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Journal of Visual Art and Design
Published by Institut Teknologi Bandung
ISSN : 23375795     EISSN : 23385480     DOI : https://doi.org/10.5614/jvad
Core Subject : Humanities, Art,
Arts Humanities
Journal of Visual Art and Design focuses on theoretical and empirical research articles in the Visual Art and Design disciplines in the region of Asia and Pacific. The scope includes the following subject areas: Design and Art History, Visual Culture, Art and Design Methodology, Art and Design Discourse, Design and Culture, Art and Design Sociology, Design and Art Management, Art Criticism, Anthropology of Art and Design, Industrial Design, Visual Communication Design, Photography, Interior Design, Craft, Architectural Design, Film, Multimedia, Design Policy, Psychology of Art and Design as well as Art and Design Education. Journal of Visual Art and Design welcomes original research, Art and Design work, and critical discourse on traditional and contemporary issues in the field of Art and Design. Researchers, Artists, and Designers are welcomed to contribute in the form of conceptual or theoretical approaches, designer/artists writings, case studies or critical essays in the fields of Art and Design.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 263 Documents
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Incorporation And Exploration Of Local Imageries And Identities In Malaysia's Graffiti Art Sarena Abdullah; Norshahidan Mohamad
Journal of Visual Art and Design Vol. 7 No. 1 (2015): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2015.7.1.4

Abstract

The production of graffiti art in Malaysia can be traced back to the late 1990's. Since then, graffiti art has beenembraced by local municipalities as well as the National Visual Art Gallery (NVAG) in their public programming and activities. Despite these positive developments, how the local graffiti artists infused local imageries and indentities in their work had not been examined. The parallels between graffiti art practices and the development of modern art in Malaysia, made the emergence of forms  and themes that reflect local identity in graffiti art  not a surprise, as these were also the inherent issues explored by local artists in the domain of fine arts. This paper hence, discusses the different approaches taken by Malaysia's graffiti artists, how they incorporate and explored their visual ideas rooted in hip hop culture and the New York City Subway graffiti, with local imageries and identities. This paper will also discuss the history and background of Malaysia's graffiti art as well as how Malaysian graffiti artists employedvarious local imageries and identity.Keywords: graffiti art; local identities; Malaysian graffiti art; urban culture.
I La Galigo Folklore Illustration on Textile Media Yosepin Sri Ningsih; John Martono; Zaini Rais
Journal of Visual Art and Design Vol. 6 No. 1 (2014): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2014.6.1.1

Abstract

This project was an effort in conserving the I La Galigo epic story while at the same time adding value to silk, the famous textile product from South Sulawesi and the origin of I La Galigo. As a work of literature, I La Galigo is categorized as an epic. It is known locally as Sureq Galigo in Bugis. It is divided in a number of episodes or tereng. The most well-known tereng is the one which describes the relationship between Sawerigading and a princess called I We Cudai. From that relationship I La Galigo, the central character of this epic is born. For this project six of the most well-known episodes were selected because of the amount of available supporting data, both theoretical and visual. The selected episodes were translated from their original narrative form into visual language or images. The illustration technique used in this project was STP (Space Time Plane). With this technique every object is drawn from varying viewpoints in one frame, both in space and time. Hand embroidery was added to the painted images. The silk painting can be used as an interior element with value added by the I La Galigo illustrations. Keywords: I La Galigo; epic; Sulawesi; illustration; silk painting; space time plane.
The Priangan Batik in the Constellation of Modern Aesthetics Yan Yan Sunarya; Biranul Anas
Journal of Visual Art and Design Vol. 6 No. 1 (2014): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2014.6.1.2

