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Imam Akhmad
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INDONESIA
LAYAR: Jurnal Ilmiah Seni Media Rekam
Published by Institut Seni Budaya Indonesia Bandung
ISSN : 24077992     EISSN : 28285379     DOI : http://dx.doi.org/10.26742/layar
Core Subject : Education, Art,
Arts Languange, Linguistic, Communication & Media
LAYAR merupakan jurnal ilmiah pada bidang seni media rekam. Terbit dua kali setahun pada bulan Juni dan Desember. Jurnal ini terfokus ke dalam tulisan yang diangkat dari hasil kajian dan penelitian di bidang media rekam: 1) Film. 2) Televisi. 3) Fotografi. 4) Animasi. 5) Broadcast.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 6 Documents
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Search results for , issue "Vol 7, No 1 (2020): Rekonstruksi Konflik dan Potret Budaya dalam Karya Film serta Industri Pertelevi" : 6 Documents clear
TRANSFORMASI NOVEL AYAT-AYAT CINTA 2 KE DALAM FILM Imam Akhmad; Ajeng Ayu Milanti
LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 7, No 1 (2020): Rekonstruksi Konflik dan Potret Budaya dalam Karya Film serta Industri Pertelevi
Publisher : Institut Seni Budaya Indonesia Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/layar.v7i1.1745

Abstract

ABSTRACTAre for the moment are ekranisasi or over its role in taking the spacecraft than one work to other the works of art of has largely initiated. One of a movies that is the result of the process the ekranisasi is a Ayat-Ayat Cinta 2 director Guntur soedhardjanto. The film is very well welcomed by, no less important than her first film managed to get the audience as many as 3 million. Because the movie Ayat-Ayat Cinta 2 is a film managed to attract community , writer interested analyze similar and different from the novel by the movie. To research is used intertexs analysis. The results of the analysis stated that of novels and found improvised film director Guntur soehardjanto transformation of figures in the form of a side and some narrowing of and transformation of the story line. It was done director because in short duration available in the movie. But, improvisation is not change in the main characters and storylines significantly.
PERKEMBANGAN PROGRAM TV PADA ERA REVOLUSI INDUSTRI Herdi Herdi
LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 7, No 1 (2020): Rekonstruksi Konflik dan Potret Budaya dalam Karya Film serta Industri Pertelevi
Publisher : Institut Seni Budaya Indonesia Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/layar.v7i1.1746

Abstract

This paper analyzes the form of TV programs in the 4.0 era. This research is a qualitative research that aims to describe the development of television programs from time to time. Research data is generated from library research and virtual observations by paying attention to TV programs recorded on Youtube. The Industrial Revolution made changes to Television Programming from the 1970s to the 1980s. In the past, there was a change in technology from black and white television to color television. There were not many choices of television programs, because at that time there were only those TV programs that people could watch and enjoy. However, now in the era of the industrial revolution 4.0. Television program creators are generally stuck with the convenience of an integrated machine with an internet network (internet of things) without heeding Intellectual Property Rights. This is also what is allegedly causing a decline in the creativity of television program creators in the industrial era 4.0. If a solution is not immediately found, the popularity of TV programs is predicted to be killed by the popularity of creative content on social media networks.
PENJELAJAHAN MARWAH GORGA DALAM KARYA FILM DOKUMENTER BUDAYA DARI BUMI BATAK Reynaldo Apriasie Sinaga; Enok Wartika; Retno Dwimarwati
LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 7, No 1 (2020): Rekonstruksi Konflik dan Potret Budaya dalam Karya Film serta Industri Pertelevi
Publisher : Institut Seni Budaya Indonesia Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/layar.v7i1.1747

