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"Vol 5, No 2 (2018): Inspirasi, Makna dan Penggalian Ideologi dalam Media Rekam"
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<![CDATA[THE ART OF QUEUE: PEMBENTUKAN STRUKTUR DRAMATIK DALAM FILM DOKUMENTER MENGENAI ANTRI DI BEBERAPA WILAYAH ]]>
<![CDATA[Sumpena, Della Dwinanti]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 5, No 2 (2018): Inspirasi, Makna dan Penggalian Ideologi dalam Media Rekam ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[This film entitled The Art of Queue packs an attitude that is applied to community activities in the form of queuing, which is combined into a whole story in the form of a documentary.Queuing is a unique and interesting activity because there are various expressions from people at the time of the process. Queuing is also strongly influenced by the ever-evolving cultural traditions. And also can not be separated from the shadow of the rules that follow. Although very little sanction is given if it is violated there will be penalties in it, both punishments that arise from other people, and also punishments that arise from within themselves.Activities that are already common in the community environment in general are compiled based on montage, with compilation made randomly. Combining several footage elements with a blend of transitions in them, which makes visual appearance into a whole. There is a blend of graphics, sketches, videos and audio in this film which ultimately forms a dramatic structure.There is a background mind about understanding tolerance, and a system from a line. This queuing system influences the reality of people's lives in Indonesia, in this case Bandung, Jakarta and Yogyakarta are samples of queue activities that occur in their communities.]]>
<![CDATA[MEDIA AUDIOVISUAL SEBAGAI MEDIA KOMUNIKASI DAN KREATIVITAS GENERASI MUDA ]]>
<![CDATA[Suryanto, Hari]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 5, No 2 (2018): Inspirasi, Makna dan Penggalian Ideologi dalam Media Rekam ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[At present the relationship between the younger generation and audio and visual media is getting stronger. The growth of film communities in the regions and the development of the education world of Vocational High School Organizing Record Media majors is evidence that the younger generation is very interested in media and technology, the emergence of the phenomenon of YouTubeers to be strong evidence of how audio and visual media become creative ways of delivering messages. Film-community work and students in several regions use the theme of potential culture, tourism, customs and events that occur in their environment. Unique citizen-based journalism as an interesting way of communicating.]]>
<![CDATA[DARI INSPIRASI HINGGA APRESIASI ]]>
<![CDATA[Hernawan, Hernawan]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 5, No 2 (2018): Inspirasi, Makna dan Penggalian Ideologi dalam Media Rekam ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[Although the birth of film art is the youngest form of art, but in its work has shaken the world by seizing a spectacular position. When film is recognized as a work of art, film also has the potential for communication that can deliver messages uniquely, so that it can be said as a manifestation of the representation of the lives of its people. However, how can the film be appreciated by the audience? Of course the stages of the process must go a long way starting from the inspiration to the embodiment of appreciation. There are several stages in the process, namely the stage of idea finding, development, packaging and formation until tangible to be appreciated. The idea-seeking stage is the stage of absorption of inspiration stimulated by aesthetic experiences. The development phase is to motivate the theme and the problems to be expressed in its realization. After that it is then packaged based on literary rules into a scenario. Furthermore, the interpretation of the manuscript is done to form through several components of creative workers. Compiled based on cinematic elements to the form of film packaging that can be appreciated.]]>
<![CDATA[REPRESENTASI IDEOLOGI MINANGKABAU DALAM FILM SURAU DAN SILEK DITINJAU DARI KAJIAN SEMIOTIKA ]]>
<![CDATA[Fitri, Dynia]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 5, No 2 (2018): Inspirasi, Makna dan Penggalian Ideologi dalam Media Rekam ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[This film is based on phenomena that exist in society and are presented in the form of moving images. Surau and Silek movies are one of the fictional films that elevates the local cultural wisdom of the Minangkabau people, West Sumatera. This Movie tells the story of the culture of education in Surau, which is currently rare to find. This research seeks to reveal how a director represents Minangkabau ideology in the Surau and Silek Movies. The type of research used is qualitative by using Roland Barthes's semiotic method which develops two systems, namely signified and signifier and meanings contained and what they wish to convey. In the film Surau and Silek, religious and cultural values reflected in it have the meaning to change the perception of silat in Minang as the formation of the root character of Islam and can revive the surau.]]>
<![CDATA[KAJIAN PSIKOANALISIS JACQUES LACAN DALAM FILM OPERA JAWA (Analisis Fase The Real Tokoh Ludiro) ]]>
<![CDATA[Zamroni, Muhammad]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 5, No 2 (2018): Inspirasi, Makna dan Penggalian Ideologi dalam Media Rekam ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[This research aims to: (1) analyzing the psicology of Ludiro in the Opera Java film’s at the process to the Real stage according to the psychoanalytic theory of Jacques Lacan through the film forming alements, especially dialogue and the mise en scene; (2) motivating further research into psychoanalysis in the field of television and film. The subject in this study is the Java Opera film produced in 2006 by the SET Film Workshop and directed by Garin Nugroho. The object studied is Ludiro's character through film-forming elements and the psychoanalysis of Jacques Lacan. This research is a qualitative descriptive research with inductive analysis. Primary data of this research are Garin Nugroho's Java Opera film and the psychoanalytic theory of Jacques Lacan and secondary data in the form of thesis, journals, and books supporting the main theory. Data collection techniques were conducted by non-participant observation and literature study. The data that has been obtained is subsequently reduced and presented in the form of scene screencapture, chunks of dialogue and description to explain the discussion.]]>
