2026-04-04T20:32:09Z https://journal.isi.ac.id/index.php/index/oai

oai:ojs.journal.isi.ac.id:article/2136 2023-10-28T13:08:46Z rekam:ART

Objektivikasi Perempuan Tua dalam Fotografi Jurnalistik Analisis Semiotika pada Foto-Foto Pameran Jalan Menuju Media Kreatif #8 Surahman, Sigit objectification; photography; feminism; visual communication Penelitian ini berfokus pada objektivitas perempuan tua dalam fotografi jurnalistik. Objektivikasi perempuan adalah objek yang menarik karena menjadi sebuah fenomena dalam kehidupan masyarakat. Hampir di setiap media massa, perempuan diposisikan sebagai pelengkap dunia laki-laki. Paras cantik dan keindahan lekuk tubuh perempuan dijadikan sebagai objek seksual. Lain halnya dalam karya fotografi pada pameran “Jalan Menuju Media Kreatif #8”. Dengan analisis deskriptif interpretif berparadigma kritis, penelitian ini bertujuan mendeskripsikan dan menginterpretasikan data yang bersangkutan dengan objektivikasi dan mitos dalam karya fotografi jurnalistik. Variabel penelitian ini adalah fotografi jurnalistik, perempuan, dan komunikasi visual. Terdapat tiga objektivikasi perempuan dalam karya foto jurnalistik ini: pertama, objektivikasi perempuan terletak pada inner beauty; kedua,; perempuan menikmati pekerjaannya sebagai ibu rumah; dan ketiga, perempuan tampil tanpa make up tebal. Mitos kecantikan perempuan terletak pada inner beauty, dalam foto-foto ini disajikan melalui keaslian wajah, profesi, dan ketaatannya. Mitos lain adalah penempatan perempuan yang selalu di wilayah domestik. Dengan demikian, perempuan tidak lagi hanya menghabiskan waktunya untuk berdandan dan bergaya. AbstractObjectification of Elderly Women in Photojournalism: Analysys of Semiotics on the Photographs of ‘Jalan Menuju Media Kreatif #8’. This study focused on elderly women objectivity in photojournalism. The objectification of women is an interesting object because it has become a phenomenon in the society. Almost in every mass media, women are positioned as the complement of men’s worlds. Pretty faces and the beauty of women’s curves are made as sexual objects. There was a difference in the photography exhibition in the event of “Jalan Menuju Media Kreatif #8”. By using interpretative descriptive analysis with critical paradigm, this research aims to describe and to interpret the data related to the objectification and myths in the photography works of photojournalism. The variables of this research are photojournalism, women, and visual communication. There are three objectifications of women in those works of photojournalism; first, objectification of women on their inner beauty; second, women enjoying their work as homemakers; and three, women without thick make-up. The myth of female beauty lies in the inner beauty,therefore in the photographs they were represented through the authenticity of their faces, professions, and obediences. Another myth is the position of women in the domestic sphere. Thus, women did not just spend their time to dress up and to be stylish. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/2136 10.24821/rekam.v14i1.2136 Rekam; Vol 14, No 1 (2018): April 2018; 41-53 2442-9376 1858-3997 10.24821/rekam.v14i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/2136/695 Copyright (c) 2018 REKAM: Jurnal Fotografi, Televisi, dan Animasi

oai:ojs.journal.isi.ac.id:article/3577 2023-10-28T13:09:37Z rekam:ART

Perancangan Web Series Film Dokumenter sebagai Media Revitalisasi Kopi Jawa di Ngawonggo, Kaliangkrik, Magelang, Jawa Tengah Nugroho, Widhi Suhada, I Putu Hakim, Latief Rakhman Pungkiawan, Pius Rino revitalization; coffee; film; documentaryp; web series ABSTRAKRevitalisasi adalah proses, cara, perbuatan menghidupkan atau menggiatkan kembali. Dalam konteks ini, revitalisasi pertanian mengandung arti sebagai kesadaran untuk menempatkan kembali arti penting sektor pertanian secara proporsional dan kontekstual, dalam arti menyegarkan kembali vitalitas, memberdayakan kemampuan dan meningkatkan kinerja pertanian dalam pembangunan dengan tanpa mengabaikan sektor lainnya. Pemerintah mewujudkan hal ini dengan mendorong sektor pertanian kopi sebagai salah satu penguat daya saing Indonesia di pasar internasional. Berbicara kopi di Indonesia tidak akan pernah bisa lepas dari sejarah kopi di Jawa. Kopi Jawa (java coffee) yang kemudian sering disebut ini merupakan salah satu cikal bakal dikenalnya Indonesia sebagai salah satu negara terbesar penghasil kopi di dunia. Berdasar uraian tersebut, web series dipilih sebagai media ungkap dalam upaya peran serta memajukan para petani kopi menuju kemandirian serta kedaulatan ekonomi menuju desa berdaya melalui potensi masyarakat desa. Metode deskriptif kualitatif digunakan dalam perancangan web series ini. Hal ini dilakukan guna mendapatkan data-data penting secara substantif dalam penyusunan unsur naratif (cerita) berkenaan dengan Kopi Kaliangkrik di Desa Ngawonggo, Kecamatan Kaliangkrik, Kabupaten Magelang, Propinsi Jawa Tengah. Perancangan web series ini bertujuan mewujudkan film dokumenter sebagai salah satu media revitalisasi kopi, terutama kopi jawa. Hasil yang dicapai dalam perancangan web series ini adalah peran serta media sebagai salah satu sarana dalam upaya peningkatan nilai tambah (creating value add) produk pertanian kopi di Indonesia.    Revitalization is the process, method, act of reviving or activating it. In this context, agricultural revitalization implies awareness to place proportional and contextual importance in the agricultural sector, in the sense of refreshing vitality, empowering capabilities and improving agricultural performance in development without ignoring other sectors. The government makes this happen by encouraging the coffee agriculture sector as one of the strengthens of Indonesia's competitiveness in the international market. Talking about coffee in Indonesia can never be separated from the history of coffee in Java. Java coffee (java coffee) which is then often referred to is one of the forerunners of the recognition of Indonesia as one of the largest coffee producing countries in the world. Based on this description, the web series was chosen as a media to express in an effort to participate in advancing coffee farmers towards independence and economic sovereignty towards empowered villages through the potential of rural communities. Qualitative descriptive methods are used in designing this web series. This was done in order to obtain important data substantively in the compilation of narrative elements (stories) regarding Kaliangkrik Coffee in Ngawonggo Village, Kaliangkrik District, Magelang Regency, Central Java Province. The web series design aims to realize documentary films as one of the coffee revitalization media, especially Java coffee. The results achieved in the design of this web series are the role of the media as one of the means in an effort to increase the added value (creating value add) of coffee agricultural products in Indonesia. Institut Seni Indonesia Yogyakarta 2019-10-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/3577 10.24821/rekam.v15i2.3577 Rekam; Vol 15, No 2 (2019): Oktober 2019; 113 - 124 2442-9376 1858-3997 10.24821/rekam.v15i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/3577/1699 Copyright (c) 2019 REKAM: Jurnal Fotografi, Televisi, dan Animasi

oai:ojs.journal.isi.ac.id:article/374 2013-09-05T17:52:12Z rekam:ART

Identifikasi Kualitatif Tingkat Kompetisi Bisnis Fotografi dan Alternatif Tindakan untuk Menghadapainya Kholid Arif Rozaq, M. Photo studio is an exciting venture and a growing number who started it. This effort is essentially a business-related field of recording media. These businesses receive services in the field of Photography and Video Recording, it becomes a necessity in documenting the important moments in human life. Regarding of photo studio, one thing that is interesting to examine is the level of competition among business photography. The study tries to offer a concept of Porter's five forces analysis.This study is a descriptive research and qualitative analysis. According to Robert K. Yin (2011), one of the methods that can be used in qualitative research is to conduct indepth interviews (depth interviews) on the object of research.Some of the dominant characteristics of the most prominent are (1) market size, (2) the pace of technological change and innovation, (3) capital requirements and the ease of entry and exit of business, (4) Scope of Competitive rivalry, (5) industry Profitibility and (6) the degree of product differentiation.Verification has been done to conclude that the level of competition in the photography business is high. The implication is that the structure of the industry is "less profitable" for participating companies to gain profit. Therefore, it is necessary to make strategic steps to win the competition. The steps are basically to reduce the level of competition that occurs. Institut Seni Indonesia Yogyakarta photography dominant characteristic Porter’s five forces competition 2013-09-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/rekam/article/view/374 10.24821/rekam.v0i0.374 Rekam; Rekam 7 2442-9376 1858-3997 10.24821/rekam.v0i0 en

oai:ojs.journal.isi.ac.id:article/6126 2023-10-28T13:11:15Z rekam:ART

Pengembangan Kreativitas dalam Berkarya Seni Rupa Melalui Teknologi Digital pada Masa Pandemi Covid-19 Santoso, Oco - Damayanti, Nuning Sanjaya, Tisna Sugiharto, Bambang : Covid 19, Digital, Aesthetics, Creativity, art, Technology Situasi pandemi dapat disikapi sebagai salah satu tantangan untuk pengembangan kreativitas sehingga aktivitas berkesenian tetap bisa berjalan dengan baik. Salah satu di antaranya adalah dengan penerapan teknologi digital dalam berkarya seni rupa seperti yang ditunjukkan dalam pameran seni rupa yang bertajuk “Light Weekend”. Kegiatan pameran yang diselenggarakan pada saat pandemi Covid-19 ini menjadi tantangan tersendiri untuk mengembangkan kreativitas melalui penerapan teknologi digital sesuai dengan gagasan dari setiap peserta. Penerapan teknologi digital dalam berkarya seni rupa tentu tidak hanya persoalan teknik penciptaan, tetapi juga sangat berkaitan dengan problem estetika dan kompleksitas digitalisasi itu sendiri. Penulis menggunakan metode etnografi yang fokus pada kajian terhadap pengalaman proses berkarya seni rupa dalam bentuk wawancara terhadap peserta pameran guna menelusuri relasi antara potensi teknologi digital dan problem estetika yang ditawarkan. Melalui pendekatan semiotika, ditelusuri relasi antara potensi teknologi digital dengan problem estetika yang ditawarkan. Dengan demikian, kekayaan unsur estetik yang tercipta melalui teknologi digital dapat menjadi salah satu alternatif bentuk kreativitas yang dikembangkan pascapandemi Covid-19.  During the COVID-19 pandemic, activities in various fields are still being strived to continue with work patterns and governance adapted to the pandemic situation. In the field of fine arts, the pandemic situation can be considered as one of the challenges for the development of creativity so that artistic activities can still run well. One of them is the application of digital technology in creating visual art as shown in the art exhibition entitled "Light Weekend" The exhibition, which was held during the COVID-19 pandemic, was a challenge in itself to develop creativity through the application of digital technology following the ideas of each participant. The application of digital technology in creating fine art is certainly not only a matter of creation technique but is also closely related to aesthetic problems and the complexity of digitalization itself. Through an ethnographic approach, some of the works in this exhibition are exploring how the uniqueness of artistic experience and the relationship between the potential of digital technology and the aesthetic problems offered. Thus, the wealth of aesthetic elements created through digital technology can be an alternative form of creativity developed after the COVID-19 pandemic. Institut Seni Indonesia Yogyakarta 2022-04-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/6126 10.24821/rekam.v18i1.6126 Rekam; Vol 18, No 1 (2022): April 2022; 51-58 2442-9376 1858-3997 10.24821/rekam.v18i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/6126/2606 Copyright (c) 2022 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1295 2023-10-28T13:06:29Z rekam:ART

“Aku Yang Galau”: Refleksi Film Masa Kolonial Hingga Awal Kemerdekaan Anggraini, Sazkia Noor film; identitas; post-colonial Film tidak hanya mewujudkan image (citraan) tetapi juga imaji (baca: imajinasi) tentang realitas masyarakatnya. Tulisan ini melihat film sebagai teks yang strategis dalam pergolakan dan kegalauan masyarakat pada masa kolonial, lalu pada era kebangkitan nasional hingga awal kemerdekaan. Film-film seperti Terang Boelan, Dasima, hingga Rentjong Atjeh yang dibuat sebelum kemerdekaan, telah menunjukkan antitesis kolonialisme. Film-film tersebut memang muncul ketika negeri ini masih dijajah, namun formula, bentuk, dan penyajiannya dapat dilihat telah berdikari –meski tidak sepenuhnya—dengan memasukkan unsur hibriditas yang disukai masyarakat. Daya tarik dari film pada masa kebangkitan nasional adalah masuknya selera pribumi dalam film yang pada saat itu ditujukan kepada pangsa pasar Eropa. Musik, pakaian, gaya hidup, dan respons dari film ini bukanlah suatu entitas tunggal. Seperti halnya masyarakat yang dilanda “kegalauan identitas” sebelum negeri ini benar-benar merdeka. Film pada masa tersebut menjadi subordinat dari selera masyarakat yang sebelumnya terikat struktur sosial karena pengaruh kolonialisme. Sementara itu, film yang muncul pada masa awal kemerdekaan seperti Harimau Tjampa, Lagi-Lagi Krisis, dan Tamu Agung menunjukkan ekspresi nasionalisme yang besar dengan tetap memasukkan unsur tradisi. Meski telah merdeka, film pada awal masa kemerdekaan ini menemui tantangan lain, yakni dominasi negara di satu sisi dan sikap masyarakat kelas bawah di sisi lain. Maka corak khas dari film-film pada masa itu pun terlihat menggambarkan kegalauan masyarakat yang baru saja merdeka dan sedang mencari identitas.The One Who’s Mixed up”: Reflections of Film from the Colonial Era to the Beginning of Independence. Film was not only creates images but also imagination by pictures of social reality. This article sees film as strategic text in society upheaval and mixed up during colonial era, continued to (kebangkitan nasional) national resurgence era until early independence. Films as Terang Boelan, Dasima, to Rentjong Atjeh which made before independence have been showing colonialism antitheses. This country was on colonized when that film shows, but the formula, form and presentation could be seen independent –tough not entirely— with popular hybrid elements input. Uniquely, films on national resurgence era attracts by local native taste which presented to European viewers. Music, clothes, lifestyle and response of those films was not a single entity, as though the society who has mixed up identity before getting independency. Films on that era are the subordinate of society taste which is before tied to colonial social structure. Meanwhile, early independence films such as Harimau Tjampa, Lagi-Lagi Krisis and Tamu Agung shows strong national expression by still using traditional element. Even after independence, early independence films met another challenge which is state domination and in another hand, the attitude of lower class. So the characteristic of films from colonial to the beginning of independence was representing societies mixed-up who were looking for identity. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1295 10.24821/rekam.v11i2.1295 Rekam; Vol 11, No 2 (2015): Oktober 2015; 79-92 2442-9376 1858-3997 10.24821/rekam.v11i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/1295/232 Copyright (c) 2016 REKAM

oai:ojs.journal.isi.ac.id:article/11507 2024-05-05T06:06:11Z rekam:ART

Restorasi Film Lewat Djam Malam sebagai Bentuk Pemulihan dan Pelestarian Film Klasik pada Era Digital Dayani, Elin Siska Ranangsari, Kosalalita Anggiyumna Saptoto, Anang Rahmadiani, Arivia Dharma, Surya Chintya restorasi, film, arsip, dan pelestarian Film klasik berbentuk seluloid yang disimpan begitu saja akan mengalami kerusakan seiring berjalannya waktu. Sebagai bagian dari warisan sinema Indonesia jaman dahulu, para pegiat film menaruh perhatiannya pada kondisi film lama yang usang, salah satunya adalah film lama berjudul Lewat Djam Malam, dengan berinisiasi melakukan restorasi dan digitalisasi pada film ini. Penelitian ini bertujuan untuk menggali pemahaman mengenai proses restorasi film Lewat Djam Malam karya Usmar Ismail yang meliputi tahapan pra-restorasi, restorasi, dan pasca restorasi. Riset ini menggunakan metode kualitatif dengan pendekatan studi kasus. Hasil penelitian menunjukkan bahwa kegiatan restorasi yang dilakukan pada film Lewat Djam Malam mampu melestarikan film klasik yang bernilai sejarah kebudayaan Indonesia masa lampau, sehingga film klasik dapat dengan mudah diakses dan dinikmati kembali oleh generasi muda. Institut Seni Indonesia Yogyakarta 2024-05-05 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/11507 Rekam; Vol 20, No 1 (2024): April 2024; 47-59 2442-9376 1858-3997 10.24821/rekam.v20i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/11507/3645 Copyright (c) 2024 Rekam : Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/14555 2025-11-09T19:31:54Z rekam:ART

Homelander and The Ambiguity of Morality in the Television Series the Boys Agung, Lingga Syahdanendra, Fahrezi Kalif morality; superhero; deconstruction; The Boys (2019); Homelander Morality, 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. Institut Seni Indonesia Yogyakarta 2025-10-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/14555 10.24821/rekam.v21i2.14555 Rekam; Vol 21, No 2 (2025): Oktober 2025; 91-104 2442-9376 1858-3997 10.24821/rekam.v21i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/14555/4486 Copyright (c) 2025 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/3185 2023-10-28T13:09:25Z rekam:ART

Konstruksi Keistimewaan Yogyakarta dalam Narasi Film-Film Kompetisi Produksi Dinas Kebudayaan Yogyakarta Tahun 2016-2017 Kustanto, Lilik Prasetyowati, Rr. Ari Aisyia, Ozhara narrative; construction of privilege; Danais Competition Film ABSTRAKSejak Undang-undang Keistimewaan disahkan, Dinas Kebudayaan Daerah Istimewa Yogyakarta (DIY) konsisten menggelar program kompetisi Pendanaan Pembuatan Film. Dalam genre fiksi dan dokumenter, film-film terpilih yang difasilitasi telah menafsirkan dinamika kebudayaan di DIY dengan cukup beragam. Asumsinya, film-film tersebut setidaknya mampu mewujudkan tata nilai budaya masyarakat yang berbasis pada nilai-nilai luhur budaya lokal. Namun demikian, beragamnya perspektif dan pendekatan yang digunakan sineas dalam produksi film kompetisi tentunya membangun realita baru akan narasi keistimewaan Yogyakarta. Penelitian ini akan memeriksa bagaimana konstruksi keistimewaan DIY dibagun lewat narasi film-film pemenang kompetisi pada dua tahun belakangan. Proses penelitian saat ini telah mencapai pada tahapan analisis struktur luar narasi kedua film kompetisi produksi Danais 2016-2017. Adanya ketidaksesuaian struktur narasi film-film dengan gagasan yang digunakan untuk menemukan struktur luar menurut Todorov justru menjadi tantangan besar dalam penelitian ini. Ketidaksesuaian ini sekaligus menjadi suatu penemuan yang penting saat keseluruhan proses analisis terselesaikan Since the Privileges Law has been authorized, the Government Cultural Office of the Special Region of Yogyakarta has been consistently holding a film-making funding program. In the genres of fiction and documentary, the facilitated selected films have climbed the Cultural Revolution in the Special Region of Yogyakarta with quite a variety. The assumption is that those films are at least able to realize the cultural values of the society based on the noble values of the local culture. However, the variety of perspectives and approaches used by filmmakers in the production of competitive films, certainly builds a new reality of the Yogyakarta's distinctive narrative. This research will examine how the construction of the privileges of the Special Region of Yogyakarta is built through the narrative of the winning films of the competition in the past two years. The current research process has reached the stage of analysis of the outside narrative structure of the two 2016-2017 Danais production competition films. According to Todorov, the inconsistency in the narrative structure of the films, with the ideas which are used to find the outward structures, has become a major challenge in this research. This incompatibility is also an important discovery when the entire analysis process is resolved. Institut Seni Indonesia Yogyakarta 2019-09-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/3185 10.24821/rekam.v15i1.3185 Rekam; Vol 15, No 1 (2019): April 2019; 49-59 2442-9376 1858-3997 10.24821/rekam.v15i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/3185/1642 Copyright (c) 2019 REKAM: Jurnal Fotografi, Televisi, dan Animasi

oai:ojs.journal.isi.ac.id:article/365 2013-09-05T17:41:23Z rekam:ART

SEBUAH KAJIAN KEBAHASAAN Maryani, Zulisih television slogans; meaning; language aspects; persuasion techniques The 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 techniques Institut Seni Indonesia Yogyakarta 2013-09-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/rekam/article/view/365 10.24821/rekam.v0i0.365 Rekam; Rekam 6 2442-9376 1858-3997 10.24821/rekam.v0i0 en

oai:ojs.journal.isi.ac.id:article/5177 2023-10-28T13:11:02Z rekam:ART

Film Komedi Rukun Karya: Strategi Seniman Tradisi Mempertahankan Eksistensi pada Era Pandemi Hidayatullah, Panakajaya Haryanto, Dwi Angelina, Dewi Rukun Karya Comedy Film; Traditional Arts Sustainability Strategy; Pandemic; Madura Penelitian ini mengkaji tentang strategi seniman tradisi dalam mempertahankan eksistensinya di era pandemi. Penelitian difokuskan pada kelompok kesenian tradisi Ketoprak Madura Rukun Karya yang berasal dari Kabupaten Sumenep. Di masa pandemi, kelompok Rukun Karya mengalami dampak yang cukup signifikan, dengan dibatalkannya beberapa daftar pementasan selama setahun. Kelompok ini kemudian mampu membalikkan kondisi keterpurukan melalui kesuksesannya dalam memproduksi konten Film Komedi Rukun Karya. Penelitian ini merupakan jenis penelitian kualitatif dengan pendekatan multidisipliner. Metode pengumpulan data dilakukan melalui teknik observasi partisipatoris, pengamatan mendalam, wawancara, dan studi literatur. Temuan yang dihasilkan dari penelitian ini antara lain 1) Rukun Karya melakukan peralihan mode pertunjukan dari ketoprak Madura menjadi Film Komedi yang memiliki dua jenis bentuk penceritaan yakni cerita adaptasi (gaya ketoprak, sastra Timur-Tengah, sejarah, dan televisi) dan cerita realitas kehidupan masyarakat Madura; 2) Peralihan mode pertunjukan dari ketoprak menjadi Film Komedi didasari oleh mekanisme industri (budaya) melalui media (youtube) yakni strandarisasi, komodifikasi dan massifikasi; 3) Peralihan mode pertunjukan berdampak pada perubahan cara penyajian dan cara menikmati sajian pertunjukan, beberapa contohnya ialah hilangnya interaksi seniman-penonton, serta digantikannya cita rasa dalam menikmati sajian pertunjukan secara kolektif menjadi cita rasa yang privat dan sangat individualistik. Institut Seni Indonesia Yogyakarta 2021-10-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/5177 10.24821/rekam.v17i2.5177 Rekam; Vol 17, No 2 (2021): Oktober 2021; 159-174 2442-9376 1858-3997 10.24821/rekam.v17i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/5177/2377 Copyright (c) 2021 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/549 2020-05-03T13:07:36Z rekam:ART

Penggunaan Metafora Visual Dalam Video Iklan Layanan Masyarakat Kick It Out Faturahman, Winata supporter, advertising, metaphor, directing Football fans riot in Indonesia are common and many lives. Excessive negative and tends to be one of the causes frequent riots between football fans in Indonesia. Anarchism is likely to lead to vandalism attitude is very detrimental to yourself or others. Lack of sportsmanship spirit football fans in Indonesia are still frequently encountered, it is necessary for an awareness to change it all. Public service ads are ads that criticize noncommercial purposes, satirical, or invited to do the positive nature of social problems. A public service announcements that are invited will be more easily accepted by the community by giving exposure to social phenomena. Metaphor is a delicate metaphor used to describe something as non-verbal. An advertisement that contains a message and visualized through metaphor will be more impressed solicitation and not patronize them head on. Metaphorical approach used to convey a message, video public service announcements Kick It Out will convey a subtle message.Keywords: supporter, advertising, metaphor, directing Institut Seni Indonesia Yogyakarta 2014-03-17 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/rekam/article/view/549 10.24821/rekam.v0i0.549 Rekam; Rekam 9 2442-9376 1858-3997 10.24821/rekam.v0i0 en

oai:ojs.journal.isi.ac.id:article/9106 2024-05-05T04:12:52Z rekam:ART

Implementation of EDFAT Technique in the Creation of Photo Story about Galeri Foto Jurnalistik Antara Alyatalatthaf, Muhammad Dicka Ma'arief Kusumawati, Dyah edfat; galeri foto jurnalistik antara; photography; photo story Photo story is a genre in photography which aims to capture various life events with a chronological plot that has a narrative aspect. It is enable us to tell a story in several photo that represent reality holistically. A photography technique known as EDFAT is also used to aid in the creation of works. The goal of this research is to use the EDFAT technique to create photo story works at Galeri Foto Jurnalistik Antara. The results of this study, "Galeri Foto Jurnalistik Antara" photo story is able to accommodate photos that are holistic visually and narratively due to the implementation of EDFAT: a) Entire, producing photos of locations, situations, events, activities, and objects that represent GFJA and Graha Bhakti Museum; b) Detail, produce photos of specific parts of the GFJA, the important elements in it are described in close-up and isolated through DOF; c) Frame, produces photos that highlight objects by utilizing the foreground and being able to frame discourse through visuals; d) Angle, produce photos with an unusual perspective so that the audience can enjoy objects from a unique perspective; e) Time, produce photos that philosophically want to describe the activities of visitors at GFJA. Institut Seni Indonesia Yogyakarta Institut Teknologi dan Bisnis Kalbis 2023-10-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/9106 10.24821/rekam.v19i2.9106 Rekam; Vol 19, No 2 (2023): Oktober 2023; 93-104 2442-9376 1858-3997 10.24821/rekam.v19i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/9106/3387 https://journal.isi.ac.id/index.php/rekam/article/downloadSuppFile/9106/1358 https://journal.isi.ac.id/index.php/rekam/article/downloadSuppFile/9106/1359 Copyright (c) 2023 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1931 2023-10-28T13:08:02Z rekam:ART

