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Mood Cues dalam Film Kartini: Hubungan antara Pergerakan Kamera dan Emosi Dyah Ayu Wiwid Sintowoko
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 18, No 1 (2022): April 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v18i1.5898

Abstract

Penelitian ini bertujuan untuk menganalisis bagaimana mood cues dalam film Kartini dengan menggunakan pendekatan teori film, pergerakan kamera, dan mood setting. Jenis penelitian yang digunakan adalah kualitatif deskriptif analitis dengan pendekatan studi literatur film. Studi literatur film berupa teori teknik sinematik khususnya pergerakan kamera, yaitu long tracking shot, overhead long shot, dan zoom in yang mendominasi film ini. Hasil penelitian menunjukkan empat poin utama. Pertama, teknik pengambilan gambar long tracking shot tampak kurang menunjukkan mood cues empathy kepada penonton karena kurangnya detail ekspresi wajah tokoh utama. Hal ini menyebabkan kurangnya ambivalen pada adegan terjebaknya Kartini pada aturan Jawa yang masih mendeskreditkan posisi perempuan lebih rendah daripada laki-laki. Kedua, mood setting film Kartini tampak diciptakan dengan gabungan unsur mise-en-scene termasuk kostum, properti, set, colour, dan kombinasi musik etnis dengan setting tahun 1800-an. Ketiga, overhead long shot dengan kemiringan 90° tampak menunjukkan kesan “kebenaran”, “harapan”, sekaligus emosi yang kompleks. Keempat, zoom in tampak menunjukkan empathy kepada penonton yang didukung dengan slow motion. Narasi penolakan dan camera movement menunjukkan emosi Kartini terhadap hak perempuan. Keempat teknik tersebut mendukung ambivalen emosi yang kompleks dan menunjukkan metafora emansipasi perempuan.
Hibridisasi budaya: studi kasus dua drama korea tahun 2018-2020 Dyah Ayu Wiwid Sintowoko
ProTVF Vol 5, No 2 (2021): September 2021
Publisher : Universitas Padjadjaran

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24198/ptvf.v5i2.31687

Abstract

Kajian tentang hibridisasi budaya Korea dalam konten drama masih diperdebatkan hingga sekarang oleh beberapa peneliti terdahulu. Penelitian ini bertujuan untuk mengetahui bentuk hibridisasi budaya Korea melalui drama The World of the Married dan Touch Your Heart dengan pendekatan teori visual lavish production. Penelitian ini menggunakan metode kualitatif dan teori lavish production untuk menemukan kesan mewah pada visual drama Korea. Karakteristik lavish production pada visual drama juga dianalisis melalui mise-en-scene untuk mengidentifikasi hibridisasi budaya Korea. Hibridisasi budaya dan kesan lavish production di dalam drama Korea tercermin melalui mise-en-ecene. Hibridisasi juga merupakan dampak dari diadaptasinya slogan Learning from Hollywood oleh sineas Korea. Adapun konsep drama trendy Korea merupakan adaptasi strategi dari Jepang untuk memunculkan kesan Asian taste. Hasil penelitian menunjukkan bahwa: (1) lavish production mengacu pada classy mise-en-scene dimana setting, properti, narasi dan gesture karakter sangat merepresentasikan perubahan teknis standar industri drama Korea menjadi cinematic orientation; (2) hibridisasi tampak pada kostum, gesture, dan beauty standart ala Western style yang didukung dengan narasi adaptasi trendy drama dari Jepang. Romantisme, non-sex dominant dan eye-contact merepresentasikan Asian sentiment karena cenderung menggunakan pendekatan estetika olah rasa; dan (3) konsep hibridisasi akan mengalami perkembangan bukan hanya di ranah budaya saja, namun juga pada produk budaya itu sendiri karena adanya persaingan global dan eksistensi Western media mainstream di Asia.
STUDI KASUS PENERAPAN MERDEKA BELAJAR KAMPUS MERDEKA DI FAKULTAS INDUSTRI KREATIF UNIVERSITAS TELKOM Roro Retno Wulan; Refi Rifaldi Windya Giri; Arini Arumsari; Anggar Erdhina Adi; Dyah Ayu Wiwid Sintowoko
Widya Komunika Vol 12 No 1 (2022): JURNAL KOMUNIKASI DAN PENDIDIKAN WIDYA KOMUNIKA
Publisher : Jurusan Ilmu Komunikasi Fakultas Ilmu Sosial dan Ilmu Politik Universitas Jenderal Soedirman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20884/1.wk.2022.12.1.5222

