Cinematographic Techniques Research Articles

Taking Disneys Mulan as an Example: An Analysis of the Characterization of Western Films from the Perspective of Orientalism -- From the Perspective of Spivaks Subordinate Study Theory

This study aims to explore the Western discrimination against Eastern women and the Western stereotype of the East reflected in Hua Mulan through an analysis of the characterization of the characters in Hua Mulan, a comparison of the filming techniques and scenes between the film version and the live-action version of Hua Mulan, and a discussion of the dressing of Hua Mulan. This article uses the method of comparative film analysis, the theoretical research of Spiarts subordinates, and the theory of Orientalism to analyze and explain the means of expression of the characters in Mulan and the defects of feminism embodied in it. Even with the awakening of feminism in the world, there is still a chain of contempt between women in the East and the West called being ignored, which is reflected in Hua Mulan. Behind the discrimination against Eastern women in the West is the problem of feminism itself. With the rapid development of technology, feminism is also developing rapidly. In the pursuit of equality, feminism should maintain an equal attitude towards women in the East and the West, seeking common ground while maintaining differences equally.

Exploring the Realism of the Movie "The Chinese Doctor"

The movie "The Chinese Doctor" is a work that applies realism in its creation to explore the microcosm of reality. This article outline is divided into seven parts. It first introduces the background of the movie and the application of realism in its creation. It then discusses the status and development of realism in the history of Chinese cinema, placing "The Chinese Doctor" within the context of the realism artistic movement. The article also explores the techniques used in character development and portrayal, as well as the depiction of key social issues in the plot and storyline. The filming techniques and style of the work are also discussed, including cinematography, camera angles, and the role of sound effects and music. Finally, the article discusses the insights and impact of the movie on contemporary Chinese society, as well as audience response and reviews. In conclusion, the movie "The Chinese Doctor" has had a profound impact on both the audience and society through its application of realism to explore the intricacies of reality.

Photography, Film and Storytelling of Posthuman Crises in Blade Runner

Blade Runner (1982), directed by Ridley Scott and adapted from Philip K. Dick’s Do Androids Dream of Electric Sheep? (1968), incorporates the media of film and photography and utilizes various filmmaking techniques, including cinematography, sound effects, and dialogues, to reflect on the complex relationship between humans, technology and power. Through cinematographic techniques such as light and dark contrast, shifting eye-level and high camera angles, as well as geometric patterns, the film portrays a technologically-advanced futuristic city and its underlying issues of power struggles and social hierarchy. The portrayal of replicants, through static and moving images and sound effects, emphasizes their close resemblance to humans, particularly their performance of emotions, and how technology alters the fundamental concept of humanity. Photography, as a medium, captures an unreliable and incomplete moment of childhood to expose the dystopian nightmare of memory manipulation that severs the connection between memory and identity. This article analyses Blade Runner as an intermedial narrative that highlights the tension between the deceptive appearance of a futuristic city, with flying cars, replicants, and other technologies created for human convenience, and the harsh reality of posthuman crises such as social hierarchy, technological dominance, memory manipulation, and replicant rebellion.

Representasi Toxic Masculinity Pada Film “Seperti Dendam, Rindu Harus Dibayar Tuntas”: Analisis Semiotika Model Jhon Fiske

This article aims to describe the representation of toxic masculinity in the film "Seperti Dendam, Rindu Harus Dibayar Tuntas" through the main male character and film scenes. The film analysis of "Seperti Dendam, Rindu Harus Dibayar Tuntas" employs the semiotic data analysis technique using John Fiske's model. There are three levels of coding in this model: the level of reality, the level of representation, and the level of ideology. The research findings indicate that the representation of toxic masculinity portrayed by the main character at the level of reality is evident in the category of costumes, as seen in Ajo Kawir's simple attire. The level of representation code depicting toxic masculinity is displayed through cinematography techniques such as medium shots, close-ups, two shots, and over-the-shoulder shots. The ideology level observed is the high individualism of Ajo Kawir, who exhibits a sense of superiority, acts in his self-interest, and is stubborn. The toxic masculinity of the main character is influenced by past traumas and the patriarchal society depicted through John Fiske's semiotic model. The level of reality of social codes is conveyed through costumes, speech styles, and expressions. The level of representation of social codes is presented through camera work and lighting. The level of ideology of social codes is depicted through actions, dialogues, and character traits.

