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All Journal Saraswati MUDRA Jurnal Seni Budaya calaccitra: jurnal film dan televisi Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
Made Rai Budaya Bumiarta
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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Penekanan aspek sosiologis pada tiga dimensi karakter tokoh utama dalam penyutradaraan drama televisi “tarian bumi” Made Rai Budaya Bumiarta
Saraswati Jurnal Ilmiah Mahasiswa S1 FSMR
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/srs.v0i0.589

Abstract

Film Televisi "Tarian Bumi" merupakan hasil dari penciptaan karya seni audio visual berjudul "Penekanan Aspek Sosiologis Pada Tiga Dimensi Karakter Tokoh Utama Dalam Penyutradaraan Drama Televisi Tarian Bumi". Karya ini menceritakan tentang seorang perempuan kasta sudra yang ingin menaikan derajat hidupnya. Namun setelah berhasil dan memiliki seorang anak, sang anak malah memutuskan untuk meninggalkan segala ikatan kebangsawanannya.Beranjak dari ketertarikan dengan lekuk dan gerak gemulai tarian Oleg Tamulilingan. Kemudian dipadukan dengan sistem kasta adat yang terdapat di pulau bali. Berusaha menciptakan sebuah drama televisi yang mengangkat budaya kearifan lokal. Menonjolkan aspek sosiologis masyarakat Bali sebagai inspirasi utama pembentuk tiga dimensi karakter tokoh dalam karya drama televisi “Tarian Bumi”.Perwujudan karya menggunakan penekanan aspek sosiologis untuk memperkuat dan menonjolkan latar belakang sosial dari tokoh utama. Penekanan aspek sosiologis ditunjukan melalui setting atau lokasi, properti, make-up dan kostum serta dialog.Kata kunci : drama televisi, aspek sosiologis, tiga dimensi karakter
ASPEK SOSIOLOGIS PADA PROTAGONIS TOKOH FILM MENARUNG JIWANI Made Rai Budaya Bumiarta
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 1 No. 1 (2021): Jurnal Calaccitra Juni 2021
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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Abstract

A creativity can create a literary work by an author. Literary work can be interpreted as the result of human creation that contains elements of beauty in it. A film has its own artistic value, because a film is a combination of several types of art. The purpose of this study is to increase the love of the younger generation to the traditional cultural values of each region and to know the characteristics of the area. This research results in an assessment of the sociological aspects of the Menarung Jiwani film shop where this film tells of two friends who again find cooperation and togetherness in dancing the Barong dance.
PENDEKATAN GAYA PENYUTRADARAAN ITALIAN NEOREALISME DALAM FILM PENDEK “KALA RAU: HARI INI MATAHARI PERGI BERSEMBUNYI” I Wayan Medy Mahasena; Nyoman Lia Susanthi; Made Rai Budaya Bumiarta
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 1 No. 2 (2021): Jurnal Calaccitra Agustus 2021
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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Abstract

Every film has its own concept or characteristic, whether it's the characteristics of the director or writer scenario. The application of these directing characteristics can make an impression on the audience by remembering the uniqueness of a film and the uniqueness of the film. A characteristic can be channeled through a concept. This is what motivated the author to apply the concept of Italian neorealism in the making of the short film “Kala Rau: Hari Ini Matahari Pergi Bersembunyi”. As a form of directing style that is close and represents the vision and mission that the author wants to convey to the audience. The short film “Kala Rau: Hari Ini Matahari Pergi Bersembunyi”tells the story of Sri a child who has lost his father since he was young and has a curiosity about the cause of his father's departure. Sri accompanied by Ketut began his search for his father when a solar eclipse occurred. On the way, Sri finds many things that are blocking her father's absence. The method applied in the implementation of the directing style Italian neorealism which is emphasized in its application is the selection of roles, the structure of the story packaging, and the selection of shooting locations. The results of this creation show that the overall application of the directing style is Italian neorealism able to present an educative message from the short film “Kala Rau: Hari Ini Matahari Pergi Bersembunyi”.
SISTEM PENGAMBILAN GAMBAR VIDEO STREAMING RAPAT PIMPINAN NASIONAL KAMAR DAGANG DAN INDUSTRI INDONESIA 2021 I Gusti Agung Malisky; Nyoman Lia Susanthi; Made Rai Budaya Bumiarta
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 2 No. 1 (2022): Jurnal Calaccitra Maret 2022
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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Abstract

Skripsi ini di buat merupakan hasil dari sebuah proses magang/kerja praktik mengenai Sistem Pengambilan Gambar Video Streaming Rapat Pimpinan Nasional Kamar Dagang dan Industri Indonesia 2021 yang diadakan pada tanggal 3-4 Desember 2021 dan di laksanakan di Bali Nusa Dua Convention Center. Program studi produksi film dan televisi merupakan program studi yang dipilih berkaitan dengan proses produksi dalam media audio visual. Boom Production merupakan perusahaan yang bergerak pada bidang jasa kreatif seperti produksi video, video animasi, serta penyewaan peralatan audio dan lighting. Boom Production memfokuskan company profile, video animasi, dan live streaming. Boom Production dipilih sebagai tempat Magang/Praktik Kerja. Sesuai dengan mayor yang sudah dipilih, Pelaksanaan kerja praktek kali ini memilih mayor sebagai juru kamera. Metode yang di gunakan dalam pengumpulan data untuk menyelesaikan laporan Magang/Praktik kerja, Metode Observasi salah satu cara untuk mengadakan penilaian dengan jalan pengamatan secara langsung dan sistematis. Metode wawancara digunakan untuk mendapatkan informasi, kegiatan Tanya dan jawab dengan seseorang. Studi Pustaka dilakukan agar dapat mempelajari beberbagai buku referensi serta hasil penelitian. Dengan metode di atas dapat lah hasil yaitu dalam proses ini video streaming ini dapat mengetahui dimana blocking kamera ketika dihadiri oleh Presiden dan Wakil Presiden maupun pemimpin lain nya, sehingga mengatur jarak aman kamera antara objek. Juru kamera bertanggung jawab untuk menyiapkan kamera dan kemudian mengoperasikan untuk menangkap gambar video seperti yang diminta oleh program director.
Angkara Movie Based on Bali Traditional Art I Komang Arba Wirawan; I Made Ruta; Paul Trinidad; I Dewa Made Darmawan; I Made Saryana; Made Rai Budaya Bumiarta
Mudra Jurnal Seni Budaya Vol 38 No 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v38i1.2164

