REKAM: Jurnal Fotografi, Televisi, dan Animasi
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Visualisasi Pamor Keris pada Desain Karakter Animasi 2D untuk Menjaga Eksistensi Desa Aengtongtong sebagai Pusat Perajin Keris Sumenep
Full text linkPenelitian ini bertujuan untuk mengembangkan karakter menggunakan animasi 2D yang merepresentasikan pamor keris sebagai upaya mengenalkan budaya keris kepada generasi muda. Metode design thinking digunakan dalam proses pengembangan, meliputi tahapan empathize, define, ideate, prototype, dan test. Data diperoleh melalui wawancara dengan perajin keris dan 15 pemuda di Sumenep termasuk Desa Aengtongtong, serta melalui pengujian prototipe awal kepada audiens setempat. Hasil penelitian menunjukkan bahwa kelima karakter yang dirancang—Mindaraga, Aeng Sagara, Kal Blarak, Kuning Geni, dan Mpu Baskala—mampu menarik minat pemuda lokal dan diapresiasi oleh perajin keris, terutama karena perpaduan elemen visual modern dengan makna pamor keris yang autentik. Namun, terdapat limitasi pada cakupan audiens yang terbatas dan kompleksitas desain karakter. Oleh karena itu, disarankan agar penelitian selanjutnya melibatkan audiens yang lebih beragam dan mengeksplorasi karakter lebih dalam melalui format film atau serial animasi dan game dengan format interaktifnya. Rekomendasi lain adalah memperkuat narasi dan pengembangan karakter sehingga dapat menjadi ikon budaya yang tidak hanya menarik secara visual, tetapi juga memiliki kedalaman cerita yang mampu membangun koneksi emosional dengan penontonnya
Kehidupan dan Aktivitas Warga di Permukiman Kumuh Pejompongan, Jakarta dalam Fotografi Urban
Full text linkThe capital city of Jakarta is a place with its own allure, offering a variety of attractions and serving as the center for all sectors. This significant appeal has made Jakarta a focal point for urbanization. Urbanization, which has been increasing year by year, has become a challenge for Jakarta, resulting, among other things, in the emergence of slum settlements. One such slum settlement exists in Pejompongan, Bendungan Hilir, Central Jakarta. The activities and daily lives of residents in this slum settlement are intriguing and will be the subject of a photographic project.The purpose of this research is to explore the activities and daily lives of urban residents in the slum settlement of Pejompongan, Bendungan Hilir, Central Jakarta, which will be depicted through urban photography. The method employed in this research is practice-led research, specifically creating new works, particularly urban photography, through practical investigation. Urban photography is utilized in this artistic creation to portray the lives of Jakarta's urban residents, particularly the activities and daily routines of those living in the slum settlement, amidst their challenges for survival
Homelander and The Ambiguity of Morality in the Television Series the Boys
Full text linkMorality, as a dynamic component of culture, constantly shifts in response to social and ideological transformations. In the landscape of popular culture, the superhero figure has long served as a manifestation of moral values and an ethical compass for society. However, the series The Boys (2019) presents a deconstruction of this traditional representation through the character of Homelander, who symbolises moral ambiguity and corruption resulting from absolute power—standing in stark contrast to the idealised image of Superman. This study employed a qualitative method grounded in critical theory and Jacques Derrida’s deconstruction framework to examine how morality is represented and destabilised within the narrative of the series. Primary data were collected from selected episodes across three seasons of The Boys, focusing on three key scenes: the airplane incident in Season 1, Episode 4; the confrontation with Blindspot; and Homelander’s public speech in Season 3. Analysis was conducted on dialogue, character interactions, and visual aesthetic elements such as costume symbolism, lighting, and camera composition. Secondary data consisted of scholarly articles, books, and theoretical texts discussing superhero morality, Derrida’s deconstruction, and media representation politics. The analytical process involved three interrelated approaches: (1) narrative analysis to explore story structure and character development; (2) visual analysis to interpret symbolic and aesthetic elements that construct Homelander’s moral image; and (3) deconstructive analysis to apply the concepts of différance, trace, and critique of grand narratives and binary oppositions within discourses of heroism. The findings indicate that Homelander is not merely a symbol of moral decadence, but also a critique of capitalist institutions that exploit the superhero image for power and economic gain. From a deconstructive perspective, Homelander is not a fixed signifier, but a trace whose meaning is continually deferred and shaped by the forces of capitalism, media, and corporate spectacle. Thus, The Boys functions not only as entertainment but also as a reflective space for reexamining discourses on morality, heroism, and power in contemporary popular culture
Peran AI dalam Perspektif Fotografi Seni
