Articles
72 Documents
<![CDATA[PENGARUH TOKOH SUPERVILLAIN DALAM FILM SUPERHERO ]]>
<![CDATA[Nury, Mekka Syed]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 4, No 1 (2017): Jejak Animasi ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (18.006 KB)
<![CDATA[Superhero movie is a film that tells the story of a superhero fight against crime. In the story of his struggle, the superhero character often passes many obstacles for his purpose to stop the ambition of the villain in creating chaos in the world. Analysis of supervillain characters in this paper based on the theory of causality, where in the description, the author tries to compare the results that occur if the character supervillain successfully carry out his ambition with the result that occurs if the supervillain character fails to carry out his ambition, The results of the study can also illustrate how the influence of the supervillain character in the superhero film. There are many criminals that we know from superhero movies. Many also memorable figures such as The Joker, or Loki. Among the many superhero characters, there are some figures who have an interesting ambition, where the ambition will make us curious if the ambition of the villain is achieved. Will that ambition bring life in this world for the better, or even worse.]]>
<![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 ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (18.006 KB)
<![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[REGULASI DAN PERKEMBANGAN KEILMUAN TATA SUARA TELEVISI PADA TELEVISI DIGITAL DI INDONESIA ]]>
<![CDATA[Darmawan, Iwan]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 4, No 1 (2017): Jejak Animasi ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (18.006 KB)
<![CDATA[Globalization is changing the world of international regulation of television broadcasting sistem via the ITU (International Telecommunications Universe) forced Indonesia to participate and follow the sistem changes the analog to digital television broadcasting. Familiarization with test broadcasts have been carried by state television through TVRI and followed by other private television stations. Despite opposition from several television stations through the legal migration of digital broadcasting sistems will still be done. Specifications DVB-T2 broadcasting sistem using the mpeg2 format allows the television voice accompanied by surround encoding format that is commonly used in the cinema (film). So the need for additional professional expertise audio department must be conducted in accordance with the development of television broadcasting in digital audio technology.]]>
<![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 ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (18.006 KB)
<![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[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 ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (18.006 KB)
<![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[KETIMPANGAN KUASA DALAM FILM DOKUMENTER MILITER AMERIKA DI AFGANISTAN RESTREPO ]]>
<![CDATA[Pujarama, Widya]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 4, No 1 (2017): Jejak Animasi ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (18.006 KB)
<![CDATA[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.]]>
<![CDATA[MEDIA LOKAL KETAHANAN BUDAYA NASIONAL ]]>
<![CDATA[Herdi, Herdi]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 4, No 1 (2017): Jejak Animasi ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (18.006 KB)
<![CDATA[This paper is an author's study of the role of local television media as one of the national culture resilience. Traditional arts programs are more promoted on local television than television in Jakarta which airs throughout Indonesia. National TV, TVRI is only given four hours for local broadcast. That is, from 3 pm to 7 pm. In fact, the Indonesian nation is now a soft target to always consumptive with foreign cultures and make it as a lifestyle of the younger generation.The Indonesian nation is a country which is rich in ethnic, cultural and linguistic diversity. When asked, what is the characteristic of Indonesian culture? The answer is the existing culture from Sabang to Merauke. That means Indonesian culture is stuck in the roots of the entire island, be it a province, city or district that exists throughout Indonesia. That is, the resilience of national culture resides at each local level.Of the twenty-four hours of television broadcasting in Indonesia. Who diligently explore and even promote traditional art in each region? It is certain that local media and local television are keen to cover, publish and display traditional arts as national culture resilience. Of the twenty-four hours, the ration of the program content, it could be that tv in Jakarta only aired one to two hours containing the local culture as a form of national culture resilience. While in the media and local television it can be ascertained seventy to eighty percent to provide information about local wisdom and culture as a manifestation of maintaining national culture.]]>
<![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 ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (18.006 KB)
<![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[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 ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (18.006 KB)
<![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.]]>
<![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 ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (18.006 KB)
<![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.]]>