Meme dan Visualisasi Kebencian Netizen dalam Kasus Penistaan Agama Malik, Abdul Alleged Blasphemy Commited; Meme; Hatred Discourse Kasus dugaan penistaan agama yang dilakukan Basuki Tjahaja Purnama alias Ahok tidak hanya menimbulkan pro dan kontra di masyarakat tetapi juga polemik di dunia maya. Media sosial seperti facebook dipenuhi berbagai wacana kebencian. Banyak netizen memproduksi dan mereproduksi meme untuk memvisualisasikan kebenciannya terhadap pihak-pihak yang terkait dengan kasus tersebut. Tulisan ini mengkaji bagaimana netizen mengekspresikan kebenciannya terhadap pihak-pihak yang terkait dengan kasus dugaan penistaan agama melalui visualisasi meme, dan bagaimana penggambaran netizen terhadap pihak-pihak yang menjadi objek visualisasi dalam bentuk meme tersebut? Hasilnya, berbagai penggambaran netizen kepada parapihak terkait kasus dugaan penistaan agama mengerucut kepada bentuk kebencian dan pembelaan. Netizen yang kontra memvisualisasikan Ahok sebagai penista agama, tidak layak menjadi pemimpin, dan berbagai visualisasi kebencian lain. Kelompok pro Ahok, Megawati Soekarnoputri, Kapolri Jenderal Polisi Tito Karnavian, dan Presiden Jokowi, juga menjadi pihak yang tak luput dari penggambaran negatif penuh kebencian. Sedangkan meme terhadap Buni Yani memberikan penggambaran positif. Ia menjadi sosok yang dibela. Sedangkan netizen pro Ahok memberikan penggambaran berisi pembelaan terhadap Ahok tetapi bertendensi kebencian terhadap kelompok kontra Ahok. Gambaran kebencian juga dilakukan oleh netizen terhadap Buni Yani, kelompok kontra Ahok, dan terutama sekali Habib Rizieq. Cases of alleged blasphemy committed Basuki Tjahaja Purnama  (Ahok) not only raises the pros and cons in the community but also polemic in cyberspace. Social media such as Facebook full of hatred discourse. Many netizens producing and reproducing meme to visualize the hatred of the parties associated with the case. This article examines how netizens expressing hatred against those associated with cases of alleged blasphemy through visualization meme, and how netizens depiction of the parties which is the object of visualization in the form of the meme? As a result, images of netizen to related parties alleged blasphemy case boiled down to the hate and defense. Netizens who cons visualize Ahok as a blasphemer, unfit to be a leader, and a variety of other hatred visualization. Pro Ahok, Megawati Sukarnoputri, police chief Tito Karnavian, and President Jokowi, those who did not escape  the negative portrayal of hatred. While the meme to Buni Yani give positive portrayals. He is a person who defended. Meanwhile, netizens meme pro Ahok provides unbiased depiction of defense against Ahok but the tendency to hate against a group of counter Ahok. Images of hatred is also done by netizens against Buni Yani, the counter Ahok, and particularly  Habib Rizieq. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1931 10.24821/rekam.v13i2.1931 Rekam; Vol 13, No 2 (2017): Oktober 2017; 66-84 2442-9376 1858-3997 10.24821/rekam.v13i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/1931/625 Copyright (c) 2018 REKAM

oai:ojs.journal.isi.ac.id:article/3247 2023-10-11T04:50:16Z rekam:ART

Aspek Perlindungan Anak dalam Iklan Televisi: Kajian Terhadap Iklan Televisi Yang Melanggar Kode Etik Periklanan Mayasari, Novi advertisement; advertising ethics; child protection AbstrakIklan telah menjadi salah satu bagian dalam kehidupan sehari-hari masyarakat. Setiap hari,baik secara sadar maupun tidak kita selalu terpapar oleh iklan. Ketika menonton acara televisifavorit kita, tiba-tiba acara terhenti oleh iklan, ketika kita membaca koran, majalah atau bahkanketika kita berangkat kerja kita selalu bertemu dengan iklan entah itu dalam bentuk poster,spanduk, baliho maupun iklan di media cetak. Banyaknya iklan yang beredar di masyarakattentu saja memberikan pengaruh yang besar pada para konsumen mulai dari pengaruh yangberupa pembelian maupun pengaruh sederhana seperti meniru iklan. Besarnya pengaruh iklantersebut tentu saja harus diimbangi dengan sikap bijaksana terutama terkait dengan pengaruhiklan terhadap anak-anak. Sayangnya saat ini masih banyak iklan televisi yang melanggaretika pariwara Indonesia terkait dengan aspek perlindungan anak. Di antaranya adalah Iklantelevisi Permen Jagoan Neon versi “Mountain Bike”, Iklan Mie Sedap versi “Kerja Bakti”,Iklan Gerry Chocolatos versi “Masuk ke Dalam kulkas” serta iklan mie sedap versi “rasa ayamspesial”. Penelitian ini merupakan jenis penelitian kualitatif, yaitu jenis penelitian yang lebihmenekankan analisisnya pada proses penyimpulan deduktif dan induktif serta pada analisisterhadap dinamika hubungan antarfenomena yang diamati, dengan menggunakan logikailmiah. Data yang peneliti peroleh baik melalui penelitian kepustakaan maupun penelitianlapangan akan di analisis secara deskriptif-kualitatif. Penelitian deskriptif melakukan analisishanya sampai taraf deskripsi, yaitu menganalisis dan menyajikan fakta secara sistematiksehingga dapat lebih mudah dipahami dan disimpulkan. Aspects of the Protection of Children in Television Commercials: Study on the BreakingTelevision Advertising Advertising Code. Advertising has become one part in people’s dailylives. Every day, either consciously or not we are always exposed to the ads. When watchinga favorite television show us, suddenly interrupted by advertising the event, when we readthe newspapers, magazines or even when we go to work we are always met with the ad eitherin the form of posters, banners, billboards and print ads. The number of ads that circulate inthe community of course have a considerable influence on the consumer from the impact orinfluence the purchase of a simple form such as imitating the ad. The magnitude of the effect ofsuch advertising must of course be balanced with prudence, especially relating to the influenceof advertising on children. Unfortunately today there are many television ads that violate ethicsIndonesia advertisement related to aspects of child protection. Among these are television adsNeon Candy Stud version of “Mountain Bike”, Ad Noodle Savoury version of “Work Activity”,Ad Gerry Chocolatos version of “Go to In the fridge” and savory noodles ad version “specialchicken flavor”. This study is a qualitative research, which is a type of research that is moreemphasizes the analysis of deductive and inductive inference process and the analysis of thedynamics of the relationship antarfenomena observed, using scientific logic. Researchers dataobtained through library research and field research will be descriptive - qualitative analysis.Descriptive study analyzing only to some descriptions, which analyze and present the facts ina systematic way so that it can be easily understood and concluded. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/3247 10.24821/rekam.v10i1.3247 Rekam; Vol 10, No 1 (2014): April 2014; 77-90 2442-9376 1858-3997 10.24821/rekam.v10i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/3247/1469 Copyright (c) 2019 REKAM: Jurnal Fotografi, Televisi, dan Animasi

oai:ojs.journal.isi.ac.id:article/4945 2023-10-28T13:10:42Z rekam:ART

Strategi Resiliensi Museum dan Galeri Foto Jurnalistik Antara Menghadapi Pandemi Covid-19 Siregar, Nurul Aldha Mauliddina Khadijah, Ute Lies Siti Novianti, Evi resilience; museum; journalism; Covid-19 pandemic; virtual The implementation of the Large-Scale Social Restrictions (PSBB) policy in order to reduce the number of transmission of the coronavirus (Covid-19) pandemic cases in Jakarta leads several cultural heritage sites such as museums close the physical access to visits. In the midst of these limitations, the Antara Journalistic Museum and Photo Gallery made a breakthrough by establishing the museum digitization approach using Video Reality (VR) technology. This article was written to see how the strategy for the resilience of Cultural Heritage Sites in the Museum and Journalistic Photo Gallery is between maintaining some journalistic photo exhibition agendas amidst the lack of public interest in visiting museums plus the threat of a multidimensional crisis due to the Covid-19 pandemic. This research was written using qualitative methods with a descriptive approach. The existence of this facility provides a new alternative for the public to continue visiting and accessing journalistic photo exhibition programs and activities which have been regularly held at the Antara Museum and Photo Journalistic Gallery so far. Having concern with the strength of the mission to preserve historical value as one of the broadcasting spaces for independence and to disseminate journalistic knowledge, especially related to the photojournalism to the younger generation and the strong encouragement of the community, the Antara Journalistic Photo Gallery and Museum is encouraged to survive and continue to operate in organizing activities that have been consistently scheduled yearly.   Institut Seni Indonesia Yogyakarta 2021-04-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/4945 10.24821/rekam.v17i1.4945 Rekam; Vol 17, No 1 (2021): April 2021; 13-26 2442-9376 1858-3997 10.24821/rekam.v17i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/4945/2158 Copyright (c) 2021 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/388 2013-09-05T17:56:37Z rekam:ART

Estetika Kassian Cephas, Fotografer Jawa yang Mendunia Wahyu Setiyanto, Pamungkas aesthetic, Kassian Cephas, photographer, Java, worldwide Looking 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. Institut Seni Indonesia Yogyakarta 2013-09-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/rekam/article/view/388 10.24821/rekam.v0i0.388 Rekam; Rekam 8 2442-9376 1858-3997 10.24821/rekam.v0i0 en

oai:ojs.journal.isi.ac.id:article/6895 2023-10-28T13:11:58Z rekam:ART

Video Pelecehan Seksual Dokter Kevin Samuel di Akun Tiktok Berita: Studi Etnografi Virtual Damayanti, Rifka Nadila Surahman, Sigit Annisarizki, Annisarizki tiktok; virtual; ethnography; content; harassment ABSTRAKTeknologi komunikasi audiovisual berkembang sangat pesat. Pada akhirnya masyarakat mulai mahir dalam menggunakan berbagai teknologi untuk pemenuhan kebutuhannya. Fenomena pengguna media sosial paling banyak adalah  Tiktok. Popularitas media sosial Tiktok yang meroket salah satunya dipicu oleh pandemi. Penelitian ini bertujuan untuk menganalisis berita viral di Tiktok dari beberapa akun berita mengenai unggahan video Tiktok berdurasi 15 detik milik dr. Kevin Samuel yang kontennya dinilai melecehkan perempuan. Penelitian ini bersifat kualitatif dengan pendekatan etnografi virtual, yaitu peneliti akan melihat serta mengidentifikasi pola perilaku, pola kehidupan, dan relasi sosial serta dilakukannya analisis konten. Hasil penelitian membahas dari segi komentar dan menganalisis konten dari segi visual dan teks. Komentar menunjukkan bahwa di beberapa akun Tiktok @metro_tv, @tvonenews, dan @pikiranrakyat sebagian masyarakat kecewa serta malu dengan kasus dr. Kevin Samuel yang tidak bisa mencerminkan dirinya sebagai dokter dan mereka setuju untuk dilakukan pencabutan surat izin praktik dr. Kevin Samuel. Simpulan penelitian ini adalah video Tiktok “persalinan” milik dr. Kevin menuai kecaman dari masyarakat yang dinilai melecehkan perempuan. Dengan demikian, penelitian ini menganalisis berbagai macam reaksi masyarakat melalui komentar positif dan negatif tentang dr. Kevin Samuel dan analisis konten yang dilihat dari visual dan verbal.Audio visual communication technology is developing very rapidly. In the end, people became proficient in using various technologies to fulfill their needs. The phenomenon of the most social media users is the popularity of Tiktok. The skyrocketing popularity of social media TikTok was triggered by the pandemic. This study aims to analyze viral news on Tiktok from several news accounts regarding the upload of a 15-second Tiktok video belonging to Dr Kevin Samuel whose content is considered to be harassing women. This research is qualitative with a virtual ethnographic approach, where researchers will see and identify patterns of behavior, patterns of life and social relations and conduct content analysis. The results of the study discuss in terms of comments and analyze content in terms of visuals and text. The comments show that on several Tiktok accounts @metro_tv, @tvonenews and @thinkrakyat some people are disappointed and embarrassed by the case of Dr. Kevin Samuel who cannot reflect himself as a doctor and they agree to revoke his license to practice. The conclusion of this researcher is that Dr Kevin's "delivery" Tiktok video has drawn criticism from the public who are considered to be harassing women. So that in this study analyze to see various kinds of public reactions through the positive and negative comments of dr. Kevin Samuel and content analysis seen from the visual and verbal in this research. Institut Seni Indonesia Yogyakarta 2023-04-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/6895 10.24821/rekam.v19i1.6895 Rekam; Vol 19, No 1 (2023): April 2023; 83-92 2442-9376 1858-3997 10.24821/rekam.v19i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/6895/3095 Copyright (c) 2023 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1427 2023-10-28T13:07:24Z rekam:ART

Semut Rangrang (Oecophylla Smaragdina) dan Benda-benda Berteknologi dalam Fotografi Ekspresi Syafriyandi, Syafriyandi fine art photography; weaver (Oecophylla smaragdina); technology AbstrakFotografi ekspresi merupakan ungkapan jiwa yang mengutamakan ekspresi jati diri pribadiseseorang yang diekspresikan dalam karya seni murni. Penulis mengekspresikan apa yang adadalam pikiran berupa fantasi dan kebebasan yang tidak membatasi ide penciptaan. penciptaanini menggunakan metode ide, referensi, dan eksplorasi. Foto ini menampilkan objek semutrangrang (Oecophylla smaragdina) yang merespons benda-benda berteknologi seperti halnyamanusia sekarang yang hampir tidak dapat dipisahkan lagi dengan perkembangan teknologi.Semut adalah representasi manusia karena semut memiliki makna sebagai serangga yangtergolong serangga sosial yang kehidupannya saling bekerja sama dan saling menolong sepertihalnya manusia. Karya yang penulis ciptakan diharapkan memiliki daya ganggu yang memicuemosional dan memunculkan berbagai interpretasi kepada khalayak ramai.AbstractWeaver Ants (Oecophylla Smaragdina) and High Technology Objects in Fine ArtPhotography. Fine art photography is an expression of one’s soul that promotes the expressionof personal identity as expressed in a work of fine art. The author expresses what is in the mindin the form of fantasy and freedom that does not restrict the idea of creation. The creationitself involves ideas, references and exploration. The photos depict weaver ants (OecophyllaSmaragdina) responding to hi-tech objects just like human who cannot be separated fromthe development of technology. Ants are representations of human being because ants areincluded in the group of social insects that work in groups and help each other as human beingdo. The works created here are expected to have a certain interference power which couldtrigger emotional feeling and raise various interpretations for the general public. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1427 10.24821/rekam.v12i2.1427 Rekam; Vol 12, No 2 (2016): Oktober 2016; 107 - 117 2442-9376 1858-3997 10.24821/rekam.v12i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/1427/297 Copyright (c) 2017 REKAM

oai:ojs.journal.isi.ac.id:article/13834 2025-05-20T05:57:15Z rekam:ART

Visualisasi Pamor Keris pada Desain Karakter Animasi 2D untuk Menjaga Eksistensi Desa Aengtongtong sebagai Pusat Perajin Keris Sumenep Anugerah, Ahmed David Hidayat, Imam Hujairi, Ahmad Walid Animasi 2D; pamor keris; design thinking; Aengtongtong Sumenep Penelitian 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. Institut Seni Indonesia Yogyakarta Kemdikbudristek RI Universitas Wiraraja 2025-04-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/13834 10.24821/rekam.v21i1.13834 Rekam; Vol 21, No 1 (2025): April 2025; 1-15 2442-9376 1858-3997 10.24821/rekam.v21i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/13834/4209 https://journal.isi.ac.id/index.php/rekam/article/downloadSuppFile/13834/2211 Copyright (c) 2025 Rekam : Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/2305 2023-10-28T13:08:33Z rekam:ART

Eksplorasi Teknis Fotografi Udara Poros Imajiner Daerah Istimewa Yogyakarta Samaratungga, Oscar aerial photography; exploration; imaginary line; drone Yogyakarta adalah kota yang unik dan istimewa, salah satunya karena adanya filosofi tentang garis imajiner. Garis imajiner itu sudah menjadi wacana lama, tetapi tetap menarik untuk menjadi pembahasan. Kota ini terbelah sebuah oleh sumbu imajiner yang menghubungkan Gunung Merapi – Tugu Pal Putih – Keraton – Panggung Krapyak – Parangtritis. Dilihat dari peta, juga bisa dilihat jika Merapi, Keraton, dan Pantai Selatan ini memang berada di satu garis lurus secara imajiner. Filosofi garis lurus imajiner dari Merapi hingga Laut Selatan ini sarat makna. Untuk masyarakat di Yogyakarta, Gunung Merapi, Laut Selatan, dan Keraton Yogyakarta mengandung makna penting. Kehidupan di dunia merupakan sebuah harmoni antara mikrokosmos (jagat cilik) dan makrokosmos (jagat gede). Keharmonisan itu harus dijaga satu sama lain, tidak boleh terjadi ketimpangan. Tujuan dari penelitian ini adalah bagaimana melakukan eksplorasi pemotretan udara atas poros imajiner dikaitkan dengan teknis kreatif dan aspek estetis yang dapat mengungkap kekhasan wilayah Daerah Istimewa Yogyakarta. Pemotretan yang akan dilakukan adalah pemotretan melalui udara menggunakan drone, sebuah peralatan dan teknologi baru yang sedang berkembang dalam dunia fotografi saat ini. Lokasi yang akan direkam dan didokumentasikan adalah lima titik yang ada dalam poros imajiner tersebut, yaitu Gunung Merapi, Tugu Pal Putih, Keraton, Panggung Krapyak, dan Parangtritis. Salah satu kekuatan dalam fotografi udara dengan menggunakan drone adalah keleluasaan dalam menempatkan kamera. Keleluasaan penempatan kamera tersebut membuka ruang eksplorasi dalam mengambil gambar dari berbagai sudut yang berbeda. Gambar dari sudut yang berbeda tersebut dapat memberikan cara pandang yang berbeda pula. Hal ini berarti ruang hampir tidak terbatas untuk mengekplorasi berbagai sudut yang mungkin sulit dijangkau ketika menggunakan medium fotografi lainnya. ABSTRACTAerial Photography Technical Exploration of the Special Region of Yogyakarta’s Imaginary Axis. Yogyakarta is a unique and special city, one of them is because of the philosophy of the Imaginary Line. Although the imaginary line has become an old discourse, it is still interesting to be discussed. The city is split by an imaginary axis connecting Mount Merapi - Tugu Pal Putih - Keraton - Panggung Krapyak –Parangtritis.  Explored from the map, it can also be seen that Merapi, Keraton and South Coast are indeed in one imaginary straight line. The philosophy of imaginary straight lines from Merapi to the South Sea is full of meaning. For people in Yogyakarta, Mount Merapi, the South Sea, and Yogyakarta Palace, they have their own important meaninga. Life in the world is a harmony between the microcosm (the universe) and the macrocosm (big universe). The harmony must be maintained with each other, inequality must not occur.  The purpose of this study is to explore aerial photography of an imaginary axis associated with creative technical and aesthetic aspects that can reveal the peculiarities of the Special Region of Yogyakarta. The photos taken are aerial photography using Drones, a new equipment and technology that is developing in the world of photography today. The locations that were recorded and documented were the five points in the imaginary axis, namely Mount Merapi, Tugu Pal Putih, Keraton, Panggung Krapyak, and Parangtritis. One of the strengths in aerial photography using drones is the flexibility in placing the camera. The flexibility of placing the camera opens an exploration of space in taking pictures from different angles, because images from different angles can provide a different perspective. This means there is an unlimited space to explore various angles that may be difficult to reach when using other photography mediums. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/2305 10.24821/rekam.v14i2.2305 Rekam; Vol 14, No 2 (2018): Oktober 2018; 115-124 2442-9376 1858-3997 10.24821/rekam.v14i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/2305/784 Copyright (c) 2018 REKAM: Jurnal Fotografi, Televisi, dan Animasi

oai:ojs.journal.isi.ac.id:article/3721 2023-10-28T13:09:51Z rekam:ART

Era Baru Televisi dalam Pandangan Konvergensi Media Haqqu, Rizca television; media convergence; library research New Era of Television in the Perspective of Media Convergence. The development of internet technology has led to changes and developments in the world of mass communication. Because of the internet, new media emerges. The emergence of new media is changing the way people get information through the media. Initially, people got information and news through conventional media, such as newspapers, radio, or television. To be able to continue competing as a source of information demanded by the public, television media also innovates by converging. Convergence is a combination of several types of media and is present in the form of a digital platform. This research is a library research that aims to find out media convergence conducted by television media, especially in changing platforms from conventional television to digital media. Media convergence enables professionals in the mass media field to deliver news and present information and entertainment using a variety of media. The government as the regulator is fully responsible for creating regulations that can protect all elements of society from the bad influence of the media. Regulation becomes a logical consequence of the game of cultural symbols displayed by convergent media. The goal is clear, which is to avoid a conflict of interests that makes one party harmed, especially the users or the public, for they usually become the victim of the implementation of a convergence. ABSTRAKPerkembangan teknologi internet telah menimbulkan perubahan dan perkembangan dalam dunia komunikasi massa. Karena internet, muncullah media baru atau new media. Kemunculan media baru tersebut mengubah cara masyarakat mendapatkan informasi melalui media. Awalnya, masyarakat mendapatkan informasi dan berita melalui media konvensional, seperti surat kabar, radio, atau televisi. Untuk dapat terus berkompetisi sebagai sumber informasi yang diminati masyarakat, media televisi pun melakukan inovasi dengan cara berkonvergensi. Konvergensi adalah penggabungan dari beberapa jenis media dan hadir dalam bentuk platform digital. Penelitian ini adalah penelitian library research yang bertujuan untuk mengetahui konvergensi media yang dilakukan oleh media televisi khususnya dalam mengubah platform dari konvensional ke media digital. Konvergensi media memungkinkan para profesional di bidang media massa untuk menyampaikan berita dan menghadirkan informasi dan hiburan, dengan menggunakan berbagai macam media. Pemerintah selaku regulator bertanggung jawab penuh menciptakan regulasi yang dapat melindungi segenap elemen masyarakat dari pengaruh buruk media. Regulasi menjadi konsekuensi logis dari permainan simbol budaya yang ditampilkan oleh media konvergen. Tujuannya jelas, yakni agar tidak terjadi tabrakan kepentingan yang menjadikan salah satu pihak menjadi dirugikan. Terutama bagi kalangan pengguna atau publik, pihak ini biasanya menjadi pihak yang paling sering menjadi korban dari implementasi konvergensi. Institut Seni Indonesia Yogyakarta 2020-04-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/3721 10.24821/rekam.v16i1.3721 Rekam; Vol 16, No 1 (2020): April 2020; 15 - 20 2442-9376 1858-3997 10.24821/rekam.v16i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/3721/1788 Copyright (c) 2020 REKAM: Jurnal Fotografi, Televisi, Animasi http://journal.isi.ac.id/index.php/rekam/index

oai:ojs.journal.isi.ac.id:article/379 2013-09-05T17:52:12Z rekam:ART

Peranan Pemilihan Strategi dan Stilistika pada Iklan di Televisi Kemala Sari, Mezia selection strategy, stylistics’ advertising, television Television is one of the best medium today that can connect producers’goals with consumers' needs. The televisions’ impressions are crucial so that consumers can easily get new things through the television’s impressions like advertisment.Advertisment becomes very important when producer wants to offer product or service. It can be easily achieved by making advertisment on television to get potential buyers’attention.The main goal is to deliver advertising messages by using attractive packaged to stimulate consumers. The things that should be considerated in choosing strategies are the relevancies to product itself, competitors and also clear target market. Advertisement should pay attention to the Stylistics’ advertising aspects. In getting the uniqueness of style, producers can use language strategies usage like slogans, selection of interesting characters, selection of appropriate strategies and also using other advertising elements. The selection advertisements’ strategies will determine conveying stylistics’ messages through form of creativity to get the better consumerresponse. Institut Seni Indonesia Yogyakarta 2013-09-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/rekam/article/view/379 10.24821/rekam.v0i0.379 Rekam; Rekam 7 2442-9376 1858-3997 10.24821/rekam.v0i0 en

oai:ojs.journal.isi.ac.id:article/6121 2023-10-28T13:11:32Z rekam:ART

Perancangan Studio Keliling Fotografi Analog sebagai Sarana Pendidikan dan Hiburan Irwandi, Irwandi Andrea, Novan Jemmi Sinurat, Michael Steve Joshua Maulana, Riki fotografi analog; studio fotografi analog; studio fotografi keliling Saat ini fotografi analog mulai hidup kembali di kalangan komunitas pecinta fotografi. Praktik fotografi analog melibatkan manusia secara langsung, sehingga dipandang sesuai dengan kesadaran bahwa manusia tidak boleh sepenuhnya bergantung pada mesin. Berdasarkan kondisi-kondisi tersebut, penelitian ini mengajukan sebuah rancangan studio foto keliling berbasis fotografi analog. Tahapan penelitian dilakukan secara berurutan mulai dari pencarian dan pengumpulan referensi hingga pelaksanaan tahapan desain mulai dari desain dua dimensi pada tahap pertama, hingga desain tiga dimensi. Secara konkret, perancangan studio fotografi analog didesain di atas sebuah bus berukuran panjang 12 meter dan lebar 2,5 meter  yang dimodifikasi. Ruang dalam bus dirancang agar dapat menjadi sebuah gerai foto yang digunakan untuk memproses foto (pemfotoan, pemrosesan, dan pencetakan), serta dijadikan sarana pendidikan, hiburan rakyat, dan layanan fotografi analog yang unik. Hasil rancangan memperlihatkan ruang di dalam bus dibagi menjadi tiga bagian, yaitu ruang pengemudi dan penumpang atau kru, lalu ruang rapat atau kantor mungil, dan terakhir adalah studio fotografi analog yang di dalamnya disediakan fasilitas cuci dan cetak foto analog. Harapannya, rancangan ini dapat diwujudkan dan dapat menumbuhkembangkan kreativitas dan jiwa kewirausahaan generasi muda di bidang fotografi. Institut Seni Indonesia Yogyakarta 2022-10-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/6121 10.24821/rekam.v18i2.6121 Rekam; Vol 18, No 2 (2022): Oktober 2022; 111-117 2442-9376 1858-3997 10.24821/rekam.v18i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/6121/2854 Copyright (c) 2022 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1380 2023-10-28T13:07:05Z rekam:ART

Rekonstruksi Identitas Ke-“Tionghoa”-an dalam Film Indie Pasca-Suharto Rokhani, Umilia Salam, Aprinus Rochani-Adi, Ida tionghoaness; indie film; identity AbstrakKe-“tionghoa”-an  senantiasa menjadi hal yang dipermasalahkan di Indonesia. Hal ini mengacu pada identitas ke-“tionghoa”-an yang selalu  diformulasikan oleh masyarakat Indonesia, baik oleh masyarakat Tionghoa  itu sendiri maupun masyarakat non-Tionghoa. Upaya formulasi tersebut dimunculkan melalui berbagai wacana yang muncul baik perdebatan publik maupun berbagai karya mengenai kehidupan masyarakat Tionghoa di Indonesia seperti dalam film. Metode yang dipakai mempergunakan pendekatan konstruktivisme sosial. Dalam hal ini, makna-makna subjektif dikaji atas pengalaman-pengalaman kehidupan masyarakat Tionghoa di Indonesia melalui representasi film indie. Representasi tersebut dikaji tidak hanya melalui  makna karya semata, tetapi juga mempertimbangkan unsur sejarah sebagai salah satu penentu alat produksi dan reproduksi. Hal ini dilakukan dengan tujuan agar diperoleh gambaran latar belakang yang kompleks mengenai kondisi historikal dan kultural kehidupan masyarakat Tionghoa di Indonesia. Gambaran yang kompleks tersebut akan membantu dalam menafsirkan makna-makna yang terkandung dalam karya film indie sebagai suatu hasil produksi dan reproduksi dari gambaran kehidupan masyarakat Tionghoa sebenarnya. Identitas masyarakat Tionghoa di Indonesia terbentuk baik dari pandangan eksternal maupun internal, sudut pandang formal maupun informal. Sudut pandang eksternal dilihat dari sisi luar masyarakat Tionghoa, sedangkan sudut pandang internal merupakan sudut pandang masyarakat Tionghoa membentuk jati dirinya sendiri. Identitas yang dibentuk secara formal terkait dengan peraturan perundangan yang diberlakukan di Indonesia sedangkan secara informal merupakan identitas yang dikembangkan melalui kolaborasi budaya bersifat mana suka (arbitrerness) yang pada akhirnya membentuk identitas baru yang tumbuh dari konteks ruang-antara masyarakat Tionghoa di Indonesia. Abstract The Reconstruction of Tionghoaness Identity in Indonesian Indie Movies in the Era of Post-Suharto. ‘Being a Chinese’ has always been an issue in Indonesia. It refers to the identities of ‘being a Chinese’ that were formulated by Indonesian people, both by the half-Chinese Indonesians and non half-Chinese Indonesians. The efforts in formulating those identities were mediated by various discourses found in public debates and works of arts represented the Chinese society life in Indonesia, such as in films. In this research, the social constructivism approach was applied. The experiences in life traversed by the Chinese society in Indonesia depicted in indie movies were studied to get the subjective meanings. The representations were not scrutinized merely from the meaning, but also by considering the historical aspects as, among others, the determinant factor of the means of production and reproduction. It was carried out to get the full picture of complicated background about the historical and cultural conditions of the Chinese people in Indonesia. The complicated depiction will be very beneficial in interpreting the meanings of the indie movies as a result of production and reproduction of the real life experienced by the Chinese society. The identity of Chinese people in Indonesia was shaped by the internal and external perspectives, by the formal and non formal point of views. The external point of view was the one given by the non Chinese people, whereas the internal was how the Chinese view themselves. The formally built identity was related to the laws applied in Indonesia. Arbitrary cultural collaborations informally developed the new Chinese identity that grew from the spatial contexts between the Chinese people in Indonesia.  Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1380 10.24821/rekam.v12i1.1380 Rekam; Vol 12, No 1 (2016): April 2016; 55-68 2442-9376 1858-3997 10.24821/rekam.v12i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/1380/260 Copyright (c) 2016 REKAM

oai:ojs.journal.isi.ac.id:article/7378 2024-11-26T01:03:06Z rekam:ART

Perancangan Motion Graphic Edukasi Kami Juga Manusia, Anxiety Disorder Pratama, Indra Wahyu Erlyana, Yana motion graphic; video; education; mental health Mental health, is a health issue that is no less important than physical health, but unfortunately public awareness of mental health issues is still very lacking. The lack of public awareness of mental health disorders is influenced by several factors, where one of the most influential factors is the low level of public knowledge about mental health, so that there is an error in the public's perspective on the survivors of mental health disorders themselves. This of course can lead to mistreatment of survivors of mental health disorders, potentially stigmatizing treatments. Based on these data, this study aims to use the right learning media to change the public's perspective on mental health disorders in order to reduce the existing stigmatization. The method used is the design thinking method which is a method of developing a product that begins with efforts to answer problems that exist in society. The results of this study a learning media in the form of video motion graphics with cartoon visual style and a way of delivering information with an emotional and rational approach has its own charm for the audience. Institut Seni Indonesia Yogyakarta 2024-11-12 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/7378 10.24821/rekam.v20i2.7378 Rekam; Vol 20, No 2 (2024): Oktober 2024; 139-150 2442-9376 1858-3997 10.24821/rekam.v20i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/7378/3886 Copyright (c) 2024 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/17217 2025-11-09T19:42:39Z rekam:ART