Full text linkThe Role of AI from the Perspective of Art Photography. Art photography is a medium of visual expression that emphasizes aesthetics, concepts, and subjectivity. With the advancement of technology, Artificial Intelligence (AI) has begun to play a significant role in the creation of artistic photographic works. This research aims to examine how AI influences the practices and values within contemporary art photography. Using a literature review and visual analysis approach, this study explores the application of AI in generating artistic images, processing visual aesthetics, and fostering creative collaboration between photographers and machines. The findings indicate that AI is not merely a technical tool, but also an opener of new opportunities for experimenting with form, visual narratives, and the creation of imaginative realities. However, critical challenges also arise concerning originality, ownership of work, and the artist's identity in the era of visual automation. Therefore, a deep understanding of AI's role in art photography is essential to maintain a balance between technological innovation and the artistic values that underpin the practice of photography itself
Animasi Edukasi Serangga Penyengat bagi Anak 6-9 Tahun dengan Pendekatan Karakter Antropomorfisme
No full textEducational Animation on Stinging Insects for Children Aged 6–9 Using an Anthropomorphic Design Approach. The global decline in insect populations has become a pressing environmental concern. Studies predict a 40% decrease in the coming decades due to habitat loss, pollution, and climate change. Among the most affected are stinging insects from the order Hymenoptera, such as ants, bees, and wasps. Despite their essential ecological roles, these insects are often perceived as pests due to their painful stings. Educational efforts are therefore needed, particularly for children aged 6–9, through engaging media such as educational animation. An anthropomorphic approach has been shown to effectively attract children's attention and raise awareness of stinging insects.The design process involved literature review on child development, stinging insect biology, anthropomorphic character design, and animation production. This was followed by analysis of existing anthropomorphic animations, in-depth interviews with entomologists and children’s animation experts, and iterative qualitative analysis. The animation was then tested with children aged 6–9 years old. The final product, an animation titled Exploring Entopia, successfully captured children’s interest and improved their knowledge of stinging insects by 68% after viewing. This outcome highlights the potential of anthropomorphic animation as a reference for developing science education media at the elementary level.
Penerapan Aerial Photography Berbasis Model Komunikasi Aisas untuk Promosi Desa Wisata Lebakmuncang, Ciwidey, Bandung
Full text linkAerial Photography adalah teknik memotret permukaan bumi dari atas dengan menggunakan kamera yang dipasang di pesawat terbang, roket drone atau satelit yang mengorbit dari atas bumi, tehnik ini memungkinkan kita untuk mengambil gambar dari sudut pandang yang tidak biasa, yaitu dari atas, cara ini banyak digunakan dalam indsutri pariwisata. Foto udara dari tempat-tempat indah seperti pantai, gunung dan kota memberikan sudut pandang yang menarik dan dramatis, disini kita bisa melihat dunia dari perspektif yang berbeda dan memahami lebih dalam tentang lingkungan di sekitar kita.Desa Wisata Lebak Muncang, Ciwidey, Kabupaten Bandung memiliki potensi yang besar untuk dikembangkan sebagai destinasi wisata. Namun, promosi yang dilakukan selama ini belum optimal. Penelitian ini bertujuan untuk menganalisis penerapan model komunikasi AISAS (Attention, Interest, Search, Action, Share) pada aerial photography sebagai media promosi Desa Wisata Lebak Muncang. Metode penelitian yang digunakan adalah kualitatif deskriptif dengan teknik pengumpulan data melalui wawancara, observasi, dan studi dokumentasi. Hasil penelitian menunjukkan bahwa penerapan model komunikasi AISAS pada aerial photography dapat dilakukan dengan baik
Analysis of Applied Manga Visual Style in an Audio Visual Advertisement: Indomie x Pop Mie Tori Kara Flavour (2024)
Full text linkIndomie released a spicy version of the premium instant ramen collection– Tori Kara flavor– in January 2024. While it serves as an addition to the initial release of the first three ramen flavors, it was advertised with Manga Visual style, unlike any other Indomie promotional releases. The advertisement was analyzed using 8 manga visual story telling techniques to further observe the role of Japanese art mediums for a non-Japanese target audience, in this case for Indonesian audiences. The role of characters, facial expressions, poses, expressive effects and motion, sense of place, world details, wordless panels and aspect-to-aspect transitions, and genre maturity creates an immersive effect towards Indonesian audience to experience a Japanese-inspired product. A big portion of Japanese visual keys was retained, with explicit and implicit behaviours still recognizable to Indonesian audiences, hence catching adolescents’ attention and increasing the level of immersiveness while watching the advertisement
Degradasi Estetika dalam Tren Video Vertikal di Platform Digital: Studi Kasus Konten Instagram Reels dan Youtube Short