Abstract

Penelitian berfokus pada evaluasi penerapan Program Merdeka Belajar Kampus Merdeka (MBKM) di Fakultas Industri Kreatif, Universitas Telkom pada enam program studi unggulan. Keenam program studi tersebut adalah S1 Desain Komunikasi Visual, S1 Desain Produk, S1 Kriya, S1 Seni Rupa, S1 Desain Interior, dan S2 Desain. Metode penelitian yang digunakan adalah metode studi kasus intrinsic dengan focus kasus pelaksanaan program MBKM pada tahun 2021 di Fakultas Industri Kreatif. Tujuan penelitian ini untuk menganalisa kesesuaian program dengan tujuan yang diharapkan sesuai dengan konteks dan lingkup kegiatan kreativitas di bidang seni dan desain. Hasil penelitian menunjukkan bahwa Program MBKM di Fakultas Industri Kreatif merupakan sebuah program yang sejalan dengan kebutuhan mahasiswa dalam mempersiapkan diri terjun ke masyarakat. Dalam praktiknya, program ini terbukti mampu mendorong kreativitas mahasiswa secara massive menerapkan keilmuannya dan berkolaborasi dengan masyarakat. Adapun keenam program MBKM yang berjalan, yaitu: 1) Wirausaha; 2) Pertukaran Mahasiswa; 3) Magang/Praktik Industri; 4) Proyek di Desa; 5) Penelitian/ Riset; 6) Proyek/Studi Independen. Hasil pemetaan di masing-masing prodi menunjukkan bahwa setiap prodi memiliki keunggulan program MBKM sesuai dengan nature ilmu pengetahuannya. Data menunjukkan bahwa mayoritas mahasiswa sebanyak 88,7% di Fakultas Industri Kreatif tampak memilih wirausaha, diikuti dengan Pertukaran Mahasiswa 3.8%, magang/praktik industry 3,4%, Proyek di Desa 2,8%, penelitian/riset 0,8%, dan proyek/studi independent 0,4% secara berurutan. Hal ini sangat sesuai dengan rencana induk pengembangan universitas Telkom yaitu sebagai enterprenueur university pada tahun 2022. Kata kunci: studi kasus, merdeka belajar, kampus merdeka, wirausaha, industri kreatif
Review Pergeseran Fotografi Dari Sistem Konvensional ke Digital (Virtual Photoshoot) Pada Masa Pandemi COVID-19 Adrian Permana Zen; Dyah Ayu Wiwid Sintowoko; Iqbal Prabawa Wiguna; Arfi Andrian; Gregorius Kresna Haga Ginting
JURNAL RUPA Vol 6 No 1 (2021): Open Issue
Publisher : Telkom University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/rupa.v6i1.3060

Abstract

Virtual photoshoot is a new method in the development era of modern contemporary photography that was born due to the impact of COVID-19. This study finally tries to analyze the trend of virtual photoshoots as the use of photography technology during the Covid-19 pandemic. Virtual photoshoot is a development of photography. The method used in this research is a phenomenological approach regarding the use of online video call software in the process of shooting the object. The sample of this research is the photographic works of virtual photoshoot by Michael Fabians Cools when taking pictures using the sophisticated video call application. The results showed three main results, namely media, technical and aesthetic. In terms of media, research has found that the existence of social media such as Instagram can support the existence of a virtual photoshoot trend. Technically research, this virtual photoshoot implementation method is something new and has never happened before. The virtual photoshoot implementation method is applied in in-game screenshots and Google Street View, where virtual photoshoots offer a shooting process by taking pictures through an LCD monitor using video call software such as Zoom, Facetime, and Google Meet to bring up photo objects. Aesthetically, this study found that the results of photos from virtual photoshoots led to photography techniques that were not widely used before in conventional shooting, namely displaying the blur effect on photos using glasses or bottles. The blur effect that is usually produced through lens settings can also be produced with a glass or bottle.
FILM TOURISM: A CASE STUDY OF SUMEDANG AS SUNDANESE CULTURAL PUSEUR Novian Denny Nugraha; Anggar Erdhina Adi; Sri Mharani Budi Haswati; Dyah Ayu Wiwid Sintowoko
Capture : Jurnal Seni Media Rekam Vol 13, No 2 (2022)
Publisher : Jurusan Seni Media Rekam, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia (ISI) Sur

