Story Ideas Research Articles

Desain Model Pembelajaran Simulasi Untuk Menanamkan Nilai-Nilai Islami Di SMPT Manahijul Huda Tasikmalaya

The learning process of dance is now avoided by some schools, because the learning objectives are not comprehensively understood by all parties. But there are some schools in Tasikmalaya that teach dance in their learning process even by applying Islamic values. Islamic values ??are an important value implanted in the learners to form a good character. By analyzing two schools conducting dance lessons to apply Islamic values, researchers designed a simulated learning model for simulation development conducted at other schools in Tasikmalaya District. The Islamic values ??applied are derived from the characteristics of Prophet Muhammad SAW, namely sidiq, tabligh, amanah and fatonah. Researchers used the story stimulus of heroes of Islam to turn the story's ideas into motion while the idea of ??motion developed the motion of Ibing Pencak. Theories used in this research that is koneksionis theory, theory of adolescent development, education theory and others. This research uses Design Based Research method with qualitative approach. This research is done gradually with cycle repetition. There are 4 cycles with 6 meetings to get the design of the appropriate learning model. Based on the process that has been done got a design of learning model which is a combination of learning component in two schools, but gave new thing in the form of psychomotor aspect which is raised to apply Islamic values. Once implemented, there are changes in the behavior of learners in their daily life and the increased aspects of cognitive, affective and psychomot learners in the subject matter.

Literasi Digital dalam Pembentukan Self-Esteem dengan Berwawasan Kebangsaan Nasional di Sekolah Teman Belajar Cipinang Jakarta Timur

Advances in digital technology during the Covid-19 pandemic turned out to have an important role in communication and information. However, the limited space for movement due to the extended PPKM provides opportunities to access social media in a short time. The intensity of using social media for too long can affect the mental health of themselves not only in adolescents, it can also affect children at an early age. This Community Service Activity (PkM) was carried out at the Sekolah Teman Belajar, Cipinang East Jakarta, where there was still a lack of knowledge about the use of social media and lack of awareness of parents in assisting their children. The purpose of the service activities carried out is to provide understanding through digital literacy methods in the formation of self-esteem with national insight. The implementation method is carried out in the form of providing assistance and training to students by involving the parents of students. Then, provide an understanding of digital parenting, where as parents must also follow the development of content packaged through social media. In addition, students who are still at an early age are introduced to wayang characters, namely Arjuna and Srikandi which are packaged through animated videos. The results of the activity showed that the participants understood the explanation given by the facilitator. Then with an interactive experience sharing approach that implements 5W + 1H there is self-disclosure to students, in this case they want to make story ideas which later on from the results of the story ideas are depicted in the animated video of Arjuna and Srikandi as icons of my friends. The process of making story ideas is a process of forming self-esteem, then participants are equipped to invite families to create entertaining content by raising cultural values as the theme on both TikTok and Instagram, this aims as an effort to form national identity.

Kazuo Ishiguro's Nocturnes: Between Archive and Repertoire

Through a reading of Kazuo Ishiguro's Nocturnes, this essay contests the prevailing idea of the short story as a secondary form to the novel, opening up some of the distinctive affordances of the form in relation to Ishiguro's central themes and preoccupations. The essay draws particular attention to Ishiguro's mediation between archive and repertoire, asking how the repertoire might be animated in the ongoing project of reading Ishiguro's oeuvre.

