cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
yosa fiandra
Contact Email
pichaq@telkomuniversity.ac.id
Phone
-
Journal Mail Official
jurnalrekam@gmail.com
Editorial Address
Fakultas Seni Media Rekam, Institut Seni Indonesia Yogyakarta Jalan Parangtritis Km 6,5 Sewon, Bantul, Yogyakarta Tlp. (62) 0274 384107, HP (62) 089649387947 Email: jurnalrekam@gmail.com
Location
Kab. bantul,
Daerah istimewa yogyakarta
INDONESIA
Rekam : Jurnal, Fotografi, Televisi Animasi
Published by Institut Seni Indonesia Yogyakarta
ISSN : 18583997     EISSN : 27453901     DOI : 10.24821
Core Subject : Humanities, Education, Art,
Arts Humanities Education Languange, Linguistic, Communication & Media
Rekam: Jurnal Fotografi, Televisi, Animasi is a scientific journal published by the Asosiasi Dosen Seni Media Rekam Indonesia in collaboration with the Fakultas Seni Media Rekam, Institut Seni Indonesia Yogyakarta. This journal contains articles on research results, conceptual ideas (results of thought), creation, and the results of community service in the fields of photography, television, and animation.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 166 Documents
 1   2   3   4   5 
Objektivikasi Perempuan Tua dalam Fotografi Jurnalistik Analisis Semiotika pada Foto-Foto Pameran Jalan Menuju Media Kreatif #8 Sigit Surahman
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 14, No 1 (2018): April 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v14i1.2136

Abstract

Penelitian ini berfokus pada objektivitas perempuan tua dalam fotografi jurnalistik. Objektivikasi perempuan adalah objek yang menarik karena menjadi sebuah fenomena dalam kehidupan masyarakat. Hampir di setiap media massa, perempuan diposisikan sebagai pelengkap dunia laki-laki. Paras cantik dan keindahan lekuk tubuh perempuan dijadikan sebagai objek seksual. Lain halnya dalam karya fotografi pada pameran “Jalan Menuju Media Kreatif #8”. Dengan analisis deskriptif interpretif berparadigma kritis, penelitian ini bertujuan mendeskripsikan dan menginterpretasikan data yang bersangkutan dengan objektivikasi dan mitos dalam karya fotografi jurnalistik. Variabel penelitian ini adalah fotografi jurnalistik, perempuan, dan komunikasi visual. Terdapat tiga objektivikasi perempuan dalam karya foto jurnalistik ini: pertama, objektivikasi perempuan terletak pada inner beauty; kedua,; perempuan menikmati pekerjaannya sebagai ibu rumah; dan ketiga, perempuan tampil tanpa make up tebal. Mitos kecantikan perempuan terletak pada inner beauty, dalam foto-foto ini disajikan melalui keaslian wajah, profesi, dan ketaatannya. Mitos lain adalah penempatan perempuan yang selalu di wilayah domestik. Dengan demikian, perempuan tidak lagi hanya menghabiskan waktunya untuk berdandan dan bergaya. AbstractObjectification of Elderly Women in Photojournalism: Analysys of Semiotics on the Photographs of ‘Jalan Menuju Media Kreatif #8’. This study focused on elderly women objectivity in photojournalism. The objectification of women is an interesting object because it has become a phenomenon in the society. Almost in every mass media, women are positioned as the complement of men’s worlds. Pretty faces and the beauty of women’s curves are made as sexual objects. There was a difference in the photography exhibition in the event of “Jalan Menuju Media Kreatif #8”. By using interpretative descriptive analysis with critical paradigm, this research aims to describe and to interpret the data related to the objectification and myths in the photography works of photojournalism. The variables of this research are photojournalism, women, and visual communication. There are three objectifications of women in those works of photojournalism; first, objectification of women on their inner beauty; second, women enjoying their work as homemakers; and three, women without thick make-up. The myth of female beauty lies in the inner beauty,therefore in the photographs they were represented through the authenticity of their faces, professions, and obediences. Another myth is the position of women in the domestic sphere. Thus, women did not just spend their time to dress up and to be stylish.
Perancangan Web Series Film Dokumenter sebagai Media Revitalisasi Kopi Jawa di Ngawonggo, Kaliangkrik, Magelang, Jawa Tengah Widhi Nugroho; I Putu Suhada; Latief Rakhman Hakim; Pius Rino Pungkiawan
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 15, No 2 (2019): Oktober 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v15i2.3577