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v13i2.4022

Abstract

As a Sundanese Cultural Puseur (center), Sumedang Regency can arguably increase Local Own-Source Revenues (PAD – Pendapatan Asli Daerah) for the Sumedang Municipal Government. Hence, this artistic study aims to offer a positive identity for Sumedang Regency through film tourism. Specifically, this research employs a practical method to produce a film tourism creation titled “Historical Land of Pasundan.” The results indicate that the visual look of the Sumedang film tourism is quite complex and dynamic, demonstrating the regency’s superior potential, culinary offerings, and indigenous Sundanese culture. Sumedang is specifically labeled as the  Sundanese Culture Puseur partly due to its historical significance and to attract a greater number of domestic and international tourists. This film tourism captures many images containing wide shots, close-ups, and camera movements and hence appears to be very dynamic as a part of the tourism and creative industry’s efforts to recover from the Covid-19 effects.
COSTUME AND FEMINISM: CHARACTER IN FILM KARTINI Dyah Ayu Wiwid Sintowoko; Siwi Anjar Sari
Capture : Jurnal Seni Media Rekam Vol 13, No 2 (2022)
Publisher : Jurusan Seni Media Rekam, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia (ISI) Sur

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v13i2.3796

Abstract

Film Kartini, particularly the mise-en-scene aspect, appears to represent an era in the nineteenth century. The study focuses on Kartini's costumes. The research problem is how characters are constructed in the Film Kartini through costumes. The qualitative research method was employed for this study, and data collection was conducted using purposive sampling, with five scenes from Film Kartini serving as the primary data. The findings indicate that the costume’s four components, namely the top cloth, the body cloth, the leg cloth, and the accessories, are closely related to the character’s physiological, sociological, and psychological dimensions. The physical appearance of Kartini's costumes in its four components accurately reflects the physiological dimension. Meanwhile, Kartini appears to come from a noble family on the social dimension. Finally, on the psychological dimension, Kartini expresses her optimism for feminism through her costumes and movements but is confronted by the clash of Javanese traditions.
PRACTICAL LEARNING: ANALISIS VISUAL PADA KARYA ANAK-ANAK Dyah Ayu Wiwid Sintowoko; Adrian Permana Zen; Yusep Febrian
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 13, No 1 (2021)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v13i1.3624

Abstract

Seni adalah salah satu media yang dapatmemicukreativitas dan imajinasi anak-anak. Penelitian ini mencoba untuk mengetahui bagaimana kecenderungan daya imajinasianak-anak diantara usia lima hingga delapan tahun dalam kreativitas menggambar dan mewarnai. Rumusan masalah penelitian ini adalah: (1) Apa dominasi karakter objek yang dilukis oleh anak-anak di Yayasan Siti Hajar Amali, Bandung, Jawa Barat? (2) Bagaimana representasi dominasi warna lukisan anak-anak di Yayasan Siti Hajar Amali, Bandung, Jawa Barat? Metode yang digunakan adalah kualitatif deskriptif dengan model practical learning terhadap anak-anak di Yayasan Siti Hajar, Bandung Jawa Barat. Hasil penelitian menunjukkan bahwa dari kesembilan objek penelitian didapatkan dua kategori visual analisis sesuaidenganimajinasimandirianak-anaktersebut. Dua kategori visual tersebut adalah arsitektur dan fauna dengan representasi kecenderungan warna sekunder. Warna pada gambar yang dibuat oleh anak-anak Yayasan Siti Hajar Amali dominan lebih banyak menggunakan warna sekunder. Warna ini seolah merepresentasikan adanya keinginan untuk berkembang dan mandiri sekaligus adanya control emosi yang cukup pada anak-anak di Yayasan Siti Hajar Amali, Bandung. Hal ini ditunjukkan melalui kecenderungan atau dominasi warna sekunder dalam karya-karya mereka.  Dimana warna-warna sekunder ini dimaknai sebagai warna yang bersifat positif dan energik
PENGARUH DRAMA KOREA TERHADAP DRAMA PADA PERTELEVISIAN INDONESIA (Study Kasus Drama My Love From The Stars dan Kau yang Berasal dari Bintang) Dyah Ayu Wiwid Sintowoko
Capture : Jurnal Seni Media Rekam Vol 7, No 1 (2015)
Publisher : Jurusan Seni Media Rekam, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia (ISI) Sur

