Pub Date : 2022-05-31DOI: 10.24821/sense.v5i1.7034
M. Arifin, Endang Mulyaningsih, Dyah Arum Retnowati
{"title":"Penggunaan Curiousity untuk Menunjukan Perkembangan Tokoh Utama Dalam Skenario Film Fiksi “Tanda Merah”","authors":"M. Arifin, Endang Mulyaningsih, Dyah Arum Retnowati","doi":"10.24821/sense.v5i1.7034","DOIUrl":"https://doi.org/10.24821/sense.v5i1.7034","url":null,"abstract":"","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115441398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-31DOI: 10.24821/sense.v5i1.6966
Nala Nandana Undiana, Hery Supiarza, Erik Muhammad Pauhrizi
Student’s Motivation and Satisfaction in Appreciation of Jogja-NETPAC Asian Film Festival 2020 Through Instagram Account. Organizing a film festival is usually done directly. This is closely related to the factors supporting the implementation of these activities. Especially things related to the program that will take place in it, such as sitting together in one room to watch films selected by the organizers. However, this must be put aside for now, given the crisis of the Covid-19 pandemic. This study will look at the motives and satisfaction of visitors to the Jogja-NETPAC Asian Film Festival 2020 film festival which is held online. The survey method using the uses and gratification approach will see how the effectiveness of the use of the Instagram application is related to fulfilling the satisfaction and motives of film festival visitors. This study sees the use of social media as an alternative for organizing activities such as film festivals during the Covid-19 pandemic.
{"title":"Motif dan Kepuasan Mahasiswa dalam Mengapresiasi Jogja-NETPAC Asian Film Festival 2020 melalui Akun Instagram","authors":"Nala Nandana Undiana, Hery Supiarza, Erik Muhammad Pauhrizi","doi":"10.24821/sense.v5i1.6966","DOIUrl":"https://doi.org/10.24821/sense.v5i1.6966","url":null,"abstract":"Student’s Motivation and Satisfaction in Appreciation of Jogja-NETPAC Asian Film Festival 2020 Through Instagram Account. Organizing a film festival is usually done directly. This is closely related to the factors supporting the implementation of these activities. Especially things related to the program that will take place in it, such as sitting together in one room to watch films selected by the organizers. However, this must be put aside for now, given the crisis of the Covid-19 pandemic. This study will look at the motives and satisfaction of visitors to the Jogja-NETPAC Asian Film Festival 2020 film festival which is held online. The survey method using the uses and gratification approach will see how the effectiveness of the use of the Instagram application is related to fulfilling the satisfaction and motives of film festival visitors. This study sees the use of social media as an alternative for organizing activities such as film festivals during the Covid-19 pandemic.","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127338208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-31DOI: 10.24821/sense.v5i1.6999
Diyah Ayu Karunianingsih, Katarina Retri Yudita
{"title":"Pendekatan Deskriptif dalam Penulisan Naskah Dokumenter Berjudul “Egrang dan Generasi Bangsa”","authors":"Diyah Ayu Karunianingsih, Katarina Retri Yudita","doi":"10.24821/sense.v5i1.6999","DOIUrl":"https://doi.org/10.24821/sense.v5i1.6999","url":null,"abstract":"","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124679217","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The issue of gender is still a debate in society today. Women cannot enjoy a free life, and are often constrained to follow the rules that exist in society. Film as one of the mass media that can convey messages widely, has become a medium used by feminist fighters to raise the issue. One of them is Greta Gerwig's Little Women. The film tells the story of the author's life journey with 3 sisters, each of whom has a dream when they grow up, but has to deal with the rules that limit them, which of course becomes an inner struggle for the March brothers, between achieving their dreams or living in a marriage. The researcher uses a qualitative approach, with Liberal Feminism Theory and Sara Mills Critical Discourse Analysis to analyze the film based on the position of the subject, object, and audience. Intended to find discrimination, as well as stereotypes contained in the film, as the cause of the inner turmoil of women in the film Little Women. The conclusion of this film represents the position of women as marginalized and not getting equal opportunities with men. Various aspects of life limit women's space for movement and place women in a women's social construction, causing inner turmoil in living life between following their wishes, or the rules in society.