Abstract

This research aimed to discover how the Angkara movie is based on Balinese traditional art and to find out the mise and scene in the pre-production, production, and post-production processes. Clekontong Mas for the Balinese people is a comedian studio (Bondres), which is well known and admired by the community. Clekontong is translated as ritual media, and Mas means noble. This studio was founded in Denpasar in 2012 and pioneered by I Komang Dedi Diana (Tompel), I Ketut Gede Rudita (Sokir), and I Nyoman Ardika (Sengap). Bondres  profoundly has the opportunity to be the inspiration for innovative film productions. However, there is no related research that has examined it further. The data sources used Angkara movies, film directors, cultural experts, and the audience. The method of data collection was conducted through observation, interviews, and documentation; online and offline. The Angkara movie was analyzed from the initial scene to the final scene qualitatively using the approach of setting, directing style, blocking, costumes, lighting, and revealing the aesthetics of the Angkara film. The result found that Angkara is a comedy genre film based on Balinese traditions. Directing style, and blocking the placement of Clekonteng Mas were successful role measurements in acting. The costumes of Angkara actors with traditional Balinese characteristics can describe the comedian's situation based on Balinese’s local wisdom. The social phenomenon in the production of the Angkara movie was produced and won national and international festivals. Presenting local Balinese cultural identity can be a source of film creation and characteristics to enrich the aesthetics of Balinese’s local wisdom in the form of films.
PENERAPAN PERGERAKAN KAMERA DINAMIS PADA FILM PENDEK BUKAN SALAHKU DI CV LUAR KOTAK AUDIO VISUAL I Putu Kevin Andika Prananda; I Kadek Puriartha; Made Rai Budaya Bumiarta
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 3 No. 1 (2023): Jurnal Calaccitra Maret 2023
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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Abstract

The film is a medium that uses moving images and sound to tell a story or convey a message to the audience. Films can be made in various genres, such as drama, comedy, action, horror, and so on, and can be watched in theaters or on platforms that provide streaming services. In addition, films can also be made in various formats, such as feature films or short films. Dynamic camera movement allows the camera to move during shooting to provide a more dynamic and interesting visual effect. This technique can be used for various purposes, such as following the action that is happening, providing a different perspective, or creating a certain atmosphere. Dynamic camera movements can help enhance the visual impression of a film and help create an atmosphere that fits the story being shown. However, too much camera movement or out-of-context can cause confusion or distraction for the viewer, which needs to be considered carefully in filmmaking. It is hoped that the dynamic camera movements applied in the film "Bukan Salahku" will be well received by the audience, both from the medium and also the media presented. So that the work that is presented becomes a good work, so that it can be exhibited to a wide audience later. Students are expected to be able to further develop in the future in thinking creatively and seeing interesting aspects and having artistic aesthetics to make into works in the future. And also self-development for these students in the future.
Wacana Tanding Film Gundala Hegemoni Hollywood I Komang Arba Wirawan; Nyoman Lia Susanthi; Made Rai Budaya Bumiarta
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 1 (2021): Prosiding Bali Dwipantara Waskita: Seminar Nasionar Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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Abstract

Film laga Indonesia mencatat rekor sejarah di tahun 2019. Film superhero Gundala: (2019) bisa menjadi rekor dan wacana tanding untuk menyaingi film superhero Amerika Hollywood yang mendominasi perfilman Indonesia. Terinspirasi dari sosok spiritual Ki Ageng Selo. Menurut legenda, Ki Ageng Selo dipercaya dapat menangkap kilat. Oleh karena itu, nama Gundala diambil dari kata gundolo yang berarti kilat. Gundala adalah karakter yang diciptakan oleh komikus Hasmi: (1969). Gundala berhasil menjadi counter-discourse film Hollywood. Dengan alur maju mundur yang seru, konflik diciptakan oleh Joko Anwar sebagai sutradara dan penulis naskah. Data primer untuk penelitian ini adalah film Gundala. Film ini dianalisis dengan teori counter-discourse (Foucault), dan teori film Mise En Scene (Roland Barthes) untuk menggambarkan aspek visualnya. Metode penelitian yang digunakan adalah analisis deskriptif kualitatif terhadap unsur dan struktur pembentuk Gundala untuk menumbangkan wacana dominan film superhero Hollywood. Dengan penelitian ini diharapkan komik atau kearifan lokal dapat digali sebagai salah satu sumber penciptaan film bergenre superhero. Dominasi film nasional Hollywood bisa diminimalisir dengan meningkatkan kualitas film bergenre superhero Indonesia.
Co-Authors I Dewa Made Darmawan I Gusti Agung Malisky I Komang Arba Wirawan I Komang Arba Wirawan I Made Ruta I Made Saryana I Putu Kevin Andika Prananda I Wayan Medy Mahasena Nyoman Lia Susanthi Paul Trinidad Puriartha, I Kadek Susanthi, Nyoman Lia