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72 Documents
<![CDATA[TRANSFORMASI NOVEL AYAT-AYAT CINTA 2 KE DALAM FILM ]]>
<![CDATA[Imam Akhmad]]>;
<![CDATA[Ajeng Ayu Milanti]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 7, No 1 (2020): Rekonstruksi Konflik dan Potret Budaya dalam Karya Film serta Industri Pertelevi ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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DOI: 10.26742/layar.v7i1.1745
<![CDATA[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.]]>
<![CDATA[PERKEMBANGAN PROGRAM TV PADA ERA REVOLUSI INDUSTRI ]]>
<![CDATA[Herdi Herdi]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 7, No 1 (2020): Rekonstruksi Konflik dan Potret Budaya dalam Karya Film serta Industri Pertelevi ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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DOI: 10.26742/layar.v7i1.1746
<![CDATA[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.]]>
<![CDATA[PENJELAJAHAN MARWAH GORGA DALAM KARYA FILM DOKUMENTER BUDAYA DARI BUMI BATAK ]]>
<![CDATA[Reynaldo Apriasie Sinaga]]>;
<![CDATA[Enok Wartika]]>;
<![CDATA[Retno Dwimarwati]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 7, No 1 (2020): Rekonstruksi Konflik dan Potret Budaya dalam Karya Film serta Industri Pertelevi ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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DOI: 10.26742/layar.v7i1.1747
<![CDATA[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".]]>
<![CDATA[MAKNA PENGADEGANAN TOKOH FILM SUPERHERO DALAM VISUALISASI TOYS PHOTOGRAPHY (Tinjauan Estetis Karya Edy Hardjo) ]]>
<![CDATA[FX. Yatno Karyadi]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 7, No 1 (2020): Rekonstruksi Konflik dan Potret Budaya dalam Karya Film serta Industri Pertelevi ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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DOI: 10.26742/layar.v7i1.1748
<![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[KETIMPANGAN KUASA DALAM FILM DOKUMENTER MILITER AMERIKA DI AFGANISTAN RESTREPO ]]>
<![CDATA[Widya Pujarama]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 7, No 1 (2020): Rekonstruksi Konflik dan Potret Budaya dalam Karya Film serta Industri Pertelevi ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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DOI: 10.26742/layar.v7i1.1749
<![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[PROSES KREATIF KUNTZ AGUS DALAM ADAPTASI NOVEL MENJADI FILM “SURGA YANG TAK DIRINDUKAN” ]]>
<![CDATA[Nurul Muzdalifah]]>;
<![CDATA[Fajar Aji]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 7, No 1 (2020): Rekonstruksi Konflik dan Potret Budaya dalam Karya Film serta Industri Pertelevi ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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DOI: 10.26742/layar.v7i1.1744
<![CDATA[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.]]>
<![CDATA[KONSTRUKSI REALITAS KONFLIK ISRAEL-PALESTINA DI MEDIA ONLINE REPUBLIKA.CO.ID DAN KOMPAS.COM ]]>
<![CDATA[Mariani Amri]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 8, No 1 (2021): Konstruksi dan Rekonstruksi Potret Kehidupan dalam Beragam Karya Film dan Media ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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DOI: 10.26742/layar.v8i1.1921
<![CDATA[One of the biggest conflicts that has become the center of attention of the world including Indonesia is the conflict between Israel and Palestine. The conflict between Israel and Palestine is the focus of mass media coverage throughout the world including online media in Indonesia, namely Kompas.com and Republika.co.id. Online media has the ability to construct and to frame reality. But in framing reality each media has a different perspective. This study aims to find out how online media framing of Republika.co.id and Kompas.com against the Palestinian and Israeli conflicts. This study uses a qualitative research method with framing analysis by Robert Entman that focuses on problem identification, causal interpretation, moral evaluation, and treatment recommendation. The findings show that Kompas.com and Republika co.id tend to give moral pretexts by highlighting Palestine and Israel in resolving conflicts through diplomatic relations through international conferences and based on international law. In addition, there is the role of the United Nations and world leaders who take action and respond.]]>
<![CDATA[PESAN DALAM FILM BUAH HATI MAMA ]]>
<![CDATA[Suhardi Suhardi]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 8, No 2 (2021): Potret Realitas Sosial dalam Beragam Ekspresi dan Media ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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DOI: 10.26742/layar.v8i2.1916
<![CDATA[At this article, the author attempted to uncover the message that is conveyed in the movie of "Buah Hati Mama". The movie of "Buah Hati Mama" as a medium of mass communication parse the message by using the language of film, mainly through the way the story is supported by other elements, such as; setting, property, actors, effects, and lighting. Message in the film is easy to understand because of the logical setting, support of lighting, the complements of property, dramatic effect, and the actors who animate the character. Film is a powerful medium to convey the message to the audience because it may touch the psychological element of the audience. Crew's expertise in designing cinematic and narrative element is a force to be optimized.]]>
<![CDATA[FEMINISME DALAM FILM MARLINA SI PEMBUNUH DALAM EMPAT BABAK ]]>
<![CDATA[Irma Febryani]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 8, No 1 (2021): Konstruksi dan Rekonstruksi Potret Kehidupan dalam Beragam Karya Film dan Media ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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DOI: 10.26742/layar.v8i1.1922
<![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[ESTETIKA DAN KRITIK SOSIAL DALAM KARYA LIPUTAN “HEGEMONI INDUSTRI KOPI” DI CHANNEL YOUTUBE SUAR NUSANTARA ]]>
<![CDATA[Cory Amelia Lorenza]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 8, No 2 (2021): Potret Realitas Sosial dalam Beragam Ekspresi dan Media ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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DOI: 10.26742/layar.v8i2.1917
<![CDATA[The rise of coffee shops in the city of Bandung has made the coffee industry sector grow rapidly. This industry generates a lot of profits from upstream “farmers” to downstream “entrepreneurs” of coffee shops. However, at the same time, this industry creates quite a big problem, especially in the presentation media and the waste generated from the industry. Suar Nusantara managed to package it in a work of coverage that combines elements of art in it. This study uses a qualitative method with semiotic analysis of Roland Barthes. From the results of the research, it is known that the work covering the "Hegemony of the Coffee Industry" denotatively describes the culture of drinking coffee which has become a lifestyle. In addition to the denotative meaning of coffee culture, connotative meanings were also found in the use of performance art elements as a form of criticism of the consumption of waste from the coffee industry which is described as accumulating and adding new traces of waste accumulation from the emergence of various coffee shops and lifestyles in the era of modernization. There are also tactics in delivering the message, namely by packaging it in a pop way to attract the attention of the millennial audience.]]>