<![CDATA[GAYA ETNOFOTOGRAFI DON HASMAN ]]>
<![CDATA[Rosdian, Mevi]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 5, No 2 (2018): Inspirasi, Makna dan Penggalian Ideologi dalam Media Rekam ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[This study aims to review the activities of photography done by Don Hasman in Ethnophotography. The combination of Ethnography and Photography, raises a photographic activity that is different from other photography activities. Knowledge of two fields of ethnography and photography is highly demanded to perform ethnofotografi activities. Don Hasman is better known as a photographer, who has never been an anthropologist. How do Don Hasman's style be in ethnotography? it is interesting to be an ethnophotographic study]]>
<![CDATA[FEMINISME DALAM FILM MARLINA SI PEMBUNUH DALAM EMPAT BABAK ]]>
<![CDATA[Febryani, Irma]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 5, No 2 (2018): Inspirasi, Makna dan Penggalian Ideologi dalam Media Rekam ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[The Film tittled Marlina The Murderer In Four Act present a high powered female character named Marlina. The Robber start to loading up her catle and plan to rape her. Marlina defended her self by killing the robbers. Feminist impression deeply felt on Marlina. She does not obey on the command of the man and take the fight. Marlina made a long journey by herself for a justice, although the struggle is futile. With the some of references, the author analyzes all action of feminism conducted by marlina chacacter, also analyzes the action that contain the elements of patriarchy which men do to the women. With this research, will be delivered the things are done by marlina to fight for his right with all the courage. There is a message to be delivered by the film creator through the character of marlina, that is for women to be braveand not shackled by patriarchal culture.]]>
<![CDATA[MAKNA PENGADEGANAN TOKOH FILM SUPERHERO DALAM VISUALISASI TOYS PHOTOGRAPHY (Tinjauan Estetis Karya Edy Hardjo) ]]>
<![CDATA[Karyadi, Yatno]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 5, No 2 (2018): Inspirasi, Makna dan Penggalian Ideologi dalam Media Rekam ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[Toys photography is an art that integrates photography and other hobbies on toys. The models can be toys or dummies of well-known fictional figures like superheros. Artists of toys photography can arrange the toys in such a way that they may seem to act. The result can be photos of toys in action. The actions may contain some meaningful information. The action may tell certain stories related to toys as actors, attitude, expression, blocking, costumes, setting, and lighting. Edy Harjo is a photographer who chooses phenomeal and famous figures to make them look real. The result of this research shows that the meanings of the actions of the toys as superheroes in toys photography by Edy Harjo is different from the original meaning as shown in films. The aesthetic information contained in the actions includes new information, viewers’ assumption, and new meaning of the action. The photos are successful in communicating new ideas to the viewers. Edy Hardjo is also successful in obtaining the essence of this work, entertaining viewers, generating comicality, and new imagination.]]>
<![CDATA[ANALISIS STRUKTUR NARATIF PADA FILM MERRY RIANA MIMPI SEJUTA DOLAR DALAM MEMBANGUN ADEGAN DRAMATIK ]]>
<![CDATA[Haryanto, Dwi]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 5, No 2 (2018): Inspirasi, Makna dan Penggalian Ideologi dalam Media Rekam ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[The present study delved into the narrative structure of Merry Riana’s movie mimpi Sejuta Dolar in emerging dramatic scenes. The reserch objective was to probe the narrative structure in emerging dramatic scenes, based on four dramatic element proposed Elizabeth Lutters, evident in Merry Riana’s movie mimpi Sejuta Dolar. The research method operative was qualitative descriptive in nature, wich was deployed to scrutinized the problems under investigation, in-depth. The data analysis on the research object applied narrative analysis, wich dealt with actualizing dramatization. The theory cushioning the study was The Classical Hollywood Cinema created by David Bordwell, Janet Staiger, and Kristin Thompson, and four dramatic element proposed by Ellizabeth Lutters. The result of data analysis concluded that the dramatic element ebedded in the movie were conflict, suspense, curiosity and surprise. Four of those dramatic eleent were operative in tandem with the narrative element involving spece and time ad well as the objective of main character in making his dreams come true. The analysis employing the Classical Hollywood Cinema or narrative element proposed by David Bordwell, Janet Straiger, and Kristin Thompson resulted in a more complete elabroration of the dramatic scene.]]>
<![CDATA[PANGERAN DRAGWILYA: INSPIRASI KARAKTER PADA FILM BERTEMA DRACULA ]]>
<![CDATA[Parhepi, Pungky]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 5, No 2 (2018): Inspirasi, Makna dan Penggalian Ideologi dalam Media Rekam ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[Bram Stoker is a novelist with gothic and fictional literary genres in the victorian and edwardian era. The first time he discovered the name of Dracul was when he read a book on Romanian political economy history in the past by William Wilkerson under the title An Account of the Principalities of Wallachia and Moldavia. Dracula is a creation that adapt from time to time. From a novel creation, inspire more other works that are also popular. Conquered film industry in the world, flourishing horror film flows that lifted the main role figure called Dracula or vampire.]]>