Young and Innocent: Becoming Joanie and Hitchy

Young and Innocent: Becoming Joanie and Hitchy Christina Lane (bio) The 1937 film Young and Innocent has been given far less consideration than Alfred Hitchcock’s more frequently discussed British romantic thrillers The Man Who Knew Too Much (1934), The 39 Steps (1935), and The Lady Vanishes (1938). Yet the jaunty romp taken by an unemployed screenwriter unjustly accused of murder and the young Constable’s daughter who joins him on the lam uniquely captures the director’s deep affection for the British countryside. And it features one of his all-time favorite female leads, Nova Pilbeam, admirably taking her first turn in a mature role at the age of eighteen, several years after playing the precocious adolescent kidnapped in The Man Who Knew Too Much. Indeed, Hitchcock notably referenced Young and Innocent as his personal favorite among his twenty-three British films.1 If Young and Innocent, chonologically at the center of Hitchcock’s British golden run, begs deeper examination, so too does the career of the Hitchcock collaborator just then beginning to come into her own. Joan Harrison joined Hitchcock’s Gaumont Studios production office as a secretary in Fall 1933, and within months was providing the director with story editing, script development, and producing assistance. I examine Harrison’s career at length in the full-length biography Phantom Lady: Hollywood Producer Joan Harrison, the Forgotten Woman Behind Hitchcock (2020), and devote a section to the film’s production and themes. In this essay, I will delve deeper into the film’s [End Page 73] importance to Harrison’s career and how it illuminates the long-term collaboration between Harrison and Hitchcock. Young and Innocent was a turning point for Harrison, who later named it as the first Hitchcock film on which she had major impact—the first that she considered hers, in a creative sense.2 Prior to 1936, Harrison’s role in Hitchcock’s circle had been limited. Though Hitchcock had recognized that the literary-minded Oxford graduate should be added to his storytelling team within just a few weeks of hiring her, Harrison needed on-the-job training. The earliest films in which she participated (e.g., The Man Who Knew Too Much, The 39 Steps, Secret Agent [1936], and Sabotage [1936]) offered opportunities for her to shape story, character, and central ideas, but there were writers in the room, particular Charles Bennett and Ian Hay, who consistently dominated.3 Bennett, for reasons that may have had to do with professional jealousy, misogyny, or a combination of the two, apparently posed a specific problem for Harrison.4 Hitchcock had relied heavily on Bennett to provide the essential architecture for four of the director’s most successful films to date, and he tended to give him center stage. As Hitchcock biographer Patrick McGilligan puts it, “Bennett boiled with ideas. And he fought for them too, which the young, feisty Hitchcock liked—up to a point.”5 In the early stages of scripting Young and Innocent, however—and while on vacation in St. Moritz, Switzerland, with Hitchcock, his wife Alma Reville, and Harrison—the screenwriter received a telegram inviting him to join Universal Pictures in Hollywood.6 With Bennett gone, Harrison began to enjoy unprecedented creative freedom at an opportune time. Harrison and Hitchcock were hitting a collaborative stride. Having worked together for three-and-a-half years and on four films, they were growing closer, collaboratively and otherwise, even calling each other “Joanie” and “Hitchy.”7 Harrison had adopted the Hitchcocks as a second family, spending holidays and vacations with them, and fitting easily into the coterie of writers, producers, actors, journalists, and [End Page 74] artists who regularly swept through the Hitchcocks’ Kensington residence at 153 Cromwell Road (fig. 1). Click for larger view View full resolution Figure 1. More important, Reville and Hitchcock had entrusted Harrison with supervising the distinctive system of film preparation that the couple had together developed early on. This was a private set of codes that translated ideas into script format and then to the screen. Hitchcock described the process as a “working on the script that is the real making of the film” in his 1937 Sight & Sound essay...

Fiction Publishing Patterns in the “Wattpad” Online Community

Wattpad is a community website that allows people to find stories from authors of various genres. This study aims to determine the pattern of fiction publishing in the Wattpad online community. This study uses a qualitative method with a case study approach. The research data were obtained through three (3) informants who were productive fiction writers on Wattpad. The results show that the writers on Wattpad get ideas from an open-minded/objective view of many things, the environment, and experiences that are supported by information. The process of publishing starts from creating an account then filling in the details of the story, till publishing it. There are two types of publishing processes, namely the author submits the manuscript to the publisher or publisher who contacts the author. Apart from being published, some have been made into cinema films. This research concludes that writers on Wattpad can get story ideas from anywhere and then develop them into stories, while the publication process on Wattpad has no special rules because everything is based on the author and the existence of publications from Wattpad to other media such as a publishing and being made into cinema films.

Identify Story Possibilities Linked to COVID‐19

Nonprofit Communications ReportVolume 18, Issue 10 p. 6-6 Story Ideas Identify Story Possibilities Linked to COVID-19 First published: 04 September 2020 https://doi.org/10.1002/npcr.31581Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume18, Issue10October 2020Pages 6-6 RelatedInformation

PRODUCTION OF DOCUMENTARY FILM DRIVING AWARENESS

The film "Driving Awareness" tells about the importance of driving according to the rules for mutual safety. This film uses a linear storyline and character flashback plot. The purpose of this paper is to describe the concept and visualization of the documentary film "Driving Awareness". The stages in designing the creation of the documentary film "Driving Awareness" start from the idea, preproduction, production, then post-production. In the idea stage, the idea of a film story is determined together with the team and then converted into a script for the film to be made into a storyboard to illustrate every scene in the film as well as a detailed storyline. The pre-production stage determines the position of each person in filmmaking, selecting players, determining locations, and scheduling filming activities. Production activities are carried out according to a predetermined schedule by recording images of each scene. The whole shot was edited to make a whole film work and add backsound, transition effects, and coloring.

