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INDONESIA
Rekam : Jurnal, Fotografi, Televisi Animasi
Published by Institut Seni Indonesia Yogyakarta
ISSN : 18583997     EISSN : 27453901     DOI : 10.24821
Core Subject : Humanities, Education, Art,
Arts Humanities Education Languange, Linguistic, Communication & Media
Rekam: Jurnal Fotografi, Televisi, Animasi is a scientific journal published by the Asosiasi Dosen Seni Media Rekam Indonesia in collaboration with the Fakultas Seni Media Rekam, Institut Seni Indonesia Yogyakarta. This journal contains articles on research results, conceptual ideas (results of thought), creation, and the results of community service in the fields of photography, television, and animation.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 198 Documents
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Roro Jonggrang: Animation of Folklore for National Cultural Education Media Nurlaila Nurlaila
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 18, No 1 (2022): April 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v18i1.6699

Abstract

Penelitian ini berawal dari keprihatinan penulis akan tontonan anak-anak pada masa kini.  Seiring berjalannya waktu mereka mengonsumsi tontonan edukasi yang semakin sedikit.  Dengan ragam tontonan tersebut, anak-anak kini mulai melupakan kebudayaan mereka, dongeng.  Dongeng merupakan salah satu kekayaan budaya dan historis dari bangsa Indonesia.  Sebagai sebuah media hiburan, seharusnya tersematkan sebuah pesan Pendidikan moral yang dapat disampaikan kepada generasi mendatang dari negeri ini. Penelitian ini bertujuan untuk menciptakan media pendidikan budaya dengan menggunakan dongeng berupa film animasi untuk menarik lebih banyak perhatian anak-anak.  Penyajian dongeng melalui film animasi adalah media yang paling disukai anak-anak sehingga penyampaiannya akan lebih mudah untuk diterima.  Metode yang digunakan dalam penelitian ini adalah pendekatan sejarah yang menggunakan kejadian masa lampau sebagai sumber data dengan berlatar belakang Jawa pada abad ke-9.  Untuk bagian desainnya, animasi yang dimaksud dalam hal ini adalah dalam bentuk film animasi  2-D dengan menggunakan Bahasa setempat, yaitu Bahasa Jawa.  This research was initiated by the author’s concern for the spectacle of children today. At times, they watch fewer educational shows.  With all these spectacles, today‘s children have also begun to forget their own culture, folklore. Folklore is one of the cultural and historical treasures of the Indonesian nation. As an entertainment medium, there should be a moral education message that can be delivered to the next generation of this nation. This research aims to create a cultural education media using folklore with animated films to attract more attention from children. The form of presenting folklore through animated films is a medium favored by children so that the delivery is more readily accepted. The method used in this research is a historical approach that uses past events as a source of data by taking the background in Java in the 9th-century era. For the design, this animation is in the form of a 2D animated film using the local language, namely Javanese.
Realisme Magis Imaji ke Imajinasi Visual Fotografi Edial Rusli
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 18, No 1 (2022): April 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v18i1.6904

