional production process of peuyeum ketan. Post-production focused on editing using Wondershare Filmora, emphasizing the application of J-Cut and L-Cut techniques to improve narrative flow, scene transitions, and synchronization between audio and visual elements. The results demonstrate that these editing techniques produce smoother transitions, more dynamic information delivery, and seamless audiovisual continuity, making the documentary more engaging and informative. Consequently, the documentary serves not only as a medium for cultural preservation but also as an effective promotional tool to increase public awareness and appreciation of the culinary heritage of Kuningan Regency.
Proses Komunikasi antara Sutradara dan Tim Produksi Film Dokumenter Mewujudkan Bandung: Lautan Literasi Dewi Tri Wahyunningsih; Fajrin Al Maris; Dian Wardiana Sjuchro; Efi Fadilah
Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 3 No. 4 (2026): Juli : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/abstrak.v3i4.1161

Abstract

Communication in documentary film production plays a crucial role in aligning creative visions, fostering coordination, and maintaining the team’s effectiveness at every stage of production. This study aims to describe the communication process between the director and the production team during the creation of the documentary Mewujudkan Bandung: Lautan Literasi in the pre-production, production, and post-production phases. The approach used is descriptive qualitative research employing a practice-based research method, which treats the creative process as the primary source of data collection and analysis. Data were collected through observation, interviews, literature review, and documentation during the production process. The findings of the discussion indicate that communication during the pre-production phase serves to establish a shared understanding of the story concept, develop a storyboard, assign tasks, and coordinate the production schedule. During the production phase, communication takes place directly and adaptively through direction given to the crew and interviewees, coordination of filming, and adjustments to various on-site challenges without compromising the director’s objectives. During the post-production phase, communication between the director and the editor focuses on developing the narrative structure, editing the footage, evaluating the results, and refining the message to ensure it remains consistent with the original concept. The entire communication process serves a function that is not limited to technical coordination but also acts as a collaborative mechanism for building a shared understanding and supporting decision-making,  as well as maintaining the quality and consistency of the presentation of literacy issues in the form of audiovisual works.
Penerapan Pendekatan Ekspositori pada Penulisan Naskah Video Feature "Buatan yang Menjadi Tangan Kehidupan" Viola Putri Ningtyas; Kokom Komariah; Nurmaya Prahatmaja
Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 3 No. 4 (2026): Juli : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/abstrak.v3i4.1162

Abstract

As feature videos have increasingly become a medium for communicating factual information, scriptwriting plays a crucial role in organizing narratives that are coherent, informative, and meaningful. Through an expository approach, scriptwriters are able to integrate narration, factual data, interviews, and supporting visuals into a structured audiovisual narrative. This study aims to explain the application of the expository approach in Act I: Birth, Act II: Growth, and Act III: Survival in the scriptwriting process of the feature video Buatan yang Menjadi Tangan Kehidupan (The Artificial That Became the Hand of Life). The study employed a practice-based creation method consisting of pre-production, production, and post-production stages, with the script developed using an expository approach within a three-act narrative structure. The findings indicate that the expository approach in Act I establishes contextual understanding by presenting information progressively from broad issues to the main subject; Act II develops the discussion by logically connecting the history, development, and functions of Situ Cileunca; and Act III integrates research findings, interviews, and reflective narration to strengthen the central message regarding the importance of preserving water quality. The implementation of the expository approach resulted in a feature video script that presents information systematically, factually, and communicatively while enabling audiences to develop a comprehensive understanding of water as a source of life. These findings contribute to scriptwriting practices by demonstrating how the expository approach can be systematically applied to produce coherent and informative feature video scripts.
Penerapan Prinsip Animasi dalam Produksi Video Animasi Edukasi Literasi AI: ‘Sampai Mana Batas antara Bantuan dan Ketergantungan? Lina Gustami; Hening Shafa Nabillah; Toto Sugito; Gumgum Gumilar
Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 3 No. 4 (2026): Juli : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/abstrak.v3i4.1163