Abstract

ABSTRAKRevitalisasi adalah proses, cara, perbuatan menghidupkan atau menggiatkan kembali. Dalam konteks ini, revitalisasi pertanian mengandung arti sebagai kesadaran untuk menempatkan kembali arti penting sektor pertanian secara proporsional dan kontekstual, dalam arti menyegarkan kembali vitalitas, memberdayakan kemampuan dan meningkatkan kinerja pertanian dalam pembangunan dengan tanpa mengabaikan sektor lainnya. Pemerintah mewujudkan hal ini dengan mendorong sektor pertanian kopi sebagai salah satu penguat daya saing Indonesia di pasar internasional. Berbicara kopi di Indonesia tidak akan pernah bisa lepas dari sejarah kopi di Jawa. Kopi Jawa (java coffee) yang kemudian sering disebut ini merupakan salah satu cikal bakal dikenalnya Indonesia sebagai salah satu negara terbesar penghasil kopi di dunia. Berdasar uraian tersebut, web series dipilih sebagai media ungkap dalam upaya peran serta memajukan para petani kopi menuju kemandirian serta kedaulatan ekonomi menuju desa berdaya melalui potensi masyarakat desa. Metode deskriptif kualitatif digunakan dalam perancangan web series ini. Hal ini dilakukan guna mendapatkan data-data penting secara substantif dalam penyusunan unsur naratif (cerita) berkenaan dengan Kopi Kaliangkrik di Desa Ngawonggo, Kecamatan Kaliangkrik, Kabupaten Magelang, Propinsi Jawa Tengah. Perancangan web series ini bertujuan mewujudkan film dokumenter sebagai salah satu media revitalisasi kopi, terutama kopi jawa. Hasil yang dicapai dalam perancangan web series ini adalah peran serta media sebagai salah satu sarana dalam upaya peningkatan nilai tambah (creating value add) produk pertanian kopi di Indonesia.    Revitalization is the process, method, act of reviving or activating it. In this context, agricultural revitalization implies awareness to place proportional and contextual importance in the agricultural sector, in the sense of refreshing vitality, empowering capabilities and improving agricultural performance in development without ignoring other sectors. The government makes this happen by encouraging the coffee agriculture sector as one of the strengthens of Indonesia's competitiveness in the international market. Talking about coffee in Indonesia can never be separated from the history of coffee in Java. Java coffee (java coffee) which is then often referred to is one of the forerunners of the recognition of Indonesia as one of the largest coffee producing countries in the world. Based on this description, the web series was chosen as a media to express in an effort to participate in advancing coffee farmers towards independence and economic sovereignty towards empowered villages through the potential of rural communities. Qualitative descriptive methods are used in designing this web series. This was done in order to obtain important data substantively in the compilation of narrative elements (stories) regarding Kaliangkrik Coffee in Ngawonggo Village, Kaliangkrik District, Magelang Regency, Central Java Province. The web series design aims to realize documentary films as one of the coffee revitalization media, especially Java coffee. The results achieved in the design of this web series are the role of the media as one of the means in an effort to increase the added value (creating value add) of coffee agricultural products in Indonesia.
Identifikasi Kualitatif Tingkat Kompetisi Bisnis Fotografi dan Alternatif Tindakan untuk Menghadapainya M. Kholid Arif Rozaq
Rekam: Jurnal Fotografi, Televisi, Animasi Rekam 7
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v0i0.374

Abstract

Photo studio is an exciting venture and a growing number who started it. This effort is essentially a business-related field of recording media. These businesses receive services in the field of Photography and Video Recording, it becomes a necessity in documenting the important moments in human life. Regarding of photo studio, one thing that is interesting to examine is the level of competition among business photography. The study tries to offer a concept of Porter's five forces analysis.This study is a descriptive research and qualitative analysis. According to Robert K. Yin (2011), one of the methods that can be used in qualitative research is to conduct indepth interviews (depth interviews) on the object of research.Some of the dominant characteristics of the most prominent are (1) market size, (2) the pace of technological change and innovation, (3) capital requirements and the ease of entry and exit of business, (4) Scope of Competitive rivalry, (5) industry Profitibility and (6) the degree of product differentiation.Verification has been done to conclude that the level of competition in the photography business is high. The implication is that the structure of the industry is "less profitable" for participating companies to gain profit. Therefore, it is necessary to make strategic steps to win the competition. The steps are basically to reduce the level of competition that occurs.
“Aku Yang Galau”: Refleksi Film Masa Kolonial Hingga Awal Kemerdekaan Sazkia Noor Anggraini
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 11, No 2 (2015): Oktober 2015
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v11i2.1295