{"title":"Representasi Pergolakan Batin Perempuan dalam Film Little Women (Analisis Wacana Kritis Sara Mills)","authors":"Sigit Surahman, Ignasius Liliek Senaharjanta, Shella Fendisa","doi":"10.24821/sense.v5i1.7002","DOIUrl":"https://doi.org/10.24821/sense.v5i1.7002","url":null,"abstract":"The issue of gender is still a debate in society today. Women cannot enjoy a free life, and are often constrained to follow the rules that exist in society. Film as one of the mass media that can convey messages widely, has become a medium used by feminist fighters to raise the issue. One of them is Greta Gerwig's Little Women. The film tells the story of the author's life journey with 3 sisters, each of whom has a dream when they grow up, but has to deal with the rules that limit them, which of course becomes an inner struggle for the March brothers, between achieving their dreams or living in a marriage. The researcher uses a qualitative approach, with Liberal Feminism Theory and Sara Mills Critical Discourse Analysis to analyze the film based on the position of the subject, object, and audience. Intended to find discrimination, as well as stereotypes contained in the film, as the cause of the inner turmoil of women in the film Little Women. The conclusion of this film represents the position of women as marginalized and not getting equal opportunities with men. Various aspects of life limit women's space for movement and place women in a women's social construction, causing inner turmoil in living life between following their wishes, or the rules in society.","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122505927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-31DOI: 10.24821/sense.v5i1.7023
Pius Rino Pungkiawan
The film The King's Speech takes the theme of British work history about Prince Albert's journey to overcome his stuttering problem with a therapist named Lionel Logue who later becomes his best friend. This film has received many awards from various world-class awards, one of which is the Oscar. This study focuses on analyzing the cinematographic aspect of the use of shot over shoulder in the film The King's Speech. Analytical method with interpretive visual with descriptive qualitative research type. The results showed that the use of shot over the shoulder was built in stages with the motivation to show the close friendship between the characters.
{"title":"Over The Shouler Shot Analysis On The King's Speech Film","authors":"Pius Rino Pungkiawan","doi":"10.24821/sense.v5i1.7023","DOIUrl":"https://doi.org/10.24821/sense.v5i1.7023","url":null,"abstract":"The film The King's Speech takes the theme of British work history about Prince Albert's journey to overcome his stuttering problem with a therapist named Lionel Logue who later becomes his best friend. This film has received many awards from various world-class awards, one of which is the Oscar. This study focuses on analyzing the cinematographic aspect of the use of shot over shoulder in the film The King's Speech. Analytical method with interpretive visual with descriptive qualitative research type. The results showed that the use of shot over the shoulder was built in stages with the motivation to show the close friendship between the characters.","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114330484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-31DOI: 10.24821/sense.v5i1.7025
Kevin Aldrianza Devano, Lilik Kustanto, Siti Maemunah
The Representation of Animals Reintroduction in Film Postcards from The Zoo: Christian Metz’s Film Semiotics Theory. This research aims to perceive how the animals reintroduction symbols is represented in Postcards From The Zoo film. This descriptive qualitative research is made to describe the representation of animals reintroduction which consists of three stages of reintroduction process: (1) socialization (adaptation cages),(2) adaptation, and(3) releases. The source is the film by Edwin entitled Postcards From The Zoo (2012) which was produced by Babibutafilm. The objects of this research are several segments from the film which is obtained from Christian Metz’s semiotic theory, or known as The Large Syntagmatic Category of Image Track, consists of eight syntagmatic types: (1) autonomous shot, (2) parallel syntagma, (3) bracket syntagma, (4) descriptive syntagma, (5) alternate syntagma, (6) scene, (7) episodic sequence, and (8) ordinary sequence. The research results indicate that there are 20 segments represent the animals reintroduction from a total of 63 segments contained in the Postcards From The Zoo film. The first stage of animal reintroduction process or the socialization stage (adaptation cage), is described through 7 segments in the form of autonomous shot, scene, episodic sequence, and ordinary sequence. Then, the adaptation stage is described through 7 segments in the form of autonomous shot (with subdivisions of single sequence shot and explanatory insert), parallel syntagma, bracket syntagma, scene and episodic sequence. The releases stage is represented through 8 segments with the types of autonomous shot, scene, episodic sequence, and ordinary sequence.s.