Abstract

A study of the aspect of identity in the aesthetic domain of Priangan Batik, from the old Priangan Batik to the present day Priangan Batik, in relation to the constellation change of its aesthetic elements. It considers various impacts of modernity, enriching batik through its ornaments, themes, colors, composition, techniques, and naming to the characteristics of each of the Priangan Batik production areas. Priangan Batik has also been influenced by other cultures. When its local know-how and spirit are traced back in its various forms and dimensions, we can find a reflection of the aesthetic cultural identity of the Priangan community. It has experienced cultural transformation diachronically as well as synchronically, and at the same time adopted elements from various new cultures, including the modern paradigm as well as commercial culture. In the 20th century, batik activity developed in the following Priangan areas: Ciamis, Tasik, and Garut. The development of batik in these areas has expanded it to incorporate a number of values within the dimensions of meaning, principles, and goals. Also, it has been influenced by the heterogeneity Indonesian culture within the constellation of modern aesthetics.Keywords: constellation; modern aesthetics; Priangan Batik.
Pemanfaatan Produk Budaya Modern dalam Bentuk Game untuk Mobile Gadget sebagai Media Pelestarian Budaya Tradisional (Dengan Studi Kasus Kue Tradisional Jawa Barat) Khairani Larasati Imania; Riama Maslan Sihombing; Intan Rizky Mutiaz
Journal of Visual Art and Design Vol. 6 No. 1 (2014): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2014.6.1.3

Abstract

Kue tradisional merupakan salah satu produk budaya yang pantas diperlakukan secara setara dengan aset kebudayaan lainnya, antara lain dengan cara diakui dan dilestarikan keberadaanya. Namun demikian, seiring dengan perkembangan zaman dan terjadinya globalisasi menyebabkan masuknya nilai-nilai budaya asing ke tanah air. Di satu sisi, globalisasi tersebut menyebabkan makin tergerusnya nilai-nilai budaya lokal. Hal ini kemudian berdampak pada eksistensi kue tradisional yang makin menghilang. Terutama dengan banyak masuknya kue-kue lain yang merupakan produk budaya asing yang dikhawatirkan dapat menggantikan posisi kue-kue tradisional di hati masyarakat. Pada sisi lain, globalisasi memberikan pengaruh yang cukup baik pula. Di antaranya yaitu dengan makin mudahnya persebaran perkembangan teknologi. Masyarakat mau tidak mau menjadi semakin mawas akan keberadaan media-media digital, dan mulai terbiasa dengannya. Oleh karena itu, perlu dilakukan upaya pengenalan kembali nilai-nilai budaya lokal, pada kasus ini kue tradisional dengan studi kasus jajanan pasar di Jawa Barat, kepada remaja dengan memanfaatkan perkembangan teknologi. Game dirasa merupakan bentuk teknologi yang dapat dimanfaatkan sebagai media pengenalan budaya kepada remaja dengan metoda pendekatan yang menyenangkan dan tidak menggurui.Kata kunci: budaya; game; globalisasi; kue tradisional; remaja.Traditional cake is one of cultural product that deserves to be treated equally with other cultural asset. One of the attempts that can be done is by giving it acknowledgement and sustaining its' existences. However, the rapid development of technology causes globalization and foreign value to infiltrate this country. On one side, globalization causes the local cultural to be scraped and forgotten. This might as well lead to the vanishing existence of traditional cake, particularly with the spread of other foreign cake and the apprehension that they would take over traditional cake in citizen's heart. On the other hand, globalization also gives a positive influence, such as the better access of technology. As a result, people become more aware of the existence of digital media and started to get used to it. Therefore, an attempt are needed to reintroduce local culture, in this case, traditional cake with case study West Java's Street Snacks, especially to teenagers, by taking the advantage of technology. Game is considered one of the media that can be used as approaching method in a fun way.Keywords: culture; game; globalization; teenagers; traditional cake.
Pendekatan One Village One Product (OVOP) untuk Mengembangkan Potensi Kerajinan Daerah. Studi Kasus: Kerajinan Gerabah di Kecamatan Plered, Kabupaten Purwakarta Meirina Triharini; Dwinita Larasati; R. Susanto
Journal of Visual Art and Design Vol. 6 No. 1 (2014): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2014.6.1.4