Abstract

Film tidak hanya mewujudkan image (citraan) tetapi juga imaji (baca: imajinasi) tentang realitas masyarakatnya. Tulisan ini melihat film sebagai teks yang strategis dalam pergolakan dan kegalauan masyarakat pada masa kolonial, lalu pada era kebangkitan nasional hingga awal kemerdekaan. Film-film seperti Terang Boelan, Dasima, hingga Rentjong Atjeh yang dibuat sebelum kemerdekaan, telah menunjukkan antitesis kolonialisme. Film-film tersebut memang muncul ketika negeri ini masih dijajah, namun formula, bentuk, dan penyajiannya dapat dilihat telah berdikari –meski tidak sepenuhnya—dengan memasukkan unsur hibriditas yang disukai masyarakat. Daya tarik dari film pada masa kebangkitan nasional adalah masuknya selera pribumi dalam film yang pada saat itu ditujukan kepada pangsa pasar Eropa. Musik, pakaian, gaya hidup, dan respons dari film ini bukanlah suatu entitas tunggal. Seperti halnya masyarakat yang dilanda “kegalauan identitas” sebelum negeri ini benar-benar merdeka. Film pada masa tersebut menjadi subordinat dari selera masyarakat yang sebelumnya terikat struktur sosial karena pengaruh kolonialisme. Sementara itu, film yang muncul pada masa awal kemerdekaan seperti Harimau Tjampa, Lagi-Lagi Krisis, dan Tamu Agung menunjukkan ekspresi nasionalisme yang besar dengan tetap memasukkan unsur tradisi. Meski telah merdeka, film pada awal masa kemerdekaan ini menemui tantangan lain, yakni dominasi negara di satu sisi dan sikap masyarakat kelas bawah di sisi lain. Maka corak khas dari film-film pada masa itu pun terlihat menggambarkan kegalauan masyarakat yang baru saja merdeka dan sedang mencari identitas.The One Who’s Mixed up”: Reflections of Film from the Colonial Era to the Beginning of Independence. Film was not only creates images but also imagination by pictures of social reality. This article sees film as strategic text in society upheaval and mixed up during colonial era, continued to (kebangkitan nasional) national resurgence era until early independence. Films as Terang Boelan, Dasima, to Rentjong Atjeh which made before independence have been showing colonialism antitheses. This country was on colonized when that film shows, but the formula, form and presentation could be seen independent –tough not entirely— with popular hybrid elements input. Uniquely, films on national resurgence era attracts by local native taste which presented to European viewers. Music, clothes, lifestyle and response of those films was not a single entity, as though the society who has mixed up identity before getting independency. Films on that era are the subordinate of society taste which is before tied to colonial social structure. Meanwhile, early independence films such as Harimau Tjampa, Lagi-Lagi Krisis and Tamu Agung shows strong national expression by still using traditional element. Even after independence, early independence films met another challenge which is state domination and in another hand, the attitude of lower class. So the characteristic of films from colonial to the beginning of independence was representing societies mixed-up who were looking for identity.
Meme dan Visualisasi Kebencian Netizen dalam Kasus Penistaan Agama Abdul Malik
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 13, No 2 (2017): Oktober 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v13i2.1931

