Articles
<![CDATA[Hubungan antara Paparan Iklan Makanan dan Minuman Ringan di Televisi dengan Perilaku Pemilihan Jajanan pada Anak (The Correlation between the Exposure of Advertisement about Snacks and Soft drinks on Television with Children’s Behavior Taking Snacks ]]>
<![CDATA[Eriga Agustiningsasi]]>;
<![CDATA[Mury Ririanty]]>;
<![CDATA[Denny Antyo Hartanto]]>
<![CDATA[ Pustaka Kesehatan Vol 5 No 2 (2017) ]]>
Publisher : <![CDATA[UPT Percetakan dan Penerbitan Universitas Jember ]]>
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<![CDATA[Overnutrition status occurs when the intake of food is in excess of daily’s dietary energy. It can make overwight or obesity. One of the factors about it is the media, commercial advertising of snacks and soft drink. The purpose of this study was to analyze the correlation between the exposure of snacks and soft drinks on television with the children’s behavior taking snacks. This study was held at Jember Lor 01’s Elementary School of children with overnutrition status. This study used quantitative analitical and used cross sectional approach. The population of this study were as many as 300 students.The samples of this study were taken by simple random sampling technique in class of 4, 5, and 6. Data were collected by researcher to 82 respondents. The research analysis used Chi Square test at 95% significance level (α = 0.05), but the data not qualify chi-square test. So, this test was replaced with Fisher Exact test. The analysis showed that there was no correlation between the exposure of advertisement about snacks and soft drinks on television with the children’s behavior taking snacks in elementary school of Jember Lor 01 Patrang Distric of Jember. Keywords: overnutrition, behaviour taking snacks]]>
<![CDATA[ESTETIKA VISUALISASI TEASER BATIK PARAS GEMPAL DALAM ACARA BANYUWANGI BATIK FESTIVAL 2015 ]]>
<![CDATA[Ivan Bagus Nimoyan]]>;
<![CDATA[Soekma Yeni Astuti]]>;
<![CDATA[Denny Antyo Hartanto]]>
<![CDATA[ Publika Budaya Vol 5 No 2 (2017) ]]>
Publisher : <![CDATA[Fakultas Ilmu Budaya Universitas Jember ]]>
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<![CDATA[AbstrakTeaser batik paras gempal merupakan karya audio visual, rangkaian dari sebuah kegiatan promosi karya-karya lokal yang digunakan sebagai pembuka acara Banyuwangi Batik Festival (BBF) 2015. Karya audio visual perlu memperhatikan estetika agar pesan dapat tersampaikan dengan baik serta dapat membuat penonton terkesan. Teaser batik paras gempal berfungsi sebagai penarik perhatian pemirsa serta sebagai media yang menginformasikan kepada masyarakat tentang tema BBF 2015. Penelitian ini bertujuan untuk mengetahui estetika dari visualisasi teaser batik paras gempal dalam acara Banyuwangi Batik Festival 2015. Visualisasi yang nampak sebagai berikut, (1) visualisasi kegunaan atau fungsi batik paras gempal, (2) wujud batik paras gempal, (3) proses pembuatan batik, (4) filosofi batik paras gempal, (5) kebudayaan Banyuwangi khususnya suku Using. Seluruh tampilan teaser batik paras gempal sejumlah 29 scene dianalisis dari unsur naratif serta sinematik, selanjutnya dianalisis menggunakan estetika Monroe Breadsley. Seluruh tampilan pada teaser batik paras gempal menyampaikan pesan atau informasi yang jelas tentang batik paras gempal dan tentang budaya Banyuwangi khususnya suku Using, serta dapat mempengaruhi mood penonton sehingga membuat indah.]]>
<![CDATA[EKSPRESI WAJAH MAYOR TAROT PADA VIDEOGRAFI SENI ]]>
<![CDATA[Denny Antyo Hartanto]]>
<![CDATA[ LITERASI: Indonesian Journal of Humanities Vol 4 No 1 (2014) ]]>
Publisher : <![CDATA[Faculty of Humanities, Jember University ]]>
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<![CDATA[Videography has grown rapidly along with the development of technology and the creative power of man, as well as with the needs of modern society. Tarot, clairvoyant and those who are predicted, is a very closely related. In any process of predicting it is likely to bring a wide range of facial expressions of people who are predicted. An artwork videography titled Tarot's Major Facial Expressions is a creation of artwork videography with an object of facial expressions of people who are predicted by using Major Tarot cards. The facial expressions of each person who is foretold by the Tarot cards are always changing like people go through life. Unexpected things sooner or later will lead to change. Facial expressions can be intentional, but usually unintentionally, as a result of feeling or emotion. This artwork videography is in the form of image broadcasting supported by sound and room installation where it perform. This created artwork can make people know the process of predicting by using a media of Major Tarot card and be able to know that video world is not only limited on television and performance in cinemas. Keywords: facial expressions, Major Tarot, videography]]>