Abstract

One Village One Product (OVOP) adalah suatu pendekatan pembangunan daerah yang bertujuan untuk memajukan ekonomi daerah tersebut.  Konsep OVOP berasal dari Oita, Jepang dan diadopsi oleh berbagai negara di dunia. Indonesia melalui Kementerian Perindustrian sejak tahun 2008 melaksa-nakan program OVOP yang bertujuan untuk memajukan potensi industri kecil dan menengah kerajinan di sepuluh wilayah di Indonesia, termasuk Purwakarta dengan potensi kerajinan gerabah dan keramik hias. Penerapan OVOP dalam rangka memajukan industri kerajinan memerlukan strategi yang sesuai dengan prinsip mendasar OVOP dan dapat menyelesaikan permasalahan yang dihadapi oleh industri produk kerajinan di daerah sasaranPenelitian ini bertujuan untuk mengevaluasi penerapan OVOP di Indonesia yang telah berlangsung sejak tahun 2008 dan menyusun sebuah rekomendasi bagi pengembangan potensi produk kerajinan dengan pendekatan OVOP dengan mengambil studi kasus di Plered, Purwakarta. Rekomendasi ditujukan bagi pemerintah sebagai pemangku kebijakan, masyarakat sebagai pelaksana, dan pihak swasta, khususnya akademisi desain atau desainer professional.Selain pentingnya konsistensi pemerintah dan partisipasi masyarakat dalam melaksanakan dan mengawasi berjalannya program yang telah disusun, pengembangan desain produk kerajinan memegang peranan yang sangat penting. Diperlukan peran desainer yang sangat kuat untuk dapat mengembangkan desain yang dapat memahami kebutuhan pasar sekaligus mempertahankan nilai-nilai tradisional kerajinan dan menyelesaikan permasalahan yang dihadapi oleh industri.Kata kunci: gerabah; kerajinan; keramik; OVOP; Purwakarta.One Village One Product (OVOP) is a regional development approach that aims to promote the economy of a region. The concept of OVOP was origined from Oita, Japan, and adopted by various countries in the world. Indonesia through the Ministry of Industry since 2008 implementing OVOP program that aims to promote the potential of small and medium craft industry in the ten regions in Indonesia, including Purwakartawith its potential on decorative pottery and ceramic crafts. This study aims to evaluate the implementation of OVOP in Indonesia that has been ongoing since 2008 and make a recommendation for the development of potential handicrafts with OVOP approach by taking a case study in Plered, Purwakarta. In addition to the importance of consistency of government and public participation and oversight in implementing the program, the development of craft product design plays a very significant role. It is required for designers to have very strong roles to develop designs that can understand the market needs while maintaining the traditional values of craft and resolve the problems faced by the industry.Keywords: craft; ceramic; OVOP; pottery; Purwakarta.
Kemampuan Adaptasi Orang Kidal terhadap Lingkungan Non Kidal dalam Aktivitas Menulis dan Menggambar. (Studi Kasus: Mahasiswa/i FSRD-ITB) Andi Abdulqodir; Andar Bagus Sriwarno; Budi Isdianto
Journal of Visual Art and Design Vol. 6 No. 1 (2014): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2014.6.1.5

Abstract

Dalam dunia yang dihuni oleh mayoritas orang-orang non-kidal, orang-orang kidal terkenal dengan kemampuan beradaptasi terhadap barang-barang yang diperuntukkan bagi orang non kidal, seperti salah satunya kursi kuliah. Sedikitnya penelitian yang pernah dilakukan, memicu pada penelitian yang lebih jauh tentang kemampuan adaptasi populasi orang kidal. Penelitian ini bertujuan untuk mengidentifikasikan perilaku orang kidal terutama mengenai produktivitas, kemampuan adaptasi, orientasi gerak, dan tingkat kenyamanan selama mengerjakan tugas menulis dan menggambar. Dilakukan observasi visual untuk memperhatikan gerakan tertentu pada setiap tugas yang dilakukan di atas meja tulis biasa dan kursi kuliah. Penelitian dilakukan pada 14 responden, yang terdiri dari 7 responden kidal dan 7 responden non kidal. Semua responden merupakan mahasiswa aktif Fakultas Seni Rupa dan Desain ITB. Data yang terekam oleh video dianalisis dengan menggunakan perangkat lunak Image J dengan pemisahan data video tersebut ke dalam beberapa bingkai (frame). Selain itu, responden juga diberikan kuesioner dengan menggunakan metode Visual Analog Scale (Semantic Differential) sebagai verifikasi dari data yang diperoleh dari observasi visual. Hasilnya menunjukkan bahwa tingkat kemampuan adaptasi orang kidal secara signifikan lebih tinggi daripada kemampuan adaptasi orang non-kidal dalam kasus perubahan situasi kerja. Hasil dari penelitian ini dirumuskan sebagai referensi pengembangan desain dari perangkat kerja bagi orang kidal agar sesuai dengan ketentuan desain universal.Kata kunci: adaptasi; kidal; menulis; menggambar.In the world of right handed person (RHP) life, left handed person (LHP) is known to show their ability in adapting right handed-purpose goods such as table top chair in the classroom. The less number of researches lead this study to investigate in-depth about the adaptability of LHP population. This study aims to identify LHPs behavior according to their productivity, adaptability, movement orientation and comfort level during conducting writing and drawing tasks. Visual observation is conducted to determine the typical movement during the tasks that done on the common table and table-top chair. 14 subjects were employed in this experiment that consist 7 LHP and 7 RHP. All subjects are students of Faculty of Arts and Design. Data recorded from video is analyzed by ImageJ software by splitting video data into images frame. To verify data gained from visual observation, visual analog scale method (Semantic Differential) was used to clarify all responds from subjects. The results of experiments showed that the level of LHP adaptability significantly higher than RHP in term of workstation changes. The result of this study is formulated to contribute the design improvement of workstation for LHP regarding universal design issues.Keywords: adaptation; left handers; writing activity; drawing activity.
Mengenal Relief, Mudra dan Stupa Candi Borobudur untuk Anak-Anak Usia 9-12 Tahun melalui Edugame Ima Kusumawati Hidayat; Priyanto Sunarto; Triyadi Guntur
Journal of Visual Art and Design Vol. 6 No. 1 (2014): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2014.6.1.6

