Capture : Jurnal Seni Media Rekam
The main focus of the journal will be to promote a global discussion forum and an interdisciplinary exchange among scholars exploring the topic of TV program, film or cinematography, animation, and photography from different perspectives.
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<![CDATA[IMPLEMENTATION OF THE NETWORK STATION SYSTEM ON TVRI BALI ]]>
<![CDATA[I Nengah Muliarta]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol 12, No 1 (2020) ]]>
Publisher : <![CDATA[Jurusan Seni Media Rekam, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia (ISI) Sur ]]>
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DOI: 10.33153/capture.v12i1.3030
<![CDATA[The democratization of broadcasting in Indonesia is manifested in the implementation of the Network Station System (Sistem Stasiun Jaringan / SSJ) by striving for diversity of ownership and broadcast content in broadcasting institutions. SSJ is also an effort to decentralize broadcasting so that people in the regions get information related to their own regions through subsidiary networks or local broadcasting institutions. TVRI is the only public broadcasting institution that has network subsidiaries throughout Indonesia. This research uses a case study approach, an approach to intensively examine a case with a focus on TVRI Bali. Data collection used interview and observation methods. Data analysis using the Interactive Analysis approach. The results showed that TVRI Bali has not been able to fully implement SSJ. TVRI Bali can only meet the provisions of local broadcast content with a percentage of up to 20%, but has not been able to fulfill the spirit of diversity of ownership according to the basic concept of SSJ. In addition, the principle of diversity of ownership has not been fulfilled due to inconsistencies between the Broadcasting Law and Government Regulation Number 13/2005 and Ministerial Regulation 43/2009 which specifically regulates private television broadcasting institutions.]]>
<![CDATA[COLOR GAME OF ONDEL-ONDEL AS CULTURAL EDUCATION MEDIA FOR CHILDREN ]]>
<![CDATA[Mita Purbasari Wahidiyat]]>;
<![CDATA[Imam Tabroni]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol 12, No 1 (2020) ]]>
Publisher : <![CDATA[Jurusan Seni Media Rekam, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia (ISI) Sur ]]>
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DOI: 10.33153/capture.v12i1.3263
<![CDATA[Educational games are a play-while-learning approach for children today, especially in big cities like Jakarta. As an icon of Jakarta, Ondel-Ondel can be found in various corners of Jakarta daily. His familiar figure makes it a suitable subject for learning to color while getting to know about the Betawi culture for children. The Ondel-Ondel coloring application is a multimedia-based educational game designed for children aged 3-7 years, in which information about the elements that make up the attributes of Ondel-Ondel can be inserted. This study combines the educational game implementation method with a user-centered approach, where this method connects the let's draw game with a brief knowledge of Ondel-Ondel as a traditional Betawi art. Analysis of Ondel-Ondel supporting elements or attributes uses Morris Semiotics which focuses on syntax, semantics, and pragmatics by categorizing form, content, and context. This game helps children to get a lot of information about Ondel-Ondel and stimulate their imagination.]]>
<![CDATA[SOEGIJA BIOPIC FILM, POLITICAL AFIRMATION, AND POLITICAL IDENTITY: DECONSTRUCTION OF INDONESIAN HISTORIOGRAPHY ]]>
<![CDATA[Bambang Aris Kartika]]>;
<![CDATA[Nanik Sri Prihatini]]>;
<![CDATA[Sri Hastanto]]>;
<![CDATA[Dharsono Dharsono]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol 12, No 1 (2020) ]]>
Publisher : <![CDATA[Jurusan Seni Media Rekam, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia (ISI) Sur ]]>
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DOI: 10.33153/capture.v12i1.3111
<![CDATA[Soegija's movie is a biopic film based on the historiography of the highest leaders of the people and the Catholic church in Indonesia. Soegija's film is an antithesis of Indonesian historiography so far, especially the historiography of the era of the Indonesian independence revolution. This article discusses the political affirmation and identity politics of Soegija's film from the perspective of Derrida's Deconstruction. Derrida's Deconstruction approach and historical methodology consisting of Heuristics, Hermeneutics, and internal criticism are used to understand the position of Soegija's biopic on Indonesian historiography. The results of the study show that Soegija's film is a biography moving picture of the character Mgr. Albertus Soegijapranata, who narrated historical facts about the national attitude of the Catholic leadership as the first native bishop. In deconstruction, it appears that Soegija's biopic is a representation of the political affirmation and identity politics of educational cultural resistance to the truth of the historical facts of the character Mgr. Albertus Soegijapranata who is in binary opposition to Indonesian historiography.]]>
<![CDATA[CREATIVE STRATEGY OF PROGRAM DIRECTOR AT 4 CITIES WAYANG BEBER VICOLMING SHOW ]]>
<![CDATA[Kosalalita Anggiyumna Ranangsari]]>;
<![CDATA[Intan Yulia Febbyu Fenda]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol 12, No 1 (2020) ]]>
Publisher : <![CDATA[Jurusan Seni Media Rekam, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia (ISI) Sur ]]>
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DOI: 10.33153/capture.v12i1.3420
