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<![CDATA[ANALISA STRUKTUR DRAMATIK DALAM FILM “LION” MENGGUNAKAN KONSEP PIRAMIDA FREYTAG DAN SKEMA HUDSON ]]>
<![CDATA[Pratama, Regiansyah]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 4, No 2 (2017): Struktur Visual ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[The dramatic structure is a unified event consisting of a section containing plot elements. This series is structured and mutually preserves the story continuity from beginning to end. Structure is a unity of parts which, if any part of it is altered or damaged, will change or corrupt the whole structure. In a movie called Lion is told a 5-year-old boy named Saroo who got lost when accidentally carried by a train that took him to Calcutta, India. Movies that tell a story must have dramatic struktru, therefore film also has the essence. One example in the main character Lion film does not easily solve the problem but he has to fight first to get to the final destination. Such is the dramatic structure, bringing the audience into the soul of the main character, in order to feel and follow the story from beginning to end.]]>
<![CDATA[GAYA PENYUTRADARAAN FILM TUGAS AKHIR MAHASISWA JURUSAN FILM DAN TELEVISI ]]>
<![CDATA[Rembulan, Dara Bunga]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 4, No 2 (2017): Struktur Visual ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[Student creativity in film making as a final project is increasing, various forms of narrative and cinematographic techniques are applied in the films made. Film is the easiest medium to disseminate any form of information. At the academic level, especially the Institut Seni Budaya Indonesia Bandung, documentary film becomes the final task of the academic learning stage. Documentary films are packaged in an interesting and have a moral message conveyed to the public. The number of graduates of film and television programs up to now amounts to 106 people with varying work character one of them is visible from the creation they created. This topic is very important to be appointed to know the characteristics of the director of the visual results in the work of Final Documentary Film Works by students of the Film and Television majors of the Indonesia Cultural Art Institut of Bandung (Institut Seni Kebudayaan Indonesia Bandung).This research uses qualitative research method to analyze the object under study, data obtained from literature study, observation of work and interview. Technical data analysis is done based on auteur theory, where the film can reflect the personality and creativity of a director. The results of this study show the variation of the directing style that influences the characters created in the final documentary work. Finallly this research can be used as a learning development and the development of innovative work creation with a variety of directorial styles.]]>
<![CDATA[SINEMA VIRTUAL REALITY: MENGGUGAT TATA BAHASA SINEMA ]]>
<![CDATA[Zamroni, Muhammad]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 4, No 2 (2017): Struktur Visual ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[Virtual reality cinema is a film with the latest technology which allows viewer “present” in film both consciously and subconsciously. 360 degree vision to the reality that offered by virtual reality technology makes viewers can choose their angle, size, and visual movement which are desired within enjoying the story of film. This study discuss about influence of virtual reality cinema on the possibility grammar of cinema along with aesthetic dimension it produce in the film. This study uses analytic approach against the phenomenon of the emergence of virtual reality cinema, which is considered to be able to change aesthetic of film dimension and grammar of film (cinematography) as an important element in the visualization of a film.Conclusions obtained in this study is changes in aesthetic dimensions and grammar of film that has been understood, which is caused by the presence of virtual reality cinema. Cinematography as a grammar of film is expected to adapt to technological developments or still gives limit as an entity which different and not dependent on technological development.]]>
<![CDATA[REPRESENTASI KEHIDUPAN WARIA DI YOGYAKARTA (Melalui Foto Esai “Waria Setara Warga” Pada National Geographic Indonesia Edisi Januari 2017) ]]>
<![CDATA[Ferrina, Allisa]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 4, No 2 (2017): Struktur Visual ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[This research talked about representation of waria life in Yogyakarta through essay photos by National Geographic Indonesia January 2017 edition. Object of this research is 5 essay photos in “Waria Setara Warga”, by Rachma Safitri as the photographer. The superiority of NGI as Magazine theres in the character of the photos. Photo of “Waria Setara Warga” representation about transgender living in Yogyakarta whom could live hand to hand and side by side with the society. NGI use photos as mediation of representation living in Yogyakarta. Issue about gender conclude by NGI as a global campaign from United State. So, in addition being a mediation for representation, NGI also make photography as a mediation for global campaign. Researcher wants to know how photography work as a mediation for representation the global campaign about gender issues. The result of this research is a photo of essay "Waria Setara Warga" is a transgender advocacy media.]]>
<![CDATA[NYALA API ASMARA HADI ]]>
