REKAM: Jurnal Fotografi, Televisi, dan Animasi
Not a member yet
198 research outputs found
Sort by
SEBUAH KAJIAN KEBAHASAAN
No full textThe 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 technique
Menuju Pengembangan Industri Kreatif di Indonesia
No full textDiscourse of creative industries was echoed. The government alsodeveloped the concept of creative industries development. Alvin Toffler,the father futuristic was said ideas and creative ideas into the fourthwave that could affect the world economy. Indonesia also inspired thedevelopment of creative industries of the world, adopted the triple helixmodel to drive the creative industries to creative economy towardsIndonesia. There are 14 industry groups developed creative Indonesia.In this position the creative industries need to get a response fromintellectuals and the public
Eksplorasi Simbol Konvensional dan Universal dalam Penciptaan Video Art Kampanye Anti Perang dan Kekerasan “WARKAHOLIC” dengan Teknik Animasi 3D
No full textAt The End of 2010 to 2011 there has been a political crisis in MiddleEastern countries and parts of North Africa. The movement called "JasmineRevolution" caused by poor socioeconomic situation in the region, while itspresidents has been living rich in power for decades. It was raised the anger of the people and cause lot of protest to raising down the Presidents. Most of the presidents refused to resign and against the protester violently. The thousands of people have been killed and injured due to the demonstrations and civil war during the conflict. The Indonesian people must be wary to prevent leadership crisis's revolution. They need to be aware that the war and violence conflict caused suffering continously and harmfull for both of them."Warkaholic" is a manifestation of the artist's social responsibility to deliver the message through their artworks. It formed into the video arts and the topic of its art works are stop war and violence campaign. This video arts does not emphasize the personal subjectivity aspects as a fine art works. It will be more objective and easily understood for the public in general and can be seen by peoples through any audiovisual media.The methods of art works's realization are narrative style approach andapplying universal symbol, iconic, connotative to the visual and sound elements of the object. Visual storytelling content can be understood by peoples as a representation of the impact of war and violence. The Supers or text is to be the key of the public's message to stop war and violence. The computer 3D animation technique is used to create realistic visualization and to make something impossible in live action technique can be relatively possible
Sensasi Gurat Alam dalam Fotografi Seni
No full textNowadays art expressions know no media boundaries, whatever the toolsand materials, an artist can use the media in order to express his artistic ideas. Photography does not have mere documentary functions, but also serves as an expression of feelings or aesthetic emotions through artistic elements such as lines, colors, texture, tone, compositions, and balance.This photography art creation entitled The Sensation of Natural Scratchesin Art Photographic is an emotional expression that is based on the aesthetic experiences of the details on old teak wood. The photography objects were decayed teak that were once used to build houses and has been worn by continuous changes of weather from hot sun to cold hard winds which created scratches on the teak’s texture. The focus is on the teak’s texture’s detail or on certain patterns which can express the emotions artistically and is presented with the creative-aesthetic approach. The aesthetic experiences were gained from the hobby of collecting the old teaks. The art creation was focused on the creative-aesthetic approach and the interpretation of values in the details of the worn out teak. Additionally, it is emphasized on the compositions and the photography techniques such as the choice of objects, the use of the perfect lighting, the use of picture formatting, and the viewpoint processing. Through these approaches the photos are hoped to show aesthetic sensations which are comes from the result of scratches and textures that appeared in worn out teak. On the other hand, some other considerations of photography techniques are held in order to gain new values and interpretations. The interpretation process and the comprehension of the values have been the main focus; or in a much specific sense, photography is more valuable in the acceptance and its value is determined by the viewers and researchers, and not on the photographer. Therefore these photos may offer new experiences in interpreting the details on worn out teak. Hence, as a whole, old and worn out teak, in the photographic sense, has its own aesthetic value as an object of photography, it can also enrich the perception of visual experiences for its viewers
Kajian Retorika Visual: Fotografi Potret Studio
No full textA study about photography art work in Indonesia is rarely done. Thefact is that the potrait photography discourse in Indonesia is pointed to thecreative process of the creation of the art work and tends to place the potrait photography is more to be a mass product along with its economical value. To fulfill that emptiness, it needs a study which can be used as an explanation on how the portrait photography is evolve among society, one is relate to the human effort who express her/himself through a studio portrait photography.One of the efforts that can be done is inquiring the dimension ofcommunication in portrait photography which is using visual retoric theories. The outline of visual retoric theory has been oftenly used to analyze visual media in general, however it seems seldom chosen to analyze photography art work. Through this writing would be shown the example of theories which could be The theory outline is hoped to be able to give an illustration about many kinds of portrait photography shape and it is hoped to explain the main goal and the pattern of message deliverence photographically and to know how the society figure out the value of portrait photography for her/himself
Estetika Kassian Cephas, Fotografer Jawa yang Mendunia
No full textLooking 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
Ansel Adams Easton 'Kajian Karya, Kesenimanan, dan Aspek Sosialnya'
No full textThe fame of an artist is sometimes recognized as a reflection of himself and his work features alone. The artist often regarded as a highly central role in efforts to achieve its reputation.The public do not realize that behind the popularity of an artist, there are a number of socio-cultural factors that also affect it. Ansel Adams is an example of how the position of an artist in the constellation of socio-cultural America. Besides having a beautiful work, technical ability and concept of good works, he is also able to put himself in a social map of his era. Discussion of Ansel Adams will be conducted by considering the workside, the capacity and roles deemed external helped push his popularity. In this perspective will be seen how the importance of social factors in maintaining the existence of an artist
Visualisasi Simbol Iklan di Media Televisi (Suatu Kajian Teori Semiotik dan Hermeneutik)
No full textObserving about advertisement and the language used in advertisement in mass communication media needs deeply understanding and knowledge. Thephenomenon of advertisement in mass media sometimes used as tools in order to satisfy human’s needs, whether is primary, secondly and so on. In a higher level, there could be a multilevel advertisement which is used as a “vehicle “ to persuasively invite the audiens to concern about the matters they recite such as political, enonomical, social, and cultural as well
Efektivitas Program Talk Show “Mama dan Aa” (Studi Kasus di Prancak Dukuh, Panggungharjo, Sewon, Bantul, Yogyakarta)
No full textThis research is reasonable to be done, in order to trace about the effectivity of a talk show program “Mama dan Aa” in Indosiar television station, that has been running through more than 3 years, with national scale broadcasting. This talk show contents of Islamic speech, consist of Qur’an way of thinking, even consists of legacy regulation in Islamic perspective, marriage problem, and society problem as well.Although this research relates to a content of a program in mass media with Islamic perspective, as a teaching staff in the faculty of Recorded Media Art which based on artistic, the researcher decreases some indicators in making questions that relate to the artistic aspect. A reality talk show that used television media, think about interior with all aspects, along with color composition with its harmony.Indeed lyrict and music are the important aspects of Talk Show program. That could be analized.From this research, 90 respondents confess that the material in Talk Swowprogram “Mama dan Aa”, influence them in their daily life, and they intend to apply those materials to their lives, 85 % feel regret when they do not apply them in their real lives. 95 % are found, get their knowledges about religion through listening to the speech on television or directly accept it from the mosque, in this research locates at the mosque in Prancak dukuh which give them peasful for their souls
Angle Kamera Subjektif dalam Film “Aku Ada”
No full textWhile watching a movie, the viewers sometimes are get involved to thescreen. The viewers can feel the emotion described in a scene. This is happened due to the projection and imaginary identification processes. The viewers feel as if they have taken part to the scene. However the viewers just passively involved, there is no interaction between the actors/characters and the viewers.A subjective camera angle is the way to invite the viewers to get involvedin the scenes of ‘Aku Ada’ movie. The viewers interact with the actors on that movie through an angle’s point of view variation. The viewers can change the specific actor’s point of view in watching some different events, objects and settings in a scene. Their point of view can also be moved from a certain actor to the other actors, but how if the viewers cannot identify themselves to the movie.This of course can destroy the narrative structure and blur the message delivered by the movie.The originality of the movie “Aku Ada” is to place the viewers to thescenes through a subjective camera angle on the overall shots, and suddenly move the point of view from a certain actor to the others. The viewers will in turn change in involving the act of one actor with the others. This changing of sudden point of view are not be done by the previous movies to be a reference. The application of subjective camera angle in the movie “Aku Ada” can built up the viewer’s interaction to the scenes on the movie. They can project themselves on the movie scenes and can identify themselves to be involved in the movie “Aku Ada” through interaction or eye-contact with the characters on the movie