Abstrak. Di tengah penyeragaman ide, gagasan, pesan, dan estetika pada filmfilm nasional, menarik menjadikan film Opera Jawa karya Garin Nugroho sebagai obyek penelitian sekaligus menjadi alasan kenapa penelitian ini dilakukan. Penelitian ini sebagai upaya peningkatan peran aktif produktif penonton dalam memahami dan memaknai teks film. Dengan fokus bagaimana pesan dan makna tersebut dibaca melalui elemen-elemen visual teks film yang dikonstruksi oleh keragaman penggunaan medium. Penelitian dilakukan dengan pendekatan estetika posmodern melalui metode semiotika dengan teknik deskriptif interpretatif. Membongkar struktur kode bahasa film, melalui analisis struktur dramatik naratif dan unsur pembentuk film, yang berkaitan dengan aspek non-verbal berupa tanda-tanda elemen visual dan gerak pada shot film. Elemen-elemen tersebut dikonstruksi oleh pilihan medium ungkap yang menjadi gaya ungkap (ekspresi) sineas dalam menyampaikan pesannya. Ekspresi sineas dalam menyampaikan ide gagasan, dan konsep tersebut, berupa idiom estetik parodi, dengan pelencengan makna, eksplorasi medium (hibriditas medium), dan gaya ungkap, sebagai kritik atau sindiran atas bentuk yang dijadikan rujukan. Lewat film ini, Garin Nugroho melakukan dekonstruksi terhadap tokoh-tokoh, ruang, pesan dan makna, serta narasi dari epik Ramayana karya Walmiki yang menjadi rujukannya. Merefleksikan persoalan gender, feminisme, dominasi maskulinitas, dominasi kekuasaan, pertentangan kelas, dan kapitalisme. Kata kunci: hibriditas medium; semiotika film postmodern; dekonstruksi.Abstract. In the midst of the ideas, concepts, messages, and aesthetics uniformity at national films, it is interesting to make Opera Jawa movie by Garin Nugroho the object of study. That is the reason why the study was conducted. The research was an effort to improve the audience's productive and active role in understanding and interpreting the subtitles by focusing on how to read the message and meaning through subtitles constructed by the diversity of the medium use. The study conducted with the postmodern aesthetic approach through semiotic method with descriptive interpretive technique dismantles the structure of the film code language through the analysis of narrative and dramatic structure-forming elements of the film. It deals with aspects such as non-verbal signs of visual elements and movement in the film shot. These elements are
Gerbang adalah sebuah titik peralihan dari 2 kondisi, situasi, atau wilayah yang berbeda, sebuah pintu yang menghubungkan 2 wilayah yang dibatasi oleh pembatas baik itu berupa pagar, dinding atau sesuatu yang membedakan antara satu dengan yang lain. Dalam kasus Gerbang tol milik PT. Jasa Marga, gerbang disini adalah pintu keluar-masuk dari dan ke suatu wilayah yang memiliki perbedaan geografis atau bahkan perbedaan budaya. Bagaimana keilmuan desain komunikasi visual dapat mewadahi sebuah sistem informasi identifikasi budaya dan geografis dari wilayah-wilayah yang dihubungkannya melalui aplikasi komunikasi visual sebagai bentuk kolaborasi antar ilmu pada elemen lingkungan binaan khususnya gerbang jalan tol di Indonesia.
For five decades, music industry has become profitable business. The big music industries then make innovation with attractive packaging design for cover album. The innovation intended to persuade people to buy the album not just listen to musics by downloaded it, although it can’t reduce music piracy that become giant problems for music industries. One of Indonesian indie band that aware for this activities is Mocca.This research is analyzing an how the visual perception of shape, structure, material, color and elements in Mocca’s CD packaging and album cover’s design, can create visual sensation to people. It is analyze people’s interpretation from the typography in Mocca’s packaging design and cover album. The aim of this research is to identify symbols, sensation, layout, and people’s interpretation from Mocca’s albums. For the result on this research, will compared by the respondents result through semantic’s theory as will be verified using the results of the analysis of rhetoric. The result from this research is shown that use of the visual system in Mocca’s packaging and design album covers can impact the visual sensation and persuade people when they see visual markings on Mocca’s packaging as well as the album covers. Mocca’s CD quality can compete with band from big music companies. This Mocca’s success from their packaging design dan cover albums art could be the example for other band or music industries to gain their value in art, so it will give better product sales. Keywords: cover; indie band; packaging; visual analysis; rhetoric analysis
Character is an essential element in a game, which connects players with the world of game. As an instrument, visual Character plays a major role in eliciting the excitements from the player as user. Today many game characters changed into becoming more humanlike, one of them is a character from The Sims 2 to The Sims 3.Research was conducted to discover whether visual character transformation from The Sims 2 to The Sims 3 gives off more emotion of enjoyment to characters and creates an interaction between player and character that is entertaining. To achieve this, quantifiable quantitative methods were used to learn a player's perception about visual character transformation between the two games. Upon ascertaining the player's perception, emotion elicited from the transformation and discrepancies in interaction were also examined.The results showed that TS3 has a distinctive character more dynamic and emotional in talking behavior, but omit the features of the content of conversations and background characters. Perception of respondents on the basis of this assessment that they prefer TS3 polished character of his attitude. This polishment adds visual strength of character associated with the emergence of identity, character, behavior of speech, emotion and dynamism role. TS3 visual character of the more interesting it makes the interaction between respondents with TS3 lasted more pleasant character.
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