Abstract

The development of artificial intelligence in education has brought about changes in student behavior within the learning process. The phenomenon drives the need for AI literacy among university students, which can be delivered through animated videos. This study aims to describe and analyze the application of fundamental animation principles in the production of an animated video entitled “Sampai Mana Batas Antara Bantuan dan Ketergantungan?”. This research utilizes a qualitative method with a practice-based research approach, in which the author is directly involved as the animator. Overall, the production process was carried out through three stages: pre-production, production, and post-production. The results indicate that the proper application of fundamental animation principles can make animated characters more lifelike and facilitate message delivery. This research can serve as a reference for the development of similar educational work.
Analisis Komparatif Multimodalitas Kampanye Advokasi Pekerja Kreatif: Studi Kasus CRNY dan SINDIKASI Paramitha Anisa Agustina; Eka Noviana
Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 3 No. 4 (2026): Juli : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/abstrak.v3i4.1126

Abstract

The creative sector is widely promoted as a strategic driver of economic growth, yet creative workers continue to experience structural vulnerabilities such as project-based employment, income instability, and limited social protection. This study aims to examine how visual communication strategies in advocacy campaigns construct narratives about the value of creative labor and economic rights within different sociopolitical contexts. The research employs a qualitative descriptive approach using multimodal discourse analysis through representational, interactive, and compositional metafunctions. The data consist of purposively selected Instagram posts from Creative Rebuild New York and Serikat Pekerja Media dan Industri Kreatif untuk Demokrasi. The findings indicate that Creative Rebuild New York constructs creative workers as professional economic subjects through minimalist aesthetics and individual framing aligned with policy legitimacy, whereas Serikat Pekerja Media dan Industri Kreatif untuk Demokrasi emphasizes collective solidarity and mass mobilization through action-oriented visuals and contrasting colors. The study concludes that visual advocacy strategies are not neutral, but rather reflect distinct political orientations in advancing the rights of creative workers.
Tinjauan Penggunaan Media Sosial TikTok oleh Generasi Z Usia 18–24 Tahun yang Berpotensi Meningkatkan Kecemasan dan Kelelahan Mental Dodhi Elroi Butarbutar; Rosa Karnita
Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 3 No. 4 (2026): Juli : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/abstrak.v3i4.1160

Abstract

TikTok social media has become one of the most popular platforms among Generation Z aged 18–24 in Indonesia. However, behind its engaging visual characteristics and algorithm-driven features, concerns have emerged regarding its psychological impacts, particularly anxiety disorders. This study aims to analyze the relationship between the intensity of TikTok usage and anxiety levels among young users, while also examining how visual design elements, algorithms, and social comparison culture contribute to digital mental health. A mixed-method data collection approach was employed through a survey involving 40 respondents and in-depth interviews with 10 respondents who showed high anxiety scores based on the GAD-7 scale. Visual analysis indicates that TikTok’s interactive design, characterized by dynamic colors, movement, and audio, increases emotional engagement while simultaneously heightening the risk of anxiety and mental fatigue. This study highlights the importance of developing a more empathetic visual communication content approach that prioritizes issues of digital mental well-being.
Implementasi Teknik Sinematografi oleh Director Of Photography dalam Pembuatan Video Feature “Kopi Semangka” Nadhirotus Sofia; Encang Saepudin; Nurmaya Prahatmaja
Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 3 No. 4 (2026): Juli : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/abstrak.v3i4.1168

