Article Per Year (5 Year)
p-Index From 2019 - 2024
2.223
P-Index
This Author published in this journals
All Journal MUDRA Jurnal Seni Budaya PRABANGKARA Segara Widya: Jurnal Penelitian Seni calaccitra: jurnal film dan televisi Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
Dwiyani, Ni Kadek
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

Published : 15 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 8 Documents
Search
Journal : calaccitra: jurnal film dan televisi

 1 
PENERAPAN ASPEK RITMIS DALAM MEMBANGUN FILM “EGO” DENGAN GENRE DRAMA KOMEDI I Made Angga Wicaksana Yasa; Ni Kadek Dwiyani; I Made Denny Chrisna Putra
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 1 No. 1 (2021): Jurnal Calaccitra Juni 2021
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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

Abstract

The editing aspect is a technique that is well known in the film world, especially editing. At the beginning of the development of film, filmmakers were well aware of the powerful influence of the editing aspect in manipulating time and space. Editors can choose one of the four aspects of editing, one of which is the rhythmic aspect which will be applied to the making of a film entitled "Ego". This writing will examine how the application of the rhythmic aspects to each scene and how the rhythmic aspects can influence the narrative elements in the film "Ego". The method used is the method of creation including the creation stage (idea creation), the planning stage (library research and observation methods) and the implementation stage (pre-production, production and post-production). The main theory in this paper uses the editing theory by Mabruri (2013) regarding editing techniques using rhythmic aspects and shaping aspects of editing. The conclusion obtained in this paper is the application of the rhythmic aspect in the film "Ego" is realized by controlling the rhythm of the short shot length with sound, image size, camera movement and subject movement in the film, which is applied to the scene opening taste, 14, 15, 16, 19, 24, 25, 27 and 28. In addition, the rhythmic aspect greatly influences the narrative structure of the story in the film "Ego" through its editing elements, so that the impression of a comedy drama can be conveyed properly to the audience.
FILM MOCKUMENTARY “SEPENGGAL KISAH BUNGA” I Gede Wahyu Diatmika; Ni Kadek Dwiyani; Desak Putu Yogi Antari Tirta Yasa
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 1 No. 2 (2021): Jurnal Calaccitra Agustus 2021
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (739.597 KB)

Abstract

In movie’s development, the type of movie continues to grow make a new forms of movie and one of them is a form of fiction movie with the documentary look called mockumentary. Here, a mockumentary will be used to raise sexual violence issue, specifically rape in a fictional movie entitled “Sepenggal Kisah Bunga”. The form of mockumentary movie was chosen to present a different viewing feeling for the audience and it is hoped that this movie can increase public awareness of the importance of this issue today. In the process to make this movie, the author pass three stages. First one Pre-production. This is the stage of all preparations before shooting. Continue with production which is the process of shooting the movie and the last one is the post-production stage which is the stage of processing raw audio and video into the final product of the movie. In this movie to present a mockumentary the author makes a story about an amateur YouTuber who makes a movie about a father whose child is raped. In addition, the author also makes the visuals presented like visual from character's camera. The writer who is also an actor in the movie takes the necessary shots to make the character of an amateur YouTuber more alive. The style of storytelling in this movie is also adapted to the form of an interactive documentary that presents interviews and interactions from the moviemaker with the subject. The story and visuals are presented to produce a movie in mockumentary form entitled “Sepenggal Kisah Bunga”. The author hopes that the message in the movie about big impact of rape on the victim and also the importance of the presence of the family for the victim can be told properly through this movie.
MEMUNCULKAN EKSPRESI TOKOH UTAMA MELALUI GERAKAN WAACKING DAN LADIES STYLE DALAM FILM “ 2 SERUPA “ Yehuda Yehuda; Ni Kadek Dwiyani; I Gusti Ngurah Wirawan
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 1 No. 2 (2021): Jurnal Calaccitra Agustus 2021
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (982.137 KB)

Abstract

When viewed from the point of view of film, of course, there are many films that raise the issue of LGBTQ people, especially Gay. Not only films abroad, films in Indonesia have now also dared to take up this theme. However, this is still difficult to become a public spectacle because it is still considered taboo or out of the norm that already exists in Indonesia itself. This incident occurred due to the lack of knowledge about these groups in society, as a result of this lack of knowledge led to a lot of acts of discrimination and inappropriate treatment in society regarding these people. With the discrimination and rejection from society, the Gays themselves have difficulty expressing themselves in the public. Make themselves look for other alternatives to be able to express themselves through Waacking and Ladies Style dance movements. With this phenomenon, the writer feels it is necessary to be appointed as a film. The process of making works begins with determining ideas, direct field observations (observations and interviews) on Gays, determining storylines, selecting actors, looking for supporting theories to be applied in film works, training with players, until the Final Editing stage. The creation of a work "2 Serupa" tells about several problems regarding the difficulty of expressing oneself, rejection from family, friends and society to sexual orientation which makes the main character have difficulty carrying out his daily activities. With the message that wants to be conveyed how should the treatment of the wider community and family be very influential on Gays so that they can feel the recognition they deserve.
PENULISAN NASKAH SKENARIO FILM PENDEK “BUKAN KUPU – KUPU MALAM” DI MAHATMA PICTURES I Putu Sathyana Rayana; Ni Kadek Dwiyani; I Kadek Puriartha
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 2 No. 1 (2022): Jurnal Calaccitra Maret 2022
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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