Abstract

Candi Borobudur sebagai salah satu aset budaya Indonesia dan menjadi salah satu keajaiban dunia, pertama diperkenalkan kepada anak-anak dalam mata pelajaran Ilmu Pengetahuan Sosial (IPS) di Sekolah Dasar (SD) sebagai bangunan peninggalan kerajaan Buddha di Indonesia. Pengetahuan yang diberikan sebatas pada tahun pembangunan, raja yang memimpin dan membangun, serta nama tingkatan pada candi. Pemberian pelajaran di sekolah tidak hanya dari buku, namun dapat dilakukan dengan pendekatan multimedia. Berdasarkan hasil penelitian yang dilakukan kepada anak-anak usia 9-12 tahun, guru pelajaran IPS dan pemandu wisata Candi Borobudur yang memberi materi kepada anak-anak ketika berkunjung. Candi Borobudur tidak dapat dipisahkan dari relief-reliefnya yang indah, arca Buddha yang memiliki berbagai sikap tangan (mudra) dan stupa Candi Borobudur menjadi materi yang perlu diberikan kepada anak-anak karena belum didapatkan di sekolah. Memberikan pendekatan yang berbeda dalam mempelajari suatu pengetahuan baru dapat memudahkan anak-anak untuk menyerap teori baru namun dengan cara yang lebih menyenangkan. Memadukan game dengan ilmu pengetahuan menjadi edugame merupakan salah satu cara untuk menyiasati anak-anak agar tetap belajar sambil bermain. Kata kunci: anak-anak; Candi Borobudur; edugame.Borobudur Temple is one of the world heritage from Indonesia that being introduced to Indonesian student in history lesson at elementary school. But the national curriculum doesn't give all children needs because they should learn lot of lessons from history. Different knowledge of Borobudur Temple can be given to children by video game, because as a student, children want to spend their leisure time at home with something they like most. The knowledges that will be given to children are based on the research from children, 9-12 years old, their teachers, and tourist guide who gave the children some knowledge when they come to Borobudur temple. The main of Borobudur temple are it beautiful reliefs, Buddha's hand positions and stupa. Creating game with education is a one great way to help children learn about Borobudur temple, so they will get new knowledge and fun.Keywords: Borobudur Temple; children; edugame.
Ciri Visual Komik Strip Sunda Opat Madhab Setan dalam Majalah Manglé Kankan Kasmana; Riama Maslan Sihombing; Irfansyah Irfansyah
Journal of Visual Art and Design Vol. 6 No. 2 (2014): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2014.6.2.1