Adaptation of The Wiruncana Murca Play in The Wayang Topeng Jatiduwur (Jatiduwur Mask Puppet) Jombang Performance

Wiruncana Murca play is the only Panji play in the Mask Puppet Performance in Jatiduwur Jombang which still performances its dramatic structure after the Mask Puppet is extinct. Wiruncana Murca play in the Wayang Topeng Jatiduwur Performance in the past was used for nadzar rituals. When the Mask Puppet was rebuilt, the Wiruncana Murca play was performed in a different context, the Panji Festival. This study aims to analyze the transformation process of the Wiruncana Murca play with an adaptation approach. The scope of this research includes text and context. The research method is descriptive qualitative analytical. The data collection used is observation, interview, and document study. The analysis uses an analytical descriptive method. The results performance that the adaptation of Wiruncana Murca in the Wayang Topeng Jatiduwur performance was carried out because there was a different contextuality from the ritual cultural context of the Jatiduwur village community to the context of the National Panji Festival performance in 2017 in Kediri. The transformation was carried out by the stages of identification of story ideas, the embodiment of the text, the embodiment of the dramaturgy, and staging. Adaptation to the process of intellectual transformation is based on a new contextual approach using fidelity or maintaining the originality of the source. The original uniqueness of the existing art is still used as a source of inspiration or a source of reference used as material to develop new performance products. The adaptation of the Wiruncana Murca play in the context of the Wayang Topeng Jatiduwur performance at the 2017 National Panji Festival performances the creative process of mask artists. While the result is a manifestation of a new product from Mask Puppet in Jatiduwur Jombang.

Story Identification Idea

Nonprofit Communications ReportVolume 18, Issue 7 p. 8-8 Articles Story Identification Idea First published: 03 June 2020 https://doi.org/10.1002/npcr.31518Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume18, Issue7July 2020Pages 8-8 RelatedInformation

Teaching Creative Writing: Millennial Girl

A veteran high school creative writing teacher has learned to encourage students who struggle at first to articulate inchoate story ideas.

U TRAGANjU ZA IZGUBLjENIM SMISLOM: „RAZBRAJALICA, OKTOPOD-PRIČA“ LASLA BLAŠKOVIĆA

The paper aims to explore the genre specifics of the novel Counting-out Rhyme, Octopus-Story written by Laslo Blašković, as well as the semantic layers that were activated in this manner. By accepting the traditional genre of the novel, which was transformed in the direction of a counting-out rhyme and octopus-story, the novel is constructed as a formally unique, subjective literary expression. Building its narrative flow upon the destinies of different personalities, who built seemingly independent stories, the novel Counting-out Rhyme develops the idea of a single story. With each new destiny, the story gets its variant, so the figure of the octopus will become a metaphor of literature in the most general sense. The story, having lost its meaning due to countless repetitions, like a counting-out rhyme, will become a structure of sound and scream, while the need for narration will become a principle of self-preservation.

StoryLab Research Network: An Ethnomediaology Approach to Story-Development

The StoryLab Research Network was a collaborative research project funded by the UK’s Arts and Humanities Research Council. StoryLab is an international film development research network of practice-led researchers from Australia, Malaysia, Ghana, Colombia and the UK. Establishing and utilising an ethnomediaology approach, the project conducted workshops with around 15 emerging independent filmmakers in each of the three developing countries of Malaysia, Ghana and Colombia between June and October 2017, during which each participant developed a screen-based story idea. The underlying question the StoryLab Research Networked sought to explore was: if the digital age has democratised the means of filmmaking and film dissemination, thereby enabling new voices to emerge outside of the dominant Western production centres, then what are the stories filmmakers in emerging economies want to tell and how are these stories reflecting a different perspective on living in an increasingly globalised world?

Stories and Narratives as Agencies of Change in Music Education: Narrative Mania or a Resource for Developing Transformative Music Education Professionalism?

Abstract By synthetizing a compilation of theoretical lenses and exemplifying narration in one institution’s community building, this inquiry explores the idea of stories and narratives as important strategic agencies of change for music education professional communities. More specifically, it examines narrating as forward-looking and as a source for creating identities for academic communities and organizations, and how the meaning, related to narration, anticipates action. It also highlights the importance of identifying Future Narratives in nodal situations that present the potential for changing the course of action. Through theoretical exploration and practical illustrations, the inquiry aims to trace the connection between narration, meaning, action, and imagination in supporting the emergence of desirable scenarios as well as the significance of language and positive narration in developing a sense of transformative music education professionalism.