Abstract

 Berbagai imaji dan imajinasi yang dialami secara pribadi adalah inspirasi yang terasa familiar dan mudah diselami dalam melahirkan suatu proses ide yang kreatif, yang dalam hal ini adalah menciptakan karya seni fotografi yang estetis.  Berawal dari pengalaman pribadi yang kala itu tumbuh di tengah kaum urban di pusat niaga Kota Yogyakarta, yaitu kawasan Malioboro dan kebetulan pada masa dewasa lalu berkecimpung di dunia fotografi, muncullah inspirasi untuk menciptakan karya fotografi seni tentang Malioboro. Tujuan dari artikel ini adalah untuk memaparkan bagaimana proses kreatif dalam menciptakan karya fotografi, yang pada akhirnya akan memberikan konstruksi makna yang baru terhadap visual fotografis.  Karya fotografi yang secara umum diakui keotentikan realitasnya, terkadang justru melebihi realitas itu sendiri.  Sebagai kerangka teoretis, realisme magis dapat melampaui dan bahkan melepaskan diri dari realitas yang ada sehingga membuka ruang pluralitas yang luas. Metode observasi, eksplorasi, dan eksperimentasi dipadukan dengan teknik digital imaging berupa visual kolase dan montase menjadikan karya fotografi tentang kawasan Malioboro bernilai seni dan estetis. Penciptaan karya ini tidak sekadar membahas tentang tataran teknis yang membentuknya, akan tetapi lebih tentang estetika dan rekonstruksi makna yang kemudian muncul. Dengan menggunakan pendekatan realisme magis dalam membuat konsep karya fotografi, hadirlah karya foto seni yang representatif dan estetis dalam menggambarkan pluralitas yang ambigu dalam keseharian di kawasan Malioboro. Various images and imaginations that are personally experienced is an inspiration that feels familiar and easy to explore in incubating a creative process of ideas, which in this case is to create aesthetic photographic artwork.  Starting from personal experiences that was raised in the middle of urban community in the commercial center of Yogyakarta, namely Malioboro area, and later when growing up happened to be engaged in the field of photography, triggered an inspiration to create art photography about Malioboro. The purpose of this article is to describe how the creative process of creating photographic works will eventually give the construction of new meaning to photographic visuals.  Photography works that are generally recognized for their authenticity of reality, sometimes even exceed reality itself. As a theoretical framework, magical realism can transcend and even break away from existing realities, thus opening up a vast space of plurality.  The methods applied were observation, exploration, and experimentation combined with digital imaging techniques in the form of visual collages and montages, in order to make photographic works about Malioboro area become valuably artistic and aesthetics. The creation of this photography work no longer speaks of the technical state that shaped it, but rather about the aesthetics and reconstruction of the meaning that exists in it.  By using magical realism as the approach in conceptualizing the photographic works, there is a representative and aesthetic work of art in describing ambiguous plurality in everyday life in Malioboro area.
Perancangan Video Klip Profil Komunitas K-Pop Dance Invasion DC Jakarta dengan Teknik Camera Movement Martinus Eko Prasetyo; Zevri Zevri; Shierly Everlin
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 18, No 2 (2022): Oktober 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v18i2.7551

Abstract

The development of Korean culture in many countries, including Indonesia in recent years, has had an impact on most of the mass media in Indonesia displaying various Korean nuances such as musical performances, dramas, and films. Moreover, the Indonesian people are also familiar with and use products originating from Korea. K-pop, also known as Korean pop music, has the ability to penetrate national borders and is popular overseas. K-pop also managed to enter the American charts, Billboard which is the standard to measure the quality of the global music industry. The spread of K-pop in Indonesia has also made many Korean artists visit and hold concerts in Indonesia.This writing provides information about the facts of taking videography. This study uses qualitative methods to collect accurate data and information as a guide in designing Profie's video clips. The results of this study will explain the design of the Profile video clip of the largest K-Pop dance cover community in Indonesia, namely Invasion DC. Based on information data about Invasion DC, how the development of this community when it was first established until it became now, and the characteristics of Invasion DC itself. This design is expected to provide information and an overview of the DC Invasion community in making Profile video clips with the Camera Movement technique.The development of Korean culture in many countries, including Indonesia in recent years, has had an impact on most of the mass media in Indonesia displaying various Korean nuances such as musical performances, dramas, and films. Moreover, the Indonesian people are also familiar with and use products originating from Korea. K-pop, also known as Korean pop music, has the ability to penetrate national borders and is popular overseas. K-pop also managed to enter the American charts, Billboard which is the standard to measure the quality of the global music industry. The spread of K-pop in Indonesia has also made many Korean artists visit and hold concerts in Indonesia.This writing provides information about the facts of taking videography. This study uses qualitative methods to collect accurate data and information as a guide in designing Profie's video clips. The results of this study will explain the design of the Profile video clip of the largest K-Pop dance cover community in Indonesia, namely Invasion DC. Based on information data about Invasion DC, how the development of this community when it was first established until it became now, and the characteristics of Invasion DC itself. This design is expected to provide information and an overview of the DC Invasion community in making Profile video clips with the Camera Movement technique.
Perancangan Studio Keliling Fotografi Analog sebagai Sarana Pendidikan dan Hiburan Irwandi Irwandi; Novan Jemmi Andrea; Michael Steve Joshua Sinurat; Riki Maulana
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 18, No 2 (2022): Oktober 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v18i2.6121