Peran AI dalam Perspektif Fotografi Seni Amala, Marventyo art photography; artificial intelligence; visual aesthetic The 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. Institut Seni Indonesia Yogyakarta 2025-10-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/17217 10.24821/rekam.v21i2.17217 Rekam; Vol 21, No 2 (2025): Oktober 2025; 185-196 2442-9376 1858-3997 10.24821/rekam.v21i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/17217/4496 Copyright (c) 2025 Rekam

oai:ojs.journal.isi.ac.id:article/2046 2023-10-28T13:09:37Z rekam:ART

Hal-Hal yang Absen dalam Pencatatan Mengenai Film Nasional Banjaransari, Tunggul post-national film; the other’s identity; running from reality ABSTRAKPenulisan narasi besar mengenai Film Nasional lebih sering dilakukan daripada penulisan narasi kecil mengenai film-film di Indonesia. Seperti halnya dilakukan oleh para penulis buku berjudul Merayakan Film Nasional (yang ditulis oleh Adrian Jonathan Pasaribu, Hikmat Darmawan, dan Totot Indrarto). Tujuan yang dilakukan tentunya tidak lagi melihat Film Nasional sebatas teritorial saja, melainkan mendorong pembaca dan pembuat film untuk melepas beban-beban makna Nasional. Hingga mulai merepresentasikan bentuk-bentuk film Pascanasional melalui aspek fungsional dan relasional-nya. Tetapi, jika hanya bergantung pada narasi besar saja, upaya pemaknaan tersebut justru melanggengkan praktik imaji orientalis Barat pada film-film di Indonesia. Oleh karena itu, penulis hendak melengkapi narasi kecil yang tidak muncul pada buku Merayakan Film Nasional. Penulisan narasi kecil tersebut, dilakukan melalui tiga model analisis: 1) proses re-intepretasi mitos pada masyarakat kontemporer dalam film di Indonesia, 2) model re-intepretasi realitas sebagai sebuah aksi protes dan komikal dalam film di Indonesia, dan 3) unsur-unsur yang mendorong terjadinya hibrida teks pada film terkini, sebagai upaya mengubah wajah film di Indonesia yang lebih beragam. ABSTRACTThe writings on national Film historical in Indonesia has been going more often than the ones discussing those works on the periphery. The book titled Merayakan Film Nasional, written by Adrian Jonathan Pasaribu, Hikmat Darmawan, and Totot Indrarto, remains to focus on the first category. Instead of aim to look at Indonesia National Film based on the territory, the book encourages the readers and Indonesian filmmakers to disengage from the burden of “National”. Additonally, the book also attempts to represent the Post-Colonial Films thorugh its function and relations aspects. Nevertheless, it is problematic when the access for National Film references only open for the big ones since its limits the interpretation and perpetuates the practice of orientalism perspective on Indonesian films.In This case, I will try to complete the periphery side which didn’t exist on Merayakan Film Nasional. There are 3 methods to analyzing National Film into the periphery aspects: 1) Re-intepretation the myth of contemporary society which framed on Indonesia Film. 2) The reality-model as the based to combining between protest and comical form in Indonesian film. 3) The elements that make hybrid-text happen in contemporary film, as the way to changes the image of Indonesian film. Institut Seni Indonesia Yogyakarta 2019-10-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/2046 10.24821/rekam.v15i2.2046 Rekam; Vol 15, No 2 (2019): Oktober 2019; 103 - 112 2442-9376 1858-3997 10.24821/rekam.v15i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/2046/1695 Copyright (c) 2019 REKAM: Jurnal Fotografi, Televisi, dan Animasi

oai:ojs.journal.isi.ac.id:article/370 2013-09-05T17:41:23Z rekam:ART

CGI (Computer Generated Imagery) Technology in Anime Film “Ghost in the Shell” (Kokaku Kidotai) Mustikawati, Retno CGI (Computer Generated Imagery); virtual reality; new media. Ghost in the Shell is one of Japanese films, animation for this film is beautifully drawn and incorporates touches of CGI (Computer Generated Imagery) in representing the ‘net’, which exists analogously to the real world. CGI technology is not only used to attempt at creating convincing simulations of our reality, but also to create alternative realities. Today’s sophisticated (3D) CGI has been made possible by the development and combination of several techniques for simulating our visual reality. These techniques are constantly being refined and enhanced with new and more advanced simulation techniques, resulting in even more detailed representations. Computer generated imagery should not only be analyzed visually,but also ‘audiovisually’. Institut Seni Indonesia Yogyakarta 2013-09-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/rekam/article/view/370 10.24821/rekam.v0i0.370 Rekam; Rekam 6 2442-9376 1858-3997 10.24821/rekam.v0i0 en

oai:ojs.journal.isi.ac.id:article/6033 2023-10-28T13:11:02Z rekam:ART

Rekonstruksi 3D Landmark Memvisualisasikan Perkampungan Peradaban Kuno Situs Liyangan Temuan Balai Arkeologi Yogyakarta Atmani, Agnes Karina Pritha Rohman, Mohammad Arifian Reconstruction; 3D Landmarks; Liyangan Sites Selama pandemi COVID-19, keterbatasan akses publik menjadi pemicu peningkatan pelayanan edukasi sejarah dan budaya, khususnya bagi lembaga perpustakaan dan museum di Indonesia. Inovasi virtualisasi akses publik dengan menghadirkan akses terbuka bagi dokumen digital atau rekaman sejarah yang disajikan melalui jaringan internet. Tujuan penelitian menghadirkan kembali kondisi situs seperti pada masa kejayaannya dengan menggunakan metode visualisasi 3D. Rekonstruksi 3D dilakukan semi manual dengan memanfaatkan data temuan arkeologis di lapangan dan catatan sejarah atau temuan terkait dimensi dan kondisi tekstur artefak. Proses rekonstruksi 3D dibantu peneliti arkeologi Balai Arkeologi DIY, sehingga obyektivitas dan validitas data terjaga secara keilmuan di bidang Arkeologi. Adapun situs yang menjadi obyek penciptaan seni digital adalah Situs Liyangan, Temanggung, Jawa Tengah.Proses penciptaan rekonstruksi 3D landmark Situs Liyangan dilakukan dengan pengumpulan data arkeologis di Balai Arkeologi DIY dan di Situs Liyangan, Temanggung, Jawa Tengah. Proses penciptaan diawali dengan permodelan aset, tekstur, dan perancangan tata letak. Produksi rekonstruksi 3D menggunakan perangkat lunak 3Ds Max dan mesin game Unreal sebagai penyaji antarmuka akses bagi pengguna berikut interaksinya. Hasil tersebut kemudian menjadi bahan evaluasi pengujian dan publikasi karya. Berdasarkan capaian tersebut, maka hasil akhir yang didapat adalah purwarupa rekonstruksi 3D landmark Situs Liyangan.  Institut Seni Indonesia Yogyakarta 2021-10-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/6033 10.24821/rekam.v17i2.6033 Rekam; Vol 17, No 2 (2021): Oktober 2021; 175-186 2442-9376 1858-3997 10.24821/rekam.v17i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/6033/2376 Copyright (c) 2021 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1293 2023-10-28T13:06:13Z rekam:ART

Fotografi, Pariwisata, dan Media Aktualisasi Diri Antopani, Tendi fotografi; pariwisata; gaya hidup; media aktualisasi diri Manusia pada dasarnya adalah makhluk sosial yang tidak lepas dari orang yang ada di sekitarnya. Hal tersebut mempengaruhi gaya hidup seseorang. Gaya hidup berkaitan erat dengan perkembangan masyarakat, yang didalamnya terkandung nilai-nilai seperti strata sosial, pencitraan, dan aktualisasi diri yang semua itu demi pencarian identitas baru. Seperti halnya melakukan perjalanan wisata pada saat ini merupakan kebutuhan bagi sebagian orang. Perjalanan wisata tidak hanya untuk memenuhi kebutuhan kepuasan semata, tetapi menjadi sebuah keharusan dan menjadi penting karena aktivitas tersebut melibatkan banyak hal yang ingin dicapai untuk menunjukkan eksistensi diri. Dorongan seseorang untuk menunjukkan eksistensi diri yang tidak terlepas dari berkembangnya teknologi dan informasi saat ini. Sejak ditemukan teknologi fotografi, aktivitas pariwisata terkait erat dengan dokumentasi sebagai suatu sarana untuk mengenang peristiwa wisata. Photography, Tourism, and Self-Actualitation Media. Humans are essentially social beings that cannot be separated from those that exist in their neighborhood. It affects a person's lifestyle. Lifestyle is bounded closely with the development of society, that it contains values such as social strata, imaging, and self-actualization are all for the sake of search of new identities. Traveling at this time is a necessity for some people. Sightseeing trips not only for the needs of satisfaction, but it becomes a necessity and is important because these activities involve a lot of things to be achieved to demonstrate the existence of self. Urge someone to show the existence of self that is inseparable from the development of technology and information today. Since the discovery of technology of photography, tourism activity is closely related to documentation as a tool for remembering traveling events. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1293 10.24821/rekam.v11i1.1293 Rekam; Vol 11, No 1 (2015): April 2015; 31-40 2442-9376 1858-3997 10.24821/rekam.v11i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/1293/230 Copyright (c) 2015 REKAM

oai:ojs.journal.isi.ac.id:article/10963 2024-05-05T04:12:52Z rekam:ART

Film Dokumenter Mereka: “Episode Ekspresi Personal Risman Marah dalam Berkarya Seni Fotografi”, Genre Biografi sebagai Media Pendidikan Samaratungga, Oscar Sadewa, Ghalif Putra dokumenter, ekspresi personal, biografi, risman marah Dokumenter “Mereka” merupakan proyek jangka panjang, menceritakan kisah hidup tokoh yang tekun dan berdedikasi di bidangnya masing-masing. Pemilihan genre biografi sebagai cara tutur memudahkan penonton untuk mengikuti rangkaian peristiwa yang dialami tokoh hingga membentuk ekspresi personal dalam setiap karya-karyanya. Dokumenter biografi seringkali digunakan sebagai media untuk menginspirasi dan memberikan pemahaman yang lebih dalam dari subjek filmnya. Episode kali ini, membahas ekspresi personal Risman Marah sebagai seorang maestro fotografer. Risman Marah, bukan nama asing bagi dunia fotografi Indonesia. Karya, kepakaran, hingga dedikasinya tak perlu diragukan lagi. Namun, seperti apa kehidupan Risman Marah dahulu kala? Tempaan alam dan kondisi seperti apa hingga ia menemukan jalurnya dalam fotografi. Kisah-kisah di luar proses memotret diyakini juga memiliki andil yang besar dalam kiprahnya pada dunia fotografi, baik sebagai pendidik maupun praktisi. Pertanyaan-pertanyaan tadi akan dirumuskan dengan membongkar arsip visual subjek dan diceritakan kembali lewat medium film dokumenter guna menjadi satu pemahaman tentang kisah hidup, cara berpikir, dan berkarya. Metode penciptaan film dokumenter menggunakan tahapan pra produksi, produksi, dan pasca produksi. Sedangkan hasil dari penciptaan film dokumenter akan dipublikasikan menggunakan media sosial sebagai medium promosi sekaligus edukasi dikarenakan kecenderungan akses masyarakat hari ini lebih dominan pada platform tersebut.Documentary Film “Mereka”: Episode of Risman Marah’s Personal Expression In Creating” Biography Genre As An Educational Medium. The documentary "Mereka" is a long-term project that tells the life stories of individuals who are diligent and dedicated in their respective fields. The choice of biography as a storytelling genre makes it easier for the audience to follow the series of events experienced by these individuals, leading to the formation of their personal expressions in each of their works. Biographical documentaries are often used as a means to inspire and provide a deeper understanding of the film's subjects. In this episode, we will delve into the personal expression of Risman Marah, a master photographer. Risman Marah is not an unfamiliar name in the world of Indonesian photography. His work, expertise, and dedication need no further confirmation. However, what was Risman Marah's life like in the past? How did the natural environment and conditions of that time influence his journey in the world of photography? It is believed that the stories beyond the photography process also play a significant role in his contributions to the world of photography, both as an educator and practitioner. These questions will be addressed by exploring visual archives of the subject and retelling them through the medium of a documentary film to provide a comprehensive understanding of Risman Marah's life, thoughts, and works. The documentary filmmaking process involves pre-production, production, and post-production stages. The results of this documentary will be published through social media as a means of promotion and education, considering that current society tends to be more dominant on that platform. Institut Seni Indonesia Yogyakarta 2023-10-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/10963 10.24821/rekam.v19i2.10963 Rekam; Vol 19, No 2 (2023): Oktober 2023; 163-172 2442-9376 1858-3997 10.24821/rekam.v19i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/10963/3382 Copyright (c) 2023 Rekam : Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1939 2024-12-27T11:32:44Z rekam:ART

Media Fotografi Abad ke-19: Daguerreotype, Calotype, dan Collodion Ermawati, Pitri photography; 19th century; daguerreotype; calotype; and collodion Artikel ini bermaksud menjelaskan tiga medium fotografi yang lazim digunakan pada abad-19 yaitu daguerreotype, calotype, dan collodion. Pembahasan ketiga medium tersebut dititikberatkan pada sejarah kemunculan, teknik pembuatan, dan karakteristik imaji. Baik daguerreotype, calotype, maupun collodion memiliki sejumlah karakteristiknya yang khas; juga memiliki kekurangan dan kelebihannya masing-masing. Daguerreotype yang ketajaman imajinya sangat memukau itu memiliki kekurangan pada cetakannya yang tidak dapat diperbanyak. Kekurangan tersebut dapat teratasi oleh calotype yang dapat diperbanyak sampai dengan tidak terhingga. Adapun kekurangan calotype yang berdetail tidak tajam, teratasi oleh collodion yang berdetail tajam sekaligus dapat diperbanyak. Lambat laun setelah dipraktikkan oleh masyarakat, disimpulkan bahwa kekurangsempurnaan medium yang muncul lebih awal akhirnya menjadi penyebab berakhirnya masa kejayaan medium tersebut, karena telah hadir medium baru yang bisa mengompensasi kekurangan yang ada. This article explains three kinds of main stream medias in 19th century; they are daguerreotype, calotype, and collodion. The explanation of the three medias is focused on the origin of the medias, the techniques of the medias, and the characteristics of the image made by each medias. There are some characteristics in daguerreotype, calotype, and collodion, each by its own way. There are pros and cons about each process also. Daguerreotype is amazing in sharpness but lack of reproduction ability. Calotype which came later on public could overcome that lackness because of one calotype negative is able to produce unlimited positive images. On the other side, colotype has not enough good detail due to the grain of the paper which is used as the film. Then these kind of problems could be solved by the characteristic of the latest medium called collodion which has sharp details and also could be reproduced. Thus, time by time, one medium superseded one after enother. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1939 10.24821/rekam.v13i2.1939 Rekam; Vol 13, No 2 (2017): Oktober 2017; 127-138 2442-9376 1858-3997 10.24821/rekam.v13i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/1939/632 Copyright (c) 2018 REKAM

oai:ojs.journal.isi.ac.id:article/13243 2025-05-20T05:57:15Z rekam:ART

Perancangan Animasi 2D Riksa and the History of Tangkuban Perahu Rahmi, Lutfia Fatihah Afif, Riky Taufik Animasi, Geologis, Sejarah, Sangkuriang, Tangkuban Perahu Tangkuban Perahu adalah gunung berapi aktif di Jawa Barat, Indonesia, terletak di Jalan Tangkuban Perahu, Lembang, Bandung Barat. Nama "Tangkuban Perahu" berarti "perahu terbalik" dalam bahasa Sunda, merujuk pada bentuk kawahnya yang menyerupai perahu terbalik. Gunung ini memiliki sejarah letusan yang panjang sejak zaman prasejarah, Tangkuban Parahu terbentuk dari aktivitas letusan yang paling muda diantara jajaran gunung Api Sunda Purba dengan tipe letusanstrato, menciptakan topografi unik, kekayaan geologi serta cerita rakyat yang dipercaya masyarakat luas. Pentingnya penelitian geologi gunung ini adalah untuk memberikan pemahaman mendalam tentang deformasi sejarah alam dan mengaitkannya dengan legenda Sangkuriang sebagai cerita rakyat setempat. Tujuan dari animasi ini adalah untuk mengungkap sejarah  geologis  Tangkuban  Perahu,  memberikan  wawasan  tentang  evolusi  fisiknya,  dan memahami bagaimana mitos dan cerita tradisional bisa muncul dari interpretasi peristiwa alam. Metode yang digunakan adalah analisis deskriptif kualitatif , sedangkan metode perancangan animasi 2D menggunakan metode frame to frame. Institut Seni Indonesia Yogyakarta 2025-04-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/13243 10.24821/rekam.v21i1.13243 Rekam; Vol 21, No 1 (2025): April 2025; 49-61 2442-9376 1858-3997 10.24821/rekam.v21i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/13243/4225 Copyright (c) 2025 Rekam : Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/3253 2023-10-28T13:02:24Z rekam:ART

Supers Sebagai Media Persuasi dalam Iklan Layanan Masyarakat “Untuk Bumi yang Lebih Hijau” Fijriani, Nissa garbage; Public Service Announcements; supers AbstrakPenumpukan sampah di seluruh penjuru dunia makin mengkhawatirkan dan berdampakburuk dalam kehidupan manusia. Iklan Layanan Masyarakat (ILM) tentang lingkungan yangmemberikan solusi sederhana dapat dilakukan untuk menyelamatkan lingkungan dibutuhkanoleh masyarakat. Supers atau teks yang muncul pada frame merupakan kekuatan. Hal inikemudian dimanfaatkan dengan memunculkan kalimat-kalimat persuasi untuk ditampilkandalam ILM “Untuk Bumi yang Lebih Hijau”. Pengaplikasian supers dalam ILM ini selainsebagai media persuasi ternyata juga berperan sebagai pendukung visualisasi. Supers as the Medium of Persuassive on a Public Service Announcement “For a GreenerEarth”. Stacking garbages in all over the world are increasingly worrying and have negativeimpact on human life. Public Service Announcements (PSAs) on the environment provides asimple solution that can be done to save the environment needed by the community. Supers ortext that appears on the frame is a power. This is then used to bring the words of persuasion tobe displayed in the PSA “For a Greener Earth “. The Application of supers in this PSA than Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/3253 10.24821/rekam.v10i2.3253 Rekam; Vol 10, No 2 (2014): Oktober 2014; 131-143 2442-9376 1858-3997 10.24821/rekam.v10i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/3253/1474 Copyright (c) 2019 REKAM: Jurnal Fotografi, Televisi, dan Animasi

oai:ojs.journal.isi.ac.id:article/4951 2023-10-28T13:10:42Z rekam:ART

Game-Based Learning: Media Konstruktif Pembelajaran Mandiri Bagi Siswa Gunanto, Samuel Gandang game; learning media; constructive; self-regulated learning Pembelajaran mandiri membutuhkan motivasi dan disiplin yang tinggi. Materi ajar yang terstruktur dan kontekstual juga merupakan faktor keberhasilan proses belajar yang mampu meningkatkan partisipasi aktif siswa. Pembelajaran mandiri di masa pandemi COVID-19 menjadi sebuah strategi transformasi sistem pendidikan di Indonesia baik yang berbantukan teknologi maupun yang mengandalkan interaksi manual di daerah pelosok Indonesia. Formula yang tepat dalam mengimplementasikannya sangat perlu diteliti dengan menggunakan beragam media sebagai alat bantu belajar. Gim sebagai sebuah media belajar muncul sebagai alternatif yang mampu mengintegrasikan elemen belajar yang tersusun sistematis. Skenario pembelajaran dapat diterapkan secara kontekstual yang mendekatkan materi belajar ke siswa dengan cara yang lebih natural. Proses belajar menjadi lebih menyenangkan dan terjadi secara sukarela. Penelitian ini akan mencoba memformulakan pembelajaran mandiri dan konstruktif bagi siswa dengan menggunakan media gim, sehingga dapat menjadi acuan bagi pendidik yang ingin menggunakan atau mengimplementasikannya dalam sistem pembelajaran di kelas. Institut Seni Indonesia Yogyakarta 2021-04-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/4951 10.24821/rekam.v17i1.4951 Rekam; Vol 17, No 1 (2021): April 2021; 71-76 2442-9376 1858-3997 10.24821/rekam.v17i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/4951/2164 https://journal.isi.ac.id/index.php/rekam/article/downloadSuppFile/4951/635 Copyright (c) 2021 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/545 2020-05-03T13:07:36Z rekam:ART

Pengaruh Media Penyiaran Pada Sistem Kognitif dan Sistem Afektif Khalayak Dona Hapsari, Prima broadcasting media, communication, cognitive aspects, and affective aspects. The broadcasting media through radio and television broadcasts have influenced significantly on people’s views of its function as a medium toboost the popularity, propaganda, and image of a specific community. The broadcasting media have been able to bring a significant impact on its success in conveying the message to the audience. A two-way communication process between the communicant and communicatorshas been underlying such success as stated in the SR theory in which the media present great stimuli that are uniformly observed by the masses, and give more encouragement. This paper focuses on affective and cognitive aspects of the public affected by the broadcasting media. Radio and television audiences have known and understood certain information of which broadcasting media have already instilled that sense of understanding. Then, by knowing this tendency, they may arouse cognitive aspects to the audiences. In addition, the affective aspects caused by the broadcasting media have created the impression of empathy towardssomeone, and care about the launched programs. Therefore, it is expected that the broadcasting media really emphasize on educating function in which they are also able to educateand encourage audiences to be intelligent and critical audiences.Keywords: broadcasting media, communication, cognitive aspects, and affective aspects. Institut Seni Indonesia Yogyakarta 2014-03-17 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/rekam/article/view/545 10.24821/rekam.v0i0.545 Rekam; Rekam 9 2442-9376 1858-3997 10.24821/rekam.v0i0 en

oai:ojs.journal.isi.ac.id:article/9305 2023-10-28T13:11:58Z rekam:ART

Pencatatan Praktik Fotografi Olahraga Jalanan di Jakarta pada Masa Pandemi Covid-19 Jati, FX. Damar Tahalea, Silviana Amanda Aurelia Covid-19 pandemic; street photography; sport photography; Dalkotloop ABSTRAKMenjaga kesehatan di era pandemi telah menjadi sebuah gaya hidup yang dijalani setiap orang untuk menghidari virus corona yang bermutasi dan terus berkembang. Terlebih peraturan pemerintah menganjurkan untuk mengurangi aktivitas di luar rumah. Namun seiring penurunan angka penderita covid, masyarakat mulai melakukan aktivitas olah raga di luar rumah untuk mengurangi kejenuhan selama work from home. Olah raga bersepeda, lari pagi, jalan santai menjadi pilihan utama untuk menjaga kebugaran tubuh. Perubahan gaya hidup sehat inilah yang dimanfaatkan oleh para fotografer olah raga di jalanan sebagai sebuah solusi untuk mencari peluang lain di industri fotografi mengingat selama pandemi banyak pelaku fotografi yang gulung tikar karena berhentinya sektor industri kreatif di Indonesia.Rutinitas aktivitas olah raga di luar rumah yang dilakukan oleh masyarakat, menjadi salah satu objek yang menarik untuk diabadikan dan dijual belikan sebagai kebutuhan konten di sosial media. Fotografer menggunakan keahliannya untuk menghasilakan karya terbaiknya agar mempunyai daya jual sesuai kebutuhan konsumennya. Teknik penangkapan gambar dengan kecepatan tinggi menjadi sebuah pilihan untuk pemotretan olahraga. Selain itu, pendekatan teknik foto portrait juga dilakukan oleh para fotografer, mereka membuat studio mini lengkap dengan lampu kilatnya sehingga menjadi pembeda dengan fotografer lain. Melalui pendekatan studi kasus analisis data yang di lakukan di Jakarta, Tangerang dan sekitarnya, maka kativitas mutualisme kebutuhan inilah yang menarik untuk dicatat sebagai bagian dari sejarah fotografi Indonesia. Pandemi telah menjadikan pergeseran fungsi dari fotografi jurnalistik (foto olahraga) digunakan oleh para jurnalis foto, diadopsi dan digunakan oleh masyarakat umum yang menekuni fotografi sebagai cara untuk tetap bertahan hidup di masa pandemi. Recording the Practice of Street Sports Photography in Jakarta during the Covid-19 Pandemic. Maintaining a healthy lifestyle by exercising in the pandemic era has become an activity to avoid Covid-19 virus that continues to grow and mutate. Cycling, running, rhythmic activities and green walks became new lifestyle choices to dispel the sense of listlessness during the Work From Home period. This kind of activity was reinforced with the use of social media as a massive self-actualization medium to showcase their active lifestyles through posting selfies engaging in sports activities. This trend has created new business opportunities for photography practitioners in Jakarta, who have been struggling to make ends meet during the pandemic due to the decline of the creative industry sector in Indonesia. The purpose of this research is to record and to document a new phenomenon in the era of digital photography and pandemic that has given a rise to a new creative industry with a pattern that can be applied throughout Indonesia. A simple business model that grew naturally from friendship and was underestimated, turned out to be able to revive the creative industry in Indonesia with lucrative income benefits and flexible for many people to do even if they’ve only mastered basic photography techniques. One of the photography communities who successfully initiated this movement is the Dalkotloop group who is a group of street sports photographers. Through a descriptive qualitative method with a case study approach to data analysis conducted in Jakarta, Tangerang and surrounding areas, the author records how photography techniques are used, photo distribution patterns, forms of business models created, and development plans after the pandemic is over. This simple recording needs to be done so that Indonesian photography movements are always well-documented into archives and can be used as research material for the history of Indonesian photography. Institut Seni Indonesia Yogyakarta 2023-04-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/9305 10.24821/rekam.v19i1.9305 Rekam; Vol 19, No 1 (2023): April 2023; 25-36 2442-9376 1858-3997 10.24821/rekam.v19i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/9305/3100 Copyright (c) 2023 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1580 2023-10-28T13:07:50Z rekam:ART

