Claim Missing Document
Check
Articles

Found 10 Documents
Search

DECONSTRUCTION OF TRADITIONAL ART: PRESENTATION STYLE OF CENK BLONK LEATHER PUPPET ON DEWATA TV Made Darmawan, I Dewa
E-Journal of Cultural Studies Volume 7, Number 4, November 2014
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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

Abstract

The presentation of Cenk Blonk Leather Puppet on Dewata TV, as a cultural phenomenon with a variety of complex problems, has been observed by most people. However, it is still enthusiastically welcome by the lovers of the Balinese leather puppet both in Bali and outside Bali. It seems that they are not aware of some basic changes in the way it is presented on TV. The way in which it is presented on TV is different from the way in which it is presented on the stage. It is such a cultural art which inspired the writer to explore and analyze in depth the way in which it is presented on TV. This study focuses on how the Cenk Blonk leather puppet is presented on Dewata TV to perform the theme “Dyah Ratna Takeshi”. It was found that the presentation of the Cenk Blonk leather puppet on Dewata TV in its program entitled “Pentas Wayang Kulit’ (the Leather Puppet Performance) was the aesthetic presentation in which the elements of the traditional art were mixed with the modern technology medium (television). The material of the presentation of the Cenk Blonk leather puppet on Dewata TV employed the production of Bali Record which had been reprocessed (deconstructed and reconstructed). Advertisements and other materials were added and some parts were edited so that it suited the pattern of presentation and the slot of time during which it was presented. The Cenk Blonk leather puppet presented on Dewata TV was not completed with any accurate text and context. It gave impression that the traditional art was used to “package” advertisements and other promotions. The presentation of the Cenk Blonk leather puppet on Dewata TV proved to be able to attract many people, especially the young people. They were made to be addicted to the puppetry art. Before, they were not interested in it.
PERAN PENULIS NASKAH DALAM PROSES PRODUKSI PROGRAM FILM DOKUMENTER BALI SANTHI INEWS BALI Rizki Bala; I Dewa Made Darmawan; I Wayan Gulendra
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

Stasiun televisi setiap harinya menyajikan berbagai jenis program acara yang menarik dan beragam. Bali Santhi iNews Bali sebagai program bertemakan seni budaya Bali sebagai subjek penelitian. Program Bali Santhi ini menampilkan proses upacara adat Bali dari awal hingga akhir acara, dengan menampilkan banyak upacara Bali yang sesuai dengan fakta dan memiliki daya tarik yang tinggi. Dalam produksi program tersebut tidak terlepas dari peran penulis naskah dalam pengembangan ide. Peran penulis naskah dalam program Bali Santhi iNews Bali. Dalam pembuatan tinjauan ini penulis meggunakan beberapa metode pengumpulan data terkait dengan peran penulis naskah, metode yang digunakan yaitu metode observasi, metode wawancara, dan metode dokumentasi. Hasil dari tinjauan menunjukan bahwa, Bagaimana peran penulis naskah dalam proses produksi siaran televisi, terutama pada tahap praproduksi dan produski program dokumenter Bali Santhi iNews Bali. Cara mendapatkan data dan fakta sehingga bisa menjadi naskah Bali Santhi iNews Bali. Membuat naskah sesuai format penulisan di iNews Bali setelah mendapatkan data dan fakta di lapangan. Serta mengetahui alih pengetahuan, keterampilan, dan teknologi.
Artistic Arrangement as Semiotics of Criminal Messages in the Film “Marlina Si Pembunuh dalam Empat Babak” Gea Refika Ayu Zellya; I Komang Arba Wirawan; I Dewa Made Darmawan
Journal of Aesthetics, Creativity and Art Management Vol. 1 No. 1 (2022): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (447.587 KB) | DOI: 10.31091/jacam.v1i1.1592

Abstract

The purpose of this study is to determine semiotics in the artistic arrangement of criminal messages in the film “Marlina Si Pembunuh dalam Empat Babak” (Marlina the Murderer in Four Acts). It uses a qualitative descriptive method that describes in detail the problems shown in this study. The analysis technique used is Roland Barthes' semiotic analysis where this theory is divided into two i.e. signifier and signified. The concept used is criminal messages in the elements of artistic arrangement, then the theory is the semiotic theory from Roland Barthes. The messages in the film contains many criminal ones. The film has meanings of signifier and signified in each scene. The criminal messages include robbery, murder, rape, assault, and threats. The meaning of the criminal message in this film describes the mistakes in people's lives today. The film has applied good elements of artistic arrangement, which pays attention to the aesthetics of each shot, so that such a film is able to present messages that are in accordance with the reality in society.
PENERAPAN SETTING PROPERTI DENGAN KONSEP REALIS PADA FILM FIKSI “KAMBING HITAM” Ni Kadek Sruja Pegiyanti; I Dewa Made Darmawan; I Nyoman Payuyasa
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

