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KOMPOSISI SIMETRIS DAN ASIMETRIS UNTUK MENUNJUKKAN PERUBAHAN KARAKTER PADA TOKOH UTAMA DALAM FILM PETAKA
Full text linkFilm ini berangkat dari kisah penduduk jawa yang tinggal di daerah transmigrasi dan memiliki sosok kepala desa yang baik, ramah dan sangat dihormati. Namun Sumi sebagai istri kepala desa melihat berbagai kejadian aneh di desa, ia khawatir bahwa suaminya, Gito sebagai kepala desa Mulyo Sari disalahkan akibat dari kejanggalan yang dialami Sumi. Namun, ternyata kejadian ini mengakibatkan bencana terhadap keluarganya sendiri. Film ini berjudul Petaka yang berarti bencana, kesengsaraan ataupun penderitaan yang dialami oleh Gito dan Sumi. Tujuan penciptaan karya ini untuk menyelesaikan studi strata 1 di Institut Seni Indonesia Padangpanjang. Film ini bergenre horor supranatural, yaitu rasa takut yang dihadirkan karena ritual menggunakan keris bukan rasa takut karena hantu. Penciptaan karya ini menggunakan komposisi Simetris dan Asimetris untuk menunjukkan perubahan karakter pada tokoh utama dalam film. Tokoh utama dalam film Petaka memiliki perubahan karakter yaitu karakter baik dan ramah, dan karakter jahat dan suka membunuh. Hasil dari karya cipta ini komposisi Asimetris untuk menunjukan sikap keseharian tokoh utama di tengah masyarakat, komposisi Simetris untuk menunjukkan sikap tokoh utama saat melakukan ritual
DIRECTOR AS INTERPRETATOR DALAM FILM MALAM PANJANG PENDOSA AMATIR DENGAN METODE AKTING PRESENTASI UNTUK MEMBANGUN KONFLIK INTERNAL TOKOH UTAMA
Full text linkSkenario film Malam Panjang Pendosa Amatir bergenre drama tragedi, bercerita tentang Nala dan Arka, pasangan kekasih yang melakukan hubungan seks pranikah. konflik dimulai ketika Arka tiba-tiba tidak sadarkan diri setelah mereka berhubungan badan. Nala mengalami konflik internal dan dihantui oleh rasa takut, cemas, juga rasa berdosa atas perbuatannya. pengkarya sebagai sutradara menggunakan pendekatan Director as Interpretator untuk membantu aktor mendalami perannya melalui metode akting presentasi yang bertujuan menyampaikan konflik internal yang dialami tokoh utama, Nala secara alami dan realistis. Prosesnya melibatkan riset mendalam mengenai karakter melalui tiga dimensi, pemahaman konflik internal, dan penerapan metode kreatif dalam pendalaman karakter. Hasilnya, konsep yang digunakan berhasil menggambarkan konflik internal Nala dengan realistis melalui ekspresi kegelisahan dan dilema moral yang kuat
HYPERREALIST SOUND EFFECT DALAM MEMBANGUN UNSUR DRAMATIK PADA FILM THE BIG 4 KARYA TIMO TJAHJANTO
No full textFilm adalah suatu bentuk seni dan hiburan yang menggunakan unsur audio dan visual untuk menceritakan kisah, menggambarkan emosi, dan menyampaikan pesan kepada penonton. Film yang menggunakan efek suara dengan gaya hyperrealist mampu membangun konflik, menciptakan ketegangan, rasa ingin tahu, dan menciptakan kejutan yang dirasakan saat menonton. Penulis dalam penelitian ini menggunakan gaya hyperrealist sebagai landasan dalam menganalisis efek suara yang digunakan untuk mendukung munculnya unsur dramatik. Penelitian ini menggunakan metode penelitian kualitatif, dengan teknik observasi, wawancara, dan studi pustaka. Penelitian ini bertujuan untuk menganalisis efek suara dengan gaya hyperrealist yang digunakan pada film The Big 4 dalam menunjuang unsur dramatik (konflik, ketegangan, kejutan, dan rasa ingin tahu) pada karya sutradara Timo Tjahjanto.