Foto Dokumenter Bengkel Andong Mbah Musiran: Penerapan Dan Tinjauan Metode Edfat dalam Penciptaan Karya Fotografi Setiyanto, Pamungkas Wahyu Irwandi, Irwandi Metode EDFAT belum begitu dikenal dalam dunia akdemik fotografi. Namun, metode terebut sebenarnya sudah lazim di kalangan prktisi, khususnya fotografer jurnalistik. Untuk itu maka penelitian dan penerapan EDFAT menjadi penting dilakukan, mengingat dalam kenyataannya metode tersebut sangat efektif dan efisien.Peneletian ini merupakan upaya untuk memahami dan menerapkan metode EDFAT. Subjek penelitian ini ialah bengkel andong mBah Musiran yang berada di kawasan Jotawang, Yogyakarta.Hasil penelitian menunjukkan bahwa metode EDFAT memang dapat diterapkan dalam penciptaan karya fotografi, terlebih jika sebelum pemotretan, fotografer terlebih dahulu menghimpun informasi yang berkaitan dengan subjek pemotretan. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1580 10.24821/rekam.v13i1.1580 Rekam; Vol 13, No 1 (2017): April 2017; 29-40 2442-9376 1858-3997 10.24821/rekam.v13i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/1580/469 Copyright (c) 2017 REKAM

oai:ojs.journal.isi.ac.id:article/3243 2023-10-11T04:50:16Z rekam:ART

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni Herawati, Dira human foot, aesthetic; social phenomena; art photography; images AbstrakLaporan pertanggungjawaban adalah deskripsi tertulis pengalaman kreatif seorang senimanatau fotografer dalam upaya eksplorasi estetika pada gambar dan gagasan manusia sebagaistimulan dasar bagi penciptaan karya seni fotografi. Kaki manusia sebagai objek estetika adalahmasalah yang berhubungan dengan berbagai fenomena yang terjadi di bidang sosial, budaya,dan politik di Indonesia saat ini. Berdasarkan hubungan ini, kaki manusia akan dirumuskansebagai gambar yang memiliki nilai, dan kesan tersendiri dalam penciptaan sebuah karya senifotografi. Oleh karena itu, penciptaan seni fotografi ini berjudul Kaki Manusia sebagai ObjekEstetik Penciptaan Seni Fotografi. Dari latar belakang ini, kaki sebagai seni fotografi objekpilihan, akan dikelola secara kreatif dan sistematis melalui tahapan penciptaan. Fase penciptaanterdiri dari: (1) eksplorasi wacana, (2) eksplorasi artistik, (3) tahap elaborasi fotografi, (4) tahapsintesis, dan (5) tahap penyelesaian. Metodis, melalui tahapan proses kreatif di mana dirumuskandalam berbagai bentuk gambar artistik dari kaki manusia. Berbagai bentuk gambar artistik yangdihasilkan dari endapan dari proses penciptaan, dapat disimpulkan sebagai objek estetika dalamkarya-karya fotografi seni. Hal ini secara khusus ditandai dengan pembentukan ‘pencitraan laindi balik gambar kaki terlihat, serta dari berbagai bentuk citra baru’ sebagai hasil dari eksplorasiartistik gambar umum kaki. Secara umum, seluruh gambar dari kaki dalam karya fotografi senimemiliki hubungan reflektif dengan situasi sosial, budaya, dan politik yang berkembang dalammasyarakat Indonesia, yang mengandung nilai, makna, dan kesan. Human Foot as Aesthetic Object Creation Art Photography. Accountability report is a writtendescription of creative experiences as an artist or a photographer of aesthetic exploration effortson the image and the idea of a human as a basic stimulant for the creation of works of artphotography. Human foot as an aesthetic object is a problem that relates to various phenomenathat occur in the social sphere, culture and politics in Indonesia today. Based on these linkages,human feet would be formulated as an image that has a value, and the impression of eatingalone in the creation of a work of art photography. Hence the creation of this art photographyentitled The Human Foots as Aesthetic Object Creation of Art Photography. Starting from thisbackground, then the legs as an option object art photography, will be managed creatively andsystematically through a phases of creation. The creation phases consist of: (1) the explorationof discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesisphase, and (5) the stage of completion. Methodically, through the phases of the creative processthrough which this can then be formulated in various forms of artistic image of a human foot. Thevarious forms of artistic images generated from the foots of its creation process, can be summedup as an object of aesthetic order in the photographic works of art. It is specifically characterizedby the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of thevarious forms of ‘new image’ as a result of an artistic exploration of the common image of legsvisible. In general, the whole image of the foot in a photographic work of art has a reflectiverelationship with the social situation, cultures, and politics that developed in Indonesian society,by value, meaning and impression that it contains. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/3243 10.24821/rekam.v10i1.3243 Rekam; Vol 10, No 1 (2014): April 2014; 19-37 2442-9376 1858-3997 10.24821/rekam.v10i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/3243/1465 Copyright (c) 2019 REKAM: Jurnal Fotografi, Televisi, dan Animasi

oai:ojs.journal.isi.ac.id:article/4248 2023-10-28T13:10:04Z rekam:ART

Analisis pesan perdamaian pada film “Cahaya dari Timur (Beta Maluku)”: Pendekatan semiotika Roland Barthes Wahyuni E, Tulus Rega Message, Peace, Movie dan Semiotics. Di Indonesia konflik terjadi dalam skala yang besar dan kecil yang disebabkan oleh berbagai faktor seperti Suku, Agama dan Ras. Konflik terjadi karena salah satu pihak berusaha mempertahankan pendapatnya. Untuk menghentikan sebuah konflik tentu ada solusi yaitu toleransi dan perdamaian. Salah satu upaya untuk menyerukan perdamaian yaitu melalui film. Berangkat dari hal tersebut penulis mengambil subjek penelitian film “Cahaya Dari Timur : Beta Maluku” karya sutradara Angga Sasongko dengan pesan perdamaian sebagai object penelitiannya. Kemudian diangkat judul skripsi “Pesan Perdamaian Dalam Film Cahaya Dari Timur : Beta Maluku”. Penelitian ini bertujuan untuk mengetahui bagaimanakah pesan perdamaian dalam film “Cahaya Dari Timur : Beta Maluku. Metode penelitian yang digunakan dalam penelitian ini adalah kualitatif dengan pendekatan semiotik Roland Barthes. Teknik pengumpulan data menggunakan dokumentasi, kemudian scene-scene dianalisis dengan analisis semiotik Roland Barthes. AbstractConflict is a common thing that occurs in society. Indonesia, the conflict happens in both large small scales caused by various factors such as tribe, religion and race. The conflict happens because one of the parties tries to defend is an argument. In order to stop the conflict, there is a solution which tolerance and peace. Since conflicts happen frequently, then there are a lot of efforts to proclaim for peace. On of the efforts to proclaim peace is through the movie. Therefore, the researcher the research subject from the movie entitled “Cahaya Dari Timur: Beta Maluku” created by Angga Sasongko as the director with the peace message as his research object. Then the thesis title is “Peace Message from The Movie Cahaya Dari Timur: Beta Maluku”. This study aims to discover the peace message from the movie “Cahaya Dari Timur: Beta Maluku”. The research method used in this study was qualitative using Roland Barthes semiotics approach. The data gathering technique used documentation, while the scenes were analyzed using Roland Barthes semiotics analysis. Institut Seni Indonesia Yogyakarta 2020-09-29 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/4248 10.24821/rekam.v16i2.4248 Rekam; Vol 16, No 2 (2020): Oktober 2020; 115-124 2442-9376 1858-3997 10.24821/rekam.v16i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/4248/1855 Copyright (c) 2020 REKAM: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/384 2013-09-05T17:56:37Z rekam:ART

Eksplorasi Simbol Konvensional dan Universal dalam Penciptaan Video Art Kampanye Anti Perang dan Kekerasan “WARKAHOLIC” dengan Teknik Animasi 3D Sulistiyono, Arif stop war and violence campaign, narrative, symbol, 3D Animation At 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. Institut Seni Indonesia Yogyakarta 2013-09-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/rekam/article/view/384 10.24821/rekam.v0i0.384 Rekam; Rekam 8 2442-9376 1858-3997 10.24821/rekam.v0i0 en

oai:ojs.journal.isi.ac.id:article/7700 2023-10-28T13:11:32Z rekam:ART

Analisis Karya Fotografi Pieter Hugo Rwanda #14 Faturahman, Winata Portrait Photography; Pieter Hugo; Rwanda#14 Portrait photography is photography with the subject of the person being photographed closely. This type of photography generally emphasizes expression to convey a message. Referring to this information, portrait photography is one of the media for displaying visual messages with human subjects/people. Pieter Hugo is a portrait photographer whose focus is on Africa. Various works produced mostly highlight life in Africa. Pieter Hugo's photo entitled Rwanda #14 is a photo with a high angle shot. In the photo visualizing an African boy lying on a meadow in the photo from above. The photo is Pieter Hugo's work in the 1994 editorial where the photo works in the editorial are Pieter Hugo's expression of the genocide that hit Africa in 1994. The purpose of this research is to contribute to the world of literacy, especially literary work. photography. Because photography is a medium that can be used as a messenger through visuals that can be a unit of analysis to be researched. The research method used in this study is a qualitative method. The selection of qualitative methods was chosen because the qualitative method is a method that can be used to analyze the object of research. Institut Seni Indonesia Yogyakarta 2022-10-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/7700 10.24821/rekam.v18i2.7700 Rekam; Vol 18, No 2 (2022): Oktober 2022; 145-150 2442-9376 1858-3997 10.24821/rekam.v18i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/7700/2865 Copyright (c) 2022 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1385 2023-10-28T13:07:05Z rekam:ART

Determinisme Teknologi Komunikasi dan Globalisasi Media Terhadap Seni Budaya Indonesia Surahman, Sigit determinism; globalization; media; art; culture AbstrakPenelitian ini berfokus pada pengaruh terpaan teknologi komunikasi dan globalisasi media terhadap seni budaya Indonesia. Determinasi teknologi komunikasi atau terpaan teknologi komunikasi hadir di tengah-tengah masyarakat dan memengaruhi cara pandang dan perilaku manusia dalam kehidupan sehari-hari. Teknologi komunikasi dan media merupakan dwitunggal yang tidak dapat dipisahkan karena keduanya hadir saling melengkapi. Perkembangan media ini semakin pesat dan canggih seiring dengan perkembangan teknologi komunikasi saat ini. Terpaan teknologi dan media ini memengaruhi seni budaya dan perilaku masyarakat atau bangsa Indonesia. Analisis deskriptif kualitatif merupakan metode pengkajian yang digunakan dengan tujuan mengungkap fakta, keadaan, fenomena, variabel, dan keadaan yang terjadi saat penelitian berjalan dan menyuguhkan apa adanya. Variabel dalam penelitian ini adalah teknologi komunikasi, globalisasi media, dan seni budaya Indonesia. Dengan menggunakan analisis deskriptif kualitatif pengkajian ini akan mengungkap pengaruh terpaan teknologi dan globalisasi media terhadap seni budaya Indonesia. AbstractThe Determinism of Communication Technology and Media Globalization Towards Arts and Indonesian Culture. This study focuses on the effect of the exposure of media communications technology and the globalization of the art and culture in Indonesia. Determination of communications technology or the exposure of communications technology present in the midst of society and influence the worldview and human behavior in everyday life. Communication technology and media are a duumvire that cannot be separated, both present complementary. The increasingly rapid development of media and its advancement are along with the development of communication technology. The exposure of media and technology affects art and culture as well as the behavior of people or the Indonesian. Qualitative descriptive analysis is the method of assessment used to uncover the facts, phenomena, variables and circumstances that occurred while running the research and presenting it as what it is. The variables in this study are technology, media globalization, and Indonesian arts and culture. By using qualitative descriptive analysis, this study will reveal the influence of technology and media globalization exposure to the art and culture of Indonesia . Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1385 10.24821/rekam.v12i1.1385 Rekam; Vol 12, No 1 (2016): April 2016; 31-42 2442-9376 1858-3997 10.24821/rekam.v12i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/1385/265 Copyright (c) 2016 REKAM

oai:ojs.journal.isi.ac.id:article/12037 2024-11-26T01:03:06Z rekam:ART

Elemen-Elemen Black Comedy dalam Film The Menu Surur, Misbahus - The Menu, Gastronomy, Black Comedy, Elite Class. In the film The Menu, culinary dishes are used to peel off the social disgrace and sins of the elite without them ever suspecting before. This research aims to find out how culinary offerings and the arrogance of elite class dining wrapped in black comedy are represented in the film The Menu. The research method used is qualitative-descriptive using watch-listen-note data collection techniques. The researcher watched the film, paid attention to the details of each scene, transcribed the dialogue, and recorded every conversation and scene related to important culinary topics wrapped in black comedy in the film. Meanwhile, data analysis techniques use the Miles and Huberman model, namely data reduction, data presentation, and drawing conclusions. In the analysis, the researcher identified the data, sorted and classified the data, and finally interpreted it using gastronomic theory as a guide. Data sources include words, phrases and sentences in the film The Menu. From this research it was found that the culinary delights in the film The Menu are presented in 7 culinary stages: The Island, Breadless Bread Plate, Memory, The Mess, Palate Cleanser, Man's Folly and the dessert S'mur. And the arrogance of elite class dining wrapped in black comedy is depicted in several scenes of their teasing questions, both to the chef and his assistants and to the culinary offerings, as well as the answers of the chef and the crew themselves, from the time the customers entered Hawthorn Island until the time the seven dishes were served. Institut Seni Indonesia Yogyakarta 2024-10-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/12037 10.24821/rekam.v20i2.12037 Rekam; Vol 20, No 2 (2024): Oktober 2024; 173-191 2442-9376 1858-3997 10.24821/rekam.v20i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/12037/3927 Copyright (c) 2024 Rekam : Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/2137 2023-10-28T13:08:46Z rekam:ART

Reaktualisasi Teknologi Fotografi Abad Ke-19 dan 20 Studi Kasus pada Kelompok Kegiatan Mahasiswa KOPPI ISI Yogyakarta Irwandi, Irwandi re-actualization; 19th and 20th century photographic printing; old print photography Kecanggihan teknologi fotografi digital saat tidak memuaskan beberapa fotografer, terutama yang condong ke fotografi seni. Sebagai gantinya, mereka melihat kembali teknik fotografi lama, seperti yang dilakukan pada abad ke-19, antara lain cyanotype, salt print, vandyke, dan cetak gum bichromate. Sebagian besar teknik cetak diaktualisasikan ulang oleh sejumlah fotografer dengan orientasi yang berbeda. Artikel ini membahas bagaimana Kelompok Kegiatan Mahasiswa, Keluarga Old Photographic Processes ISI Yogyakarta (KOPPI) melakukan lebih dari sekadar rekonstruksi teknis. Mereka menggunakan media unik ini untuk menyampaikan pesan tentang masalah pribadi dan budaya. Teknik pengamatan partisipatif digunakan selama empat proses penciptaan: pengenalan, eksplorasi, eksperimen, dan presentasi. Ditemukan bahwa dalam menggunakan teknik pencetakan foto lama para peserta harus menegosiasikan tiga aspek, yaitu pemahaman teknis, material, dan konsep budaya. Setelah mereka mencapai pemahaman teknis dan material yang memadai, para peserta mulai mengeksplorasi isu-isu budaya. Isu budaya tentang penyimpangan perilaku, kesedihan, dan respons masyarakat terhadap kehidupan sehari-hari telah diangkat menjadi tema pekerjaan melalui teknik pencetakan foto lama. Anggota KOPPI memanfaatkan kesan kuno dan fleksibilitas media cetak untuk mewujudkan hal tersebut. AbstractRe-actualization of the 19th and 20th Century Photographic Printing Technology: The Case of KOPPI Student Activity Group. The sophistication of digital photography technology does not satisfy some photographers, especially those who tend towards art photography. Instead, they looked back at old techniques, such as those of the 19th-century based on chemical principles, including cyanotype, salt print, vandyke print, and gum bichromate print. Most of the printing techniques are re-actualized by a number of photographers with different orientations. This paper examines how Old Photographic Processes Student Activity Group of ISI Yogyakarta(KOPPI) did more than just technical reconstruction, They used these unique media for conveying messages of personal and cultural issue. Participatory observation techniques were used during the four processes of creation: introduction, exploration, experimentation, and presentation. The finding showed that in using the old photo printing technique the participants had to negotiate three aspects, namely the technical understanding, materials, and cultural concepts. After they reached a sufficient technical and material understanding, the participants began to explore cultural issues. Cultural issues about deviations of society’s behavior, sadness, and society’s response to every day life have been raised to be the themes of the work through the old photo printing technique. Members of KOPPI take advantage of the old-fashioned impressions and flexibility of print media to realize these things. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/2137 10.24821/rekam.v14i1.2137 Rekam; Vol 14, No 1 (2018): April 2018; 55-66 2442-9376 1858-3997 10.24821/rekam.v14i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/2137/699 Copyright (c) 2018 REKAM: Jurnal Fotografi, Televisi, dan Animasi

oai:ojs.journal.isi.ac.id:article/3585 2023-10-28T13:09:51Z rekam:ART

Strategi Peningkatan Kompetensi Pengarah Acara TVRI Jawa Barat Sesuai SKKNI Wulandari, Yuni Wahyudin, Ade SKKNI; television director; competence Strategy for Improving the Competency of Program Directors of TVRI in West Java Complying with SKKNI. A television program production is a complex creative process and it requires a good teamwork. Therefore, it needs a competent program director having the skill in broadcasting and leadership in directing a television program. An effective development of human resources is also needed to enhance the competency and professionalism of a television program director. Based on an interview and an observation at TVRI station in West Java, a fact was found that none of the television program directors has a SKKNI certificate, even though they have mastered the skill and have been knowledgeable.  This is due to the lack of encouragement from the policy makers at TVRI station to improve the human resource's competency with a professional certificate. With a SKKNI certification, a television program director can show his competence related to the profession and is valid for a lifetime. Therefore, using the SWOT approach, it can be concluded that there is a need for a socialization regarding the importance of the SKKNI professional certification for TVRI Station in West Java that will promote the development of the competency for television program directors. It will surely need a great support from the television station itself.  In addition, a cooperation of the Professional Certification Institution with the television and multimedia industries is highly needed, so that the television program directors are able to produce high quality television programs.  ABSTRAKSebuah produksi program acara televisi merupakan hasil proses kreatif yang rumit dan memerlukan kerja sama tim yang baik. Untuk itu, diperlukan seorang pengarah acara yang memiliki kompentensi dalam hal kemampuan skill penyiaran dan kepemimpinan dalam mengatur jalannya sebuah program acara televisi. Pengembangan SDM yang efektif juga dibutuhkan untuk meningkatkan kompetensi dan profesionalisme pengarah acara televisi. Berdasarkan wawancara dan observasi di Stasiun TVRI Jawa Barat didapatkan suatu fakta bahwa tidak ada seorang pun pengarah acara televisi yang memiliki sertifikasi profesi SKKNI pengarah televisi, walaupun secara pengetahuan dan kemampuan sudah mumpuni. Hal ini dikarenakan kurangnya dorongan dari pemangku kebijakan di Stasiun TVRI untuk meningkatkan kompetensi SDM melalui sertifikasi profesi. Dengan sertifikasi SKKNI, seorang pengarah acara dapat menunjukkan kompetensi yang berkaitan dengan profesi dan berlaku seumur hidup. Hasil analisis menggunakan pendekatan SWOT menghasilkan kesimpulan bahwa perlu adanya sosialisasi yang mendalam mengenai pentingnya sertifikasi profesi SKKNI di Stasiun TVRI Jawa Barat yang mendorong pengembangan kompetensi pengarah acara televisi. Hal ini perlu dukungan dari pihak stasiun televisi. Selain itu, perlu ditingkatkan kerja sama Lembaga Sertifikasi Profesi dengan industri televisi dan multimedia sehingga seorang pengarah acara televisi mampu menghasilkan karya program acara televisi yang baik dan berkualitas.   Institut Seni Indonesia Yogyakarta 2020-06-08 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/3585 10.24821/rekam.v16i1.3585 Rekam; Vol 16, No 1 (2020): April 2020; 45 - 53 2442-9376 1858-3997 10.24821/rekam.v16i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/3585/1765 Copyright (c) 2020 REKAM: Jurnal Fotografi, Televisi, Animasi http://journal.isi.ac.id/index.php/rekam/index

oai:ojs.journal.isi.ac.id:article/375 2013-09-05T17:52:12Z rekam:ART

Bollywood Influence to Indonesia (A Study through Television Media and Hibridity) Mustikawati, Retno Bollywood, India; Timur Tengah; dangdut; hibriditas Bollywood adalah sebuah bagian dari kebudayaan populer yang sangat kuat bukan saja India, melainkan juga Timur Tengah, Negara bagian Afrika, dan sebagian negara Asia Tenggara. Penggunaan lagu dan musik seperti sebuah bahasa dalam film-film India dan menjadi salah satu pendongkrak popularitas sekaligus pembentuk film-film Bollywood. Perkembangan sinema Hindi dengan disertai sekuen-sekuan lagu-lagu dan tarian menjadi pembeda utama antara film-film yang lain. Terdapat sebuah hubungan yang dekat antara musik dangdut Indonesia dan musik yang berasal dari India. Musikdangdut adalah hibriditas dari musik India. Institut Seni Indonesia Yogyakarta 2013-09-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/rekam/article/view/375 10.24821/rekam.v0i0.375 Rekam; Rekam 7 2442-9376 1858-3997 10.24821/rekam.v0i0 en

oai:ojs.journal.isi.ac.id:article/4886 2023-10-28T13:11:15Z rekam:ART

Film Dokumenter Potret Rhythm of Saman Pungkiawan, Pius Rino Documentary, Saman, Rock. Film dokumenter potret Rhythm of Saman ini bercerita tentang Joel Tampeng yang mencoba kembali pada kebudayaan asalnya, yaitu Saman, setelah lama merantau di Yogyakarta sebagai seorang musisi rock. Hal ini bermula dari keprihatinannya terhadap Saman yang menjadi warisan budaya tak benda yang memerlukan perlindungan mendesak (UNESCO). Warisan budaya tak benda bisa disebut dengan intangible cultural heritage, bersifat tak dapat dipegang seperti musik dan tari. Joel Tampeng membentuk komunitas Gayagayo di Yogyakarta bersama para mahasiswa dari Gayo dan mencoba untuk menggabungkan musik rock dan seni tradisi Saman yang kemudian menghasilkan komposisi Rhythm of Saman dengan misi mengenalkan kembali Saman. Metode penciptaan film dokumenter Rhythm of Saman yang digunakan adalah riset dan pengembangan, praproduksi, produksi, dan pascaproduksi yang kemudian didistribusikan melalui Youtube. Bentuk dan tema dokumenter ini bisa menjadi inspirasi bagi filmaker dan masyarakat yang lebih luas. This portrait documentary tells the story of Joel Tampeng who tries to return to his original culture, namely Saman, after a long time wandering in Yogyakarta as a rock musician. It is all initiated by his concern for Saman which is an intangible cultural heritage that requires urgent protection (UNESCO). Intangible cultural heritage can be called intangible cultural heritage because we cannot touch it , such as music, dance and so on. Joel Tampeng formed the Gayagayo community in Yogyakarta with students from Gayo and tried to combine rock music and traditional Saman art to produce the composition of Rhythm of Saman with the mission of reintroducing Saman. The method used to create the documentary film "Rhythm of Saman” was a research and its development, pre-production, production and post-production which was then distributed via Youtube. The form and theme of this documentary can be an inspiration for filmmakers and the wider community. Institut Seni Indonesia Yogyakarta 2022-04-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/4886 10.24821/rekam.v18i1.4886 Rekam; Vol 18, No 1 (2022): April 2022; 59-66 2442-9376 1858-3997 10.24821/rekam.v18i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/4886/2607 Copyright (c) 2022 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1296 2023-10-28T13:06:29Z rekam:ART

Estetika Fotografi Jurnalistik dalam Kaitan Nilai Kebaikan Dan Kebenaran, Olah Rasa, dan Sinestesia Andrea, Novan Jemmi estetika; kebenaran; kebaikan; sinestesia Fotografi jurnalistik  menjadi salah satu cabang dari pengelompokan besar di bidang fotografi, selain fotografi seni dan fotografi komersial. Sebagai salah satu bidang seni, fotografi jurnalistik tentunya memiliki konsep estetika tersendiri, bahkan konsep estetikanya sangat berkaitan dengan “rasa”, sebuah konsep abstrak mengenai proses peresapan sesuatu dalam diri manusia yang bahkan tidak dapat sepenuhnya dideskripsikan. Pemahaman konsep estetika merupakan proses dialektis berkaitan dengan persoalan lain seperti filsafat, sosial, politik, budaya, dan ekonomi sehingga nilai-nilai kebaikan dan kebenaran sering muncul dalam ragam diskusi estetika. Perkembangan pendekatan konsep proses penciptaan yang melibatkan penonton dan berupaya menyajikan berbagai rangsangan bagi pancaindera menuntut kemampuan dalam olah rasa lainnya, yaitu mengoneksikan pancaindera. Konsep yang berkaitan dengan hal tersebut dikenal dengan istilah synaesthesia (sinestesia), sebuah konsep di mana pancaindera bekerja bersama sekaligus saat merespons sebuah rangsangan sehingga akan menimbulkan sensasi yang melebihi ungkapan satu pancaindera saja. Pemahaman estetika dengan berbagai pendekatan tersebut merupakan proses apresiasi aktif yang bertujuan untuk mengungkap kemungkinan-kemungkinan pewacanaan baru dalam perkembangan fotografi jurnalistik. Photojournalism Aesthetic in Regards to the Value of Goodness and Truth, Feeling , and Synaesthesia. Photojournalism becomes one of the branches of a large group in the field of photography in addition to art photography and commercial photography. Great photojournalism is a strange sort of art. Photojournalism allows people to get close to events on the ground, so that people may better understand them as they unfold. This is an abstract concept about the impregnation which cannot be fully described. Understanding the concept of aesthetics is a dialectical process associated with other problems such as philosophy, social, political, cultural, and economic so that the values of goodness and truth often comes in a variety of aesthetic discussion. Developments in the approach to the concept and creation process that involves the audience and trying to present a wide range of stimuli for the senses require proficiency in another sense though, that connected the all senses. Concepts related to the case known as synaesthesia, a neurological phenomenon in which one or more sensory modalities are linked. Aesthetic understanding of the various approaches is an active appreciation process that aims to uncover the possibilities of a new discourse on development of photojournalism. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1296 10.24821/rekam.v11i2.1296 Rekam; Vol 11, No 2 (2015): Oktober 2015; 93-108 2442-9376 1858-3997 10.24821/rekam.v11i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/1296/233 Copyright (c) 2016 REKAM

oai:ojs.journal.isi.ac.id:article/7911 2024-05-05T06:06:11Z rekam:ART

Web Series Dokumenter Motorcycle Travelogue Episode "Kebun Teh Jogja Ki Suko” dengan Bentuk Laporan Perjalanan Hakim, Latief Rakhman Pungkiawan, Pius Rino Web Series; Documenter; Ki Suko tea plantation Documentary Web Series “Motorcycle Travelog Episode Kebun Teh Jogja Ki Suko” Documentary Web Series is a form of documentary that is broadcast periodically on a digital platform. Documentary web series "Motorcycle Travelogue" tells the story of a journey to a place that can be developed and has the potential to be better known to the public. This episode will focus on Ki Suko's tea plantation located in Nglinggo hamlet, Samigaluh, Kulon Progo. This plantation was started by a an ex-girlfriend named Sukohadi who chose to move back to his hometown to develop tea commodities, which was very suitable for the geographical conditions of his village which was at an altitude of 1000 meters above sea level with land conditions that were on the outskirts of the city. Pak Suko's tenacity produced very good results with the emergence of several variants, ranging from green tea, gold tea, yellow tea, and silver needles that reach millions of rupiah.The method of making documentary films uses the creative process method, namely Exploration, Improvisation/Experimentation and Formation or Embodiment of Works, The method is divided into pre-production, production and post-production stages. While the results of i Documentary film making will be opened using social media, namely through YouTube as a promotional medium. Key_word : Web Series, Documenter, Ki Suko tea plantation Institut Seni Indonesia Yogyakarta 2024-05-05 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/7911 10.24821/rekam.v20i1.7911 Rekam; Vol 20, No 1 (2024): April 2024; 61-72 2442-9376 1858-3997 10.24821/rekam.v20i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/7911/3646 https://journal.isi.ac.id/index.php/rekam/article/downloadSuppFile/7911/1364 Copyright (c) 2024 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/15048 2025-11-09T19:31:54Z rekam:ART

Papuan Women and Their Culture: Reception Analysis of Cultural Identity Portrayed in "Noken Rahim Kedua" Documentary Nahumury, Amanda Putri Twikromo, Y. Argo cultural identity; documentary film; gender; Papuan women; Stuart Hall's encoding-decoding This 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. Institut Seni Indonesia Yogyakarta 2025-10-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/15048 10.24821/rekam.v21i2.15048 Rekam; Vol 21, No 2 (2025): Oktober 2025; 105-118 2442-9376 1858-3997 10.24821/rekam.v21i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/15048/4487 Copyright (c) 2025 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/3232 2023-10-28T13:09:25Z rekam:ART

