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PERAN PROGRAM CERDAS QUR’AN DALAM MENINGKATKAN KEBERADAAN PADANG TV
Full text linkPadang TV is one of the local televisions in West Sumatra that has been able to maintain its existence for more than fifteen years. Various challenges are faced by local television in facing competition with local television to national television. Various strategies are carried out to improve its existence, one of which is producing the Cerdas Qur'an program which is produced in the midst of the community. The purpose of this research is to find out how the role of the Cerdas Qur'an program in increasing the existence of Padang TV.
The theory used in this research is the strategy of producing television programs, and strategies in attracting audiences in maintaining the existence of Padang TV. The research methodology used in this research is qualitative method and data collection techniques by conducting interviews, observations, and document studies. The results showed that the Cerdas Qur'an Program has a strong role in increasing the existence of Padang TV through several strategies, namely, strategies for producing television programs, strategies for attracting audiences, strategies for producing programs in the community, and utilizing internet media
RITME EDITING UNTUK MEMPERKUAT DRAMATIK
Full text linkThe fictional film Katresnan is a family drama genre film, this film is based on the phenomenon of a family between parents, children and in-laws which causes the child to be depressedover two choices. This fictional film tells the story of a girl named Hayatri who has just married and asks her parents for permission to move house with her husband. However, it was not the blessing that Hayatri received, but a threat fiven by his parents to Hayatri to cancel his plans to move due to the weton problem which did not match the placement of he house. The concept applied is editing rhythm to strengthen the drama of the main character in dealing with conflict. The result of the application of rhythm editing in the fictional film Katresnan are slow rhythm and fast rhythm. Slow rhythm are applied to scene that build the sad and sad atmosphere of the main character which aims to provide dramatic pressure. Fast rhythms are applied when to strengthen emitions, be sensitive and increase the tension in the scene. The rhythm is presented throught shot duration and shot selection. Slow editing rhythm will use fewer cuts moving shots, while fast editing rhythms will use a larger number of shots
Penulisan Naskah Dalam Pembuatan Film Pendek “Elegi Melodi”
Full text linkPenulisan naskah merupakan elemen penting dalam proses pembuatan film. Naskah film pendek “Elegi Melodi” yang bergenre komedi pahit dan memiliki alur campuran ini memerlukan struktur yang mendalam agar pesan yang ingin disampaikan dapat diterima dengan baik. Oleh karena itu, peneliti tertarik untuk menganalisis naskah film pendek “Elegi Melodi”. Penelitian ini bertujuan untuk mengetahui penerapan teori struktur tiga babak Aristoteles dalam penulisan naskah film pendek “Elegi Melodi”. Teori yang digunakan dalam penelitian ini adalah teori struktur tiga babak yang terdiri dari Babak I, Babak II, dan Babak III. Metode penelitian yang digunakan adalah kualitatif dengan teknik studi dokumenter untuk mengumpulkan final draft naskah film pendek “Elegi Melodi”. Hasil penelitian menunjukkan bahwa penerapan struktur tiga babak pada naskah “Elegi Melodi” memberikan panduan yang jelas dalam membantu menyusun alur cerita. Pada babak I digunakan untuk pengenalan tokoh, babak II berhasil memunculkan konflik, dan babak III menyajikan penyelesaian yang memberikan dampak emosional pada penonton
PENYUTRADARAAN FILM GORESAN PENSIL: GESTURE SEBAGAI REPRESENTASI BUDAYA SUNDA
Full text linkGoresan Pensil the movie tells about the main character who faces problems, the gesture of the main character will be shown in this movie. Gestures in this movie are shown through the representation of Sundanese culture. The object of creation in this movie is a scenario that tells of a high school boy named Deo who has painting skills and dreams of becoming an architect, but on the other hand his father has another wish which requires him to continue his father's dream of becoming a teacher. Because according to his father being a teacher is a very noble job. Deo refuses, because according to Deo being an Architect is also part of a noble job. The aesthetic concept of the creation of Goresan Pensil the movie is in optimizing the gesture of the main character by paying attention to the representation of Sundanese culture. The main character actors are able to communicate using nonverbal communication to emphasize what is conveyed and are able to communicate using gestures to convey a feeling, as well as to signify several gestures found in Sundanese culture
REPRESENTASI FEMINISME DALAM FILM PENYALIN CAHAYA
