Fakultas Film Dan Televisi

Sinema didekati sebagai bahasa oleh Christian Metz. Pendekatan ini menuai sikap kritis karena mereduksi semua elemen sinematik menjadi makna. Padahal sinema bukan persoalan pemaknaan. Tulisan ini ingin memperlihatkan pendekatan lain terhadap sinema yakni melalui hasrat. Teori yang digunakan adalah teorifigural hasil pembacaan Lyotard atas psikoanalisis Freud berjudul Die Verneinung. Teori ini memperlihatkan peran figural sebagai hasrat melalui kehadiran "mata" pada bahasa. Pada saat bersamaan, kehadiran ini meruntuhkan pemaknaan pada sinema sebagai kealamiahan hubungan antara penanda dan petanda. KATAKUNCI figural, penanda, petanda

Tentu kita semua setuju bahwa film merupakan bagian dari blldaya, dan keberadaan film tidak terpisahkan dari budaya. Namun, hanya sebagian yang akan mendukung apabi/a dikatakan bahwa sejarah menggema padafilm. bahkan seluruh beban masa lalu dibenamkan pada teks film. Mereka yang melldukllng adalah yang melihat bentuk-bentuk pada dirinya sendiri sudah mengandung sejarah, sedangkan yang tidak setllju adalall mereka yang mempersempit sejarah sebatas konteks dan materi sejarah yang berhubungan dengan style. Pendukung pendapat pertama memahami referential meaning yakni makna yang tersurat pada film, dalam ruang lingkup tidak dapat dipisahkan antara sejarah dan komunitas interpretasinya mengingat style, ideologi. filosofi dan sejarah adalah hubungan yang berbaur. Oleh sebab itu. explicit. implicit dan symptomatic dipahami sebagai lapisan yang saling berkaitan dalam proses pemaknaan. Sedangkan, bagi pendukung paham kedua. makna di luar referential tidak dianggap perlu keberadaannya, jika pun ternyata ada maknanya dianggap tidak dapat dipertanggungjawabkan sebab telah lepas dari apa yang tersurat pada teks. Maka, mereka melihat explicit, implicit, dan symptomatic hanya sebatas salah satu kemungkinan tipe pemaknaan, dan sama sekali tidak berkaitan.

Isu utama adaptasi novel ke film adalah kesetiaan. Karena novel lebih senior dari pada film, kesetiaan film selalu dituntut. Baik buruknya sebuah film adaptasi akhirnya diperhitungkan lewat kesetiaannya. Derrida menentang hierarki senioritas atas junioritas, juga yang original dan yang duplikat lewat konsep invagination. Pada tulisan ini akan diperlihatkan bagaimana proses tersebut lewat adaptasi naskah Othello Shakespeare ke film Othello lalu ke FTV Ken Arok.

The film basically has a message to convey to the public especially for the cinema lovers. Messages in the film also affected the level of the local culture. Therefore it is necessary repackaged to be submitted to the global community whether the new packs become a better composition and can be distributed to a wide audience? This article will discuss the culture of communication through the film remake between Europe and Hollywood movie production with the first look at the history of their relationship. The author interested in discussing several films including The Girl with the Dragon Tatoo and L'Appartement and Wicker Park. The result shows that Hollywood films tend to sow in order to reach a market share of more spacious while European films tend to protect the local culture rather than universal reach.
Keywords: Film, Culture, Communication

In 2013, the European Central Bank (ECB) gradually introduced the second series of euro banknotes "the Europa series". The series got its name after the goddess Europa of the Greek mythology, from whom the term Europe continent derived. This new series revises the 2002 series. The most noticeable is the euro symbol on hologram rainbow becomes the face of the goddess Europa. If the banknote functions as a legal business note and was issued by state legal agency, it means that all texts and iconography on it reflect the authority behind it. In this respect, the issuance of the Europa series implies the European Union (EU) perspectives of itself. The integration of European countries raises the question of the identity of its member states. Being a member of a supranational institution like the EU is considered reducing the influence and identity of each member-state. At the same time, the EU needs to settle its identity in order to broaden its influences in the international relationship.This paper will argue that the challenge of the EU depends on the understanding of its identity. This identity will be analyzed through iconography on European notes. France and Germany are chosen based on their roles as the Inner Six, the EU pioneers. Czech Republic is selected based on its role as the EU member but not absorbing the euro monetary system yet. The Great Britain is considered for refusing to merge the pound sterling into the euro, as well as the rivalry with French throughout the evolution of European integration.This paper will limit its discussion from the post-World War I until the publication of the Europa Series (2013). The classification of images will be made according to a historical timeline in a purpose of clarifying the European identity as understood by each member-state as well as the EU framework of integration.