Sampling Suara Instrumen Musik sebagai Strategi Peningkatan Hasil Belajar Mahasiswa dalam Pembuatan Film Scoring Purwacandra, Pandan Pareanom Nainggolan, Oriana Tio Parahita Film Scoring; Sampling of Musical Instrument; Film Music ABSTRAKFilm scoring merupakan pembuatan musik untuk mengiringi gambar visual dalam film. Dalam pembuatan film scoring sangat dibutuhkan pengetahuan tentang musik, hal ini dikarekan film scoring memiliki tujuan untuk menciptakan emosi penonton agar dapat memahami film yang ditonton. Instrumen musik merupakan elemen musikal yang mendukung terciptanya emosi penonton. Penelitian ini memiliki tujuan meningkatkan hasil belajar mahasiswa Program Studi D-3 Animasi, Fakultas Seni Media Rekam, Institut Seni Indonesia Yogyakarta pada pembuatan Film Scoring dengan strategi pembelajaran menggunakan sampling suara isntrumen musik. Untuk mengetahui peningkatan hasil belajar mahasiswa, maka digunakan penelitian tindak kelas dengan tiga siklus. Indikator keberhasilan hasil belajar mahasiswa didapat dari nilai dalam tugas membuat film scoring. Hasil penelitian menunjukkan bahwa terjadi peningkatan hasil belajar mahasiswa pada akhir siklus ketiga dari PTK dengan menggunakan strategi pembelajaran sampling suara instrumen musik. Hasil belajar mahasiswa ini ditunjukan dengan jumlah mahasiswa yang mendapat nilai amat baik dan baik yaitu sekitar 93,75% dari 16 mahasiswa. Berdasarkan hasil tersebut, maka dapat disimpulkan bahwa penggunaan strategi sampling suara instrumen musik meningkatkan hasil belajar mahasiswa pada pembuatan film scoring. Film scoring is music written specifically to accompany a movie. The knowledge about music plays an important role in the making of film scoring. The purpose of film scoring is evoking audience’s emotion so they will understand the film message. Musical instrument is musical element that create audience’s emotion while watching film. This research aims to enhance student learning outcomes at Animation Study Program, Faculty of Media and Recorded Arts, Indonesia Institute of the Arts Yogyakarta in making film scoring with using sampling musical instrument as learning strategy. This research is classroom action research with three cycles. The indicator of student learning outcomes gathering from number of students who got an excellent and good marking in making film scoring. The results show 93,75% students or 15 out of 16 students got an excellent and good marking in making film scoring. According to the result of this study, it was concluded that the strategy of using sampling musical instrument can improve student learning outcome in making film scoring.  Institut Seni Indonesia Yogyakarta 2019-09-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/3232 10.24821/rekam.v15i1.3232 Rekam; Vol 15, No 1 (2019): April 2019; 61-70 2442-9376 1858-3997 10.24821/rekam.v15i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/3232/1643 Copyright (c) 2019 REKAM: Jurnal Fotografi, Televisi, dan Animasi

oai:ojs.journal.isi.ac.id:article/366 2013-09-05T17:41:23Z rekam:ART

Sensasi Gurat Alam dalam Fotografi Seni Fajar Apriyanto, Muh. natural scratches;old teak wood; sensation aesthetic Nowadays 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. Institut Seni Indonesia Yogyakarta 2013-09-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/rekam/article/view/366 10.24821/rekam.v0i0.366 Rekam; Rekam 6 2442-9376 1858-3997 10.24821/rekam.v0i0 en

oai:ojs.journal.isi.ac.id:article/5197 2023-10-28T13:11:02Z rekam:ART

Penciptaan Film Seri Animasi “Sahabat Pancasila” sebagai Media Pendidikan Moral Pancasila di Kanal Youtube Sulistiyono, Arif Rohman, Mohammad Arifian educational animation; moral education; Sahabat Pancasila Pancasila sebagai landasan ideologi diharapkan menjadi watak yang mencirikan pribadi bangsa Indonesia. Toleransi antar umat beragama sebagai bagian nilai-nilai moral Pancasila idealnya tumbuh dalam kesadaran batin setiap manusia. Sikap toleran dapat ditanam dan dipelihara sejak usia dini sebagai bagian pendidikan karakter. Edukasi dalam bentuk film dianggap lebih efektif di tengah tumbuh kembang budaya layar saat ini. Film animasi “Sahabat Pancasila” dibuat sebagai salah satu usaha menanamkan nilai-nilai moral Pancasila kepada anak melalui contoh kongkrit menghormati ibadah pemeluk agama lain. Penggambaran sikap toleransi melalui adegan dan dialog dalam bentuk film animasi diharapkan lebih menarik perhatian, mudah diingat dan dapat ditiru oleh penonton anak-anak. Akan tetapi bentuk edukasi nilai-nilai moral Pancasila melalui film tidak cukup hanya dengan satu judul film, melainkan harus ada judul-judul lain yang sesuai dengan butir-butir Pancasila lainnya dan ditayangkan secara berkelanjutan supaya mudah diingat anak-anak. Film animasi ini dibuat dengan metode five-stage production dalam bentuk dua-dimensi digital dan ditayangkan melalui kanal YouTube agar mudah dijangkau penontonnya. Institut Seni Indonesia Yogyakarta 2021-10-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/5197 10.24821/rekam.v17i2.5197 Rekam; Vol 17, No 2 (2021): Oktober 2021; 101-112 2442-9376 1858-3997 10.24821/rekam.v17i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/5197/2484 Copyright (c) 2021 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/804 2020-05-03T13:07:36Z rekam:ART

Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light Yana*, Ida Bagus Candra movements, Baris Tunggal Dance, photography expression, strobo-light Dance  photography  is  a  photo  shoot  on a  dance  movement  which  has  a  characteristic as  it  shows  on  a  particular  movement  with unique costumes. The arts of dance photography specifically describes through a specific thematic effect  with  an  aesthetic  and  creative  oncoming. Based on the photographer experience to capture the  light  together  with  his  aesthetic  expression on  movement  photography,  he  finally  presented the  visual  arts  on  Baris  Tunggal  Dance  in  art photography expressions using strobe light. Basically,  the  creative  works  focused on  the  dancer  movements  and  transformed  into photography  expression  which  blended  with aesthetic  and  creative  idea  (ideational)  also  the technical photo shoot capability (technical) of the photographer. The photo shoots technique chosen through a variety of consideration which oriented on practical implementations possibilities, resulting photographs  in  freeze,  blurred,  and  multiple-images  as  art  photography.  The  art  photograph includes  extrinsic  and  intrinsic  aesthetic  values through photo presentation. With the presence of this photography art works it was not only present Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light in the form of mere documentation but it was the art photography expression on creative and aesthetic level. Keywords:  movements,  Baris  Tunggal  Dance, photography expression, strobo-light * Dosen ISI Denpasar Institut Seni Indonesia Yogyakarta 2014-12-09 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/rekam/article/view/804 10.24821/rekam.v0i0.804 Rekam; Rekam 9 2442-9376 1858-3997 10.24821/rekam.v0i0 en

oai:ojs.journal.isi.ac.id:article/9201 2024-05-05T04:12:52Z rekam:ART

Genre Drama sebagai Favorit di Netflix Periode Januari – Juni 2021 Sitepu, Petrus Damiami Sudarsono, Kus Netflix, Genre Film, Drama Genre Netflix is a film exhibition platform in digital format. Netflix is one of the favourite platforms for film enthusiasts, especially among the respondents in this study. Netflix is included in the Non-Theatrical Exhibition Film category with its popular term Over-The-Top. Netflix is categorized explicitly as SVOD (Subscription Video On Demand). In this study, we do not only look at the categorization of films based on the primary genre but also look at the secondary film genres. According to respondents, the secondary genre of films is one aspect of selecting films on the Netflix platform.This study used a quantitative approach with a cluster random sampling method. The sample used in this research was students of the Film Study Program, Faculty of Art and Design, Multimedia Nusantara University. The results of this study show that in the period January - July 2021, the film Ali & Ratu Ratu Queens is an Indonesian film that many Netflix users watch. In addition, the film Sweet & Sour is the most-watched international film by respondents. Respondents in this study stated that there is a need for film categorization. Still, film categorization is not only based on the primary genre but there needs to be a secondary genre as well. Films in the drama genre are the favourite of the respondents in this study, both primary and secondary drama genres. Institut Seni Indonesia Yogyakarta 2023-10-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/9201 10.24821/rekam.v19i2.9201 Rekam; Vol 19, No 2 (2023): Oktober 2023; 143-152 2442-9376 1858-3997 10.24821/rekam.v19i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/9201/3378 Copyright (c) 2023 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1932 2023-10-28T13:08:02Z rekam:ART

Simulakra Baudrillard dalam Multidimensi Posmodernisme: Kajian Fotografi Makanan dalam Media Sosial Instagram Arsita, Adya Baudrillard’s simulacra; food photography study; instagram; multidimensional postmodernism; social media Makanan kini dipandang dengan sudut pandang yang berbeda, karena ia tak lagi sekedar kebutuhan pokok, tetapi telah dimaknai jauh dari fungsi utamanya.  Telah sekian lama makanan menjadi simbol kemakmuran orang yang berpunya sejak dari abad ke-16 dan ke-17 yang ditunjukkan dalam lukisan-lukisan di masa itu, yang kini kemudian meraih masa gemilangnya melalui berbagai tayangan di televisi, majalah, dan buku-buku masakan.  Makanan tidak lagi sekedar apa yang dimakan, tetapi menjadi sesuatu yang dipamerkan dan berkembang menjadi gaya hidup.  Seiring dengan berkembangnya teknologi komunikasi, orang cenderung mengumbar kegemarannya akan makanan melalui berbagai media sosial, salah satu yang terkenal yaitu Instagram.  Visualisasi makanan telah diekspos sedemikian rupa dari menu rumahan yang sederhana hingga makanan kelas atas yang biasanya tersaji di restoran mewah.Tulisan ini membahas banyaknya foto-foto makanan yang diunggah ke dalam berbagai akun Instagram dan kemudian akan dicoba untuk menemukan bagaimana unggahan tersebut mempengaruhi keseharian kita.  Metode yang digunakan adalah mengaitkan teori simulakra dari Baudrillard dengan pendekatan multidimensi posmodernisme.  Akun Instagram dipilih secara acak berdasarkan tampilan enam frame pertamanya yang menampilkan foto-foto makanan, yang kemudian foto-foto tersebut dianalisis menggunakan kajian simulakra dari Baudrillard. Hasil temuan dari analisis menunjukkan bahwa orang tidak lagi mengonsumsi sesuatu (makanan) sesuai fungsinya, tanpa disadari mereka telah mengonsumsi sebuah tanda yang akhirnya akan meletakkan mereka ke dalam hirarki, kelompok, dan kelas dengan kemampuan mengonsumsi yang sama.  Instagram merupakan salah satu media sosial yang menggunakan foto sebagai instrumen untuk berkembangnya budaya visual yang makin memperkuat berlangsungnya simulakra dalam keseharian, yang memisahkan objek dari apa yang seharusnya direpresentasikannya hingga ke ambang batas nihilisme dan orang tidak bisa lagi mengenali apa yang sesungguhnya mereka apresiasi. Food has been seen in different views nowadays, it is not merely one of the staples, but it has gone far beyond its primary function.  Food has long been a symbol of prosperity of the haves since the 16th  until the 17th century through paintings, which later these days regains its triumph in the abundant TV shows, magazines and cook books.  Food is no longer what we eat, but it is something to show off and lately it has become a lifestyle.  Along with the advanced communication technology, people tend to flaunt their food fetish through various social media, one that has become so popular is Instagram.  The visuality of food has been vividly exposed from simple home cooking   menu to high-end foods such those served in fine dining restaurants.   This article tries to analyze the massive photographs of food uploaded in several random accounts of Instagram, and then to find out to what extent they influence our everyday life.  The method employed is Baudrillard’s simulacra with a hint of approach of multidimensional postmodernism.  Random accounts of Instagram were chosen based on their first six frames or feeds all exposing food,  then those photographs were elaborated and analyzed using Baudrillard’s simulacra.          The findings show that people no longer consume something (food) as it is, but they have consumed ‘signs’ or the prestige symbols embedded in that object.  The act of consuming signs will finally put them in certain hierarchy, groups, and classes with the same interest and ability to consume the same sign in the same way.  Instagram as one  of the social media using the photograph as the instrument in blossoming the visual culture strengthens the simulacra that happens in daily basis, that it seems separating the object from what it should represent until it fades to nihilism and people can hardly recognize what they really appreciate. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1932 10.24821/rekam.v13i2.1932 Rekam; Vol 13, No 2 (2017): Oktober 2017; 85-98 2442-9376 1858-3997 10.24821/rekam.v13i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/1932/627 Copyright (c) 2018 REKAM

oai:ojs.journal.isi.ac.id:article/3249 2023-10-28T13:02:24Z rekam:ART

Ekspresi Fotografi Seni dengan Objek Rangda Budiwijaya, I Gede photography; art photography; Rangda; digital imaging AbstrakDalam karya seni fotografi, banyak hal yang dapat diangkat sebagai objek penciptaan yangmemiliki nilai-nilai estetika, salah satunya adalah Rangda. Ekspresi fotografi seni denganobjek Rangda merupakan sebuah konsep penciptaan karya fotografi seni, yang pada hakikatnyaadalah upaya perwujudan ide kreatif dalam menanggapi sosok Rangda melalui media senifotografi. Rangda, yang dalam kehidupan sehari-hari masyarakat Bali dipandang sebagaibenda (topeng) yang disucikan, ternyata memiliki potensi yang luar biasa, apabila dipandangdan disikapi sebagai sumber serta objek penciptaan seni, khususnya fotografi seni. Melaluieksplorasi dan observasi diperoleh pengalaman empiris selanjutnya ditranformasikan lewatmodel objek-objek imajinatif dan diolah secara digital imaging. Pengetahuan tentang estetikadalam menyusun elemen-elemen objek serta pemahaman dan kemampuan penguasaan teknikfotografi diterapkan untuk mewujudkan karya ekspresi fotografi seni dengan objek Rangda. The Expression of Art Photography with “Rangda” as the Object. In the work of artphotography, there are so many things used as the object for the artwork, with some aestheticvalues, one of those things is Rangda. Art photography with Rangda as it’s object is a conceptto create the creative idea of Rangda to be kind of a real thing with an art photography as themedia. Rangda, in the daily life of Balinese people, is a sacred thing (mask), but when it isseen as an artwork source, in fact it has a great potential, especially in the art photography.The empiric experience of those are gained from the exploration and observation transformedby the imagination object and then developed by a digital imaging. The knowledge of theaesthetic of how to arrange the object elements, with comprehension and skill of photographytechnic the will be used to create the expression of art photography artwork with Rangda asit object. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/3249 10.24821/rekam.v10i2.3249 Rekam; Vol 10, No 2 (2014): Oktober 2014; 91-102 2442-9376 1858-3997 10.24821/rekam.v10i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/3249/1471 Copyright (c) 2019 REKAM: Jurnal Fotografi, Televisi, dan Animasi

oai:ojs.journal.isi.ac.id:article/4910 2023-10-28T13:10:42Z rekam:ART

Gosip, Hoaks, dan Perempuan: Representasi dan Resepsi Khalayak Terhadap Film Pendek “Tilik” Ayomi, Putu Nur gossip; woman; representation; reception Tulisan ini mengkaji bagaimana film Tilik sebagai film pendek  Indonesia yang mendapat antusiasme sangat besar dari khalayak merepresentasikan pesan-pesan utama seperti gosip, hoaks dan perempuan melalui pilihan kode-kode semiotis dalam film. Kajian ini juga secara kualitatif membahas bagaimana resepsi dari khalayak dengan menggunakan teori representasi dan resepsi dari Stuart Hall.  Selain analisis representasi yang menggunakan data dari film,  digunakan pula data resepsi khalayak  yang diperoleh dari komentar-komentar pengguna media sosial Twitter yang memiliki jumlah “suka” besar yang didapat dari hasil analisa data dari Drone Emprit, analis big data sosial media. Tulisan ini menunjukkan bahwa  representasi pada film Tilik mengenai tema-tema di atas dapat dilihat secara denotatif dan konotatif. Dari segi resepsi, film Tilik dimaknai khalayak dari tiga posisi yakni dominan, oposisional dan negosiatif. Walaupun film Tilik  dikritik sebagai film yang tidak edukatif terutama mengenai hoaks dan bias patriarkis, film ini mendapatkan pembacaan dominan sebagai film yang merepresentasikan realitas masyarakat Indonesia.  Institut Seni Indonesia Yogyakarta 2021-04-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/4910 10.24821/rekam.v17i1.4910 Rekam; Vol 17, No 1 (2021): April 2021; 51-61 2442-9376 1858-3997 10.24821/rekam.v17i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/4910/2160 Copyright (c) 2021 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/389 2013-09-05T17:56:37Z rekam:ART

Transnasionalisme dan Translasi Budaya Melalui Media Televisi “Studi pada Trend Hallyu di Indonesia” Mustikawati, Retno Transnationalism, Culture translation, media, television. Cultural images, fantasies and imaginations are formed differently depending on location technology and characteristic of cultural consumption. When cultures of of different “symbolic structures” across national bounderies, they are influenced by historically accumulate images that each nation holds of one another. Culture consists of knowledges, beliefs, perceptions, attitudes, expectations, values and patterns of behavior that people learn by growing up in a given society. A media such as television occupies an important place in culture and society. Media messages are perceived differently according to the diverse backgrounds, cultures and life-styles of audiences. Culture as a strategy of survival is both transnational and translational. It is transnational because ithas to have physical centers somewhere, places in which, or from where, their particular meanings are produced. Culture is translational because such spatial histories of displacement now accompanied by the territorial ambitions of global media technologies.Television plays a very important role in a society. It can change opinions because it has access to audiences and gives a lot of strength. The strength that can either be used constructively or destructively. Their programs have an impact and people as the audiences listen to them. Institut Seni Indonesia Yogyakarta 2013-09-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/rekam/article/view/389 10.24821/rekam.v0i0.389 Rekam; Rekam 8 2442-9376 1858-3997 10.24821/rekam.v0i0 en

oai:ojs.journal.isi.ac.id:article/7035 2023-10-28T13:11:58Z rekam:ART

Video Promosi Wisata Kuliner Yogyakarta Menggunakan Microdrone Kustanto, Lilik Nugroho, Agustinus Dwi Al-Desafinadha, Jj promotional videos; culinary tourism; microdrone ABSTRAKWisata kuliner di Yogyakarta menjadi daya tarik tersendiri. Namun karena pandemi, kondisinya tidak seramai sebelumnya. Salah satu strategi yang dilakukan adalah melakukan promosi secara masif dan menarik dalam bentuk video promosi dan disebarkan melalui media daring seperti Instagram, Facebook, dan Youtube. Permasalahan yang timbul adalah biaya produksi pembuatan video promosi yang dianggap masih berbiaya tinggi dan membebani para penyedia wisata kuliner. Oleh karena itu, tercetuslah gagasan untuk membuat video promosi wisata kuliner di Yogyakarta menggunakan microdrone yang dapat menekan biaya produksi. Microdrone adalah drone berukuran kecil, ringan, dan murah. Microdrone pada dasarnya adalah drone mainan atau hobi yang dapat dimanfaatkan sebagai alat pengambilan gambar yang berkualitas dengan menyematkan kamera high definition (HD) atau 4K.  Penggunaan microdrone seiring pemikiran tentang peran drone saat ini yang mendukung pencapaian pendidikan sehingga sangat perlu untuk selalu dikembangkan pemanfaatannya. Metode produksi video menggunakan kamera bergerak (terbang) dan statis (diam) menggunakan microdrone. Pengambilan gambar aerial hingga gambar informasi yang detail dilakukan sepenuhnya dengan menggunakan microdrone yang dioperasikan oleh pilot microdrone. Tahapan menggunakan standar tahapan produksi, yaitu praproduksi, produksi, dan pascaproduksi. Tujuan dari penelitian terapan ini adalah menyebarkan informasi wisata di Yogyakarta melalui video promosi yang menarik, efektif, dan efisien biaya namun tetap berkualitas. Dapat disimpulkan bahwa penggunaan microdrone ini menghasilkan sebuah informasi yang disajikan dalam framing dan komposisi gambar untuk menggambarkan objek area yang luas dan detail dari objeknya secara menarik, dengan efesiensi biaya.Culinary tourism in Yogyakarta is an attraction in itself, but because of the pandemic the conditions are not as busy as usual. One of the strategies is to carry out massive and attractive promotions in the form of promotional videos, and disseminate them through online media such as Instagram, Facebook and YouTube. The problem that arises is the production cost of making promotional videos which are still considered high cost and burdensome for culinary tourism providers. Therefore, there is an idea to make a promotional video for culinary tourism in Yogyakarta using a microdrone which greatly reduces production costs. Microdrone is a drone that is small, light and inexpensive. Microdrone is basically a toy or hobby drone that can be used as a quality image capture tool by embedding an HD (high definition) or 4K camera. The use of microdrones is in line with thinking about the current role of drones in supporting educational achievement, so it is very necessary to always develop their use. The video production method uses a moving (flying) or static (still) camera using a microdrone. Aerial image capture to detailed information images is carried out in full using a microdrone operated by a microdrone pilot. While the stages use standard production stages, namely pre-production, production and post-production. The purpose of this applied research is to disseminate tourism information in Yogyakarta through promotional videos that are attractive, effective, and cost efficient but still of high quality.Keywords: promotional videos, Culinary tourism, microdrone Institut Seni Indonesia Yogyakarta 2023-04-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/7035 10.24821/rekam.v19i1.7035 Rekam; Vol 19, No 1 (2023): April 2023; 71-82 2442-9376 1858-3997 10.24821/rekam.v19i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/7035/3096 Copyright (c) 2023 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1429 2023-10-28T13:07:24Z rekam:ART

Fundamental Kewirausahaan sebagai Media Penciptaan Lapangan Kerja di Bidang Fotografi Syamyatmoko, Syamyatmoko fundamental; entrepreneurship; photography AbstrakLahir dari keajaiban teknologi dan terus berevolusi mengikuti jiwa zamannya, menegaskanbahwa fotografi adalah instrumen penghasil rupiah yang efektif. Terobosan berbagai mediaakhir guna display dan booming media sosial berbasis internet merangsang pertumbuhanpengguna fotografi, baik bersifat profesional maupun amatir. Terbukanya peluang besar untukmenciptakan lapangan kerja yang menjanjikan dan meningkatnya kebutuhan ilmu fotografiditandai munculnya berbagai lembaga edukasi, komunitas, dan ruang diskusi. Memicuterjadinya persaingan ketat dalam medan bisnis fotografi, sebagian mencoba membangundan jatuh, sebagian lagi tetap berproses demi sebuah mimpi. Satu dua orang telah menjadiraja, dan kebanyakan masih berkutat masalah teknis tanpa mampu merealisasikan peluangyang ada. Menciptakan lapangan kerja menurut para ahli sangat penting guna menekan angkapengangguran di suatu negara. Jika peluang terbuka lebar, seyogianya para insan fotografiikut serta membantu pemerintah mewujudkannya, paling tidak mampu membuka lapangankerja untuk dirinya sendiri. Menjadi seorang wirausaha di bidang fotografi bukan hal sulit,walaupun karena digitalisasi kompetitor semakin banyak, kesempatan selalu ada bagi yangmau menumbuhkan fundamental kewirausahaan dalam dirinya. Belajar dan mencoba adalahkunci untuk menjawab tantangan bisnis fotografi masa depan.AbstractEntrepreneurship Fundamentals as Employment Creation Media in the Field ofPhotography. Born from the miracle of technology and continues to evolve following thespirit of its era, emphasizing photography as an effective instrument for earning money. Thebreakthrough in various user end media for display, as well as the booming of internet-basedsocial media stimulate the growth of photography users both professional and amateur. Theopportunity in creating promising employmens is widely opened, flagged by the bloomingof education institution, community, and discussion forum. Hence, they trigger a tightcompetition in photography business, some may try and fail while some may keep on progressfor the sake of their own dream. One or two may become successful, while others still workon the technique without being able to realize the given opportunity. Creating employment,according to some experts, is very important in lowering the unemployment in a country.When there is an opportunity, hopefuly the photographers could help the governemnt creatingan employment opportunity, at least for themselves. Being an entrepreneur in photographyis not really difficult, eventhough the numbers of competitors in digitalization is gettingmore each day,because an opportunity is always open for those who want to develop theirown entrepreneur fundamental. Learning and trying are the keys to answer the challenge inphotography business in the future. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1429 10.24821/rekam.v12i2.1429 Rekam; Vol 12, No 2 (2016): Oktober 2016; 119 - 130 2442-9376 1858-3997 10.24821/rekam.v12i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/1429/298 Copyright (c) 2017 REKAM

oai:ojs.journal.isi.ac.id:article/13757 2025-05-20T05:57:15Z rekam:ART

Penguatan Dramatisasi Film Tari “Cunduk” Melalui Penataan Cahaya Low Key Lighting Widyasmoro, Agnes Kustanto, Lilik Kustanto Elbaraja, Dafi Muhamad Hegar Film tari, Dramatisasi, Low key Lighting Perjalanan hidup perempuan yang dramatis menjadi salah satu topik yang menarik untuk di eksplorasi. Dibalik sifat perempuan yang lembut terdapat kekuatan besar yang membuat banyak perempuan mampu bertahan pada kondisi apapun. Kerinduan pada masa-masa yang telah lalu, menghadapi kesedihan dan kegembiraan, serta merangkul harapan masa depan menjadi kompleksitas kisah perempuan. Kehidupan pada masa muda akan selalu menjadi memori pada kehidupan masa dewasa, selalu hidup dan bertumbuh setiap waktu dalam hati dan pikiran perempuan. Kekuatan, cinta, cita-cita, dan harapan perempuan disimbolisasikan dengan “cunduk” atau tusuk konde. Cunduk merupakan perhiasan perempuan Jawa dari masa lalu, pengunci simpul rambut perempuan. Kekuatan bahan dan desainnya kuat menahan simpul rambut supaya tetap rapi tidak tergerai juga menggambarkan kekuatan dan keindahan jiwa perempuan.Dramatisasi dalam film dapat dikisahkan dengan berbagai cara penggambaran. Baik secara verbal ataupun non verbal dan juga dapat digambarkan melalui berbagai unsur dalam komponen gambar (visual). Salah satu unsur gambar dalam film dibentuk melalui penataan cahaya. Konsep “painting with light’ menjelaskan bagaimana visual dalam sebuah film layaknya sebuah gambar yang dilukis menggunakan cahaya. Permainan tata cahaya gelap dan terang akan membawa penonton ke dalam suasana yang dramatis. Kamera yang menjadi wakil mata penonton, pada saat ini menjadi sangat beragam sudut pandangnya (misalnya dekupase, match cut, dll). Teknologi yang semakin berkembang, memungkinkan Penari dan Tarian memiliki daya eksplorasi yang lebih tinggi. Menyajikan visual dalam film, seperti halnya melukis. Kedalaman dan dramatisasi adegan mampu dicapai salah satunya dengan penataan cahaya di dalam maupun di luar studio. Painting with lighting memang telah banyak digunakan dalam film tari di barat, namun belum banyak dilakukan di Indonesia khususnya koreografi dengan unsur gaya Yogyakarta. Dengan permainan cahaya di dalam maupun di luar ruangan, diharapkan secara estetis mampu mendistribusikan dengan baik, tujuan dan pesan dari film tari ini. Dasar gerak film tari “Cunduk” ini adalah tari kontemprer yang mengambil unsur tradisi khususnya gaya yogyakarta.Penggunaan tone gelap dan terang dalam lowkey light menghadirkan kesan kedalaman visual dalam gerak koreografi tarinya. Dengan tone gelap terang, akan memberikan fokus pada penari baik ekspresi maupun gerak tubuhnya.    Institut Seni Indonesia Yogyakarta Institut Seni Indonesia Yogyakarta 2025-04-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/13757 10.24821/rekam.v21i1.13757 Rekam; Vol 21, No 1 (2025): April 2025; 17-25 2442-9376 1858-3997 10.24821/rekam.v21i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/13757/4210 Copyright (c) 2025 Rekam : Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/2306 2023-10-28T13:08:33Z rekam:ART