Performing the Border as a Zone of Contestations: A Critical Analysis of Root Map

The plethora of meanings associated with the term “border” not only accentuates the frequent use of the word, but also implicates the border as a zone of contestations. These contestations underscore how borders covertly or overtly continue to affect the lives of millions of people across the globe. By “zone of contestations,” I situate the border as both a tangible and an intangible site that is replete with competing narratives about migration and migrants themselves. As a zone of contestations, the border eschews the idea of a monolithic story of migration; instead, it presents us with layers of stories by relocating border discourses to the realm of both the personal and the interpersonal lives of those interfacing with the border. Keywords: migration, performance, theatre, border, migrants, deontology, consequentialism DOI : 10.7176/RHSS/9-24-10 Publication date: December 31 st 2019

Gospel Minstrelsy

American Religion 1, no. 1 (Fall 2019), pp. 137–149 Copyright © 2019, The Trustees of Indiana University • doi: 10.2979/amerreli.1.1.08 Review Essay GOSPEL MINSTRELSY on Bob Dylan, Trouble No More: 1979–1981 The Bootleg Series, volume 13 Columbia Records (2017) Kathryn Lofton Yale University, New Haven, USA You have to begin by capturing in words something that is only partly about words. It isn’t not about words. It is just that words are the wrong way at it. Gospel is the sound of spirit. A particular kind of song and lyric, yes. Mainly, though, a spirit you use sound to achieve. Braxton Shelley says, “gospel music is a means by which to make one’s way through the world.” In his language, gospel is a sonic phenomenon that deploys a combination of repetition and intensification “to organize both sound and perception in pursuit of transcendence.”1 I am now going to write about something that we should hear to know.2 1 Braxton D. Shelley, “Analyzing Gospel,” Journal of the American Musicological Society 72, no. 1 (2019), 196, 239. My work about Bob Dylan in music history is inspired and informed by the scholarly and pedagogical contributions of Daphne Brooks and Gayle Wald. 2 Listening to gospel music while reading or writing about gospel music helps correct for some of this sensory hermeneutic confusion. If you would like a soundtrack to your reading, consider pulling up The Bootleg Series Vol. 13: Trouble No More 1979–1981. On streaming services, you find the standard two-disc edition. From that double album I American Religion 1:1 138 Of course: we talk a lot about gospel. We talk about its formal chronological beginnings (the 1930s) and the regions that intersected to forge its emergence (i.e., “Gospel music is the twentieth-century form of African American religious music that evolved in urban cites following the Great Migration of Blacks from the agrarian South in the period surrounding World Wars I and II”).3 We talk about its predecessor and contributing genres (spirituals, blues, jubilee, and camp-meeting songs); we talk about its founding father (Thomas A. Dorsey, 1899–1993) and his signature song (“Precious Lord”).4 We talk about its defining attributes (the call and response format, ample room for improvisation, rhythm, and frequent use of the flatted seventh and third in melodies).5 We try to write out how we got from there to here, from Mahalia Jackson (1911–1972) to Yolanda Adams (1961-), James David Vaughan (1864–1941) to Kirk Franklin (1970-), Rosetta Tharpe (1915–1973) to Valerie June (1982-). We try to say what is so special about this sound alongside other sounds, and why this sound could make communities stand up, and feel together. Whatever our studies of gospel music address, they invariably try to name this feeling of gospel sound. Where does that feeling derive, and what does that feeling do? Gospel songs “are emotionally inspired—by visions, trouble, sorrow, thanksgiving, and joy,” notes George Ricks.6 Gospel songs are trying to—in the words of Thomas Dorsey—“help somebody else” through an upbeat retelling of the “good news.”7 Throughout the history of Christianity, the concept of gospel was connected to an idea of a singular life story that needed to be told to others so they could know something they might not about the recommend tracks 5 and 12 from the first disc, and 6 and 16 from the second. The eleventh installment in the Columbia bootleg series of Dylan’s recordings, Trouble No More is available in three versions: a two-disc set common to the rest of the series after the first three volumes; a four-LP album version of the standard set; and a nine-disc deluxe version including a DVD. 3 Mellonee V. Burnim, “Gospel,” African American Music: An Introduction, 2nd ed., ed. Mellonee V. Burnim and Portia K. Maultsby (New York: Routledge, 2015), 189. 4 Burnim, “Gospel,” 171. 5 Robert Darden, People Get Ready! A New History of Black Gospel Music (New York: Continuum, 2004), 183. 6 George Robinson Ricks, Some Aspects of Religious Music of the United States Negro: An Ethnomusicological Study with Special...