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4345.1 KB) | DOI: 10.33153/capture.v7i1.1563

Abstract

This research tried to know the influence of Korean drama entitled My LoveFrom The Stars toward Indonesian drama Kau yang Berasal dari Bintang. This research constituted as qualitative descriptive research with those two dramas as the objects. The findings showed that the Indonesian drama Kau yang Berasal dari Bintang drama has similarity with the Korean drama My Love From The Star in the storyline, setting, and costumes. In the storyline, both dramas used a historical time describing love story between alien and human. In the costumes, Kau yang Berasal dari Bintang, used traditional costumes like Kebaya (to show the setting time in 400 years ago) and in the My LoveFrom The Stars used Hanbok as a traditional costumes too. The similarities in the setting are both of them used outdoor area (to describe pre-modernism) and crowded city (to describe modernization area).Keywords : Korean drama, storyline, costume, dan setting.
Kostum Dalam Membangun Karakter Tokoh Pada Film Soekarno Dyah Ayu Wiwid Sintowoko; Ranang Agung Sugihartono
Capture : Jurnal Seni Media Rekam Vol 6, No 1 (2014)
Publisher : Jurusan Seni Media Rekam, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia (ISI) Sur

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (657.868 KB) | DOI: 10.33153/capture.v6i1.725

Abstract

This study discusses the procedures of costumes and characters in the Sukarnofilm. This qualitative descriptive research apply the Sukarno film as source of data. Thecollection of data by purposive sampling, with the method of observation, interviews,and literature. Data were analyzed through data reduction, data display, drawingconclusions and verification process. The results showed that the costumes portraythe characterization of the characters. Costume adjusted with basic clothing, headclothing, body clothing, legs underwear, and accessories are known for costume parts.Each character has a unique costume and a differentiator from other figures. Costumealso build characterization of actors according to the physiological dimension (neatness,cleanliness, beauty, beauty, valor, charm, charisma, and authority). Sociological dimensionsindicate socioeconomic class, role in the family / community, ideology, ancestry, levelof education, religion, ethnicity / race, and interaction between the actors. While thepsychological dimensions adapted to the atmosphere and scene. Color and layoutcostume describing feelings, honesty, sincerity, emotion, desire, desire, passion, inneraction, as well as the vision of each character in the film.Keywords: costume, characterization, actor, film, and Soekarno
Sumber Gagasan Penciptaan Karya Audio Visual Berbasis Konten Lokal Dyah Ayu Wiwid Sintowoko
Capture : Jurnal Seni Media Rekam Vol 5, No 2 (2014)
Publisher : Jurusan Seni Media Rekam, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia (ISI) Sur

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4072.23 KB) | DOI: 10.33153/capture.v5i2.673

Abstract

Creativity can be done by utilizing the environment, natural resources, and human resources. Human Resorces can attempt to pour out their thoughts, find problems, and take chances, and viable solutions to publish. Creativity through the media can inspire, encourage, influence, and able to bring a positive change for the audience. The potential of these natural resources that need to be developed by the community at the same time revive, that the stored wealth needs to be raised (one of them with audio-visual approach). In this case the community (residents) as actors, not only as a spectator only. Their awareness that we must lift to play the audio-visual media. Something extraordinary in rural or are citizens can see themselves, relatives, family, and neighbors through the medium of film and television, so that it becomes an individual and collective pride.