Analisis Metafora Pendidikan dan Perkembangan Sosioemosional Tokoh Utama Film “Beauty And The Beast” Versi Live-Action Hapsari, Prima Dona Wirawan, F.A. Wisnu educational metaphors; socio-emotional development; self-concept; live-action version “Beauty and the Beast” Penelitian ini dilatarbelakangi oleh adanya perbedaan konsep pendidikan yang terjadi di struktur sosial masyarakat Perancis pada abad ke-18. Berdasarkan hal tersebut, penelitian ini bertujuan untuk memberikan analisis metafora pendidikan dan perkembangan sosioemosional sang tokoh utama film “Beauty and the Beast” versi live-action, Belle. Jenis penelitian ini adalah kualitatif deskriptif, dengan studi kepustakaan mengambil teori-teori utama, yakni teori metafora pendidikan dan perkembangan sosioemosional. Hasil penelitian menunjukkan bahwa metafora pendidikan digambarkan secara jelas oleh tokoh utama dalam kaitannya dengan buku, perpustakaan, pendampingan membaca, dan book discussion. Hal ini pada akhirnya membawa pengaruh baik bagi kondisi masyarakat saat itu. Perkembangan sosioemosional tokoh utama berkaitan pula dengan mikrosistem, mesosistem, dan makrosistem yang menjadi satu rangkaian proses perkembangan aspek psikososialnya, yaitu kepercayaan, otonomi, inisiatif, rajin, identitas, dan keintiman. ABSTRACTAnalysis on Educational Metaphors and Socio-emotional Development of Live-Action Version “Beauty and the Beast” Main Character. This research was encouraged by the differences in the concept of education that occurred in the social structure of French society in the 18th century. This study aims to provide an analysis on educational metaphors and socio-emotional development of live-action version “Beauty and the Beast”, the main character, Belle. This research is a qualitative descriptive one, applying the theory of educational metaphor and socio-emotional development. The results showed that the main character clearly described the educational metaphor by doing many activities in relation to books, libraries, reading assistance, and book discussion. These brought good influence to the condition of the community at that time. Microsystems, mesosystems, and macrosystems related the main character to socio-emotional development. They led to be a series of processes in the development of psychosocial aspects, namely trust, autonomy, initiative, diligence, identity, and intimacy. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/2306 10.24821/rekam.v14i2.2306 Rekam; Vol 14, No 2 (2018): Oktober 2018; 125-135 2442-9376 1858-3997 10.24821/rekam.v14i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/2306/785 Copyright (c) 2018 REKAM: Jurnal Fotografi, Televisi, dan Animasi

oai:ojs.journal.isi.ac.id:article/3482 2023-10-28T13:09:51Z rekam:ART

Menanamkan Pendidikan Karakter Melalui Media Augmented Reality Animasi Dua Dimensi Lakon Dewa Ruci kepada Remaja Prayoga, Dwiki Setya Lodra, I Nyoman Abdillah, Autar character education; two dimensional animation; Dewa Ruci; teenagers Implanting Character Education Values through the Augmented Reality of Two-Dimensional Animation of Dewa Ruci to Teenagers. Teenagers are the next generation for the nation and country. However, teenagers tend to have bad behaviors and act out of control that can threat the nation and the country, such as being involved in a fight, violence, drug abuse, alcohol addict, and even free sex. It is very important to instill the values of character education to the teenagers such as honesty, mutual respect, courtesy, and perseverance. Character education is often related to culture with regards to the mind and common senses. This is because human's life cannot be separated from culture and the traditions. One of the cultural things is wayang (shadow puppetry).  Shadow puppetry is a symbol of human beings and the shadow of their humanity. Lakon Dewa Ruci (Dewa Ruci play) tells a story of a student who is obedient to his teacher.  As implied in the story, a student is supposed to be obedient to his teacher, while the teacher must be discipline yet patient in dealing with the students. A teacher with his responsibility in education is demanded to enhance  his quality and his expertise. In the effort to educate the life of a nation, the role of technology is needed in order to make the teenagers have a broader knowledge as well as to have an interest and a passion to keep learning.   Nowadays animated videos are often preferred by the teenagers in general, not to mention in the field of education. Animation has become media or instruments to deliver the most updated information.  Evaluation conducted in this research had used a questioner and the result showed 98% for the media quality from the material aspects and for the post test obtained 63%.  Therefore, the results could define whether this product of animation is eligible, or in other words, no revision is needed.  ABSTRAK Remaja merupakan generasi penerus bagi bangsa dan negara. Namun, remaja juga berpotensi mempunyai perilaku buruk dan di luar kendali yang dapat mengancam bangsa dan negara, seperti perkelahian, kekerasan, penyalahgunaan narkoba, minuman keras, dan seks bebas. Sangat penting untuk menanamkan nilai-nilai pendidikan karakter kepada remaja seperti kejujuran, saling menghormati, sopan santun, dan pantang menyerah. Pendidikan karakter sering dikaitkan dengan kebudayaan yang berhubungan dengan budi dan akal manusia. Hidup manusia tidak lepas dari kebudayaan dan adat istiadat. Salah satu contoh kebudayaan adalah wayang. Wayang merupakan simbol manusia dan bayangan dari kemanusiaan itu sendiri. Lakon Dewa Ruci bercerita tentang murid yang patuh kepada gurunya. Sebagai murid hendaknya menghormati gurunya, sedangkan guru hendaknya tegas dan sabar dalam menghadapi muridnya. Guru dalam dunia pendidikan dituntut untuk meningkatkan kualitas dan mutunya. Dalam upaya mencerdaskan kehidupan bangsa, peranan teknologi sangat diperlukan supaya remaja memiliki wawasan yang luas serta dapat memiliki minat dan ketertarikan untuk terus tetap belajar. Saat ini video animasi seringkali digemari oleh remaja umumnya apalagi dalam dunia pendidikan. Animasi digunakan sebagai media atau alat untuk menyampaikan informasi yang lebih terkini. Evaluasi yang dilakukan dalam animasi ini menggunakan angket dan diperoleh hasil uji kualitas media aspek materi mendapatkan hasil 98% dan pada post test mendapatkan hasil 63%. Dari data angket tersebut dapat dikatakan produk ini layak dan tidak perlu direvisi.   Institut Seni Indonesia Yogyakarta Dr. Setyo Yanuartuti, M.Si. Dr. I Nyoman Lodra, M.Si. Dr. Autar Abdillah, M.Si. Yohan Susilo, S.Pd., M.Pd. Muhammad Rois Abidin, S.Pd., M.Pd. Ki Surono Gondo Taruno 2020-06-08 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/3482 10.24821/rekam.v16i1.3482 Rekam; Vol 16, No 1 (2020): April 2020; 21 - 27 2442-9376 1858-3997 10.24821/rekam.v16i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/3482/1764 https://journal.isi.ac.id/index.php/rekam/article/downloadSuppFile/3482/337 Copyright (c) 2020 REKAM: Jurnal Fotografi, Televisi, Animasi http://journal.isi.ac.id/index.php/rekam/index

oai:ojs.journal.isi.ac.id:article/380 2013-09-05T17:52:12Z rekam:ART

TIPE 21 Ermawati, Pitri tomb, death, art photography “Type 21” is a metaphor of tomb, a place mostly two by one square in size.Everybody will die, their dead bodies are placed in the tomb then. Most people are scared of tomb for some reasons. But in my opinion, the tomb is such interesting subject to be photograped. As trying to apply De Bono’s lateral thinking method, I got close to the tomb and explore it photographically. Then here it is a project of art photography with tomb as subject. The photographs printed in black and white to represent the life after death that’s both enigmatic or mysterious for human who is still living in this world right now. The photographs were created by outdoors hunting in several cemetery. There, I shot tombstones and the other things around these. Taking picture by mostly close up technique makes the detail of the subjects to appear vivid and real. Generally, the subjects are visualized in simbolism. Although there are vagueness, their identities still can be read. By specific technique of taking picture, the subjects in the frame look much different than the real subjects in the fields when it were photographed.I hope this project will enrich the field of art photography with tomb as thesubject. I hope it can also be a trigger to other photographers in creating such project base on the unusual subjects. All religion order their people to stay out of sin. Thus, hopefully my project can be an alert for people in remembering death, so they are afraid to be sinful and to heart each others. Because after this life there will be the life after death that will ask for people’s responsibility. Thus, at least people can eliminate hurting each others. Institut Seni Indonesia Yogyakarta 2013-09-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/rekam/article/view/380 10.24821/rekam.v0i0.380 Rekam; Rekam 7 2442-9376 1858-3997 10.24821/rekam.v0i0 en

oai:ojs.journal.isi.ac.id:article/6763 2023-10-28T13:11:32Z rekam:ART

Citra Bagong sebagai Suara Wong Cilik pada Kanal YouTube Dalang Seno Kurniawan, Paulus Heru Wibowo Bagong; Punakawan; Communicator; YouTube Along with the emergence of new media, wayang kulit play have also undergone changes and adjustments to the format. Through media such as YouTube, wayang kulit shows are no longer shown as 8-9 hour long shows. This media change does not cause a paradigmatic change to the role of Punakawan, but also provides a fresher interpretation space for Punakawan (clowns) as today’s social communicators. This paper aims to examine how Bagong, one of character of Punakawan, underwent a transformation in the wayang kulit play that was broadcasted on the Dalang Seno YouTube channel, which was initiated by Ki Seno Nugroho. In this channel, Bagong is no longer shown as a side character, but as the main character in the wayang kulit narrative. In addition, this paper wants to explore the extent to which Bagong seeks as a social communicator in the context of postcolonial society as shown on the Dalang Seno channel in the midst of a pandemic.  Institut Seni Indonesia Yogyakarta Program Studi Film Universitas Multimedia Nusantara 2022-10-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/6763 10.24821/rekam.v18i2.6763 Rekam; Vol 18, No 2 (2022): Oktober 2022; 163-174 2442-9376 1858-3997 10.24821/rekam.v18i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/6763/2867 https://journal.isi.ac.id/index.php/rekam/article/downloadSuppFile/6763/924 Copyright (c) 2022 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1381 2023-10-28T13:07:05Z rekam:ART

Mencitrakan Sang Kandidat: Si “Tukang Foto” Iklan Politik Bukit, Dewi Sartika photographers; commercial photography; political advertising Abstrak Perkembangan fotografi komersial di Indonesia akhir-akhir ini telah memasuki ranah politik, terutama sejak diberlakukannya sistem demokrasi langsung. Masyarakat menentukan pilihan mereka melalui pendekatan para kandidat dan calon, baik berupa kampanye maupun melalui iklan-iklan politik yang hadir di media massa, maupun berupa cetak billboard dan selebaran. Dalam iklan-iklan politik, terutama ikan luar ruang, kandidat yang dianalogikan sebagai produk, dipotret dan dikemas dalam sebuah desain iklan yang membawa pesan-pesan penting berupa pencitaan dan direduksi dalam sebuah gambar. Dengan demikian, fungsi fotografer iklan baik secara teknis maupun ide memberi pengaruh yang besar terhadap pencitraan kandidat, yang secara tidak langsung berpengaruh terhadap jalannya negara selanjutnya setelah kandidat tersebut melaju ke urusan birokrasi negara. Di samping itu, permasalahan ekonomi yang berbanding lurus dengan pencitraan kandidat dalam iklan-iklan politik, ternyata menyimpan kemelut yang kompleks. AbstractImaging the Candidate : the “Photographer” of Politic Ads. Lately, the development of commercial photography in Indonesia has entered the realm of politics, especially since the system of direct democracy has been enacted. Communities determine their choice through the candidates and prospective nominees, either through campaigns or political advertisements presented in mass media, as well as on billboards and flyers printed form. In political ads, especially the outdoor ads, the candidate analogized as product, were photographed and packaged in advertisement design carrying important messages in the form of imagery and reduced in an image. Thus, the function of advertising photographers, both technically and in ideas, giving major influences on imaging the candidate, which indirectly affect the course of the country once the candidate proceeds to the affairs of the state bureaucracy. In addition, the economic problems which unfortunately are in direct proportion to the imaging candidate in the politics ads, turn out keeping a complex crisis. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1381 10.24821/rekam.v12i1.1381 Rekam; Vol 12, No 1 (2016): April 2016; 9-18 2442-9376 1858-3997 10.24821/rekam.v12i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/1381/267 Copyright (c) 2016 REKAM

oai:ojs.journal.isi.ac.id:article/12398 2024-11-26T01:03:06Z rekam:ART

Potret Keragaman Hayati dan Kultural Natuna dalam Bingkai Foto Dokumenter Fadillah, Kurnia Lucky Adinur Zein, Muhammad Rifki Febriani, Nadia Foto Dokumenter, EDFAT, Natuna, Fotografi. Penelitian ini mengkaji bagaimana keragaman hayati dan kultral di Natuna direkam ke dalam karya foto dokumenter dengan menggunakan teknik EDFAT. Natuna sebagai wilayah yang kaya akan keragaman hayati dan budaya, khususnya dalam aspek kuliner, menjadi fokus dalam proses pembuatan makanan tradisional sagu butir. Foto dokumenter dipilih karena mampu menggabungkan elemen visual dan naratif secara efektif. Penerapan EDFAT menghasilkan foto yang kaya makna. Entire menangkap keseluruhan lokasi dan aktivitas pembuatan sagu butir yang sarat akan konteks kebudayaan lokal. Detail dan Frame menonjolkan aspek yang lebih spesifik dari proses sagu butir dengan komposisi yang menarik. Angle menghadirkan sudut pandang yang memberikan perspektif baru. Time menangkap momen berharga yang tidak dapat diulang seperti ekspresi masyarakat dan tahapan pembuatan sagu butir. Hasil penelitian menunjukkan bahwa teknik EDFAT efektif dalam merekam kekayaan hayati dan budaya Natuna. Foto yang dihasilkan mampu menggambarkan keragaman hayati dan kultural dengan cara yang mendalam dan menyeluruh, menjadikan alat visual yang kuat dalam memahami dan mengomunikasikan potensi daerah Natuna. Institut Seni Indonesia Yogyakarta 2024-11-12 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/12398 10.24821/rekam.v20i2.12398 Rekam; Vol 20, No 2 (2024): Oktober 2024; 151-160 2442-9376 1858-3997 10.24821/rekam.v20i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/12398/3925 Copyright (c) 2024 Rekam : Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/3356 2023-10-28T13:09:37Z rekam:ART

Konsep Fantasi dalam Film Oktaviani, Danissa Dyah Fantasy, Fictitious, Imaginative. Fantasy films were born from the development of fiction films that have shown existence since the beginning of its history. Fantasy films have their own charm because they can penetrate time and space compared to other genres. Fiction films develop from their creators both in terms of story and cinematography because fiction films are at the center of the poles: real and abstract. Its greatest strength lies in its ability to integrate and combine with other genres without exception and can be broadly developed unlimitedly. That is because fantasy films contain elements with different characteristics from other films where if a fantasy film has one element in the making of the film then it has been said to be a fantasy film. The elements or components that are seen are derived from the narrative and cinematic elements of filmmaking which contain ideas of stories, characters, and settings in a film. These three elements are the forming components of fantasy films that are fictitious and imaginative. The idea of the story is not based on an imaginary reality, that is a fiction that makes no sense. In the case of fantasy films, filmmakers will compete to develop and present ideas that have not been thought of before, so the audience seems to be carried away in a new world outside of real life. Character characters in fantasy films are the imagination of creators in fictitious forms, such as: animal characters, extraterrestrials, monsters, robots, and non-physical characters such as ghosts, spirits and holograms. While the background elements in fantasy films have a character setting place and time imaginative events are unique in unknown times or dimensions, can be past, present, and future with the centuries formed by the creators. Institut Seni Indonesia Yogyakarta Pascasarjana ISI Surakarta 2019-10-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/3356 10.24821/rekam.v15i2.3356 Rekam; Vol 15, No 2 (2019): Oktober 2019; 125 - 136 2442-9376 1858-3997 10.24821/rekam.v15i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/3356/1696 Copyright (c) 2019 REKAM: Jurnal Fotografi, Televisi, dan Animasi

oai:ojs.journal.isi.ac.id:article/371 2013-09-05T17:41:23Z rekam:ART

Analisis Segmentasi Warna pada Citra Dua Dimensi Dengan Pendekatan Komputasi Fotografi Gandang Gunanto, Samuel color segmentation; computational photography; color detection Color segmentation techniques on two-dimensional image was originally used in digital image processing applications in engineering sciences. Recent years, these techniques have been widely used in other disciplines. Photography in the digital era use this technique in a variety of needs, as an example for selecting objects based on color pixel elements. This research was done with computational photography approach to perform selection of object area based on color elements in each pixel. Observations and analysis done by comparing three common color segmentation method, namely k-means clustering method, index coloring, and Giannakopoulos HSV color detection. This research is a preliminary project of automation process for body segmentation based on colors. After testing, it turns out segmentation based on Giannakopoulos HSV color detection has added value. This is because the ease of data training process to determined the classification of color values and tolerance segmentation based on intensity variation from selected color. Institut Seni Indonesia Yogyakarta 2013-09-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/rekam/article/view/371 10.24821/rekam.v0i0.371 Rekam; Rekam 6 2442-9376 1858-3997 10.24821/rekam.v0i0 en

oai:ojs.journal.isi.ac.id:article/6893 2023-10-28T13:11:15Z rekam:ART

Analisis Wacana Kritis Sara Mills tentang Stereotipe Terhadap Perempuan dengan Profesi Ibu Rumah Tangga dalam Film Rumput Tetangga Novianti, Nadia Musa, Dahniar Th Darmawan, Diaz Restu Perempuan, Sosial budaya, Stereotipe Film adalah media komunikasi massa yang mampu mempresentasikan dan mengonstruksi realitas sosial yang terjadi dalam masyarakat. Film dapat menampilkan potret kenyataan dalam bentuk simbolik yang mempunyai makna, pesan, dan nilai estetikanya. Tujuan dari tulisan ini adalah mendeskripsikan status dan peran perempuan yang memilih profesi ibu rumah tangga melalui analisis tokoh perempuan yang ditampilkan dalam film Rumput Tetangga serta resepsi penonton terhadap film. Penyusunan tulisan ini menggunakan metode kualitatif deskriptif dengan menggunakan pisau analisis wacana kritis Sara Mills.  Untuk metode pengumpulan data dalam penelitian ini dilakukan wawancara bersama informan sebagai validasi data. Dengan menganalisis setiap scene yang ada dalam film, tulisan ini menunjukkan bahwa masih terdapat ketimpangan sosial dan pandangan terhadap peran ibu rumah tangga baik dari budaya patriarki maupun dari sesama kaum perempuan. Film Rumput Tetangga adalah cerminan realita saat ini dan dialami oleh para perempuan di lingkungan kehidupannya. Ternyata yang lebih sering memberikan stereotipe buruk kepada peran ibu rumah tangga adalah para perempuan. Hal ini menunjukan bahwa pelaku ketidakadilan gender tidak terjadi di antara dua gender yang berbeda, tetapi dapat terjadi di sesama gender. Institut Seni Indonesia Yogyakarta 2022-04-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/6893 10.24821/rekam.v18i1.6893 Rekam; Vol 18, No 1 (2022): April 2022; 25-36 2442-9376 1858-3997 10.24821/rekam.v18i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/6893/2604 Copyright (c) 2022 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1289 2023-10-28T13:06:13Z rekam:ART

Ansel Adams Easton (Kajian Karya, Kesenimanan, dan Aspek Sosialnya) Irwandi, Irwandi fotografi; Ansel Adams; sosial Ketenaran seorang seniman kadang-kadang diakui sebagai refleksi dari dirinya dan fitur karyanya saja. Seniman sering dianggap memiliki peran yang sangat sentral dalam upaya untuk mencapai reputasinya di masyarakat. Sering tidak disadari bahwa di balik popularitas seorang seniman, ada sejumlah faktor sosial budaya yang juga memengaruhi hal itu. Ansel Adams adalah contoh bagaimana posisi seorang seniman dalam konstelasi sosial budaya Amerika. Selain memiliki sebuah karya yang indah, kemampuan teknis dan konsep karya yang baik, ia juga mampu menempatkan dirinya dalam peta sosial pada zamannya. Diskusi tentang Ansel Adams akan dilakukan dengan mempertimbangkan pekerjaan sampingan, kapasitas, dan peran yang dianggap eksternal yang membantu mendorong popularitasnya. Dalam perspektif ini akan terlihat bagaimana pentingnya faktor sosial dalam mempertahankan eksistensi seorang seniman. Ansel Easton Adams (Assessment work, artistry, and its Social Aspects). The 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. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1289 10.24821/rekam.v11i1.1289 Rekam; Vol 11, No 1 (2015): April 2015; 41-52 2442-9376 1858-3997 10.24821/rekam.v11i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/1289/226 Copyright (c) 2015 REKAM

oai:ojs.journal.isi.ac.id:article/9617 2024-05-05T06:06:11Z rekam:ART

Analisis Match Cut dalam Membangun Penceritaan dalam Film Everything Everywhere All at Once Sanjaya, William everything, everywhere, match cut, cerita, struktur Film “Everything Everywhere All At Once” (2022) merupakan film tentang seorang Ibu Rumah Tangga, Evelyn, yang dibawa ke semesta lain ketika ia dihadapkan dengan berbagai masalah pekerjaan dan keluarganya. Film “Everything Everywhere All At Once” (2022) merupakan film yang bertemakan keluarga, yang dikemas dengan kompleksitas perpidahan lokasi atau semesta. Film “Everything Everywhere All At Once” (2022) memiliki transisi match cut yang menarik untuk diangkat. Film “Everything Everywhere All At Once” (2022) juga berhasil mendapatkan 7 dari 11 nominasi penghargaan, salah satunya adalah Best Film Editing dari Academy Awards. Oleh karena itu, penelitian ini dilakukan untuk mengetahui penggunaan match cut dalam membangun tahap peneritaan dalam film “Everythung Everywhere All At Once” (2022). Metode yang digunakan adalah metode kualitatif dengan menggunakan teori match cut oleh Gael Chandler dan teori struktur 5 babak oleh John Yorke. Dari analisis yang telah dilakukan, disimpulkan bahwa match cut memiliki peran dalam membangun cerita. Match cut mengarahkan perhatian penonton sehingga penonton mampu memahami tindakan karakter utama yang berpindah – pindah semesta. Institut Seni Indonesia Yogyakarta 2024-05-05 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/9617 10.24821/rekam.v20i1.9617 Rekam; Vol 20, No 1 (2024): April 2024; 1-22 2442-9376 1858-3997 10.24821/rekam.v20i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/9617/3642 Copyright (c) 2024 Rekam : Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/2133 2023-10-28T13:08:46Z rekam:ART

Citra dan Tanda Malioboro dalam Konstruksi Fotografi Rusli, Edial Malioboro; construction of photography visual image; aesthetics of art photography Perkembangan zaman akan mengubah citra dan simbol Malioboro. Citra kawasan yang dulunya asri dan nyaman itu sekarang berubah menjadi semrawut dan tidak nyaman lagi. Keadaan ini menstimulasi ide penciptaan karya bahwa ruang publik Malioboro yang semrawut dan tidak nyaman itu dipersonifikasikan sebagai rumah besar yang ruang-ruangnya telah disekat-sekat layaknya kamar pribadi yang nyaman dengan kamar yang memiliki keunikan sendiri-sendiri. Konsep penciptaan dan perwujudan ini merupakan kumpulan objek imaji visual fotografi yang realistis untuk dikonstruksikan kembali dengan tujuan menghasilkan realitas imajiner. Pendekatan teori penciptaan ini adalah citra, konstruksi fotografi, dan makna. Proses eksperimentasi dan pembentukan karya diawali dari imaji-imaji visual fotografi yang dikumpulkan, diseleksi, dan direpresentasikan dengan citra objek kaum urban yang berjuang untuk hidup dan ruang cagar budaya yang terpinggirkan oleh bangunan modern di Malioboro melalui imaji visual fotografi. Imaji-imaji visual fotografi dari suatu realitas imaji masa lalu tersebut diimajinasikan ke masa yang akan datang untuk dikonstruksi kembali menjadi kesatuan dengan menggunakan teknik montase dan kolase digital imaging ke bentuk imajinasi visual fotografi yang imajinatif dan bernilai kreatif estetis untuk dimaknai kembali pada keadaan sekarang. Penciptaan karya ini tidak lagi berbicara tentang tataran teknis saja, namun juga berbicara tentang estetika, citra, tanda-tanda dan makna baru di dalamnya. Melalui penciptaan karya ini, masyarakat diharapkan dapat mengetahui citra, proses konstruksi, penyajian penciptaan karya, dan makna yang dihadirkan kembali dari perwujudan imaji ke bentuk karya imajinasi visual fotografi yang bernilai kreatif estetis. Karya imajinasi visual fotografi ini diharapkan menjadi media untuk mengungkapkan perasaan atau ekspresi dan emosi estetis pencipta dalam bentuk parodi visual. Penciptaan ini diharapkan dapat bermanfaat untuk memperkaya khazanah citra/imaji/makna baru dan untuk membangun rasa memiliki serta kesadaran akan permasalahan tata kehidupan dan tata ruang Malioboro sekarang ini.AbstractImage and Symbols of Malioboro in the Construction of Photography. Change of time will change the image and symbol of Malioboro. The image of this area that once was beautiful and comfortable now has changed into a chaotic and an uncomfortable one. This situation has stimulated an idea of creating artworks that the public space of Malioboro which is chaotic and uncomfortable is personified as a big house with separated rooms as in private bedrooms with their own uniqueness. The concept of the creation and the embodiment is a compilation of objects from photography visual images, which are realistic to be reconstructed with the aim of generating an imaginary reality. The approach for this creation is a photography construction’s image and its meaning. The processes of experimentation and the formation of the works were started with the visual images of photography which were collected, selected, and represented with the images of urban people who struggle to live there and the cultural heritage which is marginalized by modern buildings in Malioboro through visual images of photography. Visual images of photography from the past reality of those images were imagined into the future time to be reconstructed as a unity by using techniques of montage and collage in digital imaging which would transform them into creative and aesthetic photography visual imagination to be reinterpreted in recent time. This creation does not only articulate the technique itself, but also to articulate the aesthetics, images, signs and new meanings in them. Through this creation, society is expected to know the images, the construction process, the presentation, and the meaning which are brought back from the visualization of images to the form of creative and aesthetic photography visual imagination. It is expected to be a media to express the artist’s aesthetic feeling and emotion in the form of visual parody. This creation is expected to be beneficial in enriching the corpus of new images/meanings and to raise the sense of belonging as well as awareness of the problem of life order and the spatial layout of current Malioboro. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/2133 10.24821/rekam.v14i1.2133 Rekam; Vol 14, No 1 (2018): April 2018; 1-15 2442-9376 1858-3997 10.24821/rekam.v14i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/2133/692 Copyright (c) 2018 REKAM: Jurnal Fotografi, Televisi, dan Animasi

oai:ojs.journal.isi.ac.id:article/13423 2025-05-20T05:57:15Z rekam:ART

Degradasi Estetika dalam Tren Video Vertikal di Platform Digital: Studi Kasus Konten Instagram Reels dan Youtube Short Mustikawati, Retno Sadewa, Ghalif Putra Harist, Raihan Zaky Al degradasi nilai estetika, video vertikal, platform digital Popularitas 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 (trenviral). 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 (trenviral). 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. Institut Seni Indonesia Yogyakarta 2025-04-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/13423 10.24821/rekam.v21i1.13423 Rekam; Vol 21, No 1 (2025): April 2025; 79-89 2442-9376 1858-3997 10.24821/rekam.v21i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/13423/4243 Copyright (c) 2025 Rekam : Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/3254 2023-10-28T13:02:24Z rekam:ART