{"title":"Representasi Reintroduksi Satwa dalam Film Postcards From The Zoo (Analisis Semiotika Christian Metz)","authors":"Kevin Aldrianza Devano, Lilik Kustanto, Siti Maemunah","doi":"10.24821/sense.v5i1.7025","DOIUrl":"https://doi.org/10.24821/sense.v5i1.7025","url":null,"abstract":"The Representation of Animals Reintroduction in Film Postcards from The Zoo: Christian Metz’s Film Semiotics Theory. This research aims to perceive how the animals reintroduction symbols is represented in Postcards From The Zoo film. This descriptive qualitative research is made to describe the representation of animals reintroduction which consists of three stages of reintroduction process: (1) socialization (adaptation cages),(2) adaptation, and(3) releases. The source is the film by Edwin entitled Postcards From The Zoo (2012) which was produced by Babibutafilm. The objects of this research are several segments from the film which is obtained from Christian Metz’s semiotic theory, or known as The Large Syntagmatic Category of Image Track, consists of eight syntagmatic types: (1) autonomous shot, (2) parallel syntagma, (3) bracket syntagma, (4) descriptive syntagma, (5) alternate syntagma, (6) scene, (7) episodic sequence, and (8) ordinary sequence. The research results indicate that there are 20 segments represent the animals reintroduction from a total of 63 segments contained in the Postcards From The Zoo film. The first stage of animal reintroduction process or the socialization stage (adaptation cage), is described through 7 segments in the form of autonomous shot, scene, episodic sequence, and ordinary sequence. Then, the adaptation stage is described through 7 segments in the form of autonomous shot (with subdivisions of single sequence shot and explanatory insert), parallel syntagma, bracket syntagma, scene and episodic sequence. The releases stage is represented through 8 segments with the types of autonomous shot, scene, episodic sequence, and ordinary sequence.s.","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114367996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRAK Program televisi “Pet House” adalah sebuah program magazine show yang bertemakan hewan peliharaan dengan memfokuskan satu episode hanya dengan satu hewan peliharaan yang dibahas. Episode yang akan diproduksi kali ini ialah kucing. Adapun alasan dipilihnya kucing karena ketertarikan terhadap hewan peliharaan khususnya kucing dan kucing termasuk hewan peliharaan yang sering ditemui di lingkungan sekitar. Program televisi magazine “Pet House” dikemas dalam enam rubrik yang menarik yaitu “Pet Story”, “Pet Profile”, “Pet Show”, “Pet Idol”, “Tanya Sobat” dan “Tips and Trick”. Setiap rubrik tersebut memberikan informasi menggunakan karakter animasi sebagai pembawa acara. Karakter animasi bertujuan untuk mengenalkan dunia hewan khususnya kucing lebih mendalam dengan bahasa yang ringan dan tampilan yang menarik minat penonton terutama anak dan remaja. Karakter animasi diperankan oleh Love Bird bernama Iboy. Love bird dipilih karena memiliki warna cantik yaitu hijau dan kuning. Love bird juga dipilih karena memiliki karakter jinak, mudah beradaptasi, dan pintar.Kata Kunci: Magazine Show, Hewan Peliharaan, Kucing, dan Karakter Animasi ABSTRACTThe "Pet House" television program is a pet themed magazine program with focus only on one pet for one episode. Cat is chosen for the main theme for this first episode. There are some reasons behind choosing cat as the main theme on this episode, simply because the interest of this animal as a pet and cat is one of the most popular pet in the neighborhood and surrounding environment. The television magazine program "Pet House" is packaged in six interesting sections, there are "Pet Story", "Pet Profile", "Pet Show", "Pet Idol", "Ask a Friend" and "Tips and Trick". Each session provides information using animated characters as emcees. The animated character aims to introduce the animal world, especially cats, to a deeper level with light language and a display that attracts the attention of the audience, especially children and adolescents. The animated character played by Love Bird, named Iboy. Love bird was chosen because it has beautiful colors, green and yellow. Love bird was also chosen because it is tame, adaptable, and smart characters.