<![CDATA[Historical Review of Smallholder Coffee Farmers Population in Kayumas Village, Situbondo Regency ]]>
<![CDATA[Latifatul Izzah]]>;
<![CDATA[Yety Rochwulaningsih]]>;
<![CDATA[IG Krisnadi]]>;
<![CDATA[Denny Antyo Hartanto]]>;
<![CDATA[Insan Cita Sampurna]]>
<![CDATA[ Indonesian Historical Studies Vol 7, No 1 (2023): In Progress ]]>
Publisher : <![CDATA[Diponegoro University ]]>
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DOI: 10.14710/ihis.v7i1.17370
<![CDATA[This study discusses the historical context of the existence of community coffee farmers in Kayumas Village, Arjasa District, Situbondo Regency, starting in 1883 until the formation of a coffee farmer group in 2018. Based on the historical research using primary and secondary sources, this study informs that before Persil Kayumas were rented by a Dutch investor named H. H. van Kol and his colleague J. C. Egter van Wissekerke in 1883, there were already some residents who were growing Arabica coffee. Arabica coffee cultivation was ultimately carried out from generation to generation, because farmers knew that the market for Arabica coffee was higher than products outside of coffee, such as ginger, tobacco, and so on. It was proven that in 2018, eight coffee farmer groups consisting of 410 farmers were formed.]]>
<![CDATA[MARKETING CONFLICT AND SHARPENING ANTAGONISM: DOCUMENTING AND PRESERVING SOCIAL DIVISION IN THE FILM 3 HATI DUA DUNIA SATU CINTA ]]>
<![CDATA[Denny Antyo Hartanto]]>;
<![CDATA[Ghanesya Hari Murti]]>;
<![CDATA[Ni Luh Ayu Sukmawati]]>;
<![CDATA[Irana Astutiningsih]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol 14, No 2 (2023) ]]>
Publisher : <![CDATA[Capture : Jurnal Seni Media Rekam ]]>
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DOI: 10.33153/capture.v14i2.4982
<![CDATA[This research analyzes the 2010 film 3 Hati Dua Dunia Satu Cinta (3 Hearts Two Worlds One Love) amidst the social phenomenon indicating increased religious intolerance. Additionally, this study seeks to analyze social urban society's phenomenon and disparity through the film's narrative and characters. This research also seeks to understand the film's impact on urban society's heterogeneity from the spatial politics perspective. The study employed the qualitative method with narrative and discourse analysis approaches using Laclau-Mouffe's antagonistic framework. Data was collected by watching and directly analyzing the film and through relevant literature studies. The research results indicate that the film 3 Hati Dua Dunia Satu Cinta successfully utilized the social phenomenon as a marketing strategy, maintained disparity through its narrative and characters, resulted in subject dislocation towards a certain hegemonic identity, and influenced the heterogeneity of urban society from the perspective of spatial politics. ]]>
<![CDATA[HISTORY OF MARKETING COMMUNICATION OF CINEMA PRODUCTION IN THE EXHIBITION INDUSTRY IN JEMBER ]]>
<![CDATA[Denny Antyo Hartanto]]>
<![CDATA[ JURNAL PAKARENA Vol 8, No 1 (2023): Juli ]]>
Publisher : <![CDATA[Universitas Negeri Makassar ]]>
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DOI: 10.26858/p.v8i1.42032