Virtual Reality: Hiperkonsumerisme, Hiperteks, Hipermedia, Hiperealitas Edison, Roni information technology; entertainment; technology stuttering AbstrakKemajuan teknologi informasi dan mulai “membaiknya” tingkat perekonomian rataratapenduduk Indonesia, ikut meningkatkan kuantitas serta kualitas kehidupan mereka.Pertumbuhan dan kecanggihan gadget kadang tidak memberi kesempatan bagi penggunanyauntuk menggunakan dan menikmati kecanggihan tersebut. Baru beberapa saat gadget canggihtersebut dimiliki dan belum semua aplikasi yang tertanam di gadget tersebut digunakan,sudah datang dan muncul seri baru yang lebih canggih dengan aplikasi yang lebih beragamdan menghibur. Televisi dengan materi audiovisualnya yang juga semakin menghibur danmemanjakan mata penontonnya seakan tidak mau kalah untuk menyuguhkan budaya glamour,konsumtif, instan, dan sekali lagi menghibur. Demikianlah bangsa ini dalam setiap detik denyutnapas hidupnya tiada henti dijejali dengan hiburan, hiburan, sekali lagi hiburan yang dangkal,artifisial, dan semu. Ketika dunia Barat mencapai kemajuan bangsanya melalui proses revolusiindustri bangsa Indonesia mencapai dan memperoleh kemajuan hanya pada tingkat penggunadan pola pikir konsumtif. Tidak berlebihan ada pernyataan yang menyebutkan bahwa bangsaIndonesia ini sudah terjajah untuk ketiga kalinya. Dijajah oleh industri kapitalisme globaldengan teknologinya sehingga budaya, kearifan lokal, nurani serta olah rasa dan pikiran darimanusia Indonesia semakin tergerus. Bahkan untuk disebut sebagai intelektual yang ilmiahrakyat dari bangsa ini harus mengerti dan memahami bahasa mereka, sebaliknya bangsaBarat tersebut dengan leluasa berkeliaran di negeri ini dengan berbagai kepentingan tidakdiharuskan mengerti, memahami, dan berbicara dalam bahasa Indonesia. Budaya malu, tepaselira, saling memahami, dan menghargai dalam memaknai perbedaan juga semakin hilangdalam kehidupan bermasyarakat dan juga dalam bernegara. Gagap teknologi, bukan dalamartian tidak mampu menggunakan dan mengoperasikan hasil kemajuan teknologi, tetapi lebihpada ketidakmampuan dalam memanfaatkan kemajuan teknologi tersebut secara cerdas,beretika, dan bertanggung jawab. Inilah fenomena budaya yang sedang terjadi di negara yangmemiliki falsafah Pancasila dengan semboyannya Bhinneka Tunggal Ika. Virtual Reality: Hyperconsumerism, Hypertext, Hypermedia, Hypereality. Advancesin information technology and started “improving” the average rate of the economy ofIndonesia’s population, helps to improve the quantity and the quality of their lives. But thegrowth and sophistication of gadgets sometimes do not provide an opportunity for users touse and enjoy the sophistication. New gadgets while it is held, and not all applications areembedded in the gadget is used, has come and appear more sophisticated new series with amore diverse applications and entertaining. Television with audio-visual materials are alsomore entertaining and pleasing to the eye as if the audience does not want to lose to presentthe glamor culture, consumerism, instant and once again entertaining. Thus this nation inevery second breath of life relentless beats crammed with entertainment, amusement oncemore entertainment shallow, artificial and superficial. When the western world nation achieveprogress through the industrial revolution of the Indonesian nation reach and make progressonly at the level of the user and consumer mindset. No exaggeration there is a statement that says that the Indonesian nation has been occupied for the third time. Colonized by globalcapitalism with the technology industry to culture, local wisdom, conscience and if the heartsand minds of the Indonesian people increasingly eroded. Even for the so-called scientificintellectual people of this nation should know and understand their language, otherwisethe western nations to freely roam the country with a variety of interests are not requiredto understand, comprehend spoken in Indonesian. Culture of shame, tepo seliro, mutualunderstanding and respect of understanding of the difference is also getting lost in the societyand also in the state. Stuttering technology, not in the sense of not being able to use andoperate the result of advances in technology, but rather the inability to take advantage ofthe technological advances in intelligent, ethical and responsible.It’s a cultural phenomenonthat is happening in a country that has a philosophy of Pancasila with the motto of Unity inDiversity. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/3254 10.24821/rekam.v10i2.3254 Rekam; Vol 10, No 2 (2014): Oktober 2014; 145-159 2442-9376 1858-3997 10.24821/rekam.v10i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/3254/1475 Copyright (c) 2019 REKAM: Jurnal Fotografi, Televisi, dan Animasi

oai:ojs.journal.isi.ac.id:article/4433 2023-10-28T13:10:42Z rekam:ART

Analisis Perubahan Sifat Karakter di Sepanjang Perjalanannya Berdasarkan Pola Kejadian dan Plot Segment dalam Film “Green Book” Sanjaya, William pattern of events; character trait; plot segmentation Film “Green Book” merupakan film yang membahas tentang diskriminasi yang dialami oleh pekerja Italy bersama teman sekaligus atasannya yang merupakan orang Negro. Pola kejadian dalam keseluruhan cerita dapat dilihat melalui rangkaian adegan yang menggambarkan perjalanan karakter. Dalam pola kejadian tersebut, perubahan karakter dapat dilihat melalui setiap masalah dari luar (outer problem) dan masalah batin (inner problem) yang dialami. Perubahan tersebut memberikan nilai – nilai yang merefleksikan kehidupan. Penelitian ini bertujuan untuk mengetahui pola kejadian dan perubahan karakter di sepanjang perjalanan karakter dalam cerita. Metode yang digunakan dalam penelitian ini adalah kualitatif deskriptif yang mengumpulkan berbagai macam teori sebagai bahan untuk menganalisa secara akurat. Teori yang digunakan adalah teori plot segment dari David Bordwell, 7 pola kejadian dalam cerita oleh David Trottier serta perubahan sifat karakter sepanjang perjalanan oleh Christopher Vogler. Dari penjabaran yang telah dilakukan, disimpulkan bahwa terdapat 7 pola kejadian yang dapat digambarkan melalui setiap kejadian dalam cerita film. Perubahan sifat karakter terjadi sepanjang perjalanan yang dihadapi. Perubahan karakter tersebut memberi nilai yang merefleksikasn nilai – nilai kehidupan. Dalam perubahan dimensi pada aspek  sosiologi, psikologi, dan ciri – cici fisik, karakter dapat mengalami perubahan terhadap satu atau lebih dari satu aspek lain, namun karakter juga dapat mengalami perubahan pada satu aspek dalam sifatnya saja. Institut Seni Indonesia Yogyakarta 2021-04-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/4433 10.24821/rekam.v17i1.4433 Rekam; Vol 17, No 1 (2021): April 2021; 77-86 2442-9376 1858-3997 10.24821/rekam.v17i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/4433/2167 https://journal.isi.ac.id/index.php/rekam/article/downloadSuppFile/4433/513 https://journal.isi.ac.id/index.php/rekam/article/downloadSuppFile/4433/514 https://journal.isi.ac.id/index.php/rekam/article/downloadSuppFile/4433/515 https://journal.isi.ac.id/index.php/rekam/article/downloadSuppFile/4433/516 https://journal.isi.ac.id/index.php/rekam/article/downloadSuppFile/4433/517 https://journal.isi.ac.id/index.php/rekam/article/downloadSuppFile/4433/518 https://journal.isi.ac.id/index.php/rekam/article/downloadSuppFile/4433/519 Copyright (c) 2021 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/546 2020-05-03T13:07:36Z rekam:ART

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni Herawati, Dira human foots, aestheti,; social phenomena, art photography, images Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images Institut Seni Indonesia Yogyakarta 2014-03-17 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/rekam/article/view/546 10.24821/rekam.v0i0.546 Rekam; Rekam 9 2442-9376 1858-3997 10.24821/rekam.v0i0 en

oai:ojs.journal.isi.ac.id:article/9436 2023-10-28T13:11:58Z rekam:ART

Bodies on Social Phenomena: Implementation of Cyanotype Photogram-Based Creation and Oil Paint Irwandi, Irwandi Saraswati, Agni Pithaloka, Anjania Nanda photography; Cyanotype; painting The goal of this research is to create an artwork by combining two genres of art, specifically photography and painting. The primary foundation of this composition is Cyanotype, or photograms on Cyanotype media, a 19th-century photographic process. Exploration and experimenting on the technique and concept of the piece are the primary methods used in this creation. The end result is a collaborative work using Cyanotype and painting technique to enhance the character and concept of the piece. This type of collaborative creativity is still uncommon, and it is critical to adopt it as a new way of working. Cyanotype is an old photography method that is still used today. These conditions encourage exploration. The combination of cyanotype and painting techniques allows for the development of more unique and valuable works. The body in social phenomena is the focus of this collaborative effort. The findings of this study support Langer's idea that art is an expressive form formed by perception through the senses or imagination and conveyed from human feelings. Physical feelings, pain, comfort, and joy are all examples of this type of expression.Penelitian terapan ini merupakan upaya penciptaan karya melalui kombinasi dua bidang seni, yaitu seni fotografi dan seni lukis. Pondasi dasar penciptaan ini adalah teknik fotografi abad ke-19 yaitu Cyanotype, tepatnya fotogram di atas media Cyanotype. Metode utama dalam penciptaan ini adalah eksplorasi dan eksperimentasi terhadap teknik dan tema karya. Hasil awal berupa cetakan Cyanotype dikombinasikan dengan torehan cat lukis untuk memperkuat karakter dan tema karya. Penciptaan kolaboratif semacam ini masih sangat jarang dilakukan dan penting untuk menjadi cara baru dalam berkarya. Cyanotype sendiri adalah teknik fotografi tua yang dibuat secara ‘handmade’. Kondisi tersebut membuka ruang eksperimentasi. Pengombinasian Cyanotype dan teknik lukis membuka peluang terwujudnya karya yang unik dan bernilai lebih. Tema yang diangkat dalam karya kolaboratif ini adalah tubuh dalam fenomena sosial. Hasil penelitian ini sesuai dengan teori Langer, bahwa karya seni merupakan bentuk ekspresif yang diciptakan menurut persepsi melalui indera atau imajinasi yang diekspresikan dari perasaan manusia. Bentuk ekspresi ini adalah segala sesuatu yang dapat dirasakan, sensasi fisik, rasa sakit, kenyamanan, dan kegembiraan. Tubuh manusia digambarkan sebagai objek utama karena manusia merupakan pemain kunci dalam mengelola alam di bumi ini. Perpaduan proses Cyanotype dan seni lukis memiliki ciri yang berbeda, terutama ekspresif, spontan, dan dinamis yang menggambarkan kesedihan dan ketakutan. Institut Seni Indonesia Yogyakarta LPPM ISI YOGYAKARTA 2023-04-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/9436 10.24821/rekam.v19i1.9436 Rekam; Vol 19, No 1 (2023): April 2023; 1-10 2442-9376 1858-3997 10.24821/rekam.v19i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/9436/3101 Copyright (c) 2023 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1644 2023-10-28T13:07:50Z rekam:ART

Animasi Kartun Bertema Falsafah Jawa sebagai Pendidikan Karakter Bagi Anak Usia Dini Pandanwangi, Wiekandini Dyah Nuryantiningsih, Farida character education; corruption; Javanese Philosophy             Latar belakang dari penelitian ini adalah adanya berbagai kasus yang bertentangan dengan nilai-nilai moral seperti korupsi yang menunjukkan rendahnya karakter dalam masyarakat. Oleh karena itu, pendidikan karakter merupakan aspek yang sangat penting dalam memperbaiki nilai moral masyarakat Indonesia. Pendekatan kebudayaan khususnya falsafah Jawa akan dijadikan landasan pendidikan karakter pada anak usia dini. Hal ini karena dalam budaya Jawa sarat akan pendidikan nilai yang merupakan substansi utama dari pendidikan karakter. Dalam budaya Jawa terkandung tata nilai kehidupan Jawa, seperti norma, keyakinan, kebiasaan, konsepsi, dan simbol-simbol yang hidup dan berkembang dalam masyarakat Jawa.Pendidikan karakter yang digali dari substansi budaya Jawa dapat menjadi pilar pendidikan budi pekerti bangsa. Budaya Jawa memiliki pandangan hidup (yang sering disebut sebagai falsafah hidup) yang merupakan kesatuan pola pikir orang Jawa dalam menempuh kehidupan. Falsafah hidup Jawa adalah saripati perjalanan hidup orang Jawa menjadi “Jawa”. Di dalam falsafah ajaran hidup Jawa, terdapat ajaran keutamaan hidup yang diistilahkan dalam bahasa Jawa sebagai piwulang (wewarah)kautaman. Pendidikan karakter pada anak usia dini menjadi fondasi dasar dalam mengembangkan keterampilan sosial di masa yang akan datang. Pendidikan karakter yang kuat dan kokoh merupakan hal yang penting dan harus ditanamkan sejak dini agar anak bangsa menjadi pribadi yang unggul seperti yang diharapkan dalam tujuan pendidikan nasional dan dapat memperkokoh bangsa dari pengaruh negative seperti korupsi.            Penelitian ini merupakan penelitian deskpritif kualitatif dengan rancangan penelitian studi kasus (case study). Lokasi penelitian adalah dua puluh Taman Kanak-Kanak terpilih di Purwokerto. Pengumpulan data menggunakan teknik in depth interview danfocus group discussion pada informan yang terpilih.Informan dipilih dengan metode purposive sample. Analisis data dilakukan dengan model analisis perbandingan dan interpretasi data. Keabsahan data akan diuji dengan triangulasi sumber dan triangulasi metode. Dalam penelitian ini, temuan yang ditargetkan adalah pembuatan model pendidikan karakter berlandaskan falsafah Jawa.Untuk membantu para guru Taman Kanak-Kanak dalam mengaplikasikan model pendidikan karakter berlandaskan falsafah Jawa, disusun modul pendidikan karakter yang berlandaskan falsafah Jawa yang berbentuk animasi kartun.              The backgroud of this study are about cases which are againts moral values, such as, corruption that shows the lowness of character in the society. Because of that, character education is very important to improve Indonesian moral value. Thus, cultural approach especially Javanese philosophy is used as the foundation of character education for early childhood. This is because Javanese culture is rich on education values, so those make it become the main substance of character education.  Moreover, Javanese culture contains the social order of society, for example, norms, believes, customs, ideas, and symbols which live and develop in Javanese society. Therefore, character education that is from Javanese culture can be a pillar of nation’s character building. Javanese culture that has philosophies can be the guidance of life. The philosophies are the essence of Javanese to do journey to be Javanese. Furthermore, in Javanese philosophies, there are main teaching which in Java it is called by piwulang (wewarah).The important of character education in the early childhood is the education which can be the foundation to develop social skills in the future. This makes a sturdy and strong character education be necessary to be given since the early childhood, so in the future our generation can be strong characters that are excellent as what it has been hoped in the purpose of national education; and it can make the nation stronger to avoid negative influences like corruption.            This study is descriptive qualitative research with case study. The locations of the research are in twenty kindergarthens in Purwokerto that have been selected. Data collection technique is done through indepth interview and focus group discussionon selected informants. Those selected informants are chosen using purposive sample method. Data analysis is done using comparative analysis and data interpretation. Finally, the validity is examined with resource triangualtion and method triangulation. In this research, the result is a model on character education based on Javanese philosophy. To help kidergarthen teachers to apply the model, a modul in the form of animation cartoon is created. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1644 10.24821/rekam.v13i1.1644 Rekam; Vol 13, No 1 (2017): April 2017; 21-28 2442-9376 1858-3997 10.24821/rekam.v13i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/1644/470 Copyright (c) 2017 REKAM

oai:ojs.journal.isi.ac.id:article/3244 2023-10-11T04:50:16Z rekam:ART

Penggunaan Metafora Visual Dalam Video Iklan Layanan Masyarakat Kick It Out Faturahman, Winata supporter; advertising; metaphor; directing AbstrakKerusuhan para penggemar sepak bola di Indonesia sudah umum terjadi pada banyaktayangan langsung. Sikap negatif yang berlebihan cenderung menjadi salah satu penyebabsering terjadinya kerusuhan antara penggemar sepak bola di Indonesia. Anarkisme cenderungmengarah pada sikap vandalisme yang sangat merugikan diri sendiri atau orang lain. Kurangnyasemnagat sportivitas pada penggemar sepak bola di Indonesia masih sering ditemui, perlukesadaran untuk mengubah itu semua. Iklan layanan masyarakat adalah iklan yang mengkritiktujuan non-komersial, satir, atau dibuat untuk menularkan sifat positif akan suatu masalahsosial. Sebuah iklan layanan masyarakat yang dibuat akan lebih mudah diterima olehmasyarakat jika disampaikan dengan memberikan paparan fenomena sosial. Metafora adalahsindiran halus yang digunakan untuk menggambarkan sesuatu yang non-verbal. Sebuah iklanyang berisi pesan dan divisualisasikan melalui ajakan metafora akan lebih terkesan dan tidakmenggurui. Pendekatan metafora yang digunakan untuk menyampaikan pesan video iklanlayanan masyarakat Kick It Out akan menyampaikan pesan dengan cara halus. The Using of Visual Metaphor in the Video of Public Service Announcement ‘Kick It Out’.Football fans riot in Indonesia are common and many lives. Excessive negative and tends to beone of the causes frequent riots between football fans in Indonesia. Anarchism is likely to leadto vandalism attitude is very detrimental to yourself or others. Lack of sportsmanship spiritfootball fans in Indonesia are still frequently encountered, it is necessary for an awareness tochange it all. Public service ads are ads that criticize non-commercial purposes, satirical, orinvited to do the positive nature of social problems. A public service announcements that areinvited will be more easily accepted by the community by giving exposure to social phenomena.Metaphor is a delicate metaphor used to describe something as non-verbal. An advertisementthat contains a message and visualized through metaphor will be more impressed solicitationand not patronize them head on. Metaphorical approach used to convey a message, videopublic service announcements Kick It Out will convey a subtle message. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/3244 10.24821/rekam.v10i1.3244 Rekam; Vol 10, No 1 (2014): April 2014; 39-48 2442-9376 1858-3997 10.24821/rekam.v10i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/3244/1466 Copyright (c) 2019 REKAM: Jurnal Fotografi, Televisi, dan Animasi

oai:ojs.journal.isi.ac.id:article/3813 2023-10-28T13:10:04Z rekam:ART

Makna Multikultural Photomotion Motion [e] Motion Karya Andang Iskandar Fiandra, Yosa Multikultural; Photomotion; Fotografi; Estetika Multikultural adalah berbagai kehidupan dan budaya yang ada dalam kehidupan masyarakat yang menyangkut nilai-nilai, sistem, budaya dan adat istiadat yang ada di sekitar lingkungan, dalam penelitian karya fotografi ini, penampilan gerak penari yang baik dan penampilan menjadi objek penelitian sebagai hubungan antara tubuh-gerak-budaya-zaman, dalam mencari makna multikultural melalui photomotion teknologi media. Ekspresi gerakan tarian seorang penari yang bergerak dalam ritme ekspresif dan ritmis ke dalam bentuk karya fotografi, sehingga gerak tubuh, gerakan, penampilan dan mimik para penari dapat direkam dengan detail dan halus, melalui media Visual dua Fotografi -dimensi. Karya ini memberikan rangsangan kepada para pecinta karya tentang, makna multikultural Photomotion yang terkandung di dalamnya. Penelitian ini menggunakan metode kualitatif, hasil penelitian dalam bentuk studi fase multicuting dan fotografi estetika dengan teknik fotografi gerak. ABSTRACTMulticultural is a variety of life and culture that exists in the life of society that concerns the values, system, culture and customs that exist around the environment, in the research of this work of photography, the appearance of a good motion dancer and appearance became the object of research as a relationship between body-motion-culture-epoch, in search of a multicultural significance through the media technology photomotion. The expression of the dance movement of a dancer who moves in an expressive and rhythmic rhythm into the form of photographic works, so that the gesture, movement, appearance and mimic of the dancers can be recorded with detail and subtle, through the media Visual two-dimensional photography. This work provides the stimulus to the connoisseurs of the work about, the multicultural meanings of Photomotion contained therein. This research uses qualitative methods, research results in the form of multicuting phase studies and aesthetic photography with motion photography techniques. Institut Seni Indonesia Yogyakarta 2020-09-29 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/3813 10.24821/rekam.v16i2.3813 Rekam; Vol 16, No 2 (2020): Oktober 2020; 103-114 2442-9376 1858-3997 10.24821/rekam.v16i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/3813/1854 https://journal.isi.ac.id/index.php/rekam/article/downloadSuppFile/3813/385 https://journal.isi.ac.id/index.php/rekam/article/downloadSuppFile/3813/386 Copyright (c) 2020 REKAM: Jurnal Fotografi, Televisi, dan Animasi

oai:ojs.journal.isi.ac.id:article/385 2013-09-05T17:56:37Z rekam:ART

Animasi Video Eksperimental “Kertas Putih” Sebagai Gambar Imajinasi Anak Tunagrahita dari SLB Negeri 2 Sayidan Yogyakarta Dyah Aryani, Hapsari video art, experimental film, children with mental retardation, a symbol of the white paper Video art-experimental is a blend of video art and experimental film. Video art which is a modern form of art will be integrated with the cinematic techniques of indefinitely experimental films. The results may not be too contrast to video art or experimental films that stands alone, but its uniqueness is that the concept of blend is performed to create a work that is capable to entertain the children with mental retardation.Children with mental retardation is a child who frequently forgotten in theprovision of facilities by the government and also forgotten in the acceptance of family affection. Glance they look normal, and it's physically not very different to normal children, but if we talk about things that should require complicated notion such as mathematics etc., they will be distress. This is because they have the intelligence level far below normal. Children with mental retardation are many came from poor families, so they are getting forgotten. Problem of mental retardation is not only studied through only one field of science, but by many other sciences, such as medicine, psychology, science, pharmacy and so on. In this case, the art also plays a role. In addition is able to produce works which entertaining, it can also become the object of study for other disciplines that are researching this problem.Naming the title of the work of the "the White Paper" is a symbol of a child with mental retardation. Through in-depth observation for several months along with them, then their thought were created as a symbol of the human figure who permanently innocent.They are as innocent sheet of white paper that ready to inscribe by parents, community, teachers and the surrounding neighborhood.Experimental video-art works for children with mental retardation under the title "the White Paper” will create a new work is devoted to people with mental retardation.This work was a new experience in watching by using the theory of the two major theories; that are, the theory of video art and experimental films. Institut Seni Indonesia Yogyakarta 2013-09-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/rekam/article/view/385 10.24821/rekam.v0i0.385 Rekam; Rekam 8 2442-9376 1858-3997 10.24821/rekam.v0i0 en

oai:ojs.journal.isi.ac.id:article/7763 2023-10-28T13:11:32Z rekam:ART

Religioisity in Animated Videos (Quantitative Content Analysis of the Upin and Ipin Animated Show) Aprilia, Monika Pretty Agusta, Rivga Cahyani, Arselly Dwi Upin and Ipin; religiosity; animations; children The animated children show Upin & Ipin is a popular show in Indonesia that contains many messages that can be a learned by Indonesian children. One of the issues most often carried in the Upin and Ipin show is religiosity, which is raised through worship activities, celebrations of religious holidays, and running daily life in accordance with the teachings of Islam. This study sees the concept of Glock and Stark's religious religion which is divided into five dimensions. The five dimensions are ritual dimension, intellectual dimension, ideology dimension, experimental dimension, and consequence dimension. The method used is quantitative content analysis. The results showed that the ritual dimensions that appeared were the biggest, then the intellectual dimensions and consequence dimensions were also emerged in a smaller percentage. In the animation "Upin & Ipin" the ritual dimensions performed by the characters in daily life emerge in the form of prayer, fasting, adhan, ablution, praying, celebrating the holiday, and reciting. The intellectual dimension emerged with a scene of the residents of Kampung Durian Runtuh who attended religious study activities. While the consequence dimensions are described when the characters do good deeds to fellow human beings. Institut Seni Indonesia Yogyakarta LPPM Universitas Amikom Yogyakarta 2022-10-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/7763 10.24821/rekam.v18i2.7763 Rekam; Vol 18, No 2 (2022): Oktober 2022; 119-129 2442-9376 1858-3997 10.24821/rekam.v18i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/7763/2863 Copyright (c) 2022 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1425 2023-10-28T13:07:24Z rekam:ART

Penjejakan Fitur Berbasis Koherensi Temporal dalam Sistem Animasi Ekspresi Wajah Gunanto, Samuel Gandang Hariadi, Mochamad Yuniarno, Eko Mulyanto marker-based tracking; temporal coherence; facial animation AbstrakTingginya permintaan produktivitas industri animasi di Indonesia menuntut adanya perubahandi sektor produksi. Teknologi motion capture merupakan penerapan prinsip visi komputeryang mengadaptasi indera mata manusia untuk mengenali fenomena gerakan yang tertangkapkamera dan memetakannya dalam pola gerak virtual. Tulisan ilmiah ini akan membahas metodepenjejakan fitur penanda di wajah manusia untuk mendapatkan informasi mengenai ekspresiwajah. Teknik penjejakan menggunakan penerapan prinsip koherensi temporal. Asumsi yangdigunakan pada penelitian ini berargumentasi bahwa dengan menggunakan pendekatankoherensi temporal, maka proses penjejakan fitur di citra sekuensial dapat disederhanakandengan perhitungan nilai kedekatan pada penanda di setiap frame-nya. Hasil yang didapatmenunjukkan bahwa proses penjejakan fitur yang diusulkan memiliki hasil yang handal untukmenangani banyak frame. Komputasi yang digunakan juga sangat efisien dan hemat karenaprosesnya tidak memerlukan tahap pembelajaran terlebih dahulu. Kumpulan hasil penjejakanparameter fitur penanda secara sekuensial akan membentuk sebuah basis data ekspresi visualdari wajah manusia. AbstractTemporal Coherence Based Feature Tracking in the Animation System of Facial Expression.High demand on the productivity of the animation industry in Indonesia requires a changein the existing production process. Motion capture technology is the implementation of acomputer vision principle to adopt the human eye senses to understand the phenomenon ofmotion results from a camera and to map the virtual movement patterns. This paper willdiscuss a method for tracking marker features in the human face to obtain information aboutfacial expressions. The tracking technique is using implementation of temporal coherenceprinciple. This research assumes that by using temporal coherence approach, the trackingprocess in sequential images can be simplified by calculating similarity on markers in eachframe. The result shows that this feature-tracking process have reliable result to handle alot of frames. The computation used is very efficient and cheap because it does not requirea learning process in advance. The precision accuracy of tracking parameters generated adatabase of good visual expression. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1425 10.24821/rekam.v12i2.1425 Rekam; Vol 12, No 2 (2016): Oktober 2016; 83 - 90 2442-9376 1858-3997 10.24821/rekam.v12i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/1425/295 Copyright (c) 2017 REKAM

oai:ojs.journal.isi.ac.id:article/13700 2024-11-26T01:03:06Z rekam:ART

Perancangan Animasi 2D Tentang Manfaat Sayur pada Kesehatan Pencernaan untuk Anak Usia 6 – 7 Tahun Pebriyanto, Pebriyanto animasi dua dimensi; anak-anak; manfaat sayur; kesehatan pencernaan Sayur memiliki manfaat pada kesehatan pencernaan manusia. Namun, pentingnya manfaat sayur belum sepenuhnya diketahui oleh sebagian besar anak-anak. Perlunya menambahkan wawasan anak tentang manfaat sayur dapat dilakukan melalui pemanfaatan media yang akrab digunakan oleh anak-anak. Oleh karena itu, dibutuhkan perancangan media yang bersifat informatif dan menarik tentang manfaat sayur untuk anak-anak. Penelitian ini berfokus pada perancangan media edukasi tentang manfaat sayur pada kesehatan pencernaan berupa animasi 2D untuk anak-anak usia 6 - 7 tahun. Perancangan media ini menggunakan metode penelitian melalui studi literatur, kuesioner, wawancara keahlian, dan observasi dan metode perancangan meliputi tahap pra produksi, produksi dan pasca produksi. Hasil analisis data menemukan bahwa ketertarikan target audiens pada animasi berdasarkan narasi cerita yang seru dan tampilan visual yang unik serta menarik. Narasi cerita pada animasi ini menggunakan pendekatan narasi sugestif yang disampaikan melalui interaksi antar karakter dengan sudut pandang orang ketiga. Tampilan visual pada animasi ini menggunakan pendekatan antropomorfis dengan gaya kartun yang disederhanakan. Hasil uji coba menunjukkan bahwa anak-anak mampu menyebutkan manfaat makan sayur yaitu membuat sehat di dalam perut yang berkaitan dengan mudahnya buang air besar (40%), dan dampak tidak makan sayur menjadikan perut tidak sehat/sakit dan susah buang air besar (55%). Institut Seni Indonesia Yogyakarta Kementerian Pendidikan, Kebudayaan, Riset, dan Teknologi Republik Indonesia 2024-10-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/13700 10.24821/rekam.v20i2.13700 Rekam; Vol 20, No 2 (2024): Oktober 2024; 193-206 2442-9376 1858-3997 10.24821/rekam.v20i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/13700/3928 Copyright (c) 2024 Rekam : Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/2138 2023-10-28T13:08:46Z rekam:ART

