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Capture : Jurnal Seni Media Rekam
ISSN : 2086308X     EISSN : 2338428X     DOI : -
Core Subject : Humanities, Art,
The main focus of the journal will be to promote a global discussion forum and an interdisciplinary exchange among scholars exploring the topic of TV program, film or cinematography, animation, and photography from different perspectives.
Arjuna Subject : -
Articles 8 Documents
Search results for , issue " Vol 10, No 1 (2018)" : 8 Documents clear
STILISTIK REALISME GENRE HOROR SINEMA INDONESIA PASCA REFORMASI: Studi Kasus Film Keramat Aji, Fajar
Capture : Jurnal Seni Media Rekam Vol 10, No 1 (2018)
Publisher : Seni Media Rekam Fakultas Seni dan Desain ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (518.3 KB) | DOI: 10.33153/capture.v10i1.2182

Abstract

Artikel ini bertujuan untuk mendeskripsikan eksplorasi stilistik film Keramat. Form dan style dijadikan titik awal untuk mengetahui eksplorasi stilistik film. Informasi data diidentifikasi berdasarkan kesamaan dengan gerakan sinema yang mempengaruhinya. Subjektivitas sebagai pendekatan pada proses deskriptif dengan melakukan analisis interpretatif. Hasil penelitian menunjukkan bahwa Cinema Verite dan Neorealisme Italia mempengaruhi formula khas stilistik dalam film Keramat, terutama mendukung karakteristik genre horor meliputi: menciptakan efek menegangkan, menakutkan, dan teror, serta mewujudkan konsep realisme peristiwa yang difilmkanKata kunci: film, Keramat, form dan style, stilistik, dan realisme 
FILM FIKSI TUAN X: Pendekatan Gestur sebagai Penanda Psikologi Tokoh Utama Angelina, Ayu Mella; Abidin, Zainal; Karyadi, FX. Yatno
Capture : Jurnal Seni Media Rekam Vol 10, No 1 (2018)
Publisher : Seni Media Rekam Fakultas Seni dan Desain ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (551.255 KB) | DOI: 10.33153/capture.v10i1.2186

Abstract

The film Tuan X is a fictional film with the theme of psychology. This film is very closely related to one's personal life. Films that tell about the condition of someone who is experiencing severe frustration so that his psychological was disturbed and it made him did things that are not normal. The production of Tuan X film is based on the concepts of directing, videography, editing, and sound that have been set before. From the film that was successfully created, it appears that gestures can be used to show a psychological picture of a character. The right gestures can be supported by repetition of movements so that it strengthens a character of the figure, so that the intensity of the tension / thriller of the story in reaching a climax is in accordance to the genre raised. In addition, the gestures succeeded in becoming a signifier of the psychological reality of the character.Keywords: Film, Tuan X, psychology, signifier, and gesture
RUMAH GADANG DALAM FILM DOKUMENTER PERKAMPUNGAN ADAT NAGARI SIJUNJUNG Fahriansyah, Elfit; Sasongko, Hery; Krishna, Adi
Capture : Jurnal Seni Media Rekam Vol 10, No 1 (2018)
Publisher : Seni Media Rekam Fakultas Seni dan Desain ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1215.019 KB) | DOI: 10.33153/capture.v10i1.2244

Abstract

Film dokumenter ini berjudul Perkampungan Adat Nagari Sijunjung. Film ini berusaha menunjukkan pandangan tentang kondisi rumah gadang saat sekarang ini, mendeskripsikan salah satu kawasan yang masih mempertahankan rumah gadang menurut fungsi aslinya, yaitu fungsi keseharian dan fungsi adat. Fungsi keseharian rumah gadang yaitu sebagai wadah yang menampung kegiatan sehari-hari penghuninya, sebagai lazimnya rumah tinggal bagi masyarakat umumnya. Sedangkan sebagai fungsi adat sebuah rumah gadang merupakan rumah utama yang dimiliki oleh satu keluarga yang tergabung dalam suatu kaum tertentu. Sebagai rumah utama, rumah gadang merupakan tempat melangsungkan acara-acara adat dan acara penting lainnya dari keluarga pemilik rumah atau saudara sesuku. Gaya dokumenter expository yang digunakan dalam karya film ini. Expository merupakan gaya yang menggunakan narator sebagai penutur tunggal. Kata kunci: Film Perkampungan Adat Nagari Sijunjung, Rumah Gadang, Gaya Dokumenter Expository 
APROPRIASI METAFORA FILM IKLAN MANDIRI SECURITAS topo, Handriyo; Lastoro, GR Lono; Gustami, SP
Capture : Jurnal Seni Media Rekam Vol 10, No 1 (2018)
Publisher : Seni Media Rekam Fakultas Seni dan Desain ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v10i1.2181