Full text linkPopularitas video vertikal yang kian melejit sebagai perwujudan era konten digital dalam gengaman tangan (gawai) justru memiliki andil besar pada degradasi nilai-nilai estetika karya sinematografis. Kemunculan platform digital seperti Facebook, Snapchat, Instagram, Tiktok, Twitter, dan Youtube shorts memberikan kesempatan bagi siapapun untuk membuat dan mengunggah video kreatif berformat vertikal tanpa batasan. Kondisi demikian memungkinkan siapa saja menjadi kreator video vertikal dan tidak perlu memperdulikan prinsip-prinsip penciptaan karya sinematografis. Sejalan dengan itu, penelitian ini bertujuan untuk menjelaskan rendahnya kualitas video demi pemenuhan kebutuhan konten video vertikal di platform digital. Melalui pendekatan deskriptif kualitatif, observasi, dan dokumentasi dari konten di platform digital Instagram dan Youtube shorts, penelitian ini menghasilkan dua temuan penting. Pertama, karya video vertikal di platform digital telah kehilangan nilai estetika karena tidak mengikuti konsep-konsep sinematografi. Kedua, adanya aspek komersialisasi di platform digital membuat video vertikal menjadi kurang memperhatikan kualitas akibat kejar tayang (trenviral). Oleh karenanya, penelitian ini memberikan pemahaman tentang potensi degradasi nilai estetika pada konten video vertikal. Diperlukan upaya untuk menyatukan kerja sama yang saling menguntungkan antara gagasan dan teknologi terbaru, seperti membahas bagaimana formula penciptaan video vertikal dapat sesuai dalam memenuhi kebutuhan pelaku atau penikmat, sambil tetap memperhatikan nilai estetika. Degradation Of Aesthetic Value In Vertical Video Trends On Digital Platforms. The growing popularity of vertical videos as the embodiment of the digital content era in the palm of our hands has contributed to the degradation of the aesthetic values of cinematographic works. The emergence of digital platforms such as Facebook, Snapchat, Instagram, TikTok, Twitter, and YouTube shorts provide opportunities for anyone to create and upload creative videos in vertical format without restrictions. This condition allows anyone to become a vertical video creator and does not need to care about the principles of creating cinematographic works. In line with this, this research aims to explain the low quality of videos to fulfil the needs of vertical video content on digital platforms. Through a descriptive qualitative approach, observation, and documentation of content on the digital platforms Instagram and YouTube shorts, this research produces two important findings. First, vertical video works on digital platforms have lost their aesthetic value because they do not follow cinematographic concepts. Secondly, the commercialization aspect of digital platforms has caused vertical videos to lose their quality due to airtime (trenviral). Therefore, this research provides insight into the potential degradation of aesthetic value in vertical video content. Efforts are needed to bring together mutually beneficial cooperation between ideas and the latest technology, such as discussing how the formula for creating vertical videos can be suitable for the audience
Konstruksi Maskulinitas dalam Film Seperti Dendam, Rindu Harus Dibayar Tuntas
Full text linkConstruction of Masculinity in The Movie Vengeance Is Mine, All Others Pay Cash.This study examines the construction of masculinity in the 2021 film “Seperti Dendam, Rindu Harus Dibayar Tuntas” (Vengeance Is Mine, All Others Pay Cash), focusing on the use of cinematographic and mise-en-scene elements to represent fragile masculinity. The film follows Ajo Kawir, a man grappling with childhood trauma that disrupts his sense of masculinity, particularly in terms of sexuality and emotion. This research employs a descriptive qualitative method by analyzing eight selected scenes that reflect aspects of masculinity. The theoretical framework includes cinematography, mise-en-scene, and masculinity theories such as hegemonic masculinity and toxic masculinity. The findings reveal that the film portrays masculinity not only through physical strength but also through vulnerability, especially in confronting sexual crises and emotional conflict. The use of color, lighting, framing, and costume enhances the masculine identity and inner turmoil of the characters. Moreover, the film presents an unconventional gender dynamic, particularly through the character Iteung, who displays strength and dominance, thereby reshaping the power relations between men and women. This analysis offers new insights into the construction of masculinity in Indonesian cinema, emphasizing the role of visual elements in shaping social meaning and masculine identity
Papuan Women and Their Culture: Reception Analysis of Cultural Identity Portrayed in "Noken Rahim Kedua" Documentary
Full text linkThis study aims to identify the meaning of Papuan cultural identity in Noken Rahim Kedua documentary perceived by Papuan women. Employing the phenomenological method and Stuart Hall's encoding-decoding theory, this research explores the encoding process by filmmakers and the decoding process by Papuan women through in-depth interviews. Overall, the four Papuan women are in a negotiating reading. They did not simply accept the meaning constructed by the filmmaker. Lacking women's involvement in the documentary, led them to perceive that the film does not fully represent the voice of Papuan women. Several dominant factors that influence the reception, including 1) Ethnic origin and cultural knowledge; 2) Family background; and 3) Surroundings or the environment. Regarding the values believed by the Papuan women, two significant findings emerged. First, all Papuan women viewers believed that gender equality is fundamental; however, one participant disagreed with the notion that men should not work. Second, all participants, the Papuan women, believed that culture should be preserved, and they are proud of it because it is an identity marker. However, one of the participants stated that culture does not need to be maintained if it is considered burdensome or disadvantageous. Future researchers are encouraged to explore ethnic diversity, and for future documentary filmmakers, multiple perspectives of Papuan identity must be incorporated