Budaya Selfie Masyarakat Urban Kajian Estetika Fotografi, Cyber Culture, dan Semiotika Visual Ismanto, Idealita selfie; culture; cyberculture; visual semiotic Penelitian ini membahas eksistensi individu yang dikonstruksi berdasarkan budaya visual. Selfie dan media sosial pada budaya visual sebagai wujud eksistensi merupakan kata yang tepat untuk menyikapiperkembangan eksistensi masyarakat. Persoalan yang diangkat membahas bagaimana budaya selfie dapat terjadi pada masyarakat urban, mengkaji budaya selfie melalui kajian estetika fotografi, cyberculture, dan semiotika visual serta perubahan sosial yang terjadi dalam masyarakat urban. Metode yang digunakan adalahobservasi dan wawancara. Kegiatan analisis data dimulai dari tahap pengumpulan data, tahap reduksi, tahap penyajian data, serta tahap penarikan kesimpulan dengan penelitian kualitatif. Dapat disimpulkan bahwa praktik baru dalam cyberculture dan budaya visual yakni selfie, media sosial sebagai ranah eksistensi, masyarakat menjadikan selfie sebagai eksistensi diri yang narsisme. Masyarakat saling beradu eksistensi dengan media sosial yang berobjekkan wisata dan kesenian. AbstractSelfie Culture of Urban Society (Study of the Aesthetic of Photography, Cyberculture, and Visual Semiotics). This research discusses the existence of individuals constructed based on visual culture. Selfie and social media in the visual culture as a form of existence is the right word to address the development of society’s existence. The issues raised would discuss how the selfie culture can occur in the urban society, how the study of selfie culture through the aesthetic of photography, cyberculture studies, and the visual semiotics and also the social changes that occur in the urban societies. The method employed was observation and interview. The data analysis activities were started from the data collection step, the reduction step, the data presentation step, and the conclusion with qualitative research. It can be concluded that the new practice in cyberculture and visual culture, which is selfie, in the social media as the realm of existence, society makes selfie as the existence of narcissistic self. Communities collide with the existence of social media consisting touristy tourists’ attraction and arts. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/2138 10.24821/rekam.v14i1.2138 Rekam; Vol 14, No 1 (2018): April 2018; 67-76 2442-9376 1858-3997 10.24821/rekam.v14i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/2138/697 Copyright (c) 2018 REKAM: Jurnal Fotografi, Televisi, dan Animasi

oai:ojs.journal.isi.ac.id:article/3853 2023-10-28T13:09:51Z rekam:ART

Eksplorasi Jukstaposisi Visual dalam Novel Grafis ‘The Photographer’ Arsita, Adya Aji, Daru Tunggul exploration; juxtaposition; graphic novel; multimodal; literacy visual The Exploration of Visual Juxtaposition in a Graphic Novel titled ‘The Photographer’. Comic as a story book full of drawings is now popular under the name of graphic novel, which in its development begins to vary.  A graphic novel titled ‘The Photographer: Into War-Torn Afghanistan with Doctors without Borders’ presents two types of pictorial texts, which are drawings in comic styles and photographic works.  The study of this graphic novel aims to explore the visual juxtaposition of the comics and photographs by establishing the graphic novel as the narrative medium in delivering the message and context as well as how they intertwine with each other since there are two types of pictorial texts.  The development of technology in photography has made it possible to actuate photography juxtaposed with other visual media which have come to popularity in advance, to blend, and to combine a unique and specific narrative combination.  The method employed in this research is a qualitative method that believes in a holistic reality as a result of a construction of comprehension of case by case since the characteristic of each case is different one to another. Besides that, the multimodal discourse is also employed as an approach proportionally to evaluate the effectiveness of the message and the contextual meaning of its visual juxtaposition. Therefore, the result is expected to bridge over the understanding of various visual texts given sequentially by using the approach of multimodal discourse as the instrument for an effective communication in enhancing the visual literacy.  ABSTRAKKomik sebagai sebuah buku cerita bergambar yang kini lebih dikenal dengan istilah  novel grafis, makin hari makin berkembang keragamannya.  Dalam sebuah novel grafis yang berjudul The Photographer: Into War-Torn Afghanistan with  Doctors without Borders disajikan dua jenis teks piktorial, yaitu dalam gambar komik dan karya foto.  Pengkajian novel grafis ini akan mencoba mengeksplorasi jukstaposisi visual yang berupa gambar komik dan hasil karya fotografi dengan menempatkan novel grafis sebagai media naratif dalam menyampaikan pesan dan makna serta menilik saling keterkaitannya satu sama lain dengan munculnya dua ragam jenis teks piktorial.  Perkembangan teknologi dalam dunia fotografi membuat fotografi mampu menyandingkan diri dengan media visual lain yang lebih dahulu populer, melebur dengan saksama, dan menciptakan kombinasi naratif yang unik dan spesifik. Metode yang dipakai dalam penelitian ini adalah metode kualitatif dengan prinsip bahwa suatu realitas yang bersifat menyeluruh adalah sebagai hasil konstruksi dari pemahaman terhadap kasus per kasus karena sifat suatu masalah yang satu berbeda dari yang lain.  Selain itu, pendekatan kajian dengan multimodal discourse juga akan diaplikasikan untuk meninjau efektivitas pesan dan pemaknaan jukstaposisi visualnya. Dengan demikian, hasil analisis diharapkan akan membantu menjembatani  pemahaman teks visual yang hadir secara beragam secara sekuensial dengan pendekatan wacana multimodal sebagai upaya komunikasi yang efektif dalam meningkatkan literasi visual.   Institut Seni Indonesia Yogyakarta DRPM RISTEKDIKTI FSMR, ISI Yogyakarta LPPM ISI Yogyakarta 2020-06-08 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/3853 10.24821/rekam.v16i1.3853 Rekam; Vol 16, No 1 (2020): April 2020; 37 - 44 2442-9376 1858-3997 10.24821/rekam.v16i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/3853/1762 Copyright (c) 2020 REKAM: Jurnal Fotografi, Televisi, Animasi http://journal.isi.ac.id/index.php/rekam/index

oai:ojs.journal.isi.ac.id:article/376 2013-09-05T18:12:25Z rekam:ART

Representasi Interaktif Foto Profil Jejaring Sosial Facebook ., Syaifudin representation, interaction, social semiotics, photography, facebook This article discusses about the photos on famous social web in Indonesia and in the world, Facebook. The photo is used as a profile photo. The images of photos are analyzed using the theory of social semiotics that proposed by Gunther Kress and Theo Van Leeuwen. With his theory of interactive representation of the photographs can be analyzed through the elements of gaze, framing and perspective so that a profile picture will be able to give the meanings of social interaction and relation of participant.Respond, personal distance-social distance, and involvement of participant of social web can occur when there is visual interaction through the profile photo or picture. Institut Seni Indonesia Yogyakarta 2013-09-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/rekam/article/view/376 10.24821/rekam.v0i0.376 Rekam; Rekam 7 2442-9376 1858-3997 10.24821/rekam.v0i0 en

oai:ojs.journal.isi.ac.id:article/4762 2023-10-28T13:11:15Z rekam:ART

Representasi Terorisme dalam Dua Adegan Film Dilan 1990 dengan Analisis Semiotika John Fiske Haqqu, Rizca Pramonojati, Twin Agus Representation, Terrorism, Dilan 1990 Film, Semiotics Dilan 1990 merupakan film yang diangkat dari novel bertajuk Dilan: Dia adalah Dilanku 1990. Film tersebut bergenre romantis yang menjadi salah satu film fenomenal tahun 2018. Di balik kepopuleran film Dilan 1990, ternyata hal ini memunculkan polemik pada warga terkait adegan kekerasan dalam film. Salah satu wujud kekerasan yang ditampilkan adalah dalam bentuk aksi teror yang dilakukan oleh geng motor. Riset ini bertujuan untuk mengenali bagaimana bentuk-bentuk aksi teror yang ada dalam film Dilan 1990 dan hubungannya dengan definisi terorisme yang ada. Guna menggapai tujuan riset ini, penulis memakai pendekatan kualitatif dengan analisis semiotika John Fiske bersumber pada tiga tingkatan, yakni tingkatan realitas, tingkatan representasi, dan tingkatan ideologi. Hasil riset menampilkan bahwa ada dua adegan dalam film Dilan 1990 yang dikategorikan sebagai adegan teror. Ciri pada tataran realitas ditunjukkan lewat kode penampilan, kostum, lingkungan, perilaku, cara berbicara, dan ekspresi. Pada tataran representasi ditunjukkan melalui kode kamera, musik, revisi, suara, narasi, kepribadian, aksi, dan konflik. Sementara itu, pada tataran ideologis, adegan teror dalam film Dilan 1990 merepresentasikan terorisme. Dilan 1990 is a film based on a novel titled Dilan: Dia adalah Dilanku 1990.  The genre of the film is romantic and it became one of the phenomenal films in 2018. Behind the popularity of Dilan 1990 film, there was a polemic in the community regarding the violence scenes in the film.  One of violence scenes is an act of terror by a motorcycle gang.  This research aims to identify how the forms of the terror act in the film Dilan 1990 are related to the existing definition of terrorism. To achieve the objectives of this research, a qualitative approach was used along with John Fiske's semiotic analysis based on three levels, namely the level of reality, the level of representation, and the level of ideology. The results of the research showed that there are two scenes in the Dilan 1990 film which are categorized as terror scenes. Characteristics at the level of reality are shown through the code of appearance, costume, environment, behavior, way of speaking, and expression. At the representation level, it is shown through camera code, music, revision, sound, narration, personality, action, and conflict. While at  the ideological level, the terror scene in the 1990 film Dilan represents terrorism. Institut Seni Indonesia Yogyakarta 2022-04-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/4762 10.24821/rekam.v18i1.4762 Rekam; Vol 18, No 1 (2022): April 2022; 67-80 2442-9376 1858-3997 10.24821/rekam.v18i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/4762/2608 Copyright (c) 2022 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1297 2023-10-28T13:06:29Z rekam:ART

Analisis Naratif: Kemiskinan dalam Program Reality TV “Pemberian Misterius” di Stasiun SCTV Kustanto, Lilik reality TV; reality TV “Pemberian Misterius”; analisis naratif; representasi kemiskinan Reality TV merupakan sebuah program televisi yang menggambarkan sebuah peristiwa realita atau peristiwa nyata. Namun, program tersebut mengalami perkembangan dengan menampilkan kejadian yang nyata dan dibuat sehingga disebut program hibriditas. Sebagai sebuah program yang menggambarkan kejadian tentunya reality TV memiliki aspek narasi di dalamnya. Salah satunya adalah program reality TV “Pemberian Misterius” yang menarasikan tentang memberi pertolongan dengan memberi hadiah kepada orang lain yang memenuhi kriteria yang ditetapkan. Namun, narasi yang ceritakan tersebut sebenarnya memiliki makna lain sebagai sebuah representasi kemiskinan yang secara implisit tidak terbaca oleh penonton. Analisis naratif merupakan metode mengkaji narasi yang dapat membantu kita untuk memahami, mengevaluasi dan memaknai struktur narasi. Oleh sebab itu program reality TV “Pemberian Misterius” akan dianalisis menggunakan analisis naratif untuk melihat makna sebenarnya, yaitu representasi kemiskinan dalam program reality TV “Pemberian Misterius”. Poverty in Reality TV Programme “Mysterious Gift” on SCTV Television Channel. Reality TV is a television program which depicts a realistic event or real event. However, the program evolves and depicts real (unscripted) and manufactured events (scripted), so that it’s called hybrid program. As a program which depicts events, reality TV contains narration aspect. One of them is reality TV program called “Pemberian Misterius” which narrates the aids delivery by giving gifts to others who meet established criteria. However, the narration contains another meaning which is as an implicit representation of poverty the audience isn’t aware of. Narrative analysis is the method of reviewing narration which can help us to understand, evaluate and interpret narration. Therefore, “Pemberian Misterius” reality TV program was analyzed using narrative analysis to discover its meaning, which is representation of poverty in “Pemberian Misterius” reality TV program. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1297 10.24821/rekam.v11i2.1297 Rekam; Vol 11, No 2 (2015): Oktober 2015; 109-124 2442-9376 1858-3997 10.24821/rekam.v11i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/1297/234 Copyright (c) 2016 REKAM

oai:ojs.journal.isi.ac.id:article/10960 2024-05-05T06:06:11Z rekam:ART

Sinema Kethoprak: Perkembangan Kesenian Kethoprak dengan Pendekatan Gaya Film Haryono, Antonius Janu Sinema kethoprak, gaya film, internet Perkembangan media internet memaksa banyak kesenian tradisional untuk melakukan penyesuaian agar terus dapat bertahan di tengah arus hiburan yang semakin banyak dan mudah diakses. Dalam beberapa tahun terakhir, kesenian kethoprak juga telah beradaptasi dengan menggabungkan seni pertunjukan tradisional Jawa dengan film yang disebut sinema kethoprak. Youtube merupakan salah satu platform yang banyak digunakan seniman kethoprak untuk mendistribusikan sinema kethoprak. Banyaknya ragam bentuk dan gaya sinema kethoprak yang ada pada platform Youtube memunculkan permasalahan baru tentang bagaimana mempertahankan ciri khas kesenian kethoprak dalam kemasan bentuk dan gaya film. Tujuan penelitian ini adalah memetakan ragam gaya film (film style) yang digunakan pada sinema kethoprak. Teknik pengumpulan data yang digunakan adalah dengan metode observasi terhadap karya-karya sinema kethoprak di youtube yang masih terdapat ciri khas kesenian kethoprak serta elemen-elemen mise en scene, sinematografi, editing dan suara. Dengan pemetaan ini diharapkan dapat bermanfaat untuk merancang atau mendesain gaya sinema kethoprak yang tetap mempertahan nilai-nilai seni dan budaya kethoprak. Institut Seni Indonesia Yogyakarta 2024-05-05 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/10960 10.24821/rekam.v20i1.10960 Rekam; Vol 20, No 1 (2024): April 2024; 73-86 2442-9376 1858-3997 10.24821/rekam.v20i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/10960/3647 Copyright (c) 2024 Rekam : Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/15125 2025-11-09T19:31:54Z rekam:ART

Film Animasi 2D Peristiwa Perobekan Bendera di Hotel Yamato dengan Teknik Parallax Herlijanto, Amelia Agustina Wenata, Edbert Christian 2D animation; anime; parallax; Surabaya history 2D Animation Film About Flag Ripping Incident at Yamato Hotel Using Parallax Technique. The flag-tearing incident at the Yamato Hotel in 1945 was one of the most important heroic stories in Indonesia’s history, particularly for the city of Surabaya. However, the rapid flow of globalization has caused historical stories like this to become less known and less appreciated by the younger generation. To address this challenge, a 2D animated film was created as a visual communication medium aimed at increasing young people's interest in national history. A modern anime visual style was used to appeal to younger audiences, and the parallax technique was implemented in the animation production to create the illusion of depth and an artistic, dynamic perspective. Parallax is a technique that separates visual elements into several layers, which are moved at different speeds to simulate depth. This technique was applied during the production phase and proposed as a visual solution to make historical narratives feel more alive and engaging. The research method used covering pre-production, production, and post-production stages. Based on a survey conducted after the film's publication on YouTube, it was found that the use of parallax in the animated film added visual depth and made the imagery more dynamic. Institut Seni Indonesia Yogyakarta 2025-10-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/15125 10.24821/rekam.v21i2.15125 Rekam; Vol 21, No 2 (2025): Oktober 2025; 119-130 2442-9376 1858-3997 10.24821/rekam.v21i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/15125/4488 Copyright (c) 2025 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1927 2023-10-28T13:09:25Z rekam:ART

Membongkar Identitas dalam Film "Wandu" Sadewa, Ghalif Putra Wandu (The Effeminate) adalah film pendek televisi yang bercerita tentang problematika tiga orang waria dalam proses pencarian identitas dan haknya sebagai manusia ditengah masyarakat yang majemuk. Penolakan aspirasi waria dan citra negatif telah melekat erat pada masyarakat dan berdampak pada segala sepak terjang waria. Semua waria sama saja, itulah ungkapan yang jamak. Diskriminasi, upaya penolakan, dan perlakuan yang tidak manusiawi merupakan tekanan sosial yang terjadi akibat nihilnya identitas bagi waria. Oleh sebab itu, identitas menjadi hal terpenting bagi waria. Identitas adalah bentuk keberadaan yang kongkrit untuk mendapatkan kesejahteraan sosial yang lebih baik dan setara.Kata kunci : Identitas, Waria, film Wandu Institut Seni Indonesia Yogyakarta 2019-09-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1927 10.24821/rekam.v15i1.1927 Rekam; Vol 15, No 1 (2019): April 2019; 71-82 2442-9376 1858-3997 10.24821/rekam.v15i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/1927/1644 Copyright (c) 2019 REKAM

oai:ojs.journal.isi.ac.id:article/367 2013-09-05T18:13:44Z rekam:ART

Respons Khalayak terhadap Vandyke Brown Print And Edial Rusli, Irwandi vandyke brown print; old print; photography This article discusses the forms of old print socialization to the community through the implementation of promotional mix method. The efforts were made to encourage the demand for old print products effectively to potential target audiences as well as looking for markets that form the foundation needs to be prepared. Print method that socialized is vandyke brown print. This method, based on the SWOT analysis is potentially the largest to be marketed to the public. The activites of promotional mix in this research are socialization, recruitment, workshop for potential stakeholders, such as photography business, Student Activity Unit, photography community, and high school students / vocational and promotion in various media. The result of socialization through the promotional mix shows that the target audience wants utilize old photographic print in their activities. They want to be able to do their own old printing process the print, the constraint is plagued with expensive materials. It cannot be purchased in retail. Audience response in this study should be followed by opening a new market space for the old print in Indonesia. One of the the new market here is old print service print services print and sales of chemical and materials to print with the old method of print. Institut Seni Indonesia Yogyakarta 2013-09-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article https://journal.isi.ac.id/index.php/rekam/article/view/367 10.24821/rekam.v0i0.367 Rekam; Rekam 6 2442-9376 1858-3997 10.24821/rekam.v0i0 en

oai:ojs.journal.isi.ac.id:article/5585 2023-10-28T13:11:02Z rekam:ART

Transgender dalam Film “Salah Bodi” Ali, Moh Mahrush Transgender; Salah Bodi Movie; Gender; Sys NS ABSTRAKTulisan ini mengemukakan transgender di dalam film “Salah Bodi”. Film ini menceritakan seorang laki-laki yang mengubah identitasnya menjadi perempuan dan seorang perempuan yang berubah menjadi laki-laki. Film “Salah Bodi” ini dikemas dengan gaya komedi. Metode penelitian yang dilakukan adalah deskriptif kualitatif yang menitikberatkan pada metode etnografi. Hasil pengamatan dalam film “Salah Bodi” diketahui bahwa dua tokoh utama Farhan dan Inong selalu berusaha menyembunyikan identitas gender aslinya di tengah masyarakat. Keberpihakan sutradara jelas terlihat di akhir film dengan menampilkan mereka kembali ke kodrat aslinya. Film ini cukup unik dan menarik sebab mengangkat isu sensitif yang berkembang di masyarakat. Masih banyak masyarakat yang menganut konsep maskulin dan feminin. Pandangan lain dari seorang transgender adalah bahwa keputusan untuk mengubah identitasnya karena pengalaman hidup yang secara tidak langsung mempengaruhi kejiwaannya, seperti halnya pengalaman masa kecil.This study investigated the transgender issues in the Salah Bodi movie. The movie tells about a man who changes his identity to be a woman, and a woman who changes her identity to be a man. The Salah Bodi movie is packed with a comedy genre.  This study used a descriptive qualitative which focuses on the ethnographic method. The result shows that there are two of the main characters, who are Farhan and Inong. These main characters attempt to conceal their real identity from society. The director’s allignment is clearly seen at the ending of this movie in which shows their real identity. This movie is a unique and interesting to be criticized because the story is discussing about the sensitive issue that grow in the society.  The society still adere about feminime and masculine concept. The life experinces for example in a childhood,  affected someone’s psychology which become a person to be a transgender. Institut Seni Indonesia Yogyakarta 2021-10-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/5585 10.24821/rekam.v17i2.5585 Rekam; Vol 17, No 2 (2021): Oktober 2021; 147-157 2442-9376 1858-3997 10.24821/rekam.v17i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/5585/2373 Copyright (c) 2021 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1288 2023-10-28T13:06:13Z rekam:ART

Pemanfaatan Single Flash External dengan Guide Number Rendah untuk Pemotretan Ruang Soewito, Bambang M. Wardani, Kartika K. cahaya; fotografi; ruangan Dalam teknik fotografi, cahaya merupakan elemen dasar dalam pembentukan image. Pemahaman tata pencahayaan saat pemotretan mutlak diperlukan karena akan memengaruhi mutu gambar yang didapat. Optimalisasi pencahayaan pada objek dapat diperoleh dengan cara memahami karakternya. Hal itu bisa dilakukan dengan menggolongkan cahaya berdasarkan sumbernya atau mengenal sifat-sifatnya, juga memahami pola terapan cahaya tersebut. Pemotretan interior merupakan salah satu terapan fotografi yang mengeksplorasi detail objek dan suasana ruangan sehingga suatu saat bias saja dibutuhkan lampu tambahan yang berupa flash. Dalam memenuhi tujuan itu, beberapa di antaranya masih banyak yang membutuhkan penggunaan lebih dari satu titik lampu flash beserta aksesorisnya sehingga akan memengaruhi biaya operasionalnya juga. Pada penulisan ini akan disampaikan hasil percobaan tentang pemotretan ruang yang hanya menggunakan sebuah lampu flash eksternal berintensitas kecil, yang bisa dimanfaatkan secara optimal untuk meningkatkan kualitas foto sehingga dirasa dapat menekan biaya operasionl pemotretan.Application of Single Flash External Using Low Guide Number for Interior Photography. Light is the basic element of photographic technique in formation of the image. Understanding of the lighting system is important when taking the picture, because it will affect the quality of the image. Optimization of the lighting on the object can be obtained by understanding its character. This can be done by categorize light based source, identify light feature and figure out the pattern of the light. Interior photography is one of applied photography which explores the details of the object and the circumstances of the room, so that it needs extra light in the form of flash. To obtain that objective, usually a much needed to use more than one point of the flash and its accessories, so it affect operational costs as well. In this paper, the author presents the results of experiments on interior photography, which by using a small intensity of light from external flash optimally can improve the quality of the image and also reduce costs of interior photo shoot’s operasional Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1288 10.24821/rekam.v11i1.1288 Rekam; Vol 11, No 1 (2015): April 2015; 1-10 2442-9376 1858-3997 10.24821/rekam.v11i1 eng https://journal.isi.ac.id/index.php/rekam/article/view/1288/225 Copyright (c) 2015 REKAM

oai:ojs.journal.isi.ac.id:article/9216 2024-05-05T04:12:52Z rekam:ART

2D Animation Storyboard Design "Mira and The Batik Fairy: Batik Sawat Pengantin Cirebon for Children" Lionardi, Angelia Lawe, I Gusti Agung Rangga Aulia, Farah Firdaus, Yasmin Zahra Tobing, Sheril Luthfiana 2D animation, children, batik sawat pengantin, storyboard Batik, a cultural artifact full of philosophical values, is now seen as just a part of fashion style and a sweetening element. Many people, especially children, do not understand the symbolic meanings of the aesthetic elements of batik. This problem is commonplace in Indonesia, including Cirebon. As batik centers, only a few schools in Cirebon provide opportunities for their students to learn batik. If the meaning of batik is to be taught to the younger generation, then an approach using new media can be an alternative to introduce it persuasively. One medium that is close and has the potential to introduce batik to children is 2D animation. The research method that will be used is qualitative. The animation process starts with several stages, from collecting data about the batik we want to make into a story theme: Batik Sawat Pengantin Cirebon. Data collection was done by direct observation and interviews. After the data is collected, the next step is to search for story ideas, create scenarios, design visual concepts, and create storyboards. Then, the animation production process can be carried out. This research will focus on the storyboard design part, namely the clean-up storyboard and animatic storyboard, which will guide in making 2D animation. Institut Seni Indonesia Yogyakarta 2023-10-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/9216 10.24821/rekam.v19i2.9216 Rekam; Vol 19, No 2 (2023): Oktober 2023; 121-128 2442-9376 1858-3997 10.24821/rekam.v19i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/9216/3379 https://journal.isi.ac.id/index.php/rekam/article/downloadSuppFile/9216/1373 Copyright (c) 2023 Rekam: Jurnal Fotografi, Televisi, Animasi

oai:ojs.journal.isi.ac.id:article/1933 2023-10-28T13:08:02Z rekam:ART

Pendidikan Seni Film dan Televisi Menjadi Penggerak Industri Ekonomi Kreatif Luthfi, Alexandri art education; film and television; creative industry; globalization; HAKI Globalisasi, sebagai suatu proses integrasi internasional, terjadi karena pertukaran pandangan dunia dalam berbagai sektor. Di Indonesia gelombang globalisasi sudah bergerak lebih dari 25 tahun. Tumbuh dan berkembangnya memberikan pengaruh terhadap berbagai sisi kehidupan bangsa dengan semua  atribut budayanya. Di bidang pendidikan, globalisasi memiliki dampak yang cukup besar bagi perubahan pada sistem atau model pembelajaran dan kurikulum yang diajarkan. Era industri kreatif yang digulirkan oleh pemerintah melalui Menteri Perdagangan RI waktu itu masih dijabat oleh Dr. Mari Elka Pangestu, telah  memberikan peluang seluas-luasnya bagi pendidikan tinggi seni agar dapat berfungsi sebagai salah satu pilar bagi pertumbuhan ekonomi kreatif di Indonesia.Indonesia sudah memiliki kantong-kantong institusi dan perusahaan yang dapat menjadi mitra bagi para lulusan pendidikan seni. Para talenta yang kreatif dan terampil lulusan pendidikan seni adalah sumber daya manusia yang diperlukan bagi sektor industri kreatif di masa mendatang. Karya film dan program acara televisi sebagai karya seni yang memiliki standart estetika, di dalamnya terdapat gagasan, pengolahan artistik, matrialisasi, pengalaman teknik dan manajemen produksi, yang  proses produksinya  membutuhkan sekelompok atau individu sumberdaya manusia berkualitas dengan tingkat  pendidikan setara diploma dan sarjana. Kemudian juga dengan  televisi apabila sudah masuk ke dalam rana industri kapitalis, tentu akan berdampak pada bagi masyarakatnya, seperti yang dijelaskan oleh Redatin Parwadi untuk menciptakan perilaku konsumtif bagi konsumennya inilah, televisi mempunyai peran yang sangat penting baik sebagai media ataupun sebagai alat bagi kaum kapitalis untuk mengkonstruksi pikiran konsumen. Sejalan dengan konsep HAKI yang melindungi kualitas  karya cipta  anak bangsa dari originalitas dan eksistensinya, tentu lembaga pendidikan seni memiliki peran penting di dalam melahirkan sumberdaya manusia yang mampu menghasilkan karya seni  kreatif dan inovatif. Maka dewasa ini, di Indonesia sudah saatnya menerapkan konsep  pendidikan multikulturalisme berbasis budaya lokal yang dapat menjadi salah satu alternatif untuk membangun kearifan lokal menuju kebudayaan dunia. Art Education of Film and Television as Actuation in the Creative Economy Industry for the Lecturers of Television Department, Faculty of Recorded Media Arts ISI Yogyakarta. Globalization, as a process of international integration, occurs because there is an exchange of the world’s view in some sectors. In Indonesia, the wave of globalization has been ongoing for more than 25 years. Its growth and development have given influence to all aspects of nation’s life with its cultural attributes. In education, globalization has a quite big impact for the shift of system or learning model and the taught curriculum. The era of creative industry launchedby the government through the Indonesian Minister of Trade which was once held by Dr. Mari Elka Pangestu, has now given a vast opportunity for higher education in art to be one of the pillars for the growth of creative economy in Indonesia. Indonesia has certain institutions and companies that could be partners for the graduates of art school. Creative talents andskillful graduates from art school are the necessary human resources for creative industry sector in the future. Films and television programs as works of art which has standardized aesthetics, therein we could find ideas, artistic process, materialization, technique and production management experience, whose production processes need a group of people or qualified human resources holding diplomas of bachelor degree and bachelor of honors or those in equivalence. When television is admitted into capitalist’s industry, it will affect the society, as stated by Redatin Parwadi, to create a consumptive behavior for the consumers,television has an important part both as media and as means for the capitalists to construct the mind of the consumers. In accordance with the concept of HAKI (intellectual rights) to protect the quality of copyrights owned by the nations’ generation with their originality and existence, higher education of arts has a very significant role in creating human resources who are able to create creative and innovative works of art. Nowadays, Indonesia has already applied multiculturalism education concept on the basis of local wisdom that could be one ofalternatives to build local wisdom into world’s culture. Institut Seni Indonesia Yogyakarta 2019-08-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://journal.isi.ac.id/index.php/rekam/article/view/1933 10.24821/rekam.v13i2.1933 Rekam; Vol 13, No 2 (2017): Oktober 2017; 99-106 2442-9376 1858-3997 10.24821/rekam.v13i2 eng https://journal.isi.ac.id/index.php/rekam/article/view/1933/626 Copyright (c) 2018 REKAM dc22af732a7fc781870d955b759f6586