TRADISI PENCULIKAN PENGANTIN PEREMPUAN DALAM FILM ALAA KACHUU: REPRESENTASI KETIDAKSETARAAN GENDER DI KIRGIZSTAN

This research investigates how two movies, both entitled Ala Kachuu (2018 and 2002), represent ala kachuu, i.e. a tradition of bride kidnapping in Kyrgyzstan. Even though the Kyrgyz government has formally banned this practice since 2016, which is considered as a form of forced marriage, it still exists and is practiced by some Kyrgyz. This research used the qualitative method coupled with the mise-en-scène cinematographic technique. By using Stuart Hall’s representation theory (1997) and Mansour Fakih’s gender inequality theory (2008) as analysis tools, this study concludes that both movies represent ala kachuu as a tradition which promotes gender inequality. Moreover, they also represent it as a tradition that leads to various forms of violence against women in Kyrgyzstan.

Proses Produksi Karya Tari Virtual “Nafas Nusantara”

The dance work "Nafas Nusantara" is a new dance creation that departs from the motion of representing four regions, Java, Malay, Bali, and Borneo. Nafas Nusantara is a form of virtual performance work produced as an opening ceremony in the virtual INTERNATIONAL MULTIDISCIPLINARY RESEARCH CONFERENCE ON EDUCATION, SCIENCES AND ARTS (IMReCESA 2021) held in the Philippines. Nafas Nusantara dance works through different stages of production from dance works are live show, the production of Nafas Nusantara works through the stages: pra-production, production, and post-production, where pre-production consists of 4 stages of preparation such as: Drafting the work concept, compiling a production schedule, making storyboards, and forming a production team. Production stage with the process of forming dance and music accompaniment, documenting dance works with cinematographic techniques. The last post-production is the editing and mastering process.

Linguistic interpretation of contemporary historical films (on the film Keiki Batyr)

The correctness of the concept of “cinema language” is called into question asthe most common designation of specific cinematographic techniques, which resulted in theformation of certain spectator attitudes towards a film. The authors determined the three mainmeanings of the word “cinema language” and traced their formation on the material of classicaland modern film theory. The main film theoretical approaches that focused on the search foranalogies between film and language (linguistic, semiotic), are presented. Moreover an exampleof their main provisions from the movie Keiki Batyr is given on the material of the modernKazakh film philosophy and a conclusion about its theoretical consistency is made.Possible directions of the film-theoretical movement on the other side of linguistic analogies areoutlined. It is recommended to pay attention to those techniques of film, that fundamentallydo not have the function of designation; an example of minimal cinematographic elementsrelated to the audiovisual field of the film itself is provided; for further discussion, the authorsproposed a thesis about changing the viewer’s attitude from an interpretive “understanding”to a sensory “encounter” when watching.The necessity of continuing theoretical work is emphasized, this might be possible due to theabandonment of linguistic analogies and the interpretive position of the theorist and the viewer,as a result it will be possible to direct to the conversation about the autonomous mode of filmexistence.

Roland Barthes Semiotic Approach to the Gebyok Jumpara Cultural Video Campaign

The video campaign entitled Gebyok Jumpara is a short-duration cinematic video which is one of the cultural promotional content of Jepara Regency on the Youtube social media platform. Gebyok Jumpara is used to introduce the art of Gebyok carving as a representative carving product that has a close relationship with socio-cultural values in Jepara. This research aims to dissect the content of the Gebyok Jumpara video with the Roland Barthes approach so that the explicit and implicit messages in the video can be revealed more deeply. Based on these objectives, this research emphasizes descriptive qualitative methods to obtain in-depth and accurate findings. Data were collected through observation, interview, and document study. The theoretical approach used is Roland Barthes' semiotic theory with the division of signifier (denotation), signified (connotation), and signification (myth) levels. The initial stage of analysis is the description of the cinematographic composition used in the Gebyok Jumpara video campaign. The next stage is a semiotic analysis using Roland Barthes' theory. The Gebyok Jumpara video campaign will be separated into a total of 9 scenes according to the frame transition. Each scene will be analyzed to classify the level of signs that are translated into the meaning of signifier (denotation), signified (connotation), and signification (myth). The conclusion shows that the Gebyok Jumpara cultural campaign video pays attention to the composition elements of cinematographic techniques such as the role of third, negative space, and natural frame. Meanwhile, the results of the interpretation of meaning through the Roland Barthes approach bring three main messages: the great cultural heritage, the relationship between humans and God as the Greatest Creator, and the acculturation of Hindu, Chinese, and Islamic cultures. These three important points boil down to a message about how humans behave while maintaining tolerance for each other.