Abstract

Kasus dugaan penistaan agama yang dilakukan Basuki Tjahaja Purnama alias Ahok tidak hanya menimbulkan pro dan kontra di masyarakat tetapi juga polemik di dunia maya. Media sosial seperti facebook dipenuhi berbagai wacana kebencian. Banyak netizen memproduksi dan mereproduksi meme untuk memvisualisasikan kebenciannya terhadap pihak-pihak yang terkait dengan kasus tersebut. Tulisan ini mengkaji bagaimana netizen mengekspresikan kebenciannya terhadap pihak-pihak yang terkait dengan kasus dugaan penistaan agama melalui visualisasi meme, dan bagaimana penggambaran netizen terhadap pihak-pihak yang menjadi objek visualisasi dalam bentuk meme tersebut? Hasilnya, berbagai penggambaran netizen kepada parapihak terkait kasus dugaan penistaan agama mengerucut kepada bentuk kebencian dan pembelaan. Netizen yang kontra memvisualisasikan Ahok sebagai penista agama, tidak layak menjadi pemimpin, dan berbagai visualisasi kebencian lain. Kelompok pro Ahok, Megawati Soekarnoputri, Kapolri Jenderal Polisi Tito Karnavian, dan Presiden Jokowi, juga menjadi pihak yang tak luput dari penggambaran negatif penuh kebencian. Sedangkan meme terhadap Buni Yani memberikan penggambaran positif. Ia menjadi sosok yang dibela. Sedangkan netizen pro Ahok memberikan penggambaran berisi pembelaan terhadap Ahok tetapi bertendensi kebencian terhadap kelompok kontra Ahok. Gambaran kebencian juga dilakukan oleh netizen terhadap Buni Yani, kelompok kontra Ahok, dan terutama sekali Habib Rizieq. Cases of alleged blasphemy committed Basuki Tjahaja Purnama  (Ahok) not only raises the pros and cons in the community but also polemic in cyberspace. Social media such as Facebook full of hatred discourse. Many netizens producing and reproducing meme to visualize the hatred of the parties associated with the case. This article examines how netizens expressing hatred against those associated with cases of alleged blasphemy through visualization meme, and how netizens depiction of the parties which is the object of visualization in the form of the meme? As a result, images of netizen to related parties alleged blasphemy case boiled down to the hate and defense. Netizens who cons visualize Ahok as a blasphemer, unfit to be a leader, and a variety of other hatred visualization. Pro Ahok, Megawati Sukarnoputri, police chief Tito Karnavian, and President Jokowi, those who did not escape  the negative portrayal of hatred. While the meme to Buni Yani give positive portrayals. He is a person who defended. Meanwhile, netizens meme pro Ahok provides unbiased depiction of defense against Ahok but the tendency to hate against a group of counter Ahok. Images of hatred is also done by netizens against Buni Yani, the counter Ahok, and particularly  Habib Rizieq.
Konstruksi Keistimewaan Yogyakarta dalam Narasi Film-Film Kompetisi Produksi Dinas Kebudayaan Yogyakarta Tahun 2016-2017 Lilik Kustanto; Rr. Ari Prasetyowati; Ozhara Aisyia
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 15, No 1 (2019): April 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v15i1.3185

Abstract

ABSTRAKSejak Undang-undang Keistimewaan disahkan, Dinas Kebudayaan Daerah Istimewa Yogyakarta (DIY) konsisten menggelar program kompetisi Pendanaan Pembuatan Film. Dalam genre fiksi dan dokumenter, film-film terpilih yang difasilitasi telah menafsirkan dinamika kebudayaan di DIY dengan cukup beragam. Asumsinya, film-film tersebut setidaknya mampu mewujudkan tata nilai budaya masyarakat yang berbasis pada nilai-nilai luhur budaya lokal. Namun demikian, beragamnya perspektif dan pendekatan yang digunakan sineas dalam produksi film kompetisi tentunya membangun realita baru akan narasi keistimewaan Yogyakarta. Penelitian ini akan memeriksa bagaimana konstruksi keistimewaan DIY dibagun lewat narasi film-film pemenang kompetisi pada dua tahun belakangan. Proses penelitian saat ini telah mencapai pada tahapan analisis struktur luar narasi kedua film kompetisi produksi Danais 2016-2017. Adanya ketidaksesuaian struktur narasi film-film dengan gagasan yang digunakan untuk menemukan struktur luar menurut Todorov justru menjadi tantangan besar dalam penelitian ini. Ketidaksesuaian ini sekaligus menjadi suatu penemuan yang penting saat keseluruhan proses analisis terselesaikan Since the Privileges Law has been authorized, the Government Cultural Office of the Special Region of Yogyakarta has been consistently holding a film-making funding program. In the genres of fiction and documentary, the facilitated selected films have climbed the Cultural Revolution in the Special Region of Yogyakarta with quite a variety. The assumption is that those films are at least able to realize the cultural values of the society based on the noble values of the local culture. However, the variety of perspectives and approaches used by filmmakers in the production of competitive films, certainly builds a new reality of the Yogyakarta's distinctive narrative. This research will examine how the construction of the privileges of the Special Region of Yogyakarta is built through the narrative of the winning films of the competition in the past two years. The current research process has reached the stage of analysis of the outside narrative structure of the two 2016-2017 Danais production competition films. According to Todorov, the inconsistency in the narrative structure of the films, with the ideas which are used to find the outward structures, has become a major challenge in this research. This incompatibility is also an important discovery when the entire analysis process is resolved.
SEBUAH KAJIAN KEBAHASAAN Zulisih Maryani
Rekam: Jurnal Fotografi, Televisi, Animasi Rekam 6
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v0i0.365