Analisis yang telah dilakukan penulis dapat dipastikan bahwa pendukung unsur dramatik yang dirasakan ketika menonton film aksi adalah efek suara dan musik yang digunakan dalam setiap adegan yang dirasa mampu membangun drama selama film berlangsung. Musik yang digunakan pada film The Big 4 memiliki dua kategori musik yaitu musik perkusi dan non-konvensional. Penggunaan teknik dengan baik dan benar dapat menciptakan rasa percaya dan dapat membuat penonton merasa terlibat dalam cerita. Proses penggabungan dan menyeimbangkan suara menjadi satu kesatuan yang harmonis dengan tepat menjadi faktor berhasilnya membangun unsur dramatik
PENATAAN ESTABLISH SHOT PADA ROAD MOVIE ELEGI PANASEA UNTUK MEMPERKUAT RUANG DAN WAKTU
Full text linkThe Elegi Panasea road movie has the theme of Raka's journey to the city of Singapore to look for his siblings. During the journey, Raka experiences several conflicts and finally meets his siblings. The establishing shot arrangement in the Road film Elegi Panasea functions to provide visual context and provide orientation to the audience regarding space and time. The creator as director of photography (DOP) determines technical aspects such as shot type, composition and camera movement to apply establish shots in several scenes such as the scene of Raka holding a debt settlement letter in a messy terrace condition. Establish shots play an important role in providing visual orientation to the audience understands the setting, atmosphere and time transitions, thus supporting the storyline and emotional experience. The creation of the fictional film Elegi Panasea aims to provide an illustration of not easily trusting people because crime can happen anywhere and at any time. The film Elegi Panasea teaches the importance of being careful in making decisions and reminds you of the importance of introspection and considering the consequences of action
MEMVISUALISASIKAN YANG SAKRAL: SIMBOLISME KEAGAMAAN DALAM REPRESENTASI HANTU DALAM FILM HOROR INDONESIA
Full text linkArtikel ini mengkaji simbolisme keagamaan yang tertanam dalam representasi visual dan naratif hantu dalam film horor Indonesia. Dengan menggunakan kerangka studi semiotik dan budaya, penelitian ini mengeksplorasi bagaimana penggambaran sinematik tentang hal-hal gaib terkait erat dengan kepercayaan Islam, animisme, dan sinkretik yang membentuk lanskap spiritual Indonesia. Melalui pembacaan cermat terhadap film-film terpilih—termasuk Pengabdi Setan (2017) dan Lisa(1971)—analisis ini mengungkap bagaimana sosok hantu tidak hanya menjadi wahana ketakutan, tetapi juga agen simbolis yang melaluinya pesan-pesan moral, keadilan ilahi, dan kecemasan spiritual dinegosiasikan. Elemen estetika kostum, pencahayaan, desain suara, dan komposisi spasial berkontribusi untuk membangun rezim visual sakral di mana hantu menjadi mediator antara manusia dan yang transenden. Artikel ini berpendapat bahwa hantu-hantu sinematik ini beroperasi sebagai penanda budaya pengabdian, pelanggaran, dan penebusan agama, yang mencerminkan ketegangan yang lebih dalam dalam modernitas agama Indonesia. Dengan menyoroti bagaimana citra keagamaan digunakan kembali dalam sinema horor, penelitian ini menunjukkan bahwa representasi hantu menawarkan wadah yang kaya untuk memahami interaksi antara spiritualitas, identitas nasional, dan media populer dalam budaya Indonesia kontemporer.
STRATEGI KREATIF SUTRADARA DALAM CASTING DAN DIRECTING PEMERAN TOKOH AMON PADA FILM PABARUAK
Full text linkThis study aims to describe the director's creative strategy on casting and directing the character of Amon in the Pabaruak movie. Using the theory creative strategy of Mell Rhodes The Four P'S Creativity (4P) and the theory of Director Don Livingston, casting, Amateur Actor. And also using the descriptive qualitative as the method of the study. The results of this study indicate the creative strategy on casting was carried out immediately and parallelly, which is the first casting was performed by Dafriansyah Putra as a representative of the Triangle System. The casting was carried out by distributed the casting flyers and visited 3 elementary schools in Batusangkar with the recommendation of Mr. Yusuf as a Chair of the Committee. Because of there was no agency or community to provided the children actors, the director decided to used the amateur actors. On the directed process, the director’s strategy creative in directed the amateur children actors with the intense rehearsal process. In some difficult scenes, such as dancing on the peaks, Finally Daanish was able to do silat, because of his intense training process
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
PENEGASAN KARAKTER PSIKOLOGIS TOKOH SURYANI MELALUI KOSTUM PADA FILM PENYALIN CAHAYA KARYA WREGAS BHANUTEJA
Full text linkThis study examines the Light Copying Film that raises the teme against injustice. This research aims to analyze the psychological character of Syriac characters in the Light Copying Film through the use of costumes. The method used was a descriptive qualitative analysis of the costume changes Syriac wore throughout the film. This study uses the theory of mise en scene, color psychology, and character 3D analysis to reveal the relationship between costume changes and Syriac psychological dynamics, research results suggest that costumes play an important role in describing the psychological development of Syriac characters. The choice of colors, textures, and costume styles consistently reflects the emotional state, internal conflicts, and character travel from stress to self-empowerment. The dominant dark and neutral colors at the beginning of the story indicate a somber mood and a sense of alienation, while the transition to lighter colors indicates a Syriac attempt to escape psychological distress. The character's 3D approach also highlights the relationship between costumes and Syriac interactions with the environment as well as other characters in the narrative. These results can serve as a reference for filmmakers in optimizing visual aspects to strengthen psychological characterization in cinema.
Keywords: Injustice Psychological Character, Costume, Light Copier, Descriptive Qualitative, Suryani
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
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