But Can They Write? Television News Industry Assessment of the Skills of Broadcast Journalism Students and Recent Graduates

Broadcast journalism writing and reporting classes are designed to help students develop writing skills for multiple platforms, but many television news professionals think student writing and other necessary skills for the industry need improvement. Television news anchors, reporters, producers, and news directors who completed an online survey found many students need improvement in areas including writing skills, finding story ideas, storytelling, and writing to deadline. Survey participants also identified the need for robust internships and instructors with relevant skills and training. The purpose of this essay is to explore the survey comments which offer suggestions for both the academy and industry to improve multimedia student outcomes.

Do Feature Story on an ‘Average’ Donor

Successful FundraisingVolume 27, Issue 11 p. 7-7 Story Ideas Do Feature Story on an ‘Average’ Donor First published: 09 October 2019 https://doi.org/10.1002/sfr.31317Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume27, Issue11November 2019Pages 7-7 RelatedInformation

Konsep Fantasi dalam Film

Fantasy films were born from the development of fiction films that have shown existence since the beginning of its history. Fantasy films have their own charm because they can penetrate time and space compared to other genres. Fiction films develop from their creators both in terms of story and cinematography because fiction films are at the center of the poles: real and abstract. Its greatest strength lies in its ability to integrate and combine with other genres without exception and can be broadly developed unlimitedly. That is because fantasy films contain elements with different characteristics from other films where if a fantasy film has one element in the making of the film then it has been said to be a fantasy film. The elements or components that are seen are derived from the narrative and cinematic elements of filmmaking which contain ideas of stories, characters, and settings in a film. These three elements are the forming components of fantasy films that are fictitious and imaginative. The idea of the story is not based on an imaginary reality, that is a fiction that makes no sense. In the case of fantasy films, filmmakers will compete to develop and present ideas that have not been thought of before, so the audience seems to be carried away in a new world outside of real life. Character characters in fantasy films are the imagination of creators in fictitious forms, such as: animal characters, extraterrestrials, monsters, robots, and non-physical characters such as ghosts, spirits and holograms. While the background elements in fantasy films have a character setting place and time imaginative events are unique in unknown times or dimensions, can be past, present, and future with the centuries formed by the creators.

Haruki Murakami’s Characters and Works-as the Representation of Postmodernism.

As one of the most outstanding Japanese authors, Haruki Murakami always comes up with excellent ideas of surrealistic stories. The Postmodern condition is evident in most of Murakami’s novels. A sense of alienation of character and world is evident by a language medium invented to form a kind of rhythmic syntax structure which complements the illustration of the main characters’ subconscious fears and paranoia in the course of his exploration of a seemingly chaotic world. His portrayal of characters is unique and significant that expresses the dichotomy of characters who fight between reality and fantasy. Nevertheless, their ambition to be free from the structures that bound them do not always come true. Some of them left their symbolic mechanism to enter another one. In the end, the characters cannot be the Other; as long as they are still in the clutches of a particular token device they would only be able to be the other. His Characters explore themselves in search of meaning of their existence. His characters often utter speeches which directly contradict their subsequent actions.They are male, middle-aged, leading aimless existences. They enjoy preparing and eating such western foods as spaghetti; they love American pop culture, particularly music of the 1960s and 1970s; and they are hedonistic and idle. They either engage in casual love affairs or fantasize about having them. His novels like After dark(2004) and The Wind-Up Bird Chronicle (1994) is postmodern works by the coexistence of the surreal scenes.

PENGEMBANGAN FILM ANIMASI 3 DIMENSI “TUDE THE MOVIE – PETUALANGAN SI RINA (TERTANGKAPNYA BURUNG JALAK BALI)”

The development of this 3d animation movie called “Tude The Movie – Petualangan Si Rina” (Tertangkapnya Burung Jalak Bali), is second part of five parts on 3d animation movie called “Tude The Movie – Petualangan Si Rina”. The story of these series are not only about the preparation of Pandu to hangout with his friends but also about bad guy that catches Jalak Bali in a wild and the bad guy also want to sell the Jalak Bali to a buyer that already ordered it. The objective of this research : 1) To design 3d animated film “Tude The Movie – Petualangan Si Rina (Tertangkapnya Burung Jalak Bali)”. 2) To implement 3d animated film “Tude The Movie – Petualangan Si Rina (Tertangkapnya Burung Jalak Bali)”.In making this movie, the method of the research or the movie designed using Block Diagram. Block Diagram explain the steps of creating the 3d animated film Tude The Movie from beginning until finishing. In Block Diagram, there were 3 main stages 1) Pre Production (Story Idea, Writing and Creating the Storyboard), 2) Production (Modeling, Texturing, Rigging, Skinning, Acting/Animation, Lighting, Andrendering) 3) Post Production (Vioce Recond and Editing)The result of this research was 3d animated film on DVD format. This movie has been successfully completed in accordance with the design made earlier.