Jurnal Gendang Alam (GA)最新文献

{"title":"PERANAN DALANG DALAM REKABENTUK PENTAS PERSEMBAHAN WAYANG KULIT KELANTAN","authors":"Azrul Azizi Amirrul","doi":"10.51200/ga.vi.2826","DOIUrl":"https://doi.org/10.51200/ga.vi.2826","url":null,"abstract":"Kajian ini akan meninjau peranan dalang wayang kulit Kelantan dalam reka bentuk pentas persembahan. Dalang wayang kulit atau tok dalang merupakan seseorang yang mengemudi persembahan wayang kulit. Beliau memainkan peranan sebagai penulis cerita, pengarah lakonan, pemain watak, pengarah pentas dan sebagainya. Reka bentuk pentas yang sesuai akan membantu dalam keseluruhan persembahan wayang kulit. Wayang kulit Kelantan mengalami perubahan besar yang selari dengan arus pembangunan moden. Perubahan yang dilihat adalah melibatkan reka bentuk pentas panggung dan kesannya kepada persembahan wayang kulit. Kekangan tempat dan ruang dilihat mempengaruhi persembahan dan penonton. Objektif kajian ini adalah untuk mengkaji peranan dalang dalam reka bentuk panggung wayang kulit Kelantan dan kesesuaian dengan era kini. Kajian ini menggunakan kaedah kualitatif yang melibatkan pemerhatian penyelidik dan temu bual dengan beberapa orang dalang wayang kulit Kelantan. Berdasarkan data yang didapati daripada kajian, analisis akan dilakukan dalam menentukan perubahan yang sesuai dan peranan dalang dalam merapatkan jurang perubahan dalam masyarakat. Hasil kajian telah mendapati perubahan ketara yang wujud dalam reka bentuk persembahan wayang kulit Kelantan adalah aspek ruang persembahan akibat daripada penyesuaian peranan dan sikap dengan tuntutan undang-undang, kehendak penganjur, ruang dan keperluan penonton. Perubahan sikap dan amalan dalang pada masa kini adalah satu langkah pemurnian yang amat bijaksana dan rasional bagi memastikan kelangsungan seni wayang kulit Kelantan. \u0000This study will look into the stage design of wayang kulit Kelantan and the dalang’s role on this matter. Tok dalang or the puppeteer plays many roles in wayang kulit Kelantan such as writer, acting director,character actor, stage director and many more. As an important figure that drives the show, tok dalang also can help with the improvement and innovation of wayang kulit Kelantan. Wayang kulit Kelantan has undergone major changes in line with the currentdevelopment and the innovation of stage design is one of them. Space constraints are seen to affect the performance and the the audience. The objective of this study is to study the role of tok dalang in the design aspect of the show that befitting the current era. This study will use qualitative methods which involve observation and interviews with several dalangs in Kelantan. Based on the data obtained,the analysis will be done to determine the stage design that can bridge the gap between the old and the new. From the result, the significant changes in the design came from the legal requirements, the demand fromthe organiser, and the audiences’ space. Changes in attitudes and practices of the dalang especially in innovation can benefit the continuity of the wayang kulit Kelantan.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133275423","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ANALISIS PERSONALITI KARAKTER PROTAGONIS DAN ANTAGONIS MELALUI BENTUK DAN WARNA DALAM FILEM ANIMASI WHEELY (2018)","authors":"Asilah Kamisin, Imelda Ann Achin","doi":"10.51200/ga.v10i2.2823","DOIUrl":"https://doi.org/10.51200/ga.v10i2.2823","url":null,"abstract":"Karakter merupakan antara salah satu elemen penting dalam naratif. Setiap karakter mempunyai personaliti yang tersendiri dan berbeza-beza bagi menghidupkan sesebuah cerita. Kebanyakan reka bentuk karakter animasi tempatan adalah berdasarkan manusia dan haiwan yang mana boleh dinilai dengan mudah, tetapi bagi karakter antropomorfik objek (inanimate) adalah sedikit rumit. Hal ini demikian kerana pergerakan mereka yang terbatas kerana tidak mempunyai anggota kaki, tangan dan juga wajah. Walaupun begitu, personaliti juga boleh dikaji melalui bentuk dan warna pada karakter. Oleh itu, kajian ini akan memfokuskan tentang personaliti karakter protagonis dan antagonis melalui bentuk dan warna. Hal ini demikian kerana kedua-dua aspek ini lebih dominan dalam reka bentuk karakter antropomorfik objek (inanimate) dalam filem animasi Wheely (2018). Analisis dibuat berdasarkan konsep Bahasa Bentuk dan teori Colour Affects System dan hasil kajian mendapati bahawa bentuk dan warna dapat melambangkan personaliti karakter protagonis dan antagonis dalam filem animasi Wheely (2018).