Maria, a Tragic Romance of Adventure and Exploitation

Maria, a tragic romance of adventure and exploits, narrates the participation of Satyagrahi volunteers in Goa’s struggle for freedom from the Portuguese rule. The novel ends tragically for the central character, Maria and the country after independence. The seven Indian characters represent seven regions of India: Goa, West Bengal, Punjab, Madras, Uttar Pradesh, Bihar and Maharashtra. Before Independence, all of them were patriots and fighters for freedom; after independence most of them get involved in an atmosphere of anti-national parochial activities. Abbas seems to have been fascinated by the symbolic significance of the number seven. The importance of choosing seven characters belonging to seven different regions of the country is obvious; it gives him an opportunity of presenting the human condition in the country in seven vivid scenes in a fairly representative manner. The cinematographic technique of montage, employed in the novel, shifts the focus of our attention from the situation in one region of the country to that in another.

Peran Sinematografi dalam Indoktrinasi pada Film Midsommar

The movie of Midsommar (2019) tells a story about a grief-stricken and lonely young woman, Dani Ardor, who was horrified by the sadistic tradition of The Hårga but eventually becomes part of the commune. It is a fairy tale where at some point the Big Bad Wolf convinced Little Red Riding Hood that happily-ever-after can be found in his sharp teeth. This movie is often classified as “elevated horror”, “folk horror”, and even a sadistic breakup movie. At the same time, this movie is also tells a story about indoctrination carried by a group whose strategy is also used by the writer-director, Ari Aster, in brainwashing the audience both through the characterization of Dani Ardor and the cinematography techniques. The purpose of this research is to find out the role of cinematography in indoctrinating the character of Dani and the audience in the film Midsommar (2019) so that it can be known what aspects influence it.

Audio Visual Based Scenario of Kondobuleng Performances as A Learning Formula for Actors and Potential of Performing Art Tourism

This research is a form ofstrategy to preserve Kondobulengtheater through the process of transforming print-based scenarios into audio-visual-based digital scenario. The urgency of this research is due to the lack of regeneration of actors in the Kondobuleng theater which has become oneof the causes of the dimness of the Kondobuleng theater group which then has an impact on the Nusantara art tourism sector. In addition, the actors are known to be in a phase that is quite difficult to transfer knowledge of Kondobuleng performances, especially on scenario. Therefore, this research provides a solution by creating a supporting media to facilitate the process of transmitting knowledge related to Kondobuleng theater performances. The method used is the documentation through cinematography technique. These efforts produce new media so as to produce academic novelty in the form of product in the form of audio-visual-based digital scenariosin Kondobuleng theater, especially in the world ofperforming arts. This new media can be used as a medium for learning and actor training in understanding plot, dialog, texture, mimicry, and artistic sets in a performance. To measure the effectiveness of the output product, a survey was conducted from the product trial using the action research (AR) method and structured interviews to several theater actors to avoid subjectivity in the assessment of theproduct findings. On the other hand, this research is usefulas a solution to the threat of regeneration crisis in the Kondobuleng theatre as well as creating artistic spaces thathave the potential to impact on the tourism industry sector of the performing arts world.

