MAKNA KODE VISUAL DALAM SCENE FILM ANIMASI “ BATTLE OF SURABAYA”

  • Hasbullah Hasbullah Universitas Bumigora
  • Gede Pasek Putra Adnyana Yasa Sekolah Tinggi Desain Bali
Keywords: visual codes, scenes, animated films, Battle of Surabaya

Abstract

The animated film "Battle of Surabaya" is one of the nation's children's work that is able to win various awards, both at national and international levels. In some scenes in this animated film, there is a visual code that contains information or messages delivered to the audience (audience). Through observing several scenes, it is found that there is a meaning of the visual codes contained in the scene. This study aims to analyze the aesthetic visual codes contained in the first, middle and end scenes of the animated film "Battle of Surabaya". Data collected through observation and literature study. Theories used as analysis are semiotics and postmodern aesthetic codes. The results of this study indicate that the meaning of the visual code in the animated film scene "Battle of Surabaya" namely: in the first scene, the action or action of the Indonesian government declared independence from the Dutch East Indies government as an act of the past that needed to be made; the scene is explaining the rejection of Indonesian independence, this action as the style of an animator in the sequence before and next; the final scene depicts the action of the main character (Musa) who unites the storyline sequence of the animated film "Battle of Surabaya", one of which implements the cultural value of please help as an act of popularizing Indonesian culture.

Downloads

Download data is not yet available.

References

Z. G. Djalle, E. Purwantoro and D. Dasmana, The Making of 3D Animation Movie Using 3DStudioMax, Bandung: Informatika, 2007.

P. A. Riyanta Lestari and I. K. Setiawan, “Adaptasi Cerita Rakyat Jayaprana Dan Layonsari Dalam Bentuk Animasi 2D”, nawalavisual, vol. 1, no. 2, pp. 88-94, Oct. 2019.

I. N. Agus Suarya Putra and I. P. Adi Saputra, “Perancangan Media Informasi Program Studi Teknik Informatika Dan Sistem Komputer Pada STMIK STIKOM Indonesia Berbasis Animasi 2D”, Jurnal Bahasa Rupa, vol. 1, no. 1, pp. 17-24, Oct. 2017.

B. Muhdaliha and D. R. D. Batuaya, “Film Animasi 2 Dimensi Cerita Rakyat Bali Berjudul I Ceker Cipak”, Jurnal Bahasa Rupa, vol. 1, no. 1, pp. 61-72, Oct. 2017.

A. Yuniawan, Scratching The Market With Animation Movie Trailer:Langkah Jitu Membuat Trailer Seru. Yogyakarta: Pustaka Ananda Srva, 2015.

F. Rochman, dkk, Ekonomi Kreatif: Rencana Pengembangan Animasi Nasional 2015- 2019, Jakarta: PT. Republik Solusi, 2015.

H. Pratista, Memahami Film. Yogyakarta: Homerian Pustaka, 2008.

Y. A. Piliang, Semiotika dan Hipersemiotika Kode, Gaya & Matinya Makna. Bandung: Matahari, 2012.

K. Budiman, Semiotika Visual: Konsep , Isu, dan Problem Ikonitas. Yogyakarta: Jalasutra, 2011.

I. N. L. Julianto, “Nilai Interaksi Visual dalam Perkembangan Medium Komunikasi pada Era Revolusi Industri 4.0”, Seminar Nasional Desain dan Arsitektur Sekolah Tinggi Desain Bali, Feb. 2019.

J. M. Boggs, Cara Menilai Sebuah film (The Art of Watching Film), Jakarta: Yayasan Citra, 1992.

Published
2020-04-17
How to Cite
[1]
H. Hasbullah and G. P. P. A. Yasa, “MAKNA KODE VISUAL DALAM SCENE FILM ANIMASI ‘ BATTLE OF SURABAYA’”, bahasarupa, vol. 3, no. 2, pp. 124-129, Apr. 2020.
Abstract viewed = 24 times
FULL TEXT downloaded = 15 times