\u0000 \u0000Character is one of the most important elements in a narrative. Each character has its own personality and differences in order for a story to be ‘alive’. Most of the animation character designs are based on human and animal which can be read easily. As for inanimate object anthropomorphic characters, it can be quite challenging as most of them have no arms, legs and even facial parts which caused limitation in their movements. Thus, this paper will be focusing on how the personality of the protagonist and antagonist characters in the animation film Wheely (2018) can be conveyed through shapes and colours as these two aspects are the most dominant in inanimate object anthropomorphic characters.The analysis was made based on the concept of Shape Language as well as the Colour Affects System theory. The final result shows that shapes and colours could reflect on the protagonist and antagonist characters’ personality in the animated film Wheely (2018).","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126565220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PENDEKATAN ANALISIS FORMALISTIK DAN SEMIOTIK VISUAL: MENCARI FAKTOR ‘APPEAL’ DALAM WATAK ANIMASI TEMPATAN","authors":"Teddy Marius Soikun, Ag. Asri Ag. Ibrahim","doi":"10.51200/ga.v10i2.2825","DOIUrl":"https://doi.org/10.51200/ga.v10i2.2825","url":null,"abstract":"Penulisan ini bertujuan untuk membincangkan pencapaian dan pemahaman prinsip ‘Appeal’ dalam reka bentuk watak animasi lokal. ‘Appeal’ adalah salah satu daripada 12 prinsip reka bentuk animasi dan kerap kali dianggap sebagai kurang jelas. Untuk mencapai ‘daya tarik’, salah satu kaedah yang digunakan ialah kata-kata kunci impresi penonton atau Viewer’s Impression Words (VIW), yang merupakan pengubahsuaian dari Kansei Words (KW). Kaedah ini menggabungkan teori formalistik dan semiotik visual untuk mencapai VIW, iaitu bahagian penting dalam Kejuruteraan Kansei. Kaedah ini disarankan sebagai teknik baharu untuk memperbaiki kaedah dalam memperoleh kata-kata VIW atau KW untuk digunakan dalam latihan pengukuran bagi menemukan kesan (emosi) dalam memahami ‘appeal’ sehingga dapat mencapai prinsip-prinsip longgar dalam reka bentuk watak animasi tempatan.This article discuss about the achievement and understand the ‘Appeal’ factor in local animated character design. ‘Appeal’ is one of the 12 principles of animation design and often considered ambiguous. To achieve ‘appeal,’ one of the methods used is audience impression keywords or Viewer’s Impression Words (VIW), which is a modification of Kansei Words (KW). This method combines formalistic theory and semiotic visuals to achieve Viewer’s Impression Words (VIW), which is an essential part of Kansei Engineering. This method is suggested as a new technique to improve the method in obtaining words VIW or Kansei Words to use in measurement exercises to find the effect (emotion) in understanding ‘appeal’ to achieve loose principles in local animated character design.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125845643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"SIGNIFIKASI WAU DALAM TELEMOVIE “WAU KASIH”","authors":"Muhamed Syafiq bin Salleh, Mohamad Nor Hisyam bin Musa, S. Zainal, Lokman Abdul Samad, Nursiah Hj Sabdin","doi":"10.51200/ga.v10i.2584","DOIUrl":"https://doi.org/10.51200/ga.v10i.2584","url":null,"abstract":"Wau merupakan sejenis permainan tradisi masyarakat Melayu, terutamanya wau bulan yang menjadi ikon kepada masyarakat Kelantan. Pada masa kini, permainan wau semakin lenyap dek arus globalisasi yang serba canggih, Sedikit sebanyak pemodenan mempengaruhi pola pemikiran masyarakat yang memandang rendah pada hal yang tradisional. Bagi melestarikan permainan tradisi, bidang perfileman dilihat relevan dalam memaparkannya secara visual dan verbal. Kreativiti sutradara atau pengarah dituntut dalam menterjemahkan simbol-simbol budaya sinematik yang memberi makna kepada penonton. Telemovie, Wau Kasih (2016) terbitan Heritages Movie Sdn. Bhd. dengan kerjasama Astro Citra merupakan karya arahan Wan Mohd Rafiq dan pengarah bersama Sabri Yunus, mengisahkan seorang lelaki yang menyara keluarganya dengan mengambil upah sebagai pembuat wau bulan. Makalah adalah hasil penelitian terhadap tanda-tanda dari aspek visual dan verbal dalam telemovie Wau Kasih (2016). Metodologi kajian ini dilaksanakan