Abstract

Penulis memilih mayor penulis naskah dan melaksanakan kegiatan magang di Mahatma Pictures dengan luaran karya film pendek berjudul “Bukan Kupu – Kupu Malam”. Film ini bercerita tentang seorang wanita yang dianggap tidak baik hanya karena pekerjaannya, ia berusaha mendapatkan keadilannya sendiri setelah mengalami pelecehan seksual. Penulis menggunakan metode observasi, dokumentasi dan wawancara dalam proses pengumpulan data untuk pengembangan ide cerita film. Pada tahap observasi dan dokumentasi, penulis melaksanakan pengamatan di tempat yang dapat dijadikan sebagai refrensi setting lokasi film dan keadaan masyarakat mengenai isu pelecehan dan kekerasan seksual pada perempuan di dunia maya. Penulis juga melaksanakan sebuah wawancara dengan salah satu korban pelecehan seksual di kota Denpasar. Selama proses magang dan produksi film pendek “Bukan Kupu – Kupu Malam”, penulis mendapatkan kesempatan dalam mengasah kemampuan menulis naskah skenario film. Dari riset dan pengembangan ide cerita yang menggunakan Triangle System (sistem kerjasama dengan produser dan sutradara), penulis pun mendapatkan pengalaman yang baik dalam menyelesaikan beberapa masalah terkait penulisan naskah dan proses produksi film seutuhnya. Secara keseluruhan, proses magang berjalan dengan baik dan kondusif.
MAGANG/PRAKTIK KERJA MAYOR PENYUTRADARAAN DI MAHATMA PICTURES MELALUI PROYEK LAPANGAN “FILM BUKAN KUPU-KUPU MALAM” DENGAN PENDEKATAN ITALIAN NEOREALISME I Kadek Agus Ari Wirawan; Ni Kadek Dwiyani; Gede Basuyoga Prabhawita
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 2 No. 2 (2022): Jurnal Calaccitra September 2022
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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

Abstract

Penulis memilih melaksanakan program Magang/Praktik kerja diMahatma Pictures melalui produksi film “Bukan Kupu-Kupu Malam”. Filmini mencertikan tentang seorang perempuan yang menegakkankeadilannya sendiri terhadap opini publik yang menganggap dirinyasebagai wanita tuna Susila. Penulis memilih Italian Neorealisme sebagaigaya penyutradaraan yang akan diimplementasikan dalam filmtersebut.Agar dapat mengimplementasikan pendekatan ItalianNeorealisme penulis mengumpulkan data penunjang menggunakanmetode wawancara, observasi dan dokumentasi. Penulis melalukanwawancara mengenai pendekatan Italian Neorealisme. Pada tahapobservasi penulis menemukan perlakuan warganet terhadap perempuandengan pakaian terbuka untuk dijadikan penunjang ide cerita dalam film“Bukan Kupu-Kupu Malam”. Begitu pula Pada tahap dokumentasi penulismendapatkan ilmu pengetahuan mengenai kepemimpinan dalam sebuahproduksi film. Khususnya pada bagian latar tempat dan pemilihan aktornon profesional sehingga film dapat memberikan kesan natural denganmengangkat isu keresahan sosial yang terjadi di kalangan menengah kebawah. Ada beberapa kendala yang terjadi selama proses produksiberlangsung dan seluruh persoalan tersebut dapat diselesaikan denganbaik walaupun harus memakan waktu yang lebih lama. Secara garis besarproses magang mayor penyutradaraan di Mahatma Pictures denganluaran proyek lapangan film “Bukan Kupu-Kupu Malam” membuahkanhasil yang baik serta memberikan pembelajaran dan pengalaman barubagi penulis.
PENATAAN KAMERA DALAM PEMILIHAN KOMPOSISI GAMBAR FILM DOKUMENTER TARI BARIS MEMEDI PADA PROGRAM BALI SANTHI INEWS BALI Ni Nyoman Trisna Dewi Cahyani; Ni Kadek Dwiyani; Gede Pasek Putra Adnyana Yasa
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 3 No. 1 (2023): Jurnal Calaccitra Maret 2023
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/cc.v3i1.2251