Since the discovery of cinematographé in 1895, Jesus Christ has been presented for the silver screen. This representation correlates with the development of audiovisual recording. The development of technology made the representation of Jesus on cinema coevolves into a discourse about His humanity and divinity, as in film The Gospel according to St. Matthew (1964), Il Messia (1975), The Passion of the Christ (2004), Son of God (2014). Since the first film in 1897 (Passion du Chris by Albert
Kirchner), Jesus’ films have received reconstructions subjective to the society of its era. The limitations of cinema in representing supernatural events contribute those debates.
This paper will argue that the representation of Jesus in films (1897-2014) is answering questions of whether cinema representing, misrepresenting or denying the agony of Jesus written in the Gospel. The life of Jesus will be narrowed to the golden section, “section aurea”, of His ministry, namely “the Agony in the Garden of Gethsemane" scene. The theological basis for choosing this scene as the golden section is the Christology of reformed theology. The aesthetical foundation is Eisenstein’s theory of organic unity which explores the existence of the golden section in cinema, the ratio of 2:3 found in science as well as in aesthetics. Bourdieu's social theory will be adopted for determining reconstructions subjective of certain era regarding the representation of Jesus. Both theories will contribute to the indicators and the sub-indicators required by the Analytic Hierarchy Process (AHP), a method
used in this paper.

Sejak kelahirannya, film dokumenter menduduki posisi menara gading dalam menuturkan kemurnian peristiwa. Shot-shot dokumenter dipahami menggenggam kebenaran, juga ketika shot-shot itu disusun berjenjang menjadi satu rangkaian film yang utuh. Kemurnian ini diperoleh dengan menjauhkan rekayasa mise-en-scene yang dianggap hanya dimiliki oleh film fiksi. Namun demikian, kemurnian yang berusaha dijaga tidak membuat dokumenter jauh dari kehadiran metafora. Penjenjangan shot secara berurutan memicu metafora hadir. Aktifitas penonton membandingkan dan mencari makna atas setiap rangkaian shot yang disaksikannya saat menonton film turut bersumbangsih. Atas dasar hal ini, kehadiran metafora dalam film dokumenter membangkitkan pertanyaan seputar statusnya mengingat dokumenter selalu menghindari rekayasa.
Tulisan ini akan membahas kondisi yang memprasyaratkan metafora hadir dalam film dokumenter sekaligus pertanyaan seputar status kemurnian peristiwa. Bagian pertama tulisan ini akan membahas tawar-menawar pembuat film dokumenter atas pendekatan realitas dan peragaan kembali. Bagian kedua akan menganalisis keterlibatan metafora dalam film dokumenter De Stand Van De Zon karya Leonard Retel Helmrich. Pencapaian masing-masing bagian akan dilabuhkan pada bagian ketiga sebagai sebuah simpulan.

Kata kunci: Metafora, dokumenter, kemurnian peristiwa.

This paper discusses the on-screen-space of Ki Slamet Rahardjo Djarot’s Kodrat (1986). Sergei Eisenstein’s the organic harmony will be used as its basic theory. According to Eisenstein, the organic harmony of a film is accomplished through the interaction between narrative strategy and visual strategy. The starting point of the discussion is the final sequence of Kodrat, namely  Kodrat gave name “Mustakim” to his son. In this scene, the interaction of narrative strategy and visual strategy reveals all layers that construct Kodrat’s film space individually and as a whole film. The narrative strategy of Kodrat echoes the spiritual journey of Raden Wrêkudara finding Tirta Prawitrasari as written in Sanghyang Nawaruci book that used Kawi Akhir language and Java Buda as its nuances. The trip was then adapted into Bimasuci book and into Dewa Ruci, both in Javanese Anyar language and Kejawen approached. The visual strategy of Kodrat is constructed through its film spaced which is based on the conception of Kejawen’s three body devices as written in Bimasuci, and Dewa Ruci. This concept has been delivered also in their predecessor, namely: Sanghyang Tattwajñana and Sanghyang Nawaruci. In this paper, each concept in the era of Java Buda and Kejawen will be compared before they will be implemented in Kodrat’s film space. This paper will conclude that the choice of the director used the spiritual journey of Raden Wrêkudara as Kodrat concept is for exploring the meaning of “straight path” beyond other teachings of the term.
Keywords: film space, Sergei Eisenstein, Slamet Rahardjo Djarot, Java Buda, Dewa Ruci.