Abstract

Saat ini fotografi analog mulai hidup kembali di kalangan komunitas pecinta fotografi. Praktik fotografi analog melibatkan manusia secara langsung, sehingga dipandang sesuai dengan kesadaran bahwa manusia tidak boleh sepenuhnya bergantung pada mesin. Berdasarkan kondisi-kondisi tersebut, penelitian ini mengajukan sebuah rancangan studio foto keliling berbasis fotografi analog. Tahapan penelitian dilakukan secara berurutan mulai dari pencarian dan pengumpulan referensi hingga pelaksanaan tahapan desain mulai dari desain dua dimensi pada tahap pertama, hingga desain tiga dimensi. Secara konkret, perancangan studio fotografi analog didesain di atas sebuah bus berukuran panjang 12 meter dan lebar 2,5 meter  yang dimodifikasi. Ruang dalam bus dirancang agar dapat menjadi sebuah gerai foto yang digunakan untuk memproses foto (pemfotoan, pemrosesan, dan pencetakan), serta dijadikan sarana pendidikan, hiburan rakyat, dan layanan fotografi analog yang unik. Hasil rancangan memperlihatkan ruang di dalam bus dibagi menjadi tiga bagian, yaitu ruang pengemudi dan penumpang atau kru, lalu ruang rapat atau kantor mungil, dan terakhir adalah studio fotografi analog yang di dalamnya disediakan fasilitas cuci dan cetak foto analog. Harapannya, rancangan ini dapat diwujudkan dan dapat menumbuhkembangkan kreativitas dan jiwa kewirausahaan generasi muda di bidang fotografi.
Analisis Karya Fotografi Pieter Hugo Rwanda #14 Winata Faturahman
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 18, No 2 (2022): Oktober 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v18i2.7700

Abstract

Portrait photography is photography with the subject of the person being photographed closely. This type of photography generally emphasizes expression to convey a message. Referring to this information, portrait photography is one of the media for displaying visual messages with human subjects/people. Pieter Hugo is a portrait photographer whose focus is on Africa. Various works produced mostly highlight life in Africa. Pieter Hugo's photo entitled Rwanda #14 is a photo with a high angle shot. In the photo visualizing an African boy lying on a meadow in the photo from above. The photo is Pieter Hugo's work in the 1994 editorial where the photo works in the editorial are Pieter Hugo's expression of the genocide that hit Africa in 1994. The purpose of this research is to contribute to the world of literacy, especially literary work. photography. Because photography is a medium that can be used as a messenger through visuals that can be a unit of analysis to be researched. The research method used in this study is a qualitative method. The selection of qualitative methods was chosen because the qualitative method is a method that can be used to analyze the object of research.
Citra Bagong sebagai Suara Wong Cilik pada Kanal YouTube Dalang Seno Paulus Heru Wibowo Kurniawan
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 18, No 2 (2022): Oktober 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v18i2.6763

Abstract

Along with the emergence of new media, wayang kulit play have also undergone changes and adjustments to the format. Through media such as YouTube, wayang kulit shows are no longer shown as 8-9 hour long shows. This media change does not cause a paradigmatic change to the role of Punakawan, but also provides a fresher interpretation space for Punakawan (clowns) as today’s social communicators. This paper aims to examine how Bagong, one of character of Punakawan, underwent a transformation in the wayang kulit play that was broadcasted on the Dalang Seno YouTube channel, which was initiated by Ki Seno Nugroho. In this channel, Bagong is no longer shown as a side character, but as the main character in the wayang kulit narrative. In addition, this paper wants to explore the extent to which Bagong seeks as a social communicator in the context of postcolonial society as shown on the Dalang Seno channel in the midst of a pandemic. 
Religioisity in Animated Videos (Quantitative Content Analysis of the Upin and Ipin Animated Show) Monika Pretty Aprilia; Rivga Agusta; Arselly Dwi Cahyani
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 18, No 2 (2022): Oktober 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v18i2.7763

Abstract

The animated children show Upin & Ipin is a popular show in Indonesia that contains many messages that can be a learned by Indonesian children. One of the issues most often carried in the Upin and Ipin show is religiosity, which is raised through worship activities, celebrations of religious holidays, and running daily life in accordance with the teachings of Islam. This study sees the concept of Glock and Stark's religious religion which is divided into five dimensions. The five dimensions are ritual dimension, intellectual dimension, ideology dimension, experimental dimension, and consequence dimension. The method used is quantitative content analysis. The results showed that the ritual dimensions that appeared were the biggest, then the intellectual dimensions and consequence dimensions were also emerged in a smaller percentage. In the animation "Upin & Ipin" the ritual dimensions performed by the characters in daily life emerge in the form of prayer, fasting, adhan, ablution, praying, celebrating the holiday, and reciting. The intellectual dimension emerged with a scene of the residents of Kampung Durian Runtuh who attended religious study activities. While the consequence dimensions are described when the characters do good deeds to fellow human beings.
Kolaborasi Konsep Imajinasi Kreatif dan Intelektual dalam Adaptasi Pengembangan Media Film di Tengah Pandemi Danissa Dyah Oktaviani
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 18, No 2 (2022): Oktober 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v18i2.6766