Full text linkThis research focuses on the representation of feminism in the film Copyist Cahaya. This film is an interesting study to study because the content in the film contains survivors of sexual violence described by Suryani as a real manifestation of women's struggle for justice and gender equality that she is able to provide evidence of the abuse she experienced. The formulation of the problem in this research is how to represent feminism in the film Pengalin Cahya. This study aims to describe the value of feminism in the Syriac character in the film Pengalin Cahaya. This research uses descriptive qualitative research methods, with a Semiotics analysis approach. The data collection technique used purposive sampling, namely three pieces of the film scene of Copying Cahaya as the primary data. This data analysis technique uses Roland Barthes' semiotics technique which divides semiotics into two stages, namely denotation and connotation. The results of the research in the film Pengalin Cahaya, there is liberal feminism because Suryani is told as a woman who seeks justice starting from herself. The figure of a woman who has strength, a woman who has a leadership spirit, and a brave woma
MISE-EN-SCENE DALAM MEMBANGUN REALISME PADA FILM “NYAI: A WOMAN FROM JAVA”
Full text linkABSTRAKFilm Nyai: A Woman From Java merupakan film fiksi berdurasi 90 menit yang disutradarai oleh Garin Nugroho, diproduksi pada tahun 2016. Meninggalkan gaya bertutur film konvensional, film Nyai memadukan unsur teater dengan film. Penggunaan mise-en-scene disajikan serealistis mungkin secara teatrikal sesuai dengan apa yang terjadi di atas panggung. Realisme bertujuan untuk menciptakan ilusi realitas, yang diwujudkan dalam bentuk pemanggungan atau mise-en-scene yang menggambarkan situasi kehidupan manusia secara objektif tanpa distorsi di dalamnya. Unit analisis yang akan diteliti dalam penelitian ini meliputi setting, pencahayaan, kostum dan tata rias, pemain dan pergerakannya. Berdasarkan hasil kajian dapat disimpulkan bahwa pada unsur-unsur mise-en-scene dalam film “Nyai” teridentifikasi tanda-tanda realisme sehingga unsur-unsur mise-en-scene dalam film ini dapat mendukung kerealistisan yang tampak pada setiap adegan film ini.Kata kunci: Film “Nyai”, Mis-en-scene, Realism
fillm realita imaji
No full textIn visual arts, particularly in film, the relationship between reality and imagination creates a complex relation. Film, as a medium that amalgamates visual techniques, special effects, and cinematic direction, possesses the power to construct a highly realistic world. This enables the audience to experience emotional engagement with visuals, characters, and the narrative. This research aims to address the question: how does film establish engagement between reality and imagination? The proposed hypothesis is that the cinematic power and its creative elements generate a convincing representation of the world for the audience's perception, blurring the boundaries between reality and fantasy. The research methodology employs a narrative transportation approach and refers to a range of literature to highlight the intricacies of reality in film, where the emotional and cognitive involvement of the audience is crucial for a profound cinematic experience. This study seeks to provide an understanding of how films create complex relationships between images and reality. In conclusion, films not only produce visual images but also shape alternative realities that influence the perception and even behavior of the audience. Therefore, critical discussion of the boundaries between reality and imagination in films is very important)
PERANAN FILM BERTEMAKAN BUDAYA MINANGKABAU DALAM MEWUJUDKAN NILAI-NILAI KEARIFAN LOKAL
Full text linkMany local wisdom was adopted from folklore into an audio-visual work in the form of films, both local films and national films. This research was conducted with the aim of finding out how big the role of films with the theme of Minangkabau culture in realizing the values of local wisdom in them as seen from the films adapted from Buya Hamka's novel, namely the film Tenggelamnya Kapal Van Der Wijck and the film Under Protection of the Ka'bah.In this study, the method was carried out qualitatively. With data collection techniques carried out by means of observation. The subject of the research is how the reality that exists in Minangkabau if it is appointed as an audio-visual work of art without eliminating the role of Minangkabau cultural wisdom values in the film. To see the role of Minangkabau cultural local wisdom values in the film, the method that will be used is the first to describe the film, the two languages used in the film, the third the Minangkabau cultural wisdom values in it.The results of this study found that the two films based on Buya Hamka's work have a role in realizing the values of local wisdom of Minangkabau culture. In