Abstract

Opat Madhab Setan, sebuah komik strip yang diterbitkan Manglé, majalah berita, sastra dan budaya Sunda hadir Maret hingga Desember 1988 dalam 42 edisi. Komikus berusaha mengangkat budaya Sunda melalui penggambaran ilustrasi yang khas dalam menyusun unsur visual melalui komposisi cukup kental dengan nilai Sunda dan kesundaan. Penelitian ini bertujuan mengetahui serta memahami bagaimana budaya Sunda direpresentasikan melalui gambar dan tulisan. Selain itu untuk mengidentifikasi unsur-unsur dalam komik, yang menjadi ciri visual dan karakter sebuah komik Sunda. Penelitian menggunakan analisis isi kualitatif untuk membuka dan memaparkan dengan teliti bagaimana unsur-unsur pada sebuah cerita diungkapkan. Dari penelitian disimpulkan komik Opat Madhab Setan memiliki ciri visual, gaya gambar semi realis, banyak menangkap gestur, tidak detail, inkonsistensi ukuran panel dan tidak rapih, tipografi tulisan manual menggunakan huruf besar, dominasi normal baloons, dan panel gabungan interdependen, onomatopea yang khas dalam bahasa Sunda. Budaya Sunda direpresentasikan melalui cerita, penokohan orang Sunda berupa karakterisasi stereotype, gambaran fisik postur, gestur, facial, serta latar Islam digambarkan sebagai sistem religi yang dianut, bahasa yang digunakan bahasa Sunda loma/lancaran. Kampung Sunda dihadirkan melalui arsitektur rumah panggung, gambaran alam dengan budaya sawah dan ladangnya, atribut berupa benda pakai, interaksi sosial, kepercayaan serta nilai-nilai kempimpinan yang ada di masyarakat Sunda. Kata Kunci: budaya; karakter visual; komik; komik strip; Sunda. Opat Madhab Setan, a comic strip published by Manglé; Sundanese news, literature, and culture magazine from March to December 1988 in 42 editions. The comic artist tries to depict Sundanese culture through a distinguished illustration in making up the visual elements by taking into account the compositions of societies and its value. The aims of this research are to discovering and comprehending the way Sundanese culture is represented. In addition, it is also meant to identify the visual criteria in the comic. The qualitative-content analysis is used to describe in details how the elements in particular story revealed through drawings and writings. Based on the analysis, it can be concluded that the comic Opat Madhab Setan has the characteristics of semi-realistic drawings, gestural, not detailed, untidy and inconsistent in its panel size, large font for its manual typography, dominated by normal balloons, interdependent joint panel, and peculiar sundanese onomatopoeic sound effects. The Sundanese culture is represented through stereotype characterization, physical illustration, gestures, facial expression, and background. Islam is illustrated as the belief system being adopted. The nature illustrated through the existence of the rice fields, daily use attributes, social interactions, belief, and the value of leadership among the sundanese society. Keywords: comic; comic strip; culture; Sundanese; visual character.
Perupaan dan Sinkronisasi Artefak Percandian Batujaya di Karawang, Jawa Barat dengan Borobudur di Jawa Tengah dan Mon-Dwarawati di Thailand Nuning Damayanti; Ira Adriati; Savitri Putri Ramadina
Journal of Visual Art and Design Vol. 6 No. 2 (2014): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2014.6.2.2

