Electronic Cinema Research Articles

Are Audience Preferences for Electronic Cinema Affected by Preferences in Indonesian Movie Choices?

Electronic cinema has transformed the worldwide movie industry by providing spectators with various movie content on digital platform. Filmmakers, distributors, and content creators must understand consumer preferences as electronic cinema develops popularity. This study examines whether Indonesian movie tastes affect electronic cinema preferences. Indonesia, with its rich cultural legacy and growing film industry, is an excellent case study for studying movie preferences and electronic cinema adoption. This article examines how Indonesian moviegoers’ digital movie choices affect their overall movie tastes. This paper examined a comprehensive investigation of audience viewing trends on electronic cinema platforms, polls, and interviews with Indonesian moviegoers reveal their cinematic preferences. Demographics, socio-cultural issues, and technology advances also influence audience preferences, which the study seeks to understand. This research goes beyond audience behaviour. Utilising survey within 148 respondents among Greater Jakarta Metropolitan area and analysing using SMART PLS Software. The findings may help filmmakers and content creators appeal to Indonesian viewers. Distributors and digital platforms can also tailor their offers to Indonesian tastes to boost electronic cinema growth. This study illuminates Indonesian movie tastes and electronic cinema choices, contributing to film studies and audience behaviour research. It bridges conventional movie-watching habits with the digital age, providing significant information into Indonesia’s and other countries’ film consumption.Keywords: Audience preferences, electronic cinema, movie choices ABSTRAKSinema elektronik telah mengubah industri film di seluruh dunia dengan menyediakan berbagai film kepada penonton konten di platform digital. Pembuat film, distributor, dan pembuat konten harus memahami preferensi konsumen seiring berkembangnya popularitas sinema elektronik. Penelitian ini menguji apakah selera film Indonesia memengaruhi preferensi bioskop elektronik. Indonesia, dengan warisan budaya yang kaya dan industri film yang berkembang, merupakan studi kasus yang bagus untuk mempelajari preferensi film dan adopsi sinema elektronik. Artikel ini mengkaji bagaimana penonton bioskop Indonesia pilihan film digital memengaruhi selera film mereka secara keseluruhan. Makalah ini mengkaji penyelidikan komprehensif terhadap tren tontonan penonton di platform sinema elektronik, polling, dan wawancara dengan penonton bioskop Indonesia mengungkapkan preferensi sinematik mereka. Demografi, permasalahan sosial budaya, dan kemajuan teknologi juga turut memengaruhi preferensi audiens, yang ingin dipahami studi ini. Penelitian ini melampaui perilaku penonton. Memanfaatkan survei terhadap 148 responden di wilayah Metropolitan Jabodetabek dan menganalisis menggunakan SMART Perangkat Lunak PLS. Temuan ini dapat membantu pembuat film dan pembuat konten untuk menarik perhatian pemirsa di Indonesia. Distributor dan platform digital dapat menyesuaikan penawaran mereka dengan selera orang Indonesia untuk meningkatkan pertumbuhan sinema elektronik. Studi ini menerangi selera film Indonesia dan pilihan sinema elektronik, berkontribusi pada studi dan penelitian perilaku penonton film. Ini menjembatani kebiasaan menonton film konvensional dengan era digital, memberikan dampak signifikan informasi mengenai konsumsi film di Indonesia dan negara lain.Kata Kunci: Preferensi audiens, sinema elektronik, selera penonton

KOMNAS PEREMPUAN’S CAMPAIGN AGAINST CHILD MARRIAGE (A CASE STUDY OF ZAHRA’S SOAP OPERA IN SUARA HATI ISTRI)

Child marriages that occur to minors are still rampant in Indonesia. According to Komnas Perempuan's CATAHU 2020, the 2020 child marriage dispensation figure has tripled compared to last year, from 23,126 to 64,211 is a worrying matter that needs serious attention. [1] In today's era, humans can be said to place entertainment media as a primary need. One of the entertainment media that attracts many viewers is Sinetron (Electronic Cinema). Recently, the Indosiar television channel received a warning from the Indonesian Broadcasting Commission (KPI) for one of the soap operas being broadcast, namely "Suara Hati Istri". This is because the character of Zahra who is the third wife in the soap opera is still 15 years old. The formulation of the research problem is how the Komnas Perempuan organization responds to the case of child marriage in Zahra's soap opera "Suara Hati Istri". The researcher used a qualitative descriptive research method with case studies in the form of interviews, documentation, and literature studies. Researchers found the fact that Komnas Perempuan carried out persuasive communication in the form of a campaign against child marriage in the case study of the soap opera Zahra in Suara Hati Istri.