<![CDATA[This research aims to document the history of cinema product communication for the sake of archiving the history of cinema in the city of Jember. In addition, it also aims to identify and identify the background of the problems that have resulted in the cinema industry in Jember experiencing the closure of operations, so that the problems faced by the local exhibition industry in Jember can be identified. In addition to knowing the history of the development of cinema in the city of Jember.This research focuses on the study of documenting artifacts from the communication process of cinema production in Jember City. Before the industrialization of film exhibitions which was dominated by the Cinema 21 Group and modern cinemas with the Cineplex concept as it is today, the city of Jember once had several local cinema buildings as public spaces to be able to communicate film products to the audience as a fulfillment of the entertainment needs of the Jember people. However, in the 1990s some cinema buildings are now just history. The existence of the cinema building has disappeared from the circulation of the film industry in the city of Jember. The methods used are descriptive qualitative research methods and historical or historical methods. The results of the study are in the form of findings about historical facts and the problems that lie behind the local cinema industry in Jember experiencing operational closures and no trace so that historical documentation and historiography interests or historical writing of local cinema developments in Jember are needed. There are several factors that are indicated to be the cause of the closing of cinemas in Jember, namely: (1) Jember people have experienced boredom with hot films that are often screened in cinemas, (2) The emergence of private TV channels in the 1990s, (3) The ease of obtaining pirated film VCDs and the proliferation of VCD Players in people's homes, (4) The decline in the quality of Indonesian films, and (5) The ease with which people get new films in internet cafes (internet cafes) before the advent of the era of social media such as youtube.]]>
<![CDATA[UNSUR DRAMATIK PADA FILM ALI & RATU RATU QUEENS DALAM MEMBANGUN PESAN KEKELUARGAAN ]]>
<![CDATA[Asti Widya Adriyani]]>;
<![CDATA[Didik Suharijadi]]>;
<![CDATA[Soekma Yeni Astuti]]>;
<![CDATA[Muhammad Zamroni]]>;
<![CDATA[Denny Antyo Hartanto]]>
<![CDATA[ SEMIOTIKA: Jurnal Ilmu Sastra dan Linguistik Vol 24 No 2 (2023): SEMIOTIKA: Jurnal Ilmu Sastra dan Linguistik ]]>
Publisher : <![CDATA[Diterbitkan oleh Jurusan Sastra Indonesia Fakultas Ilmu Budaya Universitas Jember bekerja sama dengan Himpunan Sarjana - Kesusastraan Indonesia (HISKI), Himpunan Pembina Bahasa Indonesia (HPBI) dan Masyarakat Linguistik Indonesia (MLI) ]]>
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DOI: 10.19184/semiotika.v24i2.37612
<![CDATA[The film "Ali & the Queens" is an example of a family-themed movie. This film has an intriguing storyline as it utilizes dramatic elements to emphasize the message of family bonds. The relationship between Ali and the Queens is predominantly focused on conveying the message of kinship. Ali and the Queens are a family without any blood ties. Their relationship initially starts from a mutually beneficial arrangement. Moreover, their familiarity grows as they are fellow immigrants from the same country. The sense of family between Ali and the Queens develops while living in the same apartment, fostering closeness and care for each other. The purpose of this study is to explore how the dramatic elements in the film "Ali & the Queens" contribute to conveying the message of family. This research employs a qualitative descriptive method. Data collection techniques involve observation, documentation, and literature review. The results of the study indicate that there are ten scenes supported by dramatic elements in conveying the message of family. Three scenes are supported by conflict, three scenes by suspense, two scenes by curiosity, and two scenes by surprise.]]>
<![CDATA[VISUALISASI MASKULINITAS TOKOH SANCAKA PADA FILM GUNDALA (2019) ]]>
<![CDATA[Firda Miaz Pranela]]>;
<![CDATA[Fajar Aji]]>;
<![CDATA[Denny Antyo Hartanto]]>
<![CDATA[ ROLLING Vol 6 No 1 (2023): Rolling Volume 6 Nomor 1 Tahun 2023 ]]>
Publisher : <![CDATA[Program Studi Film dan Televisi Universitas Jember ]]>
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DOI: 10.19184/rolling.v6i1.32311