Kasus pencemaran nama baik, atau tuduhan sebagai topik penciptaandikemas ke dalam film fiksi “Kambing Hitam”, karena belakangan inimarak terjadi kasus pencemaran nama baik, tuduhan, ujaran kebencian.70 Jurnal CalaccitraMelalui film fiksi ini penulis mencoba merepresentasikan tata artistiktentang tekanan seseorang yang mengalami konflik tersebut. Penerapansetting properti film fiksi “Kambing Hitam” bertujuan untuk dapatmenjelaskan konsep ruang dan waktu, status sosial, mood adegan, motifdan simbol serta pendukung adegan. Dalam proses pembuatan film,tahap pencarian data melalui riset dengan metode observasi, yaknimengamati langsung ke lapangan, studi kepustakaan didapat dari skripsidan buku, wawancara dengan penata artistik film. Penggunaan propertididukung dengan teori semiotika yang memfokuskan pada simbol, indexdan ikon, teori semiotika dari Charles Sander Peirce dan Ferdinand DeSaussure sebagai teori utama dan teori mise-en-scene untukmemperkuatnya, kedua teori tersebut merupakan satu kesatuan yangsaling melengkapi untuk membangun cita rasa artistik atau keindahan.Rancangan tata artistik dimulai dari mengkonsep properti sepertipemilihan gubuk, hutan, rumah kosong, sarana ritual sesembahan yangditerapkan pada film Kambing Hitam. Properti yang digunakan pada film"Kambing Hitam" dimaksudkan untuk pembentukan kesan tegang,misteri dan seram . Luaran dari karya ini berupa film fiksi yang bergenrehoror, action berdurasi 20 menit yang memiliki pesan untukmenyelesaikan masalah tidak harus mengorbankan kebahagian dengankeluarga hanya karena keegoisan diri sendiri.
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 EDITING CUT TO CUT DALAM FILM PERSETERUAN I Kadek Galang Chandra Deva; I Dewa Made Darmawan; I Nyoman Payuyasa
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 3 No. 1 (2023): Jurnal Calaccitra Maret 2023
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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

Abstract

Feud, is a short film in the action drama genre that tells the story of an older brother who tries to save his younger sibling from criminals who are after their parents' land certificate. The author has a duty as an editor or image arranger. In its application, the writer tries to use standard cutting techniques (cut to cut) in presenting storytelling in the film Feud. Cut to cut itself is a simple cutting technique and is most used by other editors. By using the cut to cut technique, the mood development in the film becomes more interesting and gives a meaningful feel to the story. In writing, the author uses several theories from various sources such as Rosenberg which explains the cut theory, Thomson and Bowen which explains the responsibilities of an editor. And J.M Peters who explained about editing theory. In the application of the cut to cut editing technique, the author first conducts a preview of each shot which will later be included in the editing application, and when all the shots are deemed perfect, the author as the editor then arranges each of these shots so that they become an arrangement of images that tell a story.
PENERAPAN SETTING PROPERTI DENGAN KONSEP REALIS PADA FILM FIKSI “KAMBING HITAM” I Ketut Agus Cahaya Sentana; I Dewa Made Darmawan; I Nyoman Payuyasa
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 3 No. 1 (2023): Jurnal Calaccitra Maret 2023
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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

Abstract

Directing is one of the important aspects of film production which is responsible for making creative and technical decisions from start to finish. In the context of comedy films, directing plays an important role in creating the right atmosphere and setting the right timing to produce laughter from the audience. A good director in a comedy film must also be able to manage chemistry between players and direct actors to maintain the comicality of the script that has been written. The director is also responsible for choosing the right location and set according to the concept and theme to be conveyed in the film. In the production process of this short film with the Comedy Not My Fault genre, the method of stages and procedures that have been implemented, namely SOP (Standard Operational Procedure) which includes the stages of pre-production, production, to post-production, is applied. With SOP, it makes it easier for the production team to carry out 3 aspects of production properly and correctly. In this production, the writer becomes the director who plays a very important role in the three aspects of production so that the writer and the assistant director do in-depth research at the pre-production stage to get ideas that suit production needs. To produce a successful comedy film, directors must be able to balance comedy elements and solid stories, and pay attention to what the audience wants and the right market. Thus, good directing can help create comedy films that are entertaining and captivating for the audience. In this production, the writer applies 27 scenes in this comedy short film in order to get maximum results.
Chanda Aksata Wastra Bebali I Gusti Ngurah Ksatria Pinandhita Tjahjadi; I Komang Arba Wirawan; I Dewa Made Darmawan
Visual Heritage: Jurnal Kreasi Seni dan Budaya Vol 5, No 3 (2023): Visual Heritage: Jurnal Kreasi Seni dan Budaya
Publisher : Universitas Indraprasta PGRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30998/vh.v5i3.6556