DAMPAK SINETRON “IKATAN CINTA” DALAM PERKEMBANGAN MORAL ANAK DI DUSUN KETAON TENGAH

This article aims at : (1) identifying the effects of watching the electronic cinema “Ikatan Cinta” on the moral development of children in Dusun Ketaon Tengah, (2) identifying the role of parents in accompanying children to watch television programs, (3) identifying efforts or ways parents anticipate the effect of electronic cinema, and (4) analizyng parental responses to electronic cinema “Ikatan Cinta”. Metod applied in research is descriptive method, because the collecting data related to the describe of data to answer questions about the subject to be studied. The effect of watching electronic cinema can be seen from changes in aggressive behavior, speaking style, and dressing style. Parents have an important role to instilling religious values, habits, and moral values in children. A critical attitude and assinstance from parents can help children in their moral development so that they can behave well. The existence of television is expected to a positive impact, by broadcasting abjective, sharp, and reliable information.

Technological advancements in Indian cinema

Indian cinema has grown as a powerful medium of communication in India and all over the world. It has grown immensely technologically over a period of time. This technological advancement has changed the theatrical experience of masses moving towards digital from celluloid. There is a lot of confusion among the masses about the technological advancements that are taking place in the Indian cinema these days especially in literary form: conceptualization of celluloid & digital film making technologies. People are not aware of the basic facts of celluloid or single screen cinema and digital or electronic cinema. Many researches have been done about the marketing strategies of Indian cinema but technological facet is still untouched. To explore the technological up-gradation and changes in Indian cinema this researcher paper tries to summarize the basic traits of both the technologies which will help in knowing the technological advancements in a better and conceptual way.

Acara Bedah Rumah: Reduksi Orientasi Hidup “Menjadi” Ke Hidup “Memiliki”

Poor or pre-prosperous (henceforth will be called poor for the opposite of the wordrich or prosperous) is clearly not an ideal especially the purpose of life, seeing the shock ofadvertisements and electronic cinema that displays thick boundaries between rich-poor certainlyrich more tempting and tantalizing. Fantasy of life Rich men fall in love with poor women apartfrom predictable story lines implying a desire for rich is more highlighted on television.Likewise, the rich who are kind or evil, also against the character of the poor, almost becomedecoration on television. Rich character means to have while poor does not have. In short, inIndonesian television, these two socio-economic identities are always clashed, swiped at thesame time triggering micro commotion. Having various coefficient facilities by laying offconvenience, fame, elite, that is the picture of being rich on television, but it does not mean thatthe opponents of the rich are liable or not figures. main. The film Cemara Family, at least candisturb the established storyline of the confrontation of the rich and the poor. The poor figureplayed by Abah and his family gets the most camera shots about the trinkets of his life.Simplicity is even more to the disadvantages, selling snacks while schooling, a pedicab driver isa picture of Abah's life and family. The question then is to sell poverty on television? or aquestion that requires a more technical answer to how poor can be sold on television?

The dynamics of electronic cinema production to maintain rating

Electronic cinema or so-called sinetron is an important industry in private television in Indonesia. Without sinetron, private television will not be able to survive digital of era today. Although sinetron as a product of mass communications appear in era before it, in fact, sinetron can still survive until today. For that, the production house raced to create a sinetron story that is interesting to watch by the people of Indonesia. MNC Picture which is a subsidiary of MNC Group has produced sinetron, films and TV shows to support TV stations under MNC Group such as RCTI, MNC TV, Global TV, and others. Sinetron made by MNC Picture was able to grab the attention of Indonesian audiences, as evidenced by Sinetron able to become television program with the highest rating. It is interesting to examine in the study of communication science to find out how the dynamics of electronic cinema production to maintain the rating in MNC Picture. The theory used to approach the object is the political economy theory of communication and mass communication. The methodology used in the research is qualitative phenomenology. The result of this research is that there are three components of electronic cinema production dynamics to maintain the rating in MNC Picture which is sinetron theme and storyline which is close to Indonesian people habit, second monitoring of rating, and placement of digital product in sinetron content.