{"title":"Karakter Animasi Sebagai Pembawa Acara Pada Penyutradaraan Program Magazine Show “PET HOUSE” (Episode “CAT LOVERS)","authors":"Sabrina Azalia Siregar, Deddy Setyawan, Agnes Karina Pritha Atmani","doi":"10.24821/sense.v4i2.6771","DOIUrl":"https://doi.org/10.24821/sense.v4i2.6771","url":null,"abstract":"ABSTRAK Program televisi “Pet House” adalah sebuah program magazine show yang bertemakan hewan peliharaan dengan memfokuskan satu episode hanya dengan satu hewan peliharaan yang dibahas. Episode yang akan diproduksi kali ini ialah kucing. Adapun alasan dipilihnya kucing karena ketertarikan terhadap hewan peliharaan khususnya kucing dan kucing termasuk hewan peliharaan yang sering ditemui di lingkungan sekitar. Program televisi magazine “Pet House” dikemas dalam enam rubrik yang menarik yaitu “Pet Story”, “Pet Profile”, “Pet Show”, “Pet Idol”, “Tanya Sobat” dan “Tips and Trick”. Setiap rubrik tersebut memberikan informasi menggunakan karakter animasi sebagai pembawa acara. Karakter animasi bertujuan untuk mengenalkan dunia hewan khususnya kucing lebih mendalam dengan bahasa yang ringan dan tampilan yang menarik minat penonton terutama anak dan remaja. Karakter animasi diperankan oleh Love Bird bernama Iboy. Love bird dipilih karena memiliki warna cantik yaitu hijau dan kuning. Love bird juga dipilih karena memiliki karakter jinak, mudah beradaptasi, dan pintar.Kata Kunci: Magazine Show, Hewan Peliharaan, Kucing, dan Karakter Animasi ABSTRACTThe \"Pet House\" television program is a pet themed magazine program with focus only on one pet for one episode. Cat is chosen for the main theme for this first episode. There are some reasons behind choosing cat as the main theme on this episode, simply because the interest of this animal as a pet and cat is one of the most popular pet in the neighborhood and surrounding environment. The television magazine program \"Pet House\" is packaged in six interesting sections, there are \"Pet Story\", \"Pet Profile\", \"Pet Show\", \"Pet Idol\", \"Ask a Friend\" and \"Tips and Trick\". Each session provides information using animated characters as emcees. The animated character aims to introduce the animal world, especially cats, to a deeper level with light language and a display that attracts the attention of the audience, especially children and adolescents. The animated character played by Love Bird, named Iboy. Love bird was chosen because it has beautiful colors, green and yellow. Love bird was also chosen because it is tame, adaptable, and smart characters.","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121767090","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-03DOI: 10.24821/sense.v4i2.6795
Ulfa Huwaida Nursyifa, Arif Sulistiyono, Raden Roro Ari Prasetyowati
ABSTRAK Keunggulan tata suara Film Apocalypse Now ada pada kemajuan teknologi 5.1 (stereo surround) pertama kali, kemegahan suara dari suara sintetis, konsep suara yang variatif. Dengan demikian, mendukung jalannya penelitian khususnya pada konsep suara cross over diegetic dan lack of fidelity. Penelitian ini merupakan penelitian kualitatif dengan pendekatan deskriptif yang menjabarkan analisis ke dalam data berupa gambar, tabel, dan kata-kata. Selanjutnya mengobservasi data pada film, menganalisis unsur suara yang membangun konsep tersebut dengan memerhatikan ruang diegetic dan non diegetic, kemudian identifikasi makna berdasarkan teori semiotika John Fiske. Hasil kajian ditemukan turunan konsep baru dari konsep cross over diegetic yakni suara yang berangkap peran. Pemaknaan konsep suara cross over diegetic dan lack of fidelity memaknai subjektivitas karakter dari level representasi, pada level ideologi konsep ini cenderung menguak sisi Amerika, meliputi karakter, kemiliteran, kelas sosial. Kata Kunci : Film "Apocalypse Now", Cross Over Diegetic, Lack of Fidelity, Semiotika John Fiske
{"title":"Pemaknaan Konsep Suara Cross Over Diegetic Dan Lack Of Fidelity Berdasarkan Teori Semiotika John Fiske Pada Film Apocalypse Now (1979)","authors":"Ulfa Huwaida Nursyifa, Arif Sulistiyono, Raden Roro Ari Prasetyowati","doi":"10.24821/sense.v4i2.6795","DOIUrl":"https://doi.org/10.24821/sense.v4i2.6795","url":null,"abstract":"ABSTRAK Keunggulan tata suara Film Apocalypse Now ada pada kemajuan teknologi 5.1 (stereo surround) pertama kali, kemegahan suara dari suara sintetis, konsep suara yang variatif. Dengan demikian, mendukung jalannya penelitian khususnya pada konsep suara cross over diegetic dan lack of fidelity. Penelitian ini merupakan penelitian kualitatif dengan pendekatan deskriptif yang menjabarkan analisis ke dalam data berupa gambar, tabel, dan kata-kata. Selanjutnya mengobservasi data pada film, menganalisis unsur suara yang membangun konsep tersebut dengan memerhatikan ruang diegetic dan non diegetic, kemudian identifikasi makna berdasarkan teori semiotika John Fiske. Hasil kajian ditemukan turunan konsep baru dari konsep cross over diegetic yakni suara yang berangkap peran. Pemaknaan konsep suara cross over diegetic dan lack of fidelity memaknai subjektivitas karakter dari level representasi, pada level ideologi konsep ini cenderung menguak sisi Amerika, meliputi karakter, kemiliteran, kelas sosial. Kata Kunci : Film \"Apocalypse Now\", Cross Over Diegetic, Lack of Fidelity, Semiotika John Fiske","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133003838","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-03DOI: 10.24821/sense.v4i2.5458
Arimasari Rahmadhani, S. Wibowo, Ikhsan Fuady
The Raid Redemption film is a film that tells about the war between police forces and drug dealers. This film manages to show dangerous scenes by looking similar to real life in every action taken in the film. This study aims to analyze the violent content shown in the film The Raid Redemption. The analysis was carried out using qualitative methods. The data studied for this research are scenes that describe or show scenes of violence in the film The Raid Redemption. The development of violent elements displayed by the main character and supporting characters is clearly seen throughout the course of The Raid Redemption film.