Abstract

Sutradara Fotografi (DoP) memegang peran penting dalam produksi film fitur, khususnya dalam menerjemahkan narasi ke dalam bahasa visual melalui penerapan teknik sinematografi seperti sudut kamera, pergerakan kamera, jenis pengambilan gambar, dan komposisi. Laporan ini bertujuan untuk menjelaskan implementasi keempat teknik tersebut dalam film fitur "Kopi Semangka", yang menggambarkan inovasi dalam cita rasa kopi yang menampilkan aroma seperti semangka, yang terbentuk secara alami melalui proses alami dan metode pemanggangan tanpa penambahan buah atau perasa apa pun. Metode pembuatan yang digunakan terdiri dari tiga tahap, yaitu pra-produksi, produksi, dan pasca-produksi. Hasil analisis menunjukkan bahwa sudut kamera, yang terdiri dari setinggi mata, sudut tinggi, dan sudut rendah, diterapkan untuk membangun kedekatan sambil menekankan subjek dan proses yang digambarkan, pergerakan kamera, yang berfokus pada teknik genggam, digunakan untuk menangkap momen secara alami dan intim di lapangan, jenis pengambilan gambar, yang terdiri dari pengambilan gambar jarak jauh, pengambilan gambar jarak menengah, pengambilan gambar jarak menengah dekat, dan pengambilan gambar jarak dekat, diterapkan untuk membangun konteks spasial sambil memperjelas ekspresi dan detail visual, dan komposisi, yang berfokus pada aturan sepertiga, digunakan untuk menghasilkan keseimbangan visual yang harmonis di setiap bingkai. Kesimpulan dari laporan ini menyatakan bahwa penerapan teknik sinematografi secara konsisten mampu memperkuat penyampaian pesan sekaligus menghadirkan pengalaman visual yang informatif dan bermakna bagi penonton dalam film dokumenter "Kopi Semangka".
Implementasi Struktur Tiga Babak dalam Penulisan Naskah Video Feature “Kopi Semangka” Mutiara Amisyah; Encang Saepudin; Nurmaya Prahatmaja
Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 3 No. 4 (2026): Juli : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/abstrak.v3i4.1170

Abstract

 The growth of the specialty coffee industry in Indonesia has driven various post-harvest processing innovations, one of which is coffee with a flavor character resembling watermelon (watermelon notes) produced by Fugol Cafe & Roastery through an anaerobic natural process without artificial flavoring. This phenomenon has not been widely discussed in audiovisual form, prompting the author to create a feature video titled "Kopi Semangka" by applying the three-act structure as a narrative framework in scriptwriting. This work aims to explain the implementation of the three-act structure in the First Act (Set-Up), Second Act (Confrontation), and Third Act (Resolution) in composing the script, referring to the concepts of Syd Field and Robert McKee. The creation process was carried out through pre-production, production, and post-production stages, with production taking place in Bandung and Jatinangor involving six interviewees consisting of a roaster, consumers, and an agricultural technology expert. The First Act builds the premise and hook through a rhetorical question regarding the origin of the watermelon flavor in coffee; the Second Act elaborates the scientific anaerobic natural process that shapes the flavor character gradually, supported by expert validation; while the Third Act presents a resolution in the form of consumer responses as social validation of the innovation introduced. The implementation of the three-act structure proved effective in systematically arranging the storyline, sustaining audience engagement, and conveying scientific information about agricultural product innovation in a narrative and easily understandable manner.

Page 16 of 17 | Total Record : 161

 13   14   15   16   17 

Filter by Year

2024 2026


Reset
Filter By Issues
All Issue Vol. 3 No. 4 (2026): Juli : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 3 No. 3 (2026): Mei : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 3 No. 2 (2026): Maret: Jurnal Kajian Ilmu seni, Media dan Desain Vol. 3 No. 1 (2026): Januari: Jurnal Kajian Ilmu seni, Media dan Desain Vol. 2 No. 6 (2025): November : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 2 No. 5 (2025): September : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 2 No. 4 (2025): Juli : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 2 No. 3 (2025): Mei : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 2 No. 2 (2025): Maret : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 2 No. 1 (2025): Januari : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 1 No. 6 (2024): November : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 1 No. 5 (2024): September : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 1 No. 4 (2024): Juli : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 1 No. 3 (2024): Mei : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 1 No. 2 (2024): Maret : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 1 No. 1 (2024): Januari : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain More Issue