Sinetron Indonesia Menuju Perkembangan Sebagai Sarana Media Massa

Soap ope ras, better known as electronic cinema or teledrama, play a major role in society in understanding this real or real life and plugging in frames / images of thought in the future. In preparing for a global era and an increasingly advanced industrial society and intense competition in the global market, Indonesian soap operas must be able to play its role. Along with the increasing number of private TV sets, quantitatively Indonesian soap operas experienced a very proud development and also gave a variety of nuances, however the quality of Indonesian soap operas has only recently developed. Indonesian soap operas must consider the elements of education, entertainment, the real problems of society and the way they are done, such as the DKI reborn Warkop film which has a classic feel but is still interesting as a television broadcast that is comedy and educating. Actually, if we want to emulate a very educational cartoon film such as Upin and Ipin, Shiva even though the results of neighboring state products contain a message of education and a very high moral message, Indonesian children love cartoon films like this, besides being funny, educating , raising local culture, and introducing the name of a particular place. Indonesian television shows are still dominated by shows that are beyond human reach. How much television is still mystical like in the Antv program, almost every day cannot be separated from mystical shows (Eyes of the Dark, Penetrating the inner eye, GGS and others).

IMPOLITENESS IN INDONESIAN TELEVISON SERIES: A CASE STUDY OF VERBAL ABUSE IN ANAK LANGIT TV SERIES

Anak Langit is an Indonesian sinema elektronik (sinetron) or electronic cinema, a kind of tv series, for teenagers since most of the main characters are teenagers. Young viewers love this tv series as it tells us about the life of a motor gang in a big city which becoming a trend recently in several big cities in Indonesia. Although the main characters show the viewers how to be a good motor gang with positive attitude, we consider the language of this TV series is impolite as the rival of this motor gang often shows verbal abuse in most of their scenes using Bahasa Indonesia dialect Betawi (the language of Betawi people, the people of Betawi Kampong in Jakarta). Those impolite utterances may be used to show the real life, including the colloquial language, of Jakarta/Betawi people which sometimes considered impolite by common people. It may be also done to strengthen the characteristics of the antagonist ones who are impolite and rude. In Pragmatics Study, impoliteness violates the Maxims of Politeness Principles. This violation can be seen as electronic media violence that may influence viewers to imitate the verbal abuse such as using the impolite utterance or doing the violence. In the end, it may leads into violence and less pro-social behaviour

Watching Textual Screens Then and Now: Text Movies, Electronic Literature, and the Continuum of Countertextual Practice

Contemporary works of electronic literature that focus on the use of moving text are aesthetically related to the text movies that arose in the experimental film community, particularly in the 1960s, and both share much in common with concrete and visual poetry. Though criticism has traditionally placed a barrier between works of electronic literature and cinematic text movies on the basis of their perceived medium (cinema characterised by emulsion and electronic literature characterised by computer code), textual screen works originating from both media utilise similar techniques in the presentation and manipulation of text. Interactivity is potentially a differentiator between electronic literature and cinema, but this distinction is negated by the fact that not all works of electronic literature are interactive (that is, they do not require an interactor in order to function). The increasing digitisation and, to a lesser extent, interactivity of cinema also argues against placing a gap between electronic literature and cinematic works that utilise the textual screen. Text movies, visual poetry, and other digital works featuring moving text can be seen as belonging to the same family; they are united by the aesthetic experience of perceiving them, which derives from a dynamic tension between the act of reading and the act of watching. Taken together, they form a continuum of countertextual practice that involves the destabilisation of reading and the displacement of literary significance away from traditional means of sense-making and towards the use of text-as-objects that do not always achieve the status of language.

ANALISIS ISI KEKERASAN VERBAL DALAM SINETRON “TUKANG BUBUR NAIK HAJI THE SERIES” DI RCTI (ANALISIS ISI EPISODE 396–407)

Soap opera or Electronic cinema, commonly abbreviated as sinetron, is a program which takes most portions and public interests among other television programs. A great number of spectators generate the number of its influences on society because sinetron has become one of television programs that catches public attention and is broadcasted in most hours of prime time. One of the sinetron genres is that is considered Islamic sinetron as it consists of Islamic symbols. However, it uses dialogues that do not represent Islamic values in that it consists of derogatory words expressing verbal abuse. This study aims at uncovering verbal abuse tendency of the soap opera in Tukang Bubur Naik Haji The Series aired by RCTI (Episode 296 – 407). The problem formulation is how are the tendencies of verbal abuses in the soap opera Tukang Bubur Naik Haji The Series aired by RCTI (Episode 296–407)? The objective of this research is to investigate verbal abuse in the soap opera Tukang Bubur Naik Haji The Series aired by RCTI (Episode 296–407). Theory and concept of the study are mass communication, mass media, television, verbal abuse. The concept of verbal abuse used in the study is in accordance to Indonesia Broadcasting Commission (KPI) Number 02/P/KPI/03/2012 about Standard of Broadcasting Programs 2012 and types of verbal abuse. Based on the data collection and analysis, it can be concluded that verbal abuses likely used in the soap opera Tukang Bubur Naik Haji The Series aired by RCTI (episode 296 – 407) are in the category of derogatory, threatening and insulting.