{"title":"Analisis Konten Kekerasan Pada Film The Raid Redemption","authors":"Arimasari Rahmadhani, S. Wibowo, Ikhsan Fuady","doi":"10.24821/sense.v4i2.5458","DOIUrl":"https://doi.org/10.24821/sense.v4i2.5458","url":null,"abstract":"The Raid Redemption film is a film that tells about the war between police forces and drug dealers. This film manages to show dangerous scenes by looking similar to real life in every action taken in the film. This study aims to analyze the violent content shown in the film The Raid Redemption. The analysis was carried out using qualitative methods. The data studied for this research are scenes that describe or show scenes of violence in the film The Raid Redemption. The development of violent elements displayed by the main character and supporting characters is clearly seen throughout the course of The Raid Redemption film.","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114665484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRAK Penciptaan skenario We Talked About “Married” merupakan skenario film fiksi berdurasi 60 menit dengan format program cerita lepas sekali tayang. Tema Pernikahan dan cinta merupakan hal yang sengaja diangkat dan dijadikan topik utama dalam cerita. Menceritakan dua karakter yang merupakan sepasang kekasih yang memiliki masalah ketika keduaya membicarakan tentang pernikahan. Dialog karakter menjadi aspek utama dalam membangun cerita dan tensi dramatik sehingga nantinya akan menciptakan relational conflict. Berbagai macam karakteristik karakter akan terrepresentasikan melalui dialog seperti misalnya karakteristik sosial budayanya, karakteristik intelektualnya, karakteristik piskisnya, status profesinya, status sosialnya, latar budayanya, logika berpikirnya, dan kepribadiannya. Interaksi kedua karakter mengakibatkan munculnya konflik, konflik muncul ketika kedua karakter memperdebatkan pandangan mereka terkait pernikahan. Keduannya memiliki pandangan yang berbeda. Kedua karakter berdialog dan saling mempertahankan pandangannya masing-masing, hal itu membuat hubungan keduannya berada di ambang perpisahan. Kata Kunci: Karakter, Dialog, Relational Conflict
{"title":"Memperkuat Karakter Tokoh Melalui Dialog Untuk Menciptakan Relational Conflict Dalam Penulisan Skenario Film Fiksi We Talked About “MARRIED”","authors":"Achmad Rifqon Bachrun Najah, Dyah Arum Retnowati, Agnes Karina Pritha Atmani","doi":"10.24821/sense.v4i2.6796","DOIUrl":"https://doi.org/10.24821/sense.v4i2.6796","url":null,"abstract":"ABSTRAK Penciptaan skenario We Talked About “Married” merupakan skenario film fiksi berdurasi 60 menit dengan format program cerita lepas sekali tayang. Tema Pernikahan dan cinta merupakan hal yang sengaja diangkat dan dijadikan topik utama dalam cerita. Menceritakan dua karakter yang merupakan sepasang kekasih yang memiliki masalah ketika keduaya membicarakan tentang pernikahan. Dialog karakter menjadi aspek utama dalam membangun cerita dan tensi dramatik sehingga nantinya akan menciptakan relational conflict. Berbagai macam karakteristik karakter akan terrepresentasikan melalui dialog seperti misalnya karakteristik sosial budayanya, karakteristik intelektualnya, karakteristik piskisnya, status profesinya, status sosialnya, latar budayanya, logika berpikirnya, dan kepribadiannya. Interaksi kedua karakter mengakibatkan munculnya konflik, konflik muncul ketika kedua karakter memperdebatkan pandangan mereka terkait pernikahan. Keduannya memiliki pandangan yang berbeda. Kedua karakter berdialog dan saling mempertahankan pandangannya masing-masing, hal itu membuat hubungan keduannya berada di ambang perpisahan. Kata Kunci: Karakter, Dialog, Relational Conflict","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129876151","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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