Abstract

The purpose of this study is to describe (1) the time of show of televisionslogan, (2) the language aspects which forming the television slogan, (3) the meaning of the slogans belong to the television station, (4) the persuasion techniques used in television slogan, (5) the influence of slogan ownerships to their television stations, and (6) to describe the differences between the specifications of local television slogans and national television slogans. Television slogan had been shown in every lag time or between the television programs. Television slogans have certain meanings in accordance with the vision, mission and the types of programs presented in a television station. To make the television slogans some linguistics aspects are applied, such as the use of sound, foreign language, and figure of speech. The persuasion techniques used in the creation of television slogan is then rationalized and identified. Having television slogans is one of the trademarks or identities of a television station, as far as it does not give a significant influence on some television stations that do not have slogans, for example in the number of the viewers. The different specifications of local television slogans and those of national television is that if in the slogan of local television they still apply local dialect or certain vocabulary from the native culture, the national television slogan apply national language or Indonesian language.Keywords: television slogans, meaning, language aspects, persuasion techniques
Penggunaan Metafora Visual Dalam Video Iklan Layanan Masyarakat Kick It Out Winata Faturahman
Rekam: Jurnal Fotografi, Televisi, Animasi Rekam 9
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v0i0.549

Abstract

Football fans riot in Indonesia are common and many lives. Excessive negative and tends to be one of the causes frequent riots between football fans in Indonesia. Anarchism is likely to lead to vandalism attitude is very detrimental to yourself or others. Lack of sportsmanship spirit football fans in Indonesia are still frequently encountered, it is necessary for an awareness to change it all. Public service ads are ads that criticize noncommercial purposes, satirical, or invited to do the positive nature of social problems. A public service announcements that are invited will be more easily accepted by the community by giving exposure to social phenomena. Metaphor is a delicate metaphor used to describe something as non-verbal. An advertisement that contains a message and visualized through metaphor will be more impressed solicitation and not patronize them head on. Metaphorical approach used to convey a message, video public service announcements Kick It Out will convey a subtle message.Keywords: supporter, advertising, metaphor, directing
Aspek Perlindungan Anak dalam Iklan Televisi: Kajian Terhadap Iklan Televisi Yang Melanggar Kode Etik Periklanan Novi Mayasari
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 10, No 1 (2014): April 2014
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v10i1.3247