Audio-Visual Scenario of Kondubuleng Performance as A Learning Formula and Training of Actor

This research highlights a form of transformation of print-based scenario into audio-visual-based scenario in Kondobulengfolk theater. The urgency of this research is affected by the lack of actor regeneration of Kondobuleng folk theater so that it is one of the causes of the dimming of the theater group. In addition, the actors are known to be in a phase that is quite difficult to transfer knowledge of Kondobuleng performance, especially in the scenario. Therefore, this research provides a solution by creating a supporting media to facilitate the process of transmitting knowledge related to the scenario of Kondobuleng folk theater. As for the efforts made namely the documentation method with cinematographic technique to produce new media in the circle of performance art so as to produce academic novelty in the form of audio-visual scenario product at the Kondobuleng theater. This new media can be used as a training medium for actors in understanding plot, dialogue, texture, facial expression, and artistic set in a performance. The benefit for the Kondobuleng folk theater is a as solution to the threat of its regeneration crisis in facing the challenges of the times as well as a new spirit in restoring the existence of theater which is known to have experienced a stage crisis during the pandemic. In closing, this research has a Technology Readiness Level in terms of the use of audio-visual media in the form of scenario cinematography as a media for learning and training of actor as well as references for students in understanding scenario production techniques which are generally print-based into audio-visual-based scenario as a form of furtherance in facing the challenges of Era 5.0.

Romeo and Juliet’s Rewriting in the Walt Disney Animated Movie Pocahontas: Adaptation Studies, Comparative Literature and Theory of Intertextuality

Intertextuality has been a driving force for Adaptation Studies, but few scholars have highlighted its relevance, rather prioritizing issues such as audience reception, cinematographic technique or aesthetics and, occasionally, fidelity. However, the starting point for any audiovisual production (be it film, television or theater) is the written matter, the text. Inserted within the field of Adaptation Studies in dialogue with Comparative Literature and Theory of Intertextuality, the present papers assesses the extent to which there are points of contact between William Shakespeare’s tragedy Romeo And Juliet the Walt Disney animated motion picture Pocahontas. The paper initially discusses the adaptation of Shakespeare’s text as a starting point for film productions, proceeding to theoretical reflections between Comparative Literature, Adaptation Theory, intertextuality and rewriting, and to the comparative analysis between the tragedy and the motion picture, which leads to the conclusion of a retroversive movement between source and adapted texts, which invites to the question of intertextual rewriting in Adaptation Studies

Penerapan Shot List dan Story Line Sinematografi Pada Perancangan Video Animasi 3D Promosi SMA Negeri 4 Seluma

The development of technology is currently developing so fast. Especially technology in the field of information and 3D animation. 3D animation is made with manual techniques to digital techniques. In making 3D animation, usually using software such as SketchUp, Blender, Unity and many other software. At this time 3D animation is used for many things, from making films, making video games, to the promotion of a certain building or agency, which aims to inform the general public about details, a shape or impression of the object. 3D animation has its own uniqueness which in the manufacturing process is not done by recording directly but through stages such as data collection, application of cinematographic techniques which include making storyboards, story objects, making shot lists.

Reflections on the New Dimensions in Testimony Project

The New Dimensions in Testimony project integrates advanced filming and voice recognition techniques to present the possibility of interacting, in natural language, with the hologram of a Holocaust survivor who may no longer be alive. This article is an attempt to organize reflections around the initial estrangement caused by the contact with the holograms. For this, I mobilize notions such as of presence, broad present and presentism in order to think of holograms as a temporally non-belonging element, an excess of both past and present.

Produksi Film Dokumenter Kain Tenun Ikat Sumba Timur dengan Menggunakan Teknik Sinematografi Extreme Close-Up

East Sumba has a great potential for natural and cultural tourism. Currently, East Sumba is one of the potential tourist attractions that appeals for both domestic and foreign tourists to come and visit the region of East Nusa Tenggara, particularly Sumba Island. In addition to natural tourism, East Sumba also possesses an iconic commodity that is also an ancestral heritage, which is the kain tenun ikat woven fabric of East Sumba. With currently existing technologies, people have become more facilitated in seeking information. In a documentary video, the angle of shooting utilized the extreme close-up cinematography technique in certain parts of the creation process for the kain tenun. The shooting of the film with the extreme close-up technique is expected to be able to bring out or enhance the details of the creation process for the kain tenun ikat of East Sumba. The documentary film that shows the process of making the kain tenun ikat of East Sumba is expected to become a film that can engage the interests of youths and local tourists to learn about and participate in preserving the cultural heritage of the kain tenun ikat from East Sumba.