<![CDATA[Film Gundala (2019) merupakan salah satu film yang mengangkat kisah superhero Indonesia karya Joko Anwar. Penelitian ini bertujuan untuk mendeskripsikan maskulinitas tokoh Sancaka melalui aspek mise en scene pada film Gundala (2019). Penelitian ini menggunakan teori mise en scene sebagai teori utama dan teori maskulinitas Janet Saltzman Chafetz sebagai teori pendukung. Jenis penelitian yang digunakan adalah metode penelitian deskriptif dengan pendekatan kualitatif. Objek penelitiannya yakni film Gundala (2019), sedangkan subjek penelitiannya berupa mise en scene film Gundala (2019) dan kajian maskulinitas tokoh Sancaka dalam film Gundala (2019). Hasil dari penelitian ini dapat disimpulkan bahwa mise en scene dapat menvisualisasikan maskulinitas tokoh Sancaka pada film Gundala (2019).]]>
<![CDATA[Peran Mise En Scene dalam Mendukung Penciptaan Humor pada Film Milly & Mamet (Ini Bukan Cinta & Rangga) ]]>
<![CDATA[Sintia Abdillah]]>;
<![CDATA[Denny Antyo Hartanto]]>;
<![CDATA[Bambang Aris Kartika]]>
<![CDATA[ ROLLING Vol 6 No 1 (2023): Rolling Volume 6 Nomor 1 Tahun 2023 ]]>
Publisher : <![CDATA[Program Studi Film dan Televisi Universitas Jember ]]>
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DOI: 10.19184/rolling.v6i1.36471
<![CDATA[Film adalah bentuk karya seni berupa audio visual yang bertujuan untuk menghibur. Film bergenre komedi menjadi salah satu genre yang popular dikalangan masyarakat. Artikel ini membahas mise en scene dalam mendukung penciptaan humor pada film Milly & Mamet (Ini Bukan Cinta & Rangga). Film Milly & Mamet (Ini Bukan Cinta & Rangga) merupakan salah satu film bergenre komedi popular yang disutradarai oleh Ernest Prakasa. Film ini mengangkat cerita kehidupan Milly & Mamet yang penuh drama komedi dari segi cerita maupun karakternya. Film Milly & Mamet (Ini Bukan Cinta & Rangga) memliki selera humor yang berkualitas ditunjukkan melalui karakter pemain, dialog dan adegan-adegan yang menggelitik penonton. Penelitian ini merupakan jenis penelitian kualitatif dengan menggunakan metode deskriptif. Hasil penelitian yaitu humor tercipta mengggunakan teknik-teknik penciptaan humor yang kemudian disampaikan secara verbal maupun visual. Aspek-aspek mise sen scene seperti setting, wardrobe, make up, dan pemain serta pergerakannya mampu menampilkan humor melalui visual sehingga membuktikan bahwa mise en scene memiliki peran dalam menciptakan humor pada film Milly & Mamet (Ini Bukan Cinta & Rangga).]]>
<![CDATA[Potret Pecinan Surabaya ( Penyutradaraan Dokumenter Webseries dengan Gaya Pemaparan Partisipatory ) ]]>
<![CDATA[Mohammad Riza Oktavianto]]>;
<![CDATA[Muhammad Zamroni]]>;
<![CDATA[Denny Antyo Hartanto]]>
<![CDATA[ ROLLING Vol 3 No 2 (2020): Rolling Volume 3 Nomor 2 Tahun 2020 ]]>
Publisher : <![CDATA[Program Studi Film dan Televisi Universitas Jember ]]>
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<![CDATA[AbstrakDiskriminasi ras yang akhir-akhir ini mulai muncul lagi yang bermula dari politik yang memisahkan identitas di era kolonial Belanda. Etnis Tionghoa di Indonesia selalu dianggap pendatang dan sering menjadi kambing hitam dalam masalah social yang ada. Dokumenter dengan gaya pemaparan partisipatory menunjukkan sejarah dan sudut pandang lain mengenai etnis Tionghoa yang sudah turun temurun hidup di Indonesia selama ratusan tahun dan juga telah menjadi bagian dari warga negara Indonesia. Interaksi dalam dokumenter partisipatory diungkapkan langsung oleh subyek film dapat menunjukkan narasi yang jelas dan emosi yang jujur dari subyek sehingga memberikan kesaksian yang meyakinkan bagi penontonnya. Dokumenter Potret Pecinan Surabaya menunjukan sejarah dan realita etnis Tionghoa yang ada di Surabaya melalui gaya pemaparan partisipatory yang memberikan perspektif berbeda. Kata Kunci : dokumenter, partisipatory, etnis Tionghoa AbstractRacial discrimination that lately arise were start out by identity separating politics in the Dutch colonial era. Chinese ethnics in Indonesia are always considered as an immigrants and often become scapegoats in social problems. Documentaries with participatory exposure shows history and other perspectives on Chinese ethnicity that have been hereditary for hundreds of years become part of Indonesian citizens. Interaction in participatory documentaries revealed by the subject of the film, it can shows clear narratives and honest emotions in order to give a convincing testimony to the audience. Potret Pecinan Surabaya documentary shows the history and reality of Chinese ethnicity in Surabaya through participatory exposure that offer a different perspective. Keywords: documenter, partisipatory, Chinese ethnic]]>
