MISE-EN-SCENE DALAM MEMBANGUN REALISME PADA FILM “NYAI: A WOMAN FROM JAVA”

ABSTRAKFilm 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

ANALISIS TEKNIK SCREENLIFE/SCREEN RECORD: SEBUAH STUDI KASUS TENTANG PENGARUHNYA PADA PENCERITAAN FILM

creenlife/screen record, a filmmaking technique that utilizes screen recordings of electronic devices, has garnered significant attention from filmmakers and audiences in recent years. This research employs a qualitative approach with a case study method to analyze screenlife/screen record, focusing on its advantages and disadvantages, its influence on film storytelling, and the challenges faced by filmmakers. The research findings indicate that screenlife/screen record offers realism, audience immersion, and low production costs. However, this technique also presents limitations in story scope, the potential for audience boredom, and the requirement for specialized technical skills. Screenlife/screen record enables filmmakers to explore contemporary themes, deliver immersive and personal narratives, and introduce new perspectives in film storytelling. This research holds implications for filmmakers, academics, and the film industry as a whole. Filmmakers can utilize the research findings to understand the pros and cons of screenlife/screen record and to address the challenges encountered in filmmaking using this technique. Academics can contribute to the development of knowledge about screenlife/screen record and its role in film storytelling. The film industry can recognize screenlife/screen record as a potential genre to capture audience interest and drive innovation in filmmaking

RITME EDITING UNTUK MEMPERKUAT DRAMATIK

The 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

TEKNIK KAMERA SEBAGAI PENAMBAH UNSUR DRAMATIK DALAM PENYUTRADARAAN DRAMA TELEVISI “REKASA”

The production of this work aims to create a comedy television drama by applying shot size, camera angle and camera movement camera techniques to add dramatic elements of conflict, suspense, Curiousity, and Surprise. the application of this technique is used to build an atmosphere in the story, so that the conveying of emotion and atmosphere in the story can be effective to the audience verbally and nonverbally

PENYUTRADARAAN FILM GORESAN PENSIL: GESTURE SEBAGAI REPRESENTASI BUDAYA SUNDA

Goresan 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

This 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

fillm realita imaji

In 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

Many 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

UPAYA PREVENTIF DALAM MENANGGULANGI TINDAK PIDANA PEMBAJAKAN FILM SECARA ONLINE MAUPUN OFFLINE DI INDONESIA

Penelitian 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

PERSPEKTIF PENDERITA SKIZOFRENIA DALAM REPRESENTASI FILM EKSPERIMENTAL

Skizofrenia merupakan penyakit mental yang ditandai oleh ketidakacuhan, halusinasi, waham untuk menghukum, dan mereasa berkuasa, tetapi daya fikir tidak berkurang. Penderita kerap mengalami halusinasi, ilusi, dan waham yang mengganggu kehidupan sehari-hari baik secara pendengaran dan penglihatan. Pengalaman ini direpresentasikan melaluik film eksperimental yang berjudul b;d. Tujuan dari penciptaan film eksperimental b;d adalah sebagai wujud kepedulian terhadap penyakit mental yang menjadi stigma bagi masyarakat luas. Hal ini disebabkan oleh kurangnya informasi yang tersedia tentang penjelasan skizofrenia. Film eksperimental ini menghadirkan rangkaian halusinasi, ilusi, dan delusi penderita skizofrenia atau ODS (Orang Dengan Skizofrenia) dengan sudut pandang orang pertama.  Penonton akan disajikan pengalaman baru dalam menikmati film yang tidak hanya dibangun dari audio dan visual saja, namun indra lain juga akan diransang dalam karya film eksperimental b;d