Abstract

ABSTRAKKeterbatasan mobilitas di masa pandemi sebagai salah satu langkah mencegah penyebaran wabah virus ikut membatasi pergerakan dunia media khususnya industri film. Film merupakan karya seni yang merepresentasikan kehidupan di alam semesta sehingga selayaknya mempunyai ruang lingkup yang luas pula. Tulisan ini membahas ruang kreativitas dengan mengaplikasikan konsep imajinasi kreatif tidak terbatas yang dimiliki oleh sineas dalam menciptakan sebuah karya seni di tengah masa pandemi dengan mengembangkan imajinasi intelektual. Metode penelitian yang digunakan dalam penelitian ini adalah penelitian kolaboratif dengan pendekatan kualitatif deskriptif. Tujuan khusus dalam penelitian ini adalah untuk menghasilkan sebuah temuan alternatif konsep baru dengan cara menggabungkan konsep-konsep yang ada sebelumnya Hasil temuan penelitian ini adalah bentuk kolaborasi konsep imajinasi kreatif dan intelektual dalam berkarya membuat sineas tetap dapat bergerak dengan bebas dalam keterbatasan. Proses kreatif sineas dapat memanfaatkan segala unsur film untuk menghasilkan produk dengan mempertimbangkan dan melihat media film dari sudut pandang karya seni yang memanfaatkan perkembangan teknologi untuk menyampaikan pesan kepada khalayak luas sehingga industri film tetap dapat bertahan di masa pandemi. Kesimpulan dalam penelitian ini merujuk pada usaha sineas yang tidak memberi batasan dalam berkarya akan lebih tenang dan teliti dalam melihat peluang produksi karya film dengan memanfaatkan banyak platform sehingga tidak terjebak dalam situasi pandemi.  
Produktivitas Kreatif Tim Penata Kostum dalam Tekanan Waktu pada Program Variety Show Televisi Arum Githa Putri; Deny Willy Junaidy
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 18, No 2 (2022): Oktober 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v18i2.7858

Abstract

Time pressure is unavoidable. This is also experienced by designers who work in the television industry who work with a faster pace. The costume stylist team as the designers whose fulfill the costume needs must also adjust to the conditions they have. The purpose of this research is to identify the factors that influence the costume stylist team in the costume arrangement process and the process they do in developing their ideas in the midst of their limitations. The data collection process in this study was carried out by concurrent experimentation with the protocol by recording and observing directly the creative process of costume styling on two teams of costume stylists, the recorded data was described and given a code classification based on the F-B-S onthology and processing through linkography. Through linkography obtained output data in the form of graphs of entropy, data distribution, and also the distribution process so that it can identify the influencing factors and the design process that is carried out. In this study it was found that (1) the expectations of the costume stylist team for what they wanted to serve and the available commodities were the most influential factors in developing ideas under time pressure during the costume arrangement process. (2) The costume arrangement process is carried out to deal with the time pressure they are doing, by adjusting the ideas developed, reprocessing the available costumes into new costumes, and reviewing ideas with similar experiences. 
Production Management of the “Asu (Prokontra)” Short Documentary Film Pipit Setyaningsih; Yeni Rosilawati
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 18, No 2 (2022): Oktober 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v18i2.7044

Abstract

This research focuses on the management of “ASU (Prokontra)” documentary film production, which includes three stages: planning, production, and post-production. This documentary raises the issue of dog slaughtering in Yogyakarta. This research utilized a descriptive qualitative method. The data were gathered through in depth-interview with the director and cameraman of the film. Moreover, secondary data on this research were obtained from the animal community website and social media (Instagram) of Jogja’s Animal Friend and news from local and national mass media. The results revealed three findings: (i)  the director of the “ASU (Prokontra)” documentary film researched to obtain information on dog slaughtering in Yogyakarta; (ii) the director of the film employed an observative approach to record events spontaneously and naturally. The flow of the “ASU (Prokontra)” film production emphasizes the informal shooting process without excessive technical tools and does not require prior design; (iii) the director approached the community as the subject well. This approach was applied to build trust to take the right moment.

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