secara kualitatif. Penulis melakukan pengamatan rapi terhadap video sebagai rujukan utama. Sebagai rujukan tambahan, penulis menjalankan kajian perpustakaan dan rujukan di laman sesawang terpilih untuk menyokong hujahan. Penulis menggunakan kerangka teori semiotik Charles Sanders Pierce yang memberi perhatian terhadap ikon, indeks dan simbol serta semiotik Roland Barthes digunakan sebagai kerangka teori kajian. Melalui pemerhatian yang dijalankan, penulis mendapati ikon wau bulan mempunyai persamaan dengan watak Pak Akob yang berasal dari Kelantan yang kemudiannya berpindah ke Selangor. Wau bulan tersebut juga turut memaparkan indeks utama cerita ini dengan menjelaskan sebab-akibatnya Pak Akob tinggal di negeri orang. Penulis turut mendapati bahawa wau menjadi simbol kepada rona kehidupan seorang individu di muka bumi ini dan terdapat beberapa falsafah kehidupan yang dipaparkan melalui verbal atau pengucapan dialog pelakon. Oleh hal yang demikian, artikel ini diharapkan mampu merapatkan jurang ilmu kajian budaya tradisi dalam industri filem tempatan. \u0000There are various traditional games in the world and one of Malaysia’s iconic traditional games is wau, an intricately designed Malaysian moon-kite. Wau comes in different shapes, sizes and colours. One of the iconic wau is the wau bulan. It is an iconic moon-kite for the Kelantanese in Malaysia. Presently, playing wau seems to be popular due to the globalized advanced technology era which affecting nowadays generation’s mindset and perspective towards traditional games over time. In order to enhance the traditional games in Malaysia, the film industry appear to be appropriate and relevant in promoting the idea, visually and verbally. Translating the cinematic cultural symbols are based on the researchers and author’s creativity as well as delivering the appropriate messages to the audiences. One suitable example of a telemovie called Wau Kasih (2016) from Heritages Movie Sdn. Bhd. and Astro Citra, a masterpiece under Wan Moh","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132295236","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"SENI VISUAL DALAM KONTEKS GEJALA SOSIAL DI MALAYSIA: INTERPRETASI SIMBOLIK PADA KARYA CATAN FAWWAZ SUKRI","authors":"Issarezal Ismail, Humin Jusilin","doi":"10.51200/ga.v10i.2582","DOIUrl":"https://doi.org/10.51200/ga.v10i.2582","url":null,"abstract":"Seni visual kontemporari hari ini merupakan refleksi dari pelbagai fenomena yang terjadi dalam masyarakat dan kebudayaan di mana karya seni visual itu diciptakan. Kajian ini bertujuan untuk mendekati, memahami dan menjelaskan karya seni visual Fawwaz Sukri dalam konteks gejala sosial yang mencakupi aspek simbol dan maknanya. Pendekatan kualitatif yang menekankan pada sistem penjelasan yang bersifat deskriptif, holistik, terperinci dan mendalam digunakan, sekali gus dihubungkan dengan cara pandang interpretasi simbolik yang berfungsi sebagai perangkat analisis untuk menginterpretasi makna simbolik karya seni visual berdasarkan pelbagai sumber data seperti pemerhatian, temu bual dan dokumen. Dapatan kajian ini menunjukkan bahawa karya seni visual ciptaan Fawwaz Sukri merefleksikan pelbagai isu atau persoalan gejala sosial seperti sumbang mahram, gaya hidup bebas, pembuangan bayi dan pelacuran. Isu dan persoalan tersebut diekspresikannya melalui penerapan simbol dan tanda yang bersumber dari budaya Melayu, budaya popular dan pengalaman peribadi di mana kesemuanya itu menitip kefahaman simbolik terhadap kepelbagaian makna dan pesan yang sarat dengan muatan kritik sosial dan juga kemanusiaan. \u0000  \u0000Contemporary visual art today reflects various phenomena or situations that occur in society and culture in which the visual artwork was created. This study aims to investigate, understand and explain the visual artwork of Fawwaz Sukri in the context of social problems that cover aspects of symbol and meaning. A qualitative approach that emphasize on a system of descriptive, holistic, detailed and in-depth explanatory systems is used in conjunction with a symbolic interpretive approach that serves as an analytical tool to interpret the symbolic meaning of visual art based on various data sources such as observation, interview and documents. Findings of this study have shown that Fawwaz Sukri’s artworks reflects various issues of social problems suchas incest, free lifestyle, abortion and prostitution. All this issue was expressed through the application of symbols and signs that come from the Malay culture, popular culture and personal experience in which all of them convey symbolic understanding of thediversity of meanings and messages laden with loads of social criticism and humanity.