FOTOGRAFI DIAM DALAM FILM SKINAMARINK: ANALISIS VISUAL DALAM SINEMA EKSPERIMENTAL
Abstract
Penelitian ini bertujuan untuk menganalisis bagaimana film Skinamarink (2022), karya Kyle Edward Ball, membangun pengalaman horor eksistensial melalui penggunaan teknik visual fotografi diam (still photography), yaitu strategi pengambilan gambar yang menekankan pada ketenangan visual, absensi gerak, dan kekosongan ruang. Fokus utama penelitian adalah mengkaji fungsi fotografi diam bukan hanya sebagai elemen estetis, tetapi sebagai struktur naratif dan atmosferik yang menggeser pusat horor dari aksi ke ruang dan durasi. Metode yang digunakan adalah analisis kualitatif visual, dengan pendekatan interpretatif terhadap cuplikan adegan kunci yang menampilkan pencahayaan terisolasi, ketidakhadiran tokoh, dan keruangan ambigu. Teori-teori yang digunakan meliputi pemikiran Batchen (2002) tentang fotografi sebagai citra laten, Doane (2003) tentang ketegangan visual dalam waktu yang tertunda, Geller (2004) tentang sinema trauma, dan Mulvey (2006) tentang pandangan pasif dan subjektivitas. Hasil penelitian menunjukkan bahwa Skinamarink menciptakan pengalaman sinematik menyerupai mimpi buruk atau ingatan traumatik masa kecil, di mana ketakutan dibangun bukan melalui kejadian, tetapi melalui kekosongan dan disorientasi spasial. Foto-foto diam dalam film ini berfungsi sebagai penanda waktu yang terbekukan sekaligus pemicu afek, membentuk ruang emosional yang intens dan reflektif. Penelitian ini menegaskan bahwa dalam konteks sinema eksperimental, fotografi diam dapat berperan sebagai bahasa utama narasi emosional dan eksistensial.
Still Photography in Skinamarink: Visual Analysis in Experimental Cinema. This study aims to analyze how Skinamarink (2022), directed by Kyle Edward Ball, constructs an experience of existential horror through the visual strategy of still photography, a technique that emphasizes visual stillness, absence of motion, and spatial emptiness. The primary objective is to examine how still photography functions not merely as an aesthetic choice but as a narrative and atmospheric structure that shifts the locus of horror from action to space and duration. The study employs a qualitative visual analysis method, using an interpretive approach to key scenes that feature isolated lighting, absent characters, and ambiguous spatial composition. Theoretical frameworks include Batchen’s (2002) concept of latent imagery in photography, Doane’s (2003) ideas on visual tension in suspended time, Geller’s (2004) trauma cinema theory, and Mulvey’s (2006) notions of passive vision and subjectivity. Still images in the film function as frozen temporal markers and affective triggers, generating a highly emotional and reflective space. This research argues that, within the context of experimental cinema, still photography can operate as a primary language for emotional and existential storytelling, transcending its illustrative role into a profound psychological experience.
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DOI: https://doi.org/10.24821/specta.v9i1.15549
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