Abstract

Wastra Bebali telah mengalami degradasi dalam pemaknaan dan produksinya. Wastra Bebali merupakan contoh yang baik untuk memperlihatkan satuan budaya material yang memiliki fungsi sebagai pembawa pesan tentang kearifan lokal, seperti makna simbolik dari warna, angka (urip), sakral dan profan, reinkarnasi serta hubungan antara manusia, alam dan Tuhan dalam kepercayaan masyarakat Bali. Film dokumenter Chanda Aksata yang berarti nyanyian suci tanpa henti merupakan konsep penciptaan film dokumenter berjenis metafora. Pendekatan Film-Eye Theory, gaya expository digunakan dalam pendekatan kualitatif. Metode analisa menggunakan metode analisis interpretatif dengan teknik pengumpulan data observasi partisipatori, wawancara yang mendalam, dan kepustakaan. Dalam proses pembuatan film dokumenter ada tiga tahapan yaitu praproduksi, produksi, dan pasca produksi. Film dokumenter Chanda Aksata Wastra Bebali dilakukan di desa Sidemen dan desa Budakeling, Karangasem. Proses pembuatan film melingkupi pembacaan literasi lontar tentang keberadaan wastra Bebali, persiapan menenun wastra Bebali hingga pergelaran art fashion yang memadukan wastra Bebali kuno dan Replika Wastra Bebali. Output penciptaan karya berupa film dokumenter berjudul Chanda Aksata Wastra Bebali. Karya film dokumenter mengisahkan penenun Wastra Bebali, para tetua dan pandita dalam tutur aksara lontar serta art fashion performance sebagai strategi mempertahankan eksistensi Wastra Bebali dalam era kekinian. 
Kajang Sebagai Sarana Pengembalian Unsur Panca Mahabhuta I Dewa Made Darmawan
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

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

Abstract

Praktik beritual di Bali tidak terlepas dari pengunaan teks atau atribut yang dipandang sakral magis. teks atau atribut sebagai media untuk menghubungkan antara pemuja dengan yang dipuja. Salah satu atribut yang menarik untuk di dibahas adalah atribut dalam upacara ngaben, yakni “Kajang”. Kajang dipergunakan sebagai peranti sakral ketika ritus kematian (ngaben) digelar. Kajang dalam bahasa bali lumrah berarti memindahkan yang dapat berarti pula “ngabein”. Dari kata “ngabein” menjadilah ngaben. Menurut keyakian pemeluk agama Hindu Bali ngaben bertujuan untuk mempercepat kembalinya ke unsur Panca Maha Bhuta. Masyarakat Hindu Bali meyakini bahwa melalui kajang sang roh akan dapat sampai dengan selamat ke Çiwa Loka (alam Çiwa). Dengan demikian kajang seolah-olah berfungsi sebagai tiket atau Pasport yang dapat mengantarkan sang roh dengan selamat sampai pada tujuan. Tidak saja demikian, kaajang dipandang memiliki makna yang lebih, karena kajang dipandang sebagai atribut sakral-magis yang dapat mengantarkan sang roh sampai pada alam para dewa atau mencapai surga dan menyatu dengan Hyang Çiwa di Çiwa Loka. Walaupun demikian sampai atau tidaknya sang roh di Çiwa Loka, masih sangat ditentukan oleh Suba-Asuba karma perbuatan baik atau buruk pada saat sang palastra (orang yang meninggal) masih hidup. Metode deskriptif kualitatif digunakan karena data yang diteliti dilapangan berupa data sosial budaya. Teks - teks yang tersurat dalam setiap lembaran kajang diyakini bersifat absolut dengan demikian maka teori yang relevan digunakan adalah teori dekonstruksi dari Derrida, karena Derrida berpandangan setiap teks selalu menghadirkan anggapan-anggapan yang dianggap absolut.
VISUALISASI BODY-SHAMING DALAM FOTOGRAFI EKPRESI I Gusti Katon Dwi Sanjaya; I Dewa Made Darmawan; Cokorda Istri Puspawati Nindhia
Retina Jurnal Fotografi Vol 2 No 2 (2022): September 2022
Publisher : Lp2mpp Isi Denpasar - Ps. Fotografi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/rjf.v2i2.1031

Abstract

This project is entitled "Visualization of body shaming in Expression Photography" in which the author discusses the impact that polemics can have on society. The negative effects of physical bullying, such as body shaming, on a person's mental health, including an overall loss of confidence and self-esteem. body shaming acts are performed with intentional elements, both verbally and non-verbally, such as on social media especially Instagram. The initial concept was developed into an Independent Study/Project using expression photos, its creation involves several stages, including exploration, experimentation, forming, and finishing, with the use of theories that relate to body shaming, expression photography theory, and semiotic theory. Several expressive photographs depict the feelings experienced by victims of body shaming and the body parts that are objects of humiliation as a result of this Study/Project Independent. These works are entitled as Desperate, Fracture and Impenetrable. This project was conceived as a means of creating awareness of poor and incorrect behaviour so that people would not commit acts of verbal bullying that led to body shaming. Keywords: Visualization, Body-Shaming, Expression Photography