Tayangan Bermasalah dalam Program Acara Televisi di Indonesia

This research intend to analyze the warning or alert of Indonesia Broadcasting Commission (KPI) to the television programs during 2009. Content Analysis Method employed on 123 television programs, to see the tendency of the programs. This research also goes on details onto the analysis of the role of KPI in the broadcasting system. This result found that violence and sadism, pornography and sexualities, the erosion humility values and morality, can be found in Indonesian television programs that was dominated by entertainment programs with kinds of genres such as: “electronic cinema”, “infotainment”, “reality show”, “variety show” and “a situational comedy.” This condition is caused by the strict competition of the television stations in getting the television rating. In addition, regulation of broadcasting shows a blur situation around the authorities overlapping between KPI with Department of Communication and Informatics. This condition put the broadcasting industrial onto numbers of problems, and one of the biggest problem is many critics of television programs which are considered problematic and is not appropriate to consume by the people.

A century of electronic cinema

The prospect of the electronic distribution and exhibition of theatrical motion pictures has provoked fearful, even apocalyptic, warnings from some in the contemporary Hollywood industry. While the immediate prospects for, and consequences of, the end of celluloid-based exhibition are unclear, the shift to digital cinema has already complicated some of the fundamental business models, industry practices, and power relations within the film and television industries. Digital exhibition has inspired some filmmakers and industry observers to imagine an industry less dominated by the major studios, with new untraditional venues for exhibition, and new opportunities for exhibitors to contract directly with filmmakers and develop alternative programming and uses for traditional public cinemas, including sporting events, music concerts, business conferencing, and video gaming. At the same time, electronic cinema has encouraged the growth of in-cinema advertising and has threatened the long-established practice of staggered release dates across the theatrical and domestic exhibition markets, and some in the motion picture industry worry that electronic cinema will collapse the distinct aesthetic forms and audience practices of domestic television and public cinema-going. Electronic cinema's prospective confounding of traditionally distinct business models, textual forms, and viewing protocols has not been fully taken on board by media scholars, and the current proliferation of technological platforms, business models, and viewing practices related to the consumption of moving images beyond the domestic space of traditional television will have profound implications for the objects and methods of study in our discipline.

‘Celluloid or Silicon?’ Digital Cinema and the Future of Specialised Film Exhibition

Cinema’s future is currently claimed to rest with the development of electronic cinema (e-cinema) and digital cinema (d-cinema). In many instances the terms are used interchangeably, though broadly speaking e-cinema is concerned with the development of digital technologies across the levels of film production, distribution and exhibition, whilst d-cinema is concerned with distribution and exhibition. According to Watson and Morris, d-cinema can be defined as ‘the projection of fulllength feature films to audiences in a purpose-built cinema where the quality of projection is not less than that provided by current 35mm technology’ (2002: 5). Put more simply, ‘digital cinema’ refers to the distribution and exhibition of feature films to cinemas for theatrical screenings. In large part this means material that was originally shot on film and subsequently transferred into digital form (often referred to as ‘telecining’). For the purposes of this discussion the definition of d-cinema largely excludes the production and post-production stages of film-making. As Culkin and Randle (2003: 81) point out: ‘For years to come, many or perhaps most mainstream motion pictures will continue to be shot on 35mm film, and that it is in mastering, distribution and exhibition that the current d-cinema revolution is taking place’.