Abstract

Documentary film is a visualization of facts and reality. The film is packaged based on a team's research either done in depth or just a surface study. However, the contribution of field data is one of the strengthens that proves the quality of a documentary film. Documentary film "Marwah Gorga from the Batak land", is one of the movies based on in-depth research. The problem raised in this research is, how to study and visualize the aesthetic of gorga ornament, its meaning and correlation with homeowners on Samosir Island. The research method used is qualitative. The results show that there is a strong correlation between ornament and homeowner, and the spirit of gorga has a symbolic meaning that is respected by the people on Samosir Island. The charm and symbolic meaning of Gorga ornament can be visualized beautifully in the documentary film "Marwah Gorga from the Batak Land".
MAKNA PENGADEGANAN TOKOH FILM SUPERHERO DALAM VISUALISASI TOYS PHOTOGRAPHY (Tinjauan Estetis Karya Edy Hardjo) FX. Yatno Karyadi
LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 7, No 1 (2020): Rekonstruksi Konflik dan Potret Budaya dalam Karya Film serta Industri Pertelevi
Publisher : Institut Seni Budaya Indonesia Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/layar.v7i1.1748

Abstract

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.
KETIMPANGAN KUASA DALAM FILM DOKUMENTER MILITER AMERIKA DI AFGANISTAN RESTREPO Widya Pujarama
LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 7, No 1 (2020): Rekonstruksi Konflik dan Potret Budaya dalam Karya Film serta Industri Pertelevi
Publisher : Institut Seni Budaya Indonesia Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/layar.v7i1.1749

Abstract

Media provides the society with limited perspective of realites, making the world phenomenon never be exact same with the media depiction. In most of the situated war, depicted on media, the war has become more about descriptions rather than a causal explanation, as a result, the war phenomenon is simplified. The simplification highlights the humanization of individuals depicted from the filmmaker’s culture, and distanced individuals from other cultures. The one sided portrayal tend to mix military world with emotional side of soldiers’ life called militainment coined by Stahl (2010). One of the American film titled Restrepo (2009) accentuates the life of American soldiers’ in one of the most dangerous outposts during the war against the Taliban in Afghanistan. The war documentary film has become a product of information and entertainment-blurred genre as a result of embedding journalism. This essay will use textual analysis methodologies of McKee’s (2003:92), in particular, to highlight (1) representation of US domestic patriotism in relation to Bush administration’s invasion ideology of Afghanistan war in 2001-present; and (2) the racist depictions of Afghani locals in Restrepo documentary. It is concluded that positive portrayal of soldiers’ life in the war zone and asymmetric relationship of American soldiers and the Afghans intensified the US status quo as superpower country towards the Afghans as the Orient.
PROSES KREATIF KUNTZ AGUS DALAM ADAPTASI NOVEL MENJADI FILM “SURGA YANG TAK DIRINDUKAN” Nurul Muzdalifah; Fajar Aji
LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 7, No 1 (2020): Rekonstruksi Konflik dan Potret Budaya dalam Karya Film serta Industri Pertelevi
Publisher : Institut Seni Budaya Indonesia Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/layar.v7i1.1744

Abstract

ABSTRACTSurga Yang Tak Dirindukan is one of the film adaptation of the novel Surga Yang Tak Dirindukan by Asma Nadia. The film is produced by MD Entertainment in 2015 and directed by Kuntz Agus. Adaptation of two medias between the novel into a film resulted in changes in Surga Yang Tak Dirindukan film. The director could not include all the stories in the novel, so it needs ecranisation in the film, including changes, downsizing, additions, and variation of change. More dominant ecranisation happened in the aspect of the plot, story, setting, also characters and characterizations in the film adaptation. The theory used by researcher are ecranisation and creative process as the main theory, while aesthetics and subjectivity the director used as the second theory. This study focuses on the creative process undertaken by Kuntz Agus while do the ecranisation process, because the process requires consideration in many ways. Descriptive qualitative research method is used by researcher to get the result of research in the form of Surga Yang Tak Dirindukan novel and film’s ecranisation as well as the creative process by Kuntz Agus. Based on these results, researcher concluded that the creative process by Kuntz Agus more focused on the dramatic aspect and logic in building a story of the film of Surga Yang Tak Dirindukan.

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