In what ways can we have positive responses to evil characters in film?

This essay aims at investigating how evil characters could win the favour of audiences. The previous studies have focused mostly on deconstructing the audiences’ favour towards rough hero and antihero in an effort to find a balance in their personalities. They believe that the reason why people admire villains is because they can see the traits outweigh the drawbacks and make villains the good people essentially. Based on the debate between Eaton and Carroll, unlike the rough heroes and antiheros who are essentially morally good figures, evil characters are morally and legally unforgivable. However, through this essay’s research on Monsieur Verdoux (Charles Chaplin, 1947), I believe films could make the evil characters more acceptable and even approvable through the cinematographic techniques and emotional manipulations. This essay is tries to parse out and analyse a flexible formula which could guide the audiences have the positive responses towards evil characters.

Analysis of Single-Shot and Long-Take Filmmaking: Its Evolution, Technique, Mise-en-scène, and Impact on the Viewer

The most of the narrative films feature extremely deliberate movie editing. The tale is advanced and viewers are given a feeling of time through cuts between shots. Cutaway shots provide background, and quick cuts that take place in only a fraction of a second, give the project vitality. A longer take, on the other hand, can occasionally be used to tell the story and transmit a lot of information at once, making it a crucial cinematography technique. Long-takes used to be constrained by the amount of physical film that could fit inside a camera. However, since everything is now done digitally, we can shoot as much as our multi-gigabyte storage card desires. There are several movie scenes that employ this long-take technique, but much fewer movies attempt to shoot the entire thing in a single take, and these films should be commended for taking the risk, even if they had various degrees of success. A single-shot or a long-take movie gives the illusion that time and space are continuous, just like in real life. So, as long as the filmmakers feel the need to be innovative and try to achieve something that is more difficult and fascinating for their films, innovation will remain crucial in the film industry. The one-shot technique is a rare example of a creative, innovative, and difficult technique. Using case studies, news reports and literature reviews, this study carefully observes that because the camera moves through and rewrites space in a single-shot movie, this filmmaking technique significantly contributes to the development of its mise-en-scène. It examines the effects that a single-shot or a long-take movie creates among the audience and the technical manoeuvres that define the success of it.

PERANCANGAN FILM PENDEK “KAMU TIDAK SENDIRIAN” DARI KISAH KELUARGA BROKEN HOME

Film is an audio-visual media that displays moving images that are assembled into a story, there are messages in it and can affect the emotionality of someone who watches it. Short films are films that have a duration of less than 60 minutes and can even be less than 10 minutes. Short films give freedom to the makers so that the forms are very diverse. Broken home is a rift that occurs in the family which results in the destruction of relationships with one another among members of the family referred to as a broken home. The purpose of designing this short film is to be able to produce a short film by applying cinematographic techniques so that it is able to convey the content of the story and the moral message contained therein. This design uses qualitative research methods, namely by conducting direct field observations and interviews. The process that the designer goes through is from the pre-production, production and post-production processes. The result of this design is a short film with a duration of 14 minutes 30 seconds, which has been published on YouTube. Judging from the posts on youtube, the short film received a positive response by getting many viewers from the audience and getting pretty good comments. So it can be concluded that the delivery of messages to the audience or children affected by a broken home family using short films is quite effective.

Technology transfer method of Tantri Darmaswami dance theater as a virtual work

The COVID-19 pandemic has become a scourge for performing arts activists. The impact narrows the movement of art life, both formal and non-formal. Creative people try to be creative in finding breakthroughs to overcome this stagnation. This cannot be done unilaterally, it needs cooperation with the Business World and the Industrial World (DUDI) to communicate the results of the work. Solving problem, through the Diktiristek Matching Fund Program, the Faculty of Performing Arts (FSP) of the Indonesian Arts Institute (ISI) Denpasar in collaboration with PT. Bali Ranadha Television, created the work of Darmaswami Tantri Dance Theatre, which combines elements of tantri dance theater with cinematographic techniques into a virtual masterpiece. Using the technology transfer method is the transfer of the ability to utilize, master science, and technology. The goal is to increase art knowledge, produce quality creations, continue artistic work, and can be enjoyed by the public through virtual communication