Images

Images Lynn Hershman Leeson’s first feature film, Conceiving Ada, was shown at the 1998 Sundance Film Festival, The Toronto International Film Festival, The Berlin International Film Festival and thirty-five other festivals worldwide. It also received the award of “Outstanding Achievement in Drama” from the Festival of Electronic Cinema. Conceiving Ada was released by Fox Lorber in February 1999 and on DVD in February 2000. She was awarded the 2003 Alfred P. Sloan Award for writing and directing Teknolust, starring Tilda Swinton and Jeremy Davies, which premiered in the American Showcase of the 2002 Sundance Film Festival. In fall 2005 the University of California Press published the monograph Secret Agents Private I, The Art and Films of Lynn Hershman Leeson. Her touring retrospective is organized by the Henry Gallery in Seattle. Hershman Leeson is a Professor Emeritus at the University of California, Davis, and an A.D. White Professor at Large at Cornell University. Click for larger view View full resolution Figure 1. Lynn Hershman Leeson, Conceiving Ada, 1997, Film still, Photo courtesy of Lynn Hershman Leeson and bitforms gallery, New York (page 2) Click for larger view View full resolution Figure 2. Lynn Hershman Leeson, Conceiving Ada, 1997, Film still, Photo courtesy of Lynn Hershman Leeson and bitforms gallery, New York (page 13) Click for larger view View full resolution Figure 3. Lynn Hershman Leeson, Conceiving Ada, 1997, Film still, Photo courtesy of Lynn Hershman Leeson and bitforms gallery, New York (page 24) Click for larger view View full resolution Figure 4. Lynn Hershman Leeson, Conceiving Ada, 1997, Film still, Photo courtesy of Lynn Hershman Leeson and bitforms gallery, New York (page 37) Click for larger view View full resolution Figure 5. Lynn Hershman Leeson, Conceiving Ada, 1997, Film still, Photo courtesy of Lynn Hershman Leeson and bitforms gallery, New York (page 47) Click for larger view View full resolution Figure 6. Lynn Hershman Leeson, Conceiving Ada, 1997, Film still, Photo courtesy of Lynn Hershman Leeson and bitforms gallery, New York (page 58) Click for larger view View full resolution Figure 7. Lynn Hershman Leeson, Conceiving Ada, 1997, Film still, Photo courtesy of Lynn Hershman Leeson and bitforms gallery, New York (page 81) Click for larger view View full resolution Figure 8. Lynn Hershman Leeson, Conceiving Ada, 1997, Film still, Photo courtesy of Lynn Hershman Leeson and bitforms gallery, New York (page 91) Click for larger view View full resolution Figure 9. Lynn Hershman Leeson, Conceiving Ada, 1997, Film still, Photo courtesy of Lynn Hershman Leeson and bitforms gallery, New York (page 103) Copyright © 2006 The Johns Hopkins University Press

HDTV and Electronic Cinema—Making the Link

Current HDTV codec technology has provided the link to enable successful delivery of HDTV to the home. Similar technology is being used to help make exciting applications such as Electronic Cinema a reality. These implementations differ: so what are the considerations that need to be made. After providing a brief overview of HDTV and a standards update, this paper will focus on the implementation considerations necessary when applying current HDTV codec technology to ATSC, DVB, and Electronic Cinema.

21.3: D‐ILA™ Technology for Electronic Cinema

AbstractThe D‐ILA™ is a reflective mode liquid crystal active matrix image modulator utilizing a single crystal CMOS backplane (LCOS). Projectors utilizing the D‐ILA have been developed for applications from home theatre to auditoriums. Advancements in D‐ILA technology lead to new projectors to meet the requirements of electronic cinema. This paper will review D‐ILA technology and the application to an electronic cinema projector.

The sharper image

Following last week’s scheme involving ‘photoklystrons’, the next stage in developing this technology will be to harness photoklystron output in phase to create a light source that will be as parallel and monochromatic as any laser. The upshot should be transformation of electronic cinema and big-screen displays.

Electronic Cinema Using ILA® Projector Technology

AbstractThe use of video for the replacement of 35mm film presentation Electronic Cinema offers many potential advantages in the production, distribution, and exhibition of motion pictures. A key enabling component for Electronic Cinema is the video projector which must provide the image quality and brightness required to replace film projection in a theatre venue. New ILA® projectors have been developed to meet these stringent requirements. ILA® projectors provide up to 17,000 lumens, greater than 2000 TV lines of horizontal resolution, and over 1500:1 sequential contrast ratio. The unique ILA® device design has no pixel structure so that film‐like images are projected. This paper will discuss these requirements for electronic cinema and review ILA® projector technology and performance.

Solid‐State Laser‐Based Displays

AbstractRecent advances in compact visible microlasers have enabled the development of portable laser display systems. The benefits of large color gamut, invariant color accuracy, image uniformity, high contrast, large depth of focus and reliability inherent in the microlaser design make them attractive for display applications. Lasers are under development for both “backlit” and “direct‐write” displays. Advantages of the microlaser technology will enable applications such as command/control centers, simulators, HMDs/HUDs, CAD workstations, and electronic cinema.

Electronic Cinema — The REALLY Big Picture

AbstractRecent developments in large screen projection displays and image compression technology have brought the film‐less electronic cinema theatre closer to reality. This paper discusses technical requirements and alternative design approaches for an all‐digital electronic means for distribution and exhibition of motion pictures and other related programming. A cost‐effective complete system solution for processing, distributing and presenting cinema‐quality electronic programs originating as motion pictures is described.