<![CDATA[The Covid-19 pandemic was responded to by the wayang beber art group quickly and creatively. They held shows wayang beber in 4 cities by utilizing video conferencing & live streaming (Vicolming). The new technology used for the performances of 4 remote puppeteers (dalang) was a challenge for the program director. This research is intended to explore the strategy of the program director in producing the 4 cities wayang beber Vicolming show. This study used qualitative descriptive research. The data collection used the interview and documentation methods, while the data analysis used the Interactive Analysis model. The result of this study is that the program director applies a strict strategy at the pre-production, production and post-production stages in this wayang beber Vicolming show. Creative strategies in pre-production include determining the topic of Covid-19; and the Video Conference & Live Streaming technology used, the preparation of video, audio and internet equipment for each art group in 4 cities; determination of the ideal schedule and duration, and live streaming rehearsals. The strategy at the production stage included: 1) The strategy of arranging a dalang's performance from one puppeteer to another is related to the quality of the image and sound as well as the internet connection, so that the rundown changed a lot; 2) Taking pictures is done limitedly, because the equipment between the puppeteers is different; The post-production stage strategy focused on preparing live streaming videos uploaded to the Youtube channel.]]>
<![CDATA[SEXY KILLERS : FILM AND ENVIRONMENTAL MOVEMENT ]]>
<![CDATA[Fitri Murfianti]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol 12, No 1 (2020) ]]>
Publisher : <![CDATA[Jurusan Seni Media Rekam, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia (ISI) Sur ]]>
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DOI: 10.33153/capture.v12i1.3209
<![CDATA[This study focuses on how a documentary film entitled Sexy Killers can be part of the campaign for change. This film with the issue of environmental damage is interesting to study about the reading of the text by the audience as an active producer of meaning. In order to understand how the audience read the text, a Sexy Killers research was conducted using a Descriptive Qualitative approach. The data collection technique used Purposive Sampling with In-Depth Interviews, then the data were processed by Content Analysis. The results of this study indicate that there are different perspectives in reading this film, which can be categorized into anthropocentrism, biocentrism and eco-centrism. This differences in reading are influenced by differences in educational backgrounds, professions, and also interests. Film as a text, is not a unit, but rather a kind of battlefield to compete to accept, reject, or negotiate certain ideas. Understanding the results of this reading can be useful for determining the right steps in encouraging the environmental conservation movement]]>
<![CDATA[THE MEANING OF OPENING TEASER OF THE TALK-SHOW DUA SISI AS PROGRAM IDENTITY ]]>
<![CDATA[Dina Dwika Oktora]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol 12, No 1 (2020) ]]>
Publisher : <![CDATA[Jurusan Seni Media Rekam, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia (ISI) Sur ]]>
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DOI: 10.33153/capture.v12i1.3264
<![CDATA[A television program is usually equipped with an opening teaser as the identity of the program. The opening teaser on TVONE's show, entitled "Dua Sisi" (Two Sides) looks simple but interesting to study. This research focuses on the meaning of the sign in the opening teaser of "Dua Sisi". This study used a qualitative descriptive approach. Data collection used purposive sampling technique, and data analysis used Rolland Barthes' Semiotics. The results showed that the meaning of the signs contained in this event had denotative and connotative meanings in accordance with the function of the opening teaser as the identity of the program.]]>
<![CDATA[RESTRAINING THE MOOD FOR LOVE: A SEMIOTIC ANALYSIS OF WONG KAR WAI’S IN THE MOOD FOR LOVE ]]>
<![CDATA[Anton Sutandio]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol 12, No 1 (2020) ]]>
Publisher : <![CDATA[Jurusan Seni Media Rekam, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia (ISI) Sur ]]>
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DOI: 10.33153/capture.v12i1.3086
<![CDATA[This article attempts to explore the visual signs in Wong Kar Wai’s In the Mood for Love in the context of how they support and emphasize the topic of restraint through the film’s cinematography and misè-en-scèene. As the theoretical foundation, Peirce’s classification of signs into symbol, icon, and index is chosen in addition to Barthes’ five systems of meanings that are applied to cinema. The visual signs in focus are not limited to objects within the film, but also the characters’ actions as well as the cinematography. The findings show that certain signs are effectively displayed to signify and amplify the idea of restraint. Not only that, some signs evolve into different signs through intentional repetition to further emphasize the aforementioned idea and the arbitrary nature of the signs, and at the same time open the possibilities of different interpretations of the signs within the film. ]]>
<![CDATA[REPRESENTATION OF NOSTALGIA IN THE PROGRAM MEMORI MELODI IN TVRI NASIONAL ]]>
<![CDATA[Ayudha Eka Ramadhoni]]>;
<![CDATA[Ranang Agung Sugihartono]]>
<![CDATA[ Capture : Jurnal Seni Media Rekam Vol 12, No 1 (2020) ]]>
Publisher : <![CDATA[Capture : Jurnal Seni Media Rekam ]]>
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DOI: 10.33153/capture.v12i1.2674
<![CDATA[This study describes the representation of nostalgia in the “Memori Melodi” music program in the episode Tribute To Yon Koeswoyo. This study uses a construction approach from the representation of Stuart Hall. The sampling technique uses purposive sampling technique. Data collection used is observation without a roleplay and interviews. Data analysis used Miles and Huberman model data analysis which consisted of data reduction, data presentation, conclusion drawing and verification. The results of this study indicate there is a nostalgic representation in the music program of “Memori Melodi” episode Tribute To Yon Koeswoyo. The appearance of nostalgic is constructed through verbal and non-verbal language in each segment. The construction of social interactions between the performers (host, singer, audience) and sensory input (music, visual, narrative about Koes Plus and Yon Koeswoyo, and expressions of the performers) is a form of nostalgia in the Tribute To Yon Koeswoyo's episode. This nostalgic representation is useful knowledge about the reappearance of nostalgia in music programs on television.]]>