<![CDATA[Sutiana, Agus]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 4, No 2 (2017): Struktur Visual ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[Nyala Api Asmara Hadi is a documentary film that raised about the life history and gait of Asmara Hadi as a multitalented person, where he was active in the struggle movement, became a writer and also a journalist. Asmara Hadi is also known as the son of Bung Karno's ideology, he is also known as someone who proposes the name Panca Sila. Asmara Hadi's life journey was lifted with a portrait of documentary style and documentary nostalgia with the main source, his own child and some of his comrades. It is intended that the disclosure of Asmara Hadi is based on an objective and correct view.]]>
<![CDATA[PENGARUH ORDE BARU TERHADAP NARASI FILM HIBURAN DAN KEPENONTONAN DI INDONESIA SELAMA TAHUN 2016 ]]>
<![CDATA[Banjaransari, Tunggul]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 4, No 2 (2017): Struktur Visual ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[It has been 18 years The New Order didn’t exist anymore. But they still have a lot of impact on film and the audience. That impact happens on film beraucrat including distribution film and association of film worker, until method of film production including content story and the context. There are many changes on the influences of New Order. The influences isn’t always happen on verbal content like heroism film, collosal film, and political film, but also sneaking into drama film, teenager film, and also comedy film which is that film didn’t tell anything about political content, or the film that considered purely entertainment or commercial film. That’s become point of view of this article, using material content of drama, comedy, and teenager film to find the context of the New Order influences. There is some effort to planting New Order mind into the generation after 1998, while this regime treated and reconstructed some historical data according to their own truth, muffled freedom of expression on art (incuding film), and anti criticized.]]>
<![CDATA[REPRESENTASI KELAS SOSIAL DALAM RUANG TEKS JALANAN ]]>
<![CDATA[Rosa, Dien Vidia]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 4, No 2 (2017): Struktur Visual ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[The streets could be read as space all at once medium which full of social class representation. Through representation, text were not only seen as signs that had polisemic meaning but it was more as power contestation space where signs dominated each other. Media and text representation could appeared everywhere even in the hidden or careless rooms as toilets. This article which was a literature study discussed text that attached on vehicles such as cars and trucks. Each text showed the signs relation game in different social class and space which however met in the streets. In the space of streets, power context refered to subject that disseminated text and formed representation discourse.]]>
<![CDATA[KONTRIBUSI RATING NIELSEN AUDIENCE MEASUREMENT INDONESIA (Pada Sinetron Tukang Bubur Naik Haji The Series di RCTI) ]]>
<![CDATA[Haryanto, Dwi]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 4, No 2 (2017): Struktur Visual ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[Tukang Bubur Naik Haji is a television series on RCTI carrying religious and comedy genres. The popularity and continuation of Tukang Bubur Naik Haji: The Series since its beginning of the show on May 28, 2012 has ignited the issue that rating also contributes in maintaining the series continuation. The research is conducted to discuss about the contribution of rating based on Nielsen Audience Measurement Indonesia to thecontinuation of Tukang Bubur Naik Haji: The Series. The purpose of the research is to know the contribution given the research media to the success of a television show program as well as given the rating by Nielsen Audience Measurement Indonesia to the continuation of Tukang Bubur Naik Haji: The Series on RCTI. The result of the research is that the rating based on Nielsen Audience Measurement Indonesia plays an important role in the continuation of Tukang Bubur Naik Haji: The Series because in television industry business, rating is the currency used to sell the slot of shows as how Tukang Bubur Naik Haji offers to the advertising.]]>
<![CDATA[KONSTRUKSI POLA VISUAL DALAM PEMBANGUNAN IMPRESI KOMEDI MELALUI TEKNIK EDITING SINETRON PREMAN PENSIUN 3 (Studi Kasus: Episode 7, 9, 11 dan 18) ]]>
<![CDATA[Aji, Fajar]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 4, No 2 (2017): Struktur Visual ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[Sinetron as well as films are formed from narrative and cinematic elements. Editing is one of the cinematic elements which can conveys the impression of atmosphere in the film throught constructed by visual. Sinetron Preman Pensiun 3 with the comedy genre trying to convey a paralleled scene. Based on the phenomenon, this research aims is conducted to find out the development of comedy impression through editing techniques. The result shows that development of comedic impression is capable constructed through editing techniques. Editing aspect provides information in detail and the impression of humor or funny atmosphere, while the humor theory illustrated the universal characteristics that can provide a comedy charges.]]>
<![CDATA[DESAIN PEMBUATAN FILM DOKUMENTER KEHIDUPAN SANTRI ]]>
<![CDATA[Rizkiani, Meti Agni]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 4, No 2 (2017): Struktur Visual ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[This paper describes how the life of santri and among its activities, include: study, self-study, cooking, friendly with nature, social interaction, and entrepreneurship. The life of this santri has its own charms, especially through ethnographic methods, this paper is studied by understanding the point of view of life from the point of view of the natives. With many advantages, the life of this santri becomes something interesting to be a documentary movie. Moreover, the object under study is a boarding school that still holds the values of tradition.]]>