Abstract

AbstrakIklan telah menjadi salah satu bagian dalam kehidupan sehari-hari masyarakat. Setiap hari,baik secara sadar maupun tidak kita selalu terpapar oleh iklan. Ketika menonton acara televisifavorit kita, tiba-tiba acara terhenti oleh iklan, ketika kita membaca koran, majalah atau bahkanketika kita berangkat kerja kita selalu bertemu dengan iklan entah itu dalam bentuk poster,spanduk, baliho maupun iklan di media cetak. Banyaknya iklan yang beredar di masyarakattentu saja memberikan pengaruh yang besar pada para konsumen mulai dari pengaruh yangberupa pembelian maupun pengaruh sederhana seperti meniru iklan. Besarnya pengaruh iklantersebut tentu saja harus diimbangi dengan sikap bijaksana terutama terkait dengan pengaruhiklan terhadap anak-anak. Sayangnya saat ini masih banyak iklan televisi yang melanggaretika pariwara Indonesia terkait dengan aspek perlindungan anak. Di antaranya adalah Iklantelevisi Permen Jagoan Neon versi “Mountain Bike”, Iklan Mie Sedap versi “Kerja Bakti”,Iklan Gerry Chocolatos versi “Masuk ke Dalam kulkas” serta iklan mie sedap versi “rasa ayamspesial”. Penelitian ini merupakan jenis penelitian kualitatif, yaitu jenis penelitian yang lebihmenekankan analisisnya pada proses penyimpulan deduktif dan induktif serta pada analisisterhadap dinamika hubungan antarfenomena yang diamati, dengan menggunakan logikailmiah. Data yang peneliti peroleh baik melalui penelitian kepustakaan maupun penelitianlapangan akan di analisis secara deskriptif-kualitatif. Penelitian deskriptif melakukan analisishanya sampai taraf deskripsi, yaitu menganalisis dan menyajikan fakta secara sistematiksehingga dapat lebih mudah dipahami dan disimpulkan. Aspects of the Protection of Children in Television Commercials: Study on the BreakingTelevision Advertising Advertising Code. Advertising has become one part in people’s dailylives. Every day, either consciously or not we are always exposed to the ads. When watchinga favorite television show us, suddenly interrupted by advertising the event, when we readthe newspapers, magazines or even when we go to work we are always met with the ad eitherin the form of posters, banners, billboards and print ads. The number of ads that circulate inthe community of course have a considerable influence on the consumer from the impact orinfluence the purchase of a simple form such as imitating the ad. The magnitude of the effect ofsuch advertising must of course be balanced with prudence, especially relating to the influenceof advertising on children. Unfortunately today there are many television ads that violate ethicsIndonesia advertisement related to aspects of child protection. Among these are television adsNeon Candy Stud version of “Mountain Bike”, Ad Noodle Savoury version of “Work Activity”,Ad Gerry Chocolatos version of “Go to In the fridge” and savory noodles ad version “specialchicken flavor”. This study is a qualitative research, which is a type of research that is moreemphasizes the analysis of deductive and inductive inference process and the analysis of thedynamics of the relationship antarfenomena observed, using scientific logic. Researchers dataobtained through library research and field research will be descriptive - qualitative analysis.Descriptive study analyzing only to some descriptions, which analyze and present the facts ina systematic way so that it can be easily understood and concluded.
Estetika Kassian Cephas, Fotografer Jawa yang Mendunia Pamungkas Wahyu Setiyanto
Rekam: Jurnal Fotografi, Televisi, Animasi Rekam 8
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v0i0.388

Abstract

Looking at a photo means a provement to past time’s existence. Aphoto is similar with an arrow which is ready to be launched from the pasttime to present’s era. Hence, through a photo we do have an experience acronological time. Whereas a photo becomes a mediation to experience thepast time and to experience a cronological flow which is relate the past andthe present time. With that understanding I want to talk about the past time’sphotographer. He is a Javanese who is able to bring and to introduce themodernity that time to the citizen through himself and his works in photoforms. He is Kassian Cephas, the first Javanese who knew a camera. Thus, heis known as the father of Indonesia’s photography.

Page 1 of 17 | Total Record : 166

 1   2   3   4   5 

Filter by Year

2014 2023


Reset
Filter By Issues
All Issue Vol 19, No 1 (2023): April 2023 Vol 19, No 2 (2023): Rekam: Jurnal Fotografi, Televisi, Animasi Vol 18, No 2 (2022): Oktober 2022 Vol 18, No 1 (2022): April 2022 Vol 17, No 2 (2021): Oktober 2021 Vol 17, No 1 (2021): April 2021 Vol 16, No 2 (2020): Oktober 2020 Vol 16, No 1 (2020): April 2020 Vol 15, No 2 (2019): Oktober 2019 Vol 15, No 1 (2019): April 2019 Vol 14, No 2 (2018): Oktober 2018 Vol 14, No 1 (2018): April 2018 Vol 13, No 2 (2017): Oktober 2017 Vol 13, No 1 (2017): April 2017 Vol 12, No 2 (2016): Oktober 2016 Vol 12, No 1 (2016): April 2016 Vol 11, No 2 (2015): Oktober 2015 Vol 11, No 1 (2015): April 2015 Vol 10, No 2 (2014): Oktober 2014 Vol 10, No 1 (2014): April 2014 Rekam 9 Rekam 8 Rekam 7 Rekam 6 More Issue