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"8 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120822920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"IMPROVING KNOWLEDGE OF TEXT NECK AND NECK PAIN USING INTERACTIVE SMARTPHONE APPLICATION FOR UNDERGRADUATE STUDENTS IN UNIVERSITI SAINS MALAYSIA","authors":"J. Dolah, Joey Loh Jo Yie, Lilian Lee Shiau Gee","doi":"10.51200/ga.vi.2522","DOIUrl":"https://doi.org/10.51200/ga.vi.2522","url":null,"abstract":"Text neck syndrome has become more prevalent in modern life and can be avoided with proper neck warm-up exercise and frequent smartphone break-away. However, research has shown that due to a lack of education and awareness, most mobile users did not have the habit of break-away when using smartphones. Most solutions required the use of an external device attached to the body, resulting in significantly reduced ease of use and comfort. The objective of this study is to determine the level of knowledge and awareness of the text neck among undergraduate students of Universiti Sains Malaysia (USM) and to create an interactive mobile application to reduce the prevalence. The app is AR-based neck exercise gamification that alerts incorrect posture using a smartphone front camera and a built-in sensor. The proposed study will enable people who are suffering from, or at risk of, text neck to have more pleasant and engaging neck exercise experience with a better exercise impact, and may promote regular break-away from the wrong posture.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134510427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"REVOLUSI BENTUK, FUNGSI DAN TREND PEMAKAIAN TUDUNG DI MALAYSIA","authors":"Saniah Ahmad, Zairul Anuar Md Dawam","doi":"10.51200/ga.v10i.2521","DOIUrl":"https://doi.org/10.51200/ga.v10i.2521","url":null,"abstract":"Pengaruh kebangkitan Islam pada awal tahun 1970-an telah mencetuskan kesedaran pengamalan pemakaian tudung dalam kalangan wanita Melayu di Malaysia. Pengamalan pemakaian tudung pada tahun 1970-an hingga tahun 2020 telah memberi kesan kepada perubahan fesyen tudung dari aspek bentuk dan fungsinya. Perubahan cita rasa dan tujuan pemakaian tudung menyebabkan bentuk tudung, fungsi dan pemakaiannya juga turut berubah daripada bentuk tudung yang dikenali sebagai skaf kepada shawl. Metodologi kajian ini adalah berdasarkan sumber primer dan sekunder. Sumber prima diperoleh daripada beberapa informan, manakala sumber sekunder tentang skaf dan shawl diteliti dari gambar-gambar dalam media massa seperti majalah, katalog dan surat khabar tempatan dan dari media sosial seperti laman sesawang yang sahih, blog, Facebook, YouTube dan Instagram. Hasil kajian mendapati wanita Islam pada masa kini mempunyai pelbagai pilihan untuk menggayakan tudung mengikut tujuan seseorang individu untuk bertudung. Tiga faktor utama dirungkaikan dalam kajian ini yang berkaitan dengan tujuan pemakaian tudung yang membentuk cita rasa yang berbeza bagi setiap individu. Cita rasa pengguna memilih jenis tudung adalah berdasarkan keperluan individu tertentu dari aspek fungsi, praktikaliti dan nilai estetika. \u0000  \u0000The influence of Islamic awakening in the early 1970’s has sparked awareness, practicing the ‘tudung’ among Malay women in Malaysia. The practice of wearing ‘tudung’ in the 1970’s through 2020 has influenced the fashion change of its ‘tudung’ in terms of shape and function. Changes in the taste and purpose of the headcarves have resulted in the ‘tudung’ shape, function and usage have also changed from known as the scarf to the shawl. The methodology of this study is based on primary and secondary sources. Primary sources are derived from some relevant informants in this study while secondary sources on scaffolding and shawl are examined from images in mass media such as magazines, catalogs and local newspapers and from social media such as websites authentic, blog, Facebook, YouTube and Instagram. The results show that Muslim women today have a variety of options to decorate the ‘Tudung’ according to an individual's intention to wear a ‘tudung’. The three main factors that are highlighted in this study are related to the purpose of wearing ‘tudung’ that create different tastes for each individual. The way consumers choose the ‘tudung’ is based on their individual needs in terms of function, practicality and aesthetic value.