3D film in Movie Theater is booming since 2009. Research in this topic concludes that 2 out of 3 viewers prefer watching 3D to 2D. Digital technology contributes for raising ticket sold. However, discussing this phenomenon philosophically would be more interesting. This paper will discuss how 3D cinema echoing Jean-François Lyotard’s theory of differend which reconciles the opposition of text and image since Immanuel Kant.

BAHASA INDONESIA: Film 3D di bioskop sedang naik daun sejak 2009. Sejumlah riset menunjukkan bahwa 2 dari 3 penonton akan memilih menonton film yang sama dalam format 3D dibanding 2D. Teknologi digital memang bersumbangsih menarik minat penonton, namun demikian membawa perkembangan ini ke ranah filsafat sungguh menarik untuk menjadi sebuah diskusi. Tulisan ini ingin menjelaskan bahwa fenomena sinema 3D menggemakan teori differend Jean-François Lyotard yang mendamaikan teks dan imej sejak keduanya beroposisi di masa Immanuel Kant.

In 1968, western democracy experienced a challenge and an impact to the birth of a new generation of postwar world called Flower Generation. The influence of this movement is not only on politics but also on lifestyles. Jesus' representation in film production before and after 1968 also changed significantly. Cinematographic technology is not the only cause of the change, the insights of the world play a role and burden the representation of Jesus. This paper wants to analyze how the insights of the world infiltrate the film and contribute to Jesus' representation. The analysis will use Eisenstein's pathos theory to understand the process of film pathos construction. Implementation of this theory will be used to read the representation of Jesus in two films by pioneer directors of the flow of Italian Neoealism, Pasolini and Rossellini. Scene to be analyzed from both films is the scene of Suffering in the Garden of Gethsemane.

October Revolution 1917 has its objective for transforming Russian from
agricultural to industrial society. This objective required a medium for educating
people. Cinema answered those needs. Because of that, cinema was considered as
a propaganda tool of Soviet government. All films produced during that time with
no exception are called propaganda. The claim makes no differences for theory
and works of Sergei Mikhailovitch Eisenstein. However, the collapsed of Soviet
Union followed by publishing the unpublished of Eisenstein’s writings reveals the
truth about what he really claims. The aim of this thesis is to make clear what
Eisenstein really did and said. His essay On the Structure of Things will be read as
the main source. In the light of Bogdanov’s tectology and Bourdieu’s theory the
final claim of this thesis will investigate human freedom in term of ideology and
structure.

(link: http://lontar.ui.ac.id/detail?id=20432389&lokasi=lokal)

Sahabat Budaya

Direktorat Perfilman, Musik dan Media Baru pada 8 Juni 2020, mempersembahkan:

Master class 
Penulisan Skenario Film BIOPIK
bersama KFT Indonesia.

Saksikan di youtube budayasaya

Klik : 
https://www.youtube.com/watch?v=CkLhGXbCibM&feature=youtu.be

In 2013, the European Central Bank (ECB) gradually introduced the second series of euro banknotes "the Europa series". The series got its name after the goddess Europa of the Greek mythology, from whom the term Europe continent derived. This new series revises the 2002 series. The most noticeable is the euro symbol on hologram rainbow becomes the face of the goddess Europa. If the banknote functions as a legal business note and was issued by state legal agency, it means that all texts and iconography on it reflect the authority behind it. In this respect, the issuance of the Europa series implies the European Union (EU) perspectives of itself. The integration of European countries raises the question of the identity of its member states. Being a member of a supranational institution like the EU is considered reducing the influence and identity of each member-state. At the same time, the EU needs to settle its identity in order to broaden its influences in the international...

Film musikal adalah genre film yang menggabungkan dengan jumlah musik besar dan tarian yang terjalin menjadi naratif dan dinyanyikan oleh karakter dalam film. La La Land adalah film drama musikal tahun 2016 yang ditulis dan disutradarai oleh Damien Chazelle. La La Land menuai banyak pujian serta mendapatkan beberapa apresiasi festival film termasuk Oscars. Penulis ingin membahas peran musik dan tari dalam film La La Land.