Abstract

Percandian Batujaya adalah sebuah kompleks sisa-sisa percandian Budha kuno yang terletak di Kecamatan Batujaya dan Kecamatan Pakisjaya, Kabupaten Karawang, Provinsi Jawa Barat. Adanya dua fase pembangunan pada Batujaya membuka kemungkinan terhadap interpretasi akan adanya gaya-gaya perupaan yang berbeda pada percandian Batujaya. Berdasarkan hasil penelitian, dapat ditarik kesimpulan bahwa mazhab Budha yang diterapkan pada kompleks percandian Batujaya adalah mazhab Mahayana, dicirikan dengan keberadaan votive tablet dengan perupaan yang menggambarkan sosok-sosok bodhisattva dan Budha. Perbandingan gaya visual dengan artefak-artefak yang berasal dari periode Mon-Dwarawati di wilayah Thailand dan artefak Borobudur di Jawa Tengah menunjukkan bahwa artefak Batujaya cenderung memiliki gaya naturalis yang lebih serupa dengan Dwarawati terutama pada profil wajah dibandingkan gaya stilasi Borobudur yang lebih dekat secara geografis. Terdapat ciri khas pada arca Batujaya yaitu cenderung memiliki bentuk mata yang didistorsi menjadi lebih besar dan terkesan membelalak, serta hidung yang lebar. Kemungkinan hal ini didasari bentuk fisik masyarakat lokal atau pemikiran ideal lokal mengenai fisik yang sempurna.Kata kunci: arca; Batujaya; Budha Mahayana; gaya perupaan; votive tablet.Batujaya enshrinement complex is a remnant of ancient Buddhist monument, located in Kecamatan Batujaya and Kecamatan Pakisjaya, Karawang, West Java. The two development phases of Batujaya would open the possibility of different interpretations of visual style in Batujaya. Based on these results, it could be concluded that the Buddhist sect worshipped in Batujaya was Mahayana sect, characterized by votive tablets depicting bodhisattva and Budha. Comparison of visual style with the artifacts dating from Mon-Dvaravati period in Thailand region and Borobudur in Central Java indicated that Batujaya artifacts tend to have more naturalistic style similar to Dwarawati primarily onfacial profile compared to Borobudur style that was closer geographically. There are characteristics found in Batujaya statues, namely the tendency of eyes being distorted and gave the impression of bulging, and wide noses. There is some possibility that it was based on the physical feature of local people or the local beliefs of an ideal physique.Keywords: Batujaya; Mahayana Buddhism; statue; visual style; votive tablet.
Hibriditas Medium pada Film Opera Jawa Karya Garin Nugroho sebagai Sebuah Dekonstruksi Riksa Belasunda; Acep Iwan Saidi; Iman Sudjudi
Journal of Visual Art and Design Vol. 6 No. 2 (2014): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2014.6.2.3

Abstract

Di tengah penyeragaman ide, gagasan, pesan, dan estetika pada film-film nasional, menarik menjadikan film Opera Jawa karya Garin Nugroho sebagai obyek penelitian sekaligus menjadi alasan kenapa penelitian ini dilakukan. Penelitian ini sebagai upaya peningkatan peran aktif produktif penonton dalam memahami dan memaknai teks film. Dengan fokus bagaimana pesan dan makna tersebut dibaca melalui elemen-elemen visual teks film yang dikonstruksi oleh keragaman penggunaan medium. Penelitian dilakukan dengan pendekatan estetika posmodern melalui metode semiotika dengan teknik deskriptif interpretatif. Membongkar struktur kode bahasa film, melalui analisis struktur dramatik naratif dan unsur pembentuk film, yang berkaitan dengan aspek non-verbal berupa tanda-tanda elemen visual dan gerak pada shot film. Elemen-elemen tersebut dikonstruksi oleh pilihan medium ungkap yang menjadi gaya ungkap (ekspresi) sineas dalam menyampaikan pesannya. Ekspresi sineas dalam menyampaikan ide gagasan, dan konsep tersebut, berupa idiom estetik parodi, dengan pelencengan makna, eksplorasi medium (hibriditas medium), dan gaya ungkap, sebagai kritik atau sindiran atas bentuk yang dijadikan rujukan. Lewat film ini, Garin Nugroho melakukan dekonstruksi terhadap tokoh-tokoh, ruang, pesan dan makna, serta narasi dari epik Ramayana karya Walmiki yang menjadi rujukannya. Merefleksikan persoalan gender, feminisme, dominasi maskulinitas, dominasi kekuasaan, pertentangan kelas, dan kapitalisme. Kata kunci: hibriditas medium; semiotika film postmodern; dekonstruksi.In the midst of the ideas, concepts, messages, and aesthetics uniformity at national films, it is interesting to make Opera Jawa movie by Garin Nugroho the object of study. That is the reason why the study was conducted. The research was an effort to improve the audience's productive and active role in understanding and interpreting the subtitles by focusing on how to read the message and meaning through subtitles constructed by the diversity of the medium use. The study conducted with the postmodern aesthetic approach through semiotic method with descriptive interpretive technique dismantles the structure of the film code language through the analysis of narrative and dramatic structure-forming elements of the film. It deals with aspects such as non-verbal signs of visual elements and movement in the film shot. These elements are constructed by the medium expression choice of the filmmaker in delivering his message. The filmmaker delivers his criticism or satire through swerved meaning and medium exploration (medium hybridism). Through this film, Garin Nugroho deconstructed the figures, space, message and meaning, as well as the narrative of the epic Ramayana by Walmiki as a reference. It reflects gender issues, feminism, masculinity domination, class warfare, and capitalism.Keywords: medium hybridity; postmodern films Semiotics; deconstruction.

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