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129580329","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"TEKNIK PENYUNTINGAN DAN KESANNYA TERHADAP EMOSI AUDIENS DALAM FILEM AKSI TERPILIH MALAYSIA","authors":"Rosli Sareya, Zairul Anuar Md Dawam, Borhannudin Abdullah, Sharip Zainal bin Sagkif Shek, Muhamed Syafiq bin Salleh syafiq","doi":"10.51200/ga.v10i.2520","DOIUrl":"https://doi.org/10.51200/ga.v10i.2520","url":null,"abstract":"Kajian ini memfokuskan kepada adegan-adegan aksi jalanan bermotor dengan membuat penelitian terhadap kesesuaian teknik-teknik suntingan filem aksi jalanan terpilih. Analisis dilakukan dengan membincangkan secara terperinci adegan aksi jalanan yang wujud dalam filem tersebut. Kajian ini mengambil dua buah filem aksi jalanan, iaitu KL Menjerit (2002) dan Evolusi KL Drift 2 (2010) sebagai kajian kes. Data diperoleh menerusi penontonan berterusan terhadap filem-filem aksi terpilih dengan melihat secara stop motion, iaitu meneliti frame by frame syot dalam setiap adegan aksi jalanan tersebut. Maklumat berkenaan teknik penyuntingan filem juga diperoleh menerusi temu ramah dengan pengarah dan penyunting filem-filem aksi jalanan tersebut. Selain itu, maklumat lain juga diperoleh daripada jurnal, buku, internet, bahan penerbitan dari Perbadanan Kemajuan Filem Nasional Malaysia (FINAS), majalah, akhbar dan kertas kerja daripada penyelidik-penyelidik terdahulu. Dapatan kajian menunjukkan bahawa kedua-dua buah filem aksi tersebut disunting menggunakan teknik penyuntingan yang mampu melahirkan kesan dramatik. Namun, teknik penyuntingan parallel tidak digunakan oleh kedua-dua penyunting filem tersebut. Pengkaji turut mendapati bahawa elemen seperti cemas, teruja, kejutan, debaran dan bersemangat harus ada dalam membentuk sesebuah adegan aksi jalanan bagi menghasilkan kesan dramatik yang lebih berkualiti dan realistik. Menerusi kajian ini nanti, diharap para penyunting filem aksi jalanan khususnya dapat memahami dan seterusnya mengetahui penggunaan teknik-teknik penyuntingan mengikut kesesuaian pada sesebuah adegan aksi jalanan. \u0000  \u0000This study focuses on film action scenes by exploring the suitability of the editing techniques of street action scenes through the analysis of selected street action movies. Two street action movies are used as case studies: KL Menjerit (2002) and EvolutionKL Drift 2 (2010). The data were obtained through close viewing of the selected action films by looking into stop motion which entailed examining the frame by frame syots in all the street action scenes. In addition, information about film editing techniques was also obtained through interviews with the street action film directors and editors. Other information was also obtained from journals, books, internet, and publications of the National Film Development Corporation Malaysia (FINAS), magazines, newspapers, and treatises by researchers and scholars. This study shows that these two films do not use a parallel editing. Although, it is showing that elements such as anxieties, excitements, surprises and suspense need to be in the street action scenes to produce a more realistic effect. Through this study, action film editors, especially in street action scenes, can understand and know the proper application of these editing techniques in such scenes.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"136 11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131226008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"REPRESENTASI BELIA DALAM MEDIA MASSA","authors":"Cyril Modili, Haryati Abdul Karim","doi":"10.51200/ga.v10i.2512","DOIUrl":"https://doi.org/10.51200/ga.v10i.2512","url":null,"abstract":"Artikel ini membincangkan konsep representasi belia dalam media massa. Representasi disebarkan melalui budaya yang diamalkan dan menyumbang kepada cara pandang serta pemahaman seseorang individu terhadap diri sendiri dan orang lain. Dalam kertas kerja ini, belia didefinisikan dalam bentuk beberapa fasa, iaitu fasa perantaraan kehidupan antara kanak-kanak dan dewasa, fasa sebagai rakyat dan kesedaran hak individu, fasa rasmi yang ditentukan oleh undang-undang, fasa kedewasaan-biologi, psikologi, emosi dan kematangan, fasa transisi kehidupan sosial dan pembentukