1,761,501 research outputs found
Memoar Garin Nugroho: Era emas film Indonesia
No full textBuku ini berbentuk mosaik kenang-kenangan ensiklopedik Garin Nugroho tentang perfilman Indonesia. Ini adalah semacam otobiografi “plus plus”. Sebuah catatan perjalanan hidup tapi uniknya dengan mengarungi dan menjelajahi sejarah film dan perfilman Indonesia, lengkap dengan jiwa zamannya, atau sebaliknya: analisa populer seputar film dan perfilman dilakukan melalui pendekatan pengalaman dan nostalgia personal. Pengalaman hidup pribadi yang kaya juga ingatan yang kuat dan kedekatan dengan subjek menjadi modal utama untuk melakukan berbagai pemetaan dan mencakup berbagai aspek dari perfilman. Di memoar ini, Garin membuka pintu untuk mengkaji para sutradara yang berkiprah pasca 1998. Nyaris semua sutradara pasca 1998 diulas
MISE EN SCÈNE FILM NYAI KARYA GARIN NUGROHO
Full text linkNyai (2016) merupakan sebuah film karya Garin Nugroho yang dibuat hanya dengan menggunakan satu kamera dan pengambilan gambarnya secara terus menerus tanpa henti (one take) untuk satu film secara penuh. Konsekuensi dari teknik tersebut menyebabkan Film Nyai tak ubahya seperti pementasan teater di atas panggung. Karya ini terinspirasi oleh beberapa karya sastra sekaligus. Untuk melakukan analisis terhadap Film Nyai, menggunakan konsep yang dikenal awal mulanya sebagai sebuah konsep pemanggungan di atas panggung teater dan pada perkembangan selanjutnya dikenal juga dalam dunia sinematografi. Pemahaman mengenai mise en scène ini sangat penting untuk pijakan melakukan analisis terhadap unsur-unsur yang ada dalam Film Nyai.Nyai merupakan film dengan idiom pertunjukan teater yang sangat kental. Blocking, Setting, Make Up benar-benar seperti pertunjukan teater di atas panggung. Sedangkan pergerakan, sudut pengambilan dan pemilihan lensa kamera dibuat semirip mungkin dengan pandangan manusia. Kata Kunci: mise en scène, film nyai, garin nugroho Nyai (2016) is a film by Garin Nugroho which is made using only one camera and with long take technique for full film. As a consequence of this technique, Nyai is very as theater performance ona stage. This work is inspired by several literary works at once. To conduct an analysis of the Nyai, it uses a concept that was known in the beginning as a staging concept on the theater stage and later known in the world of cinematography. This understanding of mise en scène is very important for the basis of analyzing the elements in Nyai. Nyai is a film with a very strong theatrical idiom. Blocking, Setting, Make Up are really like theatre performances. Meanwhile, the movement, angle and selection of the camera lens are made as close as possible to human sight.Key words: mise en scène, nyai, garin nugroho
Gemblak stereotype film “kucumbu tubuh indahku” by Garin Nugroho
Full text linkFilm is one of the electronic media that has a huge appeal among the public. Films also play an active role in conveying messages or information, but with very neat packaging. Make the message or information more interesting and entertain the audience. Based on this, many films always contain events or phenomena, one of which is the film "A Memories of My Body". Where this film tells the story of LGBT people and is associated with ancient culture, namely the Lengger and Gemblak dances, this paper aims to find out the analysis of William Gamson and Andre Modigliani's framing of the Gemblak stereotype in the film "A Memories of My Body," which was made by Garin Nugroho and released on April 18, 2019. The theory used is framing analysis from William Gamson and André Modigliani. The methodology used in this research is descriptive qualitative. The data analysis technique uses the Umberto Eco concept by determining the framing device (metaphor, exemplar, catchphrase, depiction, visual image). ) and tools of reasoning (roots, principle of appeal, consequences).The results show that in the film "A Memoir of My Body" by Garin Nugroho there is a depiction of Gemblak as a sexual deviation and feminism, which can lead to public opinion
Karya lukis Asri Nugroho
No full textAsri Nugroho adalah pelukis yang menggunakan mateti cat acrylic di atas kanvas sebagai media ekspresi dalam seni lukis. Tujuan dari penelitian ini adalah untuk mengetahui ige/gagasan, proses pembuatan, teknik yang digunakan, bahan atau media yang digunakan dalam karya lukis Asri Nugroho
Aplikasi Instagram dalam Meningkatkan Eksistensi Eko Nugroho
No full textDunia seni rupa di Indonesia terus berkembang hingga saat ini. Hal itu mengakibatkan banyaknya seniman-seniman rupa yang terus bermunculan. Salah satu seniman rupa yang populer adalah Eko Nugroho. Selain pameran diberbagai negara Eko Nugroho juga memanfaatkan media sosial untuk memperkenalkan dirinya serta mendekatkan diri kepada pengapreasi karyanya. Salah satu media sosial yang aktif digunakan Eko Nugroho adalah Instagram. Eko Nugroho aktif dengan akun @ekonugroho_studio. Akun ini memiliki 18.000 pengikut dan memiliki 500-1.000 pemberi tanda suka pada setiap unggahan fotonya. Semenjak aktif menggunakan Instagram eksistensinya diakui semakin meningkat karena tanpa harus datang ke pameran dan bertemu, para penggemarnya bisa menikmati karyanya dan mengetahui aktivitasnya. Eksistensi Eko Nugroho juga telah mencapai ranah Internasional. Melalui kuesioner yang disebarkan sejak tanggal 27 Mei-8 Juni 2017 kepada para pengikut akunnya, para pemberi tanda suka, dan masyarakat umum sehingga diperoleh data yang menunjukkan eksistensi Eko Nugroho di dunia nyata dan di dunia maya.
Kata kunci: Eko Nugroho, Instagram, Eksistens
Eko Nugroho : témoin hybride
Full text linkTrès représenté dans l’actualité artistique française de l’année 2011, l’œuvre protéiforme d’Eko Nugroho, en résidence à la Villa Raffet, fut montré dans deux expositions au MAMVP et à l’espace culturel Vuitton. Cet ouvrage dresse le portrait de l’artiste indonésien, tel qu’il est perçu en France, et de l’influence que la capitale a produite sur son œuvre. Eko Nugroho s’inscrit dans une démarche mêlant street art et culture pop, en créant des totems vivants et en décorant l’espace public. Der..
Eko Nugroho : témoin hybride
Full text linkTrès représenté dans l’actualité artistique française de l’année 2011, l’œuvre protéiforme d’Eko Nugroho, en résidence à la Villa Raffet, fut montré dans deux expositions au MAMVP et à l’espace culturel Vuitton. Cet ouvrage dresse le portrait de l’artiste indonésien, tel qu’il est perçu en France, et de l’influence que la capitale a produite sur son œuvre. Eko Nugroho s’inscrit dans une démarche mêlant street art et culture pop, en créant des totems vivants et en décorant l’espace public. Der..
Eumenes truncatus Nugroho 2010, new species
No full textEumenes truncatus Nugroho, new species (Figs. 5 – 8; 11 – 12, 14, 17 – 18) Material examined. – Holotype – female (MZB), labeled “ INDONESIA, Papua, Sentani, forest edge, 100–150 m, I. J. [= Irian Jaya expedition], 26 Mar.1973 ” (handwritten), “ HOLOTYPE, MZB. HYMN. 19213” and “ Eumenes truncatus Nugroho ”. Paratype – 1 male (MZB), INDONESIA, Papua, Manokwari, Ambau, 110 m, Irian Jaya expedition, 13 May 1973. Diagnosis. – This species can be separated from all other known species in the Papuan Region by the following combination of characters: clypeus with dorsal margin distinctly emarginate medially, produced dorsally beyond level of tentorial pits and very close to antennal socket, with ventral margin distinctly emarginate medially; labrum truncate apically; propodeum strongly convex, with deep median furrow; first metasomal sternum and tergum fused, with suture between them distinct only posteriorly; body black; female clypeus yellow dorsally, black ventrally. Female. – Body length about 17 mm; forewing length about 12 mm. Similar to E. batantanensis except for the following characteristics: clypeus with dorsal margin close to antennal sockets and deeply emarginate medially (Fig. 7), ventral margin distinctly emarginate medially (Fig. 11); labrum truncate apically (Figs. 7, 11); mandibular dorsalmost tooth more obtuse (Fig. 7); mesosoma not so stubby as in E. batantanensis, about 1.2 times as long as high in lateral view, about 1.2 times as long as wide; mesoscutum nearly as wide as long; propodeum strongly convex, bulging in anterior part of posterior face, in lateral view outline of posterior face strongly curved (Fig. 5), median longitudinal groove deeper; first metasomal tergum in dorsal view weakly produced laterally at spiracles; punctures on first and second metasomal segments denser than in E. batantanensis (Figs. 17, 18). Antennal scape slender, weakly curved, 4 times as long as its maximum width; first flagellomeres about 3 times as long as wide; second to fourth flagellomere slightly longer than its maximum width; fifth to ninth flagellomeres square in outline, about as long as wide. Body densely covered with long, ferruginous hairs. Head strongly punctured in frons and vertex. Pronotum and mesoscutum with punctures slightly larger than those on head. Scutellum, metanotum and propodeum with punctures stronger and larger than those on mesoscutum. First metasomal tergum and sternum with punctures sparser and smaller than those on head and mesosoma, but stronger than those on E. batantanensis; second sternum with punctures superficial, sparser than those on second tergum. Body black, with following yellow markings: Band along inner eye margin occupying eye emargination and extending ventrally to clypeus; supraclypeal area, dorsal half of clypeus, narrow band along apical margin of labrum, narrow band in dorsal half of gena along posterior margin of eye, anterior part of dorsal face of pronotum, narrow band in each posterolateral corner of pronotum, short lateral band along each anterolateral margin of mesoscutum, parategula, outer margin of tegula, anterior half of metanotum, large scrobal spot connected with large yellow spot below it to occupy posterior half of mesepisternum, paired large posterolateral spots on propodeum, propodeal valvula, apical band of first metasomal tergum, paired large lateral spots and apical band of second tergum, and large irregular-shaped posterior spot on second sternum. Apical margin of clypeus, labrum except for apical yellow band, mandible except for black base, ferruginous. Antenna blackish brown, but ferruginous beneath. Wings fusco-hyaline, darker than in E. batantanensis. All coxae black; femora dark brown, but fore femur largely and midfemur apically yellow; fore and mid-tibiae yellow; hind-tibia ferruginous; all tarsi ferruginous, darker apically. Male. – Body length about 15 mm; forewing length about 10 mm. Similar to female, but clypeus more slender, about 1.3 times as high as wide, more strongly narrowed dorsally (Fig. 12), entirely yellow except for apical, semitransparent, ferruginous band; space between clypeus and antennal socket wider than in female; mandible black but ferruginous at apex, with dorsalmost tooth longer and more slender than in female; labrum yellow; punctures on first and second terga sparser and weaker than in female. Antennal scape slightly curved, about 4 times as long as its maximum width (near apex); first flagellomere about 3.5 times as long as its maximum width; second to fifth flagellomeres slightly longer than their maximum width; sixth to tenth flagellomeres square, about as long as wide; terminal flagellomeres slightly curved, sharply pointed apically, about 2.2 times as long as its basal width (Fig. 14). Etymology. – The specific name, truncatus, is a Latin adjective and refers to the apically truncate labrum. Remarks. – This new species is similar to E. batantanensis Nugroho, new species, but can be easily distinguished from the latter in the following characters [states for E. batantanensis are given in brackets]: Both dorsal and ventral margins of clypeus rather deeply emarginate medially (Figs. 11 – 12) [emargination shallow or very shallow (Figs. 9 – 10)]; female clypeus close to antennal sockets (Fig. 7) [distinctly separated (Fig. 3)]; propodeum more strongly convex (Fig. 5) than in E. batantanensis (Fig. 1); base of second tergum slightly flattened (Fig. 5) [barely flattened (Fig. 1)]. This species is also similar to E. dorycus, according to the redescription of the lectotype by Giordani Soika (1941), but can be easily distinguished from E. dorycus by having the clypeus black in dorsal half (nearly entirely yellow in E. dorycus). Furthermore, E. dorycus is distinguished from either E. truncatus and E. batantanensis by having the first metasomal segment much more elongated than the latter two species (see Giordani Soika, 1941: Fig. 19) Distribution. – Known from the two localities listed herein, Sentani near Jayapura and Manokwari. This species may occur in northwestern part of New Guinea Island.Published as part of Nugroho, Hari, Ubaidillah, Rosichon & Kojima, Jun-ichi, 2010, Potter Wasps Of The Genus Eumenes Latreille (Hymenoptera: Vespidae: Eumeninae) In The Western Part Of The Papuan Region, With Description Of Two New Species And Taxonomic Notes On E. Inconspicuus Smith, pp. 179-187 in Raffles Bulletin of Zoology 58 (2) on pages 182-184, DOI: 10.5281/zenodo.534264
PROSES KREATIF SIDIK NUGROHO DALAM PENULISAN NOVEL TEWASNYA GAGAK HITAM
Full text linkAbstractThis study aims to describe the implementation is how Sidik Nugroho obtained the source of the idea, through the incubation process, pouring the idea of the novel Tewasnya Gagak Hitam, implementation in the form of text in Indonesian language learning related to Sidik Nugroho's creative process in writing the novel Tewasnya Gagak Hitam. The approach in this research is expressivism with the data collection technique is a documentary study technique. The data collection tool is the researcher as the key instrument assisted by writing instruments and research instruments. The data source of this research is Sidik Nugroho as the author of the novel Tewasnya Gagak Hitam with data in the form of video recordings of the results of the interview with Sidik Nugroho. The technique of testing the validity of the data used triangulation persistence and referential adequacy.The results showed that the creative process data of Sidik Nugroho in the writing of the novel Tewasnya Gagak Hitam were found to be 17 forms consisting of 6 forms of idea sources, 5 forms of incubation processes, and 6 forms of pouring ideas. The implementation plan for learning the results of this research is combined with Indonesian language learning in class X SMA/equivalent level in the 2013 curriculum with KD 3.14 Assessing things that can be imitated from biographical texts KD 4.14 Revealing things that can be imitated from the characters contained in the biographical texts read in writing.Keywords: Learning, Text Reviews, and Writin
Bicara Buku RAK UMN bersama Wisnu Nugroho
No full textTANGERANG — RAK (Rumah Aktivitas Kampus) Universitas Multimedia Nusantara mengadakan acara Bicara Buku bersama Wisnu Nugroho pada tanggal 1 Desember 2014 di Lecture Hall UMN. Dalam kesempatan ini, Wisnu Nugroho membahas bukunya yang berjudul Tetralogi Sisi Lain SBY, sebuah karya jurnalistik yang mengulas sisi personal dan kepemimpinan Presiden Susilo Bambang Yudhoyono dari perspektif yang berbeda. Acara ini bertujuan untuk mendorong minat baca serta memperkaya wawasan mahasiswa melalui diskusi buku bersama penulis langsung. Kehadiran Wisnu Nugroho memberikan pengalaman menarik dan inspiratif bagi peserta, khususnya bagi mereka yang tertarik di bidang jurnalisme dan politik
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