every film there is local wisdom about, firstly, Rumah Gadang which has always been an icon of Minangkabau, in which there are many philosophies related to women and Minangkabau customs. Second, surau culture related to education and religion. The three kinship systems in Minangkabau are outlined from maternal or matrilineal descent.Keywords: Films, Minangkabau Culture, Local wisdom ABSTRAKKearifan lokal banyak diadopsinya dari cerita rakyat menjadi sebuah karya audio visual yang berbentuk film, baik film lokal maupun film nasional. Penelitian ini dilakukan dengan tujuan untuk mengetahui seberapa besar peranan film yang bertemakan budaya Minangkabau dalam mewujudkan nilai-nilai kearifan lokal di dalamnya yang dilihat dari film yang diangkat dari novelnya Buya Hamka, yaitu film Tenggelamnya Kapal Van Der Wijck dan film Dibawah Lindungan Ka’bah.Pada penelitian ini metode dilakukan secara kualitatif. Dengan teknik pengumpulan data yang dilakukan dengan cara observasi. Subjek penelitian adalah bagaimana realitas yang ada di Minangkabau jika diangkat menjadi sebuah karya seni audio visual dengan tidak menghilangkan peranan dari nilai-nilai keraifan budaya Minangkabau pada film. Untuk melihat peranan nilai-nilai kearifan lokal budaya Minangkabau pada film, maka metode yang akan digunakan adalah yang pertama mendeskripsikan tentang film, kedua bahasa yang digunakan dalam film, ketiga nilai-nilai kerifan budaya Minangkabau di dalamnya.Hasil penelitian ini didapatkan bahwa kedua film yang diangkat dari karya Buya Hamka memiliki peranan dalam mewujudkan nilai-nilai kearifan lokal budaya Minangkabau. Disetiap filmnya ada kearifan lokal tentang, pertama Rumah Gadang yang selalu menjadi ikon Minangkabau, yang di dalamnya terdapat banyak filosofi yang berkaitan dengan perempuan dan adat istiadat Minangkabau. Kedua, budaya surau yang berkaitan dengan pendidikan dan agama. Ketiga sistem kekerabatan di Minangkabau yang digariskan dari keturunan Ibu atau matrilineal.Kata kunci: Film, Budaya Minangkabau, Kearifan Loka
PERANCANGAN DAN PEMBUATAN FILM PENDEK ANIMASI 2 DIMENSI “TIMUN MAS”
Full text linkABSTRACTFilm is a medium of information and mass communication that is quite effective, because films can build public opinion with various formats of impressions and forms of presentation in conveying messages through a story that is audio-visual or vivid images and sounds. Timun Mas is a well-known folk tale in Java. In this study, the story of Timun Mas was repackaged into a 2-dimensional animated short film. Timun mas animation production methods include Pre-Production, Production, and Post-Production. The results of this animation design are in the form of scenarios, storyboards, characters, and an animated short film entitled "Timun Mas".Keywords: Short Film, Animation, Timun Mas ABSTRAKFilm menjadi media informasi dan komunikasi massa yang cukup efektif, karena film dapat membangun opini publik dengan berbagai format tayangan dan bentuk penyajiannya dalam penyampaian pesan melalui sebuah cerita yang bersifat audio visual atau gambar dan suara yang hidup. Timun mas merupakan cerita rakyat yang cukup terkenal di Jawa. Dalam penelitian ini, cerita Timun Mas dikemas ulang menjadi film pendek animasi 2 dimensi. Metode pembuatan animasi Timun mas meliputi Pra Produksi, Produksi, dan Pasca Produksi. Hasil dari perancangan animasi ini berupa skenario, storyboard, karakter, dan film pendek animasi berjudul “Timun Mas”
UPAYA PREVENTIF DALAM MENANGGULANGI TINDAK PIDANA PEMBAJAKAN FILM SECARA ONLINE MAUPUN OFFLINE DI INDONESIA
Full text linkPenelitian ini bertujuan untuk mengetahui faktor-faktor penyebab dari tindak pidana pembajakan film secara online maupun offline di Indonesia serta upaya preventif yang dilakukan untuk menanggulangi tindak pidana pembajakan film tersebut. Metode penelitian yang digunakan adalah metode penelitian hukum normatif yang merupakan penelitian hukum normatif. Hasil penelitian menunjukkan bahwa terdapat beberapa faktor yang menjadi penyebab tindak pidana pembajakan film secara online maupun offline, yakni : 1) Faktor Teknologi dan Internet, 2) Faktor ekonomi, 3) Faktor Kesadaran Masyarakat 4) Faktor kesadaran Hukum Pada Pencipta Film, 5) Faktor Pengetahuan , 6) Faktor Penegakan Hukum, 7) Faktor Budaya. Adapun upaya preventif dalam menanggulangi tindak pidana pembajakan film secara online maupun offline di Indonesia adalah 1) Melakukan sosialisasi undang-undang Nomor 28 Tahun 2014 tentang Hak Cipta kepada masyarakat, 2) Pelaksanaan penutupan konten dan/hak akses pengguna yang melanggar hak cipta dan/atau hak terkait dalam sistem elektronik, 3) Pelaksanaan Undang-undang Nomor 11 Tahun 2008 tentang Informasi dan Transasksi Elektronik 4) Melakukan perlindungan hak eksklusif terhadap pencipta film, 5) Adanya kesadaran hukum pada masyarakat, 6) Adanya kesadaran hukum pada pencipta film.Kata kunci : preventif , tindak pidana , pembajakan film, online, offlin