Abstract

Television stations present various types of interesting and varied programs every day. Bali Santhi iNews Bali is a program that investigates the theme of Balinese culture. The Bali Santhi program displays the process of Balinese traditional ceremonies from the beginning to the end of the event by presenting many Balinese ceremonies that are in accordance with facts that have high attractiveness. Baris Memedi dance is one of the Balinese dance arts that is included in the group of sacred ceremonial dances that are performed at the atiwa-tiwa, or mass recitation, in Jatiluwih Penebel Traditional Village, Tabanan. The Baris Memedi documentary film was created with the intention of becoming a medium for public information about the many Balinese cultures that exist but are not widely known by the wider community, including, of course, the Balinese people. Shooting composition is an important aspect of the beauty of a film. The creation of the Tari Baris Memedi documentary film requires several stages that require a long process, starting from pre-production, production, and post-production. The results of the creation show that the arrangement of the images in the Tari Baris Memedi Documentary is divided into several parts, namely the camera angle, shot size, and also the composition, each of which has a message and meaning implied in it. This work is expected to be able to provide information to the Balinese people about Balinese culture in Bali and convey messages through the arrangement of images created by the author.
PENERAPAN ALUR TAK TERHINGGA DALAM FILM PENDEK FIKSI UNTITELED I Putu Adi Sanjaya; I Wayan Mudra; Ni Kadek Dwiyani
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 3 No. 1 (2023): Jurnal Calaccitra Maret 2023
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/cc.v3i1.2258

Abstract

The author took the Independent Study/Project option in the MBKM program lectures in one semester. The writer chooses a concept related to the world of film. This program is carried out at the Sri Redjeki Films Studio, which has produced various types of films, ranging from documentaries to fiction. The selection of the Sri Redjeki Films Studio aims to add insight in producing an audio-visual work in creating works that have a novelty.The purpose of this research is to explain the plot in a short film entitled Untilited. The theory used in this application is the Simulacra theory and the concept of Infinite Plot. Data obtained through observation, interviews and documentation. The results of the study show that there are 8 types of plots in Untilited films, namely: Forward Plot, Backward Plot, Mixed Plot, Spotlight Plot, Climax Plot, Anti-climactic Plot, Chronological Plot, and Infinite Plot. In this writing, infinite plot is the concept applied. as the main concept. In addition, Simulacra Theory and Fiction Film Theory are applied in the Untitled film as the main theory. In conclusion, not all categories in the plot are applied in the Untitled film. This film makes the audience's expectations change repeatedly. The concepts and theories used are in line with the plot applied in the short film entitled Untitled.
PENERAPAN TEORI “POSITIVE CHANGE ARC” UNTUK PERKEMBANGAN KARAKTER PROTAGONIS PADA NASKAH FILM PANJANG WARISAN Yusuf Jacka Ardana; Ni Kadek Dwiyani; Gede Basuyoga Prabhawita
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 3 No. 1 (2023): Jurnal Calaccitra Maret 2023
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/cc.v3i1.2261

Abstract

Proyek Independen adalah program yang penulis pilih sebagai syarat tugas akhir pada kurikulum Merdeka Belajar-Kampus Merdeka. Melalui proyek independen ini, penulis akan memilih fokus penulisan naskah sebagai luaran akhir karya. Naskah film pendek Warisan bercerita tentang hubungan seorang anak perempuan dan ibu tirinya yang sedang mempertahankan rumah peninggalan bapak dan suami mereka. Tujuan proyek independen ini dibuat untuk menambah pengetahuan untuk masyarakat umumnya, serta menambah pengalaman dan visi penulis dalam menulis karya film pendek. Selain itu, tujuannya adalah penulis dapat menulis bersama penggiat-penggiat penulis naskah film pendek di industri sehingga penulis mendapatkan pengalaman disiplin menulis yang baik dan menjalin hubungan relasi yang luas bersama penulis-penulis senior. Melalui proyek independen ini, penulis akan menyelesaikan naskah film pendek penulis yang berjudul Warisan. Penulisan naskah ini akan diperkuat dengan teori positive change arc sebagai teori untuk pengembangan karakter. Naskah film ini adalah representasi penulis terhadap penerimaan, dan penerimaan yang penulis ceritakan melalui karakter-karakter yang awalnya tidak terhubung satu sama lain yang akan mendukung perubahan sifat protagonis utama menjadi perubahan sifat yang lebih baik. Hasil dari program Merdeka Belajar-Kampus Merdeka adalah naskah film panjang Warisan yang merupakan hasil bimbingan dari dunia usaha dunia industri. Naskah ini berdurasi 75 menit dengan total scene berjumlah 83 scene. Gagasan yang ingin penulis sampaikan melalui Warisan adalah bagaimanapun kita, sebagai manusia tetap membutuhkan sosok keluarga, tidak penting keluarga sedarah atau bahkan tidak satu darah. Keluarga adalah tempat berpulang paling aman.
Co-Authors Desak Putu Yogi Antari Tirta Yasa Dewa Ayu Leliana Sari Gede Basuyoga Prabhawita Gede Pasek Putra Adnyana Yasa I Gede Wahyu Diatmika I Kadek Agus Ari Wirawan I Ketut Buda I Made Angga Wicaksana Yasa I Made Denny Chrisna Putra I Putu Adi Sanjaya I Putu Sathyana Rayana I Wayan Mudra, I Wayan Leliana Sari, Dewa Ayu Putu Mubarik, Hanif Syahrul Ni Nyoman Trisna Dewi Cahyani Puriartha, I Kadek Susanthi, Nyoman Lia Wirawan, I Gusti Ngurah Yehuda Yehuda Yusuf Jacka Ardana