Abstract

Abstrak            Film Iklan Mandiri Securitas  merupakan film iklan mengunakan  strategi retorika komunikasi visual empu keris sebagai pendekatan kreatifnya. Tema sebagai ide dasar penciptaaan film iklan Mandiri Securitas  berusaha memahamkan tentang usaha kerja keras untuk menghasilkan detil dari kerja empu untuk menghasilkan bilah keris, dikreasikan dengan retorika metaforis untuk merepresentasikan citra Mandiri Securitas  dalam melayani konsumennya mampu bekerja dengan baik atau tidak dengan melihat masing-masing peran dari domain retorika perkerisan dan retorika perbankan dikeduanya. Tujuan penelitian ini adalah untuk mengetahui secara kritis retorika metaforis dua domain itu dengan melihat masing-masing peran dari elemen-elemen pembentuk film iklan Mandiri Securitas. Metode penelitian ini mengggunakan deskriptif kualitatif dekontruksi dengan teknik “apropriasi minus one” melalui pembongkaran domain perbankan dan domain perkerisan untuk melihat posisi retorika metaforis filmis iklan Mandiri Securitas . Film iklan memuat elemen-elemen penyusunnya seperti visual, audio, efek “animated” serta “voice over” yang mendukung terbentuknya metafora iklan. Melalui apropriasi “minus one” dapat ditemukan posisi retorika visual domain “perkerisan” mampu membawakan pesan dari produk yang diinginkan oleh Mandiri Securitas , tetapi jika “animated text” dan “voice over” dihilangkan, maka tidak nampak hubungan retoris di keduanya.  Kata Kunci: retorika, metafora, film iklan, perbankan, perkerisan Abstract  Mandiri Securitas Advertising Film is an advertising film using the rhetoric strategy of visual communication of the kris masters as a creative approach. The theme as a basic idea for the creation of the Mandiri Securitas advertisement film seeks to understand the effort of working hard to produce details from the master's work to produce a keris blade, created with metaphorical rhetoric to represent the image of Mandiri Securitas in serving its customers whether they can work well or not by looking at each the role of the political rhetoric domain and banking rhetoric in both. The purpose of this study was to critically identify the two domain metaphorical rhetoric by looking at each role of the constituent elements of the Mandiri Securitas  advertising film. This research method uses descriptive qualitative deconstruction by "appropriation minus one" technique through the dismantling of the banking domain and the domain of perkerisan to see the position of the filmmatic metaphorical rhetoric of the Mandiri Securitas  advertisement. Advertising films contain constituent elements such as visual, audio, animated effects and voice over that support the formation of advertising metaphors. Through appropriation "minus one" can be found the position of visual rhetoric of the keris domain is able to deliver messages from products desired by Mandiri Securitas , but if "animated text" and "voice over" are removed, there is no rhetorical relationship in both. Keyword: rhetoric, metaphora, advertising film, banking, kris
STRATEGI KREATIF BW PURBA NEGARA DALAM CASTING DAN DIRECTING TOKOH MBAH SRI PADA FILM ZIARAH Akhlaq, Muna Rif’atil; Setiawati, Sri Wastiwi
Capture : Jurnal Seni Media Rekam Vol 10, No 1 (2018)
Publisher : Seni Media Rekam Fakultas Seni dan Desain ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (694.62 KB) | DOI: 10.33153/capture.v10i1.2187

Abstract

This study examines BW Purba Negara's creative strategy in selecting and directing Mbah Sri characters in the Ziarah film. The research method uses qualitative descriptive. The results showed, creative strategies in casting are done by going to villages looking for people who are suitable for the 3D characters of Mbah Sri, based on physical suitability and the similarity of the story with the personal life of the actor Mbah Sri. In directing, creative strategies are done by reciting repeatedly and imitated, explaining explosively to be embedded in the memory of the character mbah Sri, repeated repetition, and imitating a long dialogue
FILM BIOPIK DAN POLITIK IDENTITAS: Kontestasi Keragaman Ideologi dalam Teks Sinema Indonesia Pasca Rezim Soeharto Haryanto, Dwi
Capture : Jurnal Seni Media Rekam Vol 10, No 1 (2018)
Publisher : Seni Media Rekam Fakultas Seni dan Desain ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (323.406 KB) | DOI: 10.33153/capture.v10i1.2196

Abstract

This article examines the textuality relationship between the historical facts of biography and the narrative structure of films that present figures who during the New Order regime were alienated from Indonesian historiography. Some films such as GIE, Soegija, Sang Kiai, Soekarno, and Jenderal Sudirman were able to deconstruct the meaning of historical films produced by the New Order regime which was dominated by Suharto's image. The emergence of biopic films that narrate characters with plurality of identity are deconstructive characters and reflect the antithesis of filmmakers on national film products in the era of Soeharto regime. In the New Order era, historical epic films were identical to the hegemony of the military struggle which reduced the narrative of civil society, such as kiai and santri and other minority groups. Actually, in the context of historical facts they also had great contribution in the era of nation formation through ethnic nationalism and civic nationalism. The Indonesianism discourse reflected in the hidden meanings of biopic films studied represent the plurality of ideologies and identity political formation in popular culture products.
ANALISIS GENERASI X DALAM FILM TURAH Patawari, Muhammad Yunus
Capture : Jurnal Seni Media Rekam Vol 10, No 1 (2018)
Publisher : Seni Media Rekam Fakultas Seni dan Desain ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (629.211 KB) | DOI: 10.33153/capture.v10i1.2197

Abstract

The film is one of the media that can describe a generation of speech in an era. The stuttering of the older generation is often described as conservative-minded actors facing the changing times. On the other hand, the uncertainty of the young generation facing their own times is loaded with inherited values which are always in conflict with the principles of modern life. This paper tries to analyze how these generations are presented into the film. Taking the film Turah as a research material, the author wants to analyze further how the character of the figures in this film represents his generation. The author uses two sets of analysis, that is generation theory David and Jonah Stillman to identify generations and their characteristics. Secondly, the analysis of Christian Metz's shot to examine the relations of generation in the film Turah. Turah is the main character in the film representing the generation of X (middle aged). Generation X has a role as a bridge between the generations above it and the generation below it (millennial). The generation X's ability to absorb its predecessor values to be inherited to the millennials generations will shape the character of the generation Z, the farthest generation of its predecessors.Keywords : Film, Turah, Generation X, and Millennial.
PRESERVASI VISUAL JARAN KEPANG TEMANGGUNG MELALUI FOTOGRAFI ESSAY Aziz, Abdul; Felix, John; Sonia, Candy Reggi
Capture : Jurnal Seni Media Rekam Vol 10, No 1 (2018)
Publisher : Seni Media Rekam Fakultas Seni dan Desain ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (663.319 KB) | DOI: 10.33153/capture.v10i1.2208

Abstract

The Jaran Kepang Temanggung is a part of cultural products and was developed on the island of Java. The researcher seeks to raise the traditional art of Jaran Kepang Temanggung as research material presenting the topic of the problems related to the visual preservation of the Jaran Kepang Temanggung. It is an effort to preserve Jaran Kepang Temanggung's traditional arts through visual media, especially photography. The researcher will document the art through photographic means. The purpose of this study is how to make a photographic work as an effort to preserve Jaran Kepang's cultural art with journalistic documentation in the form of photographic essays. The research model used in this study is to use visual methodology, since the elements used in this study are visual photography. And it will be analyzed with the semiotic theory of Roland Barthes, where the power of photography is the power of the visual language that will speak. The results of this study are that photography is able to be a good means of documentation by presenting meaningful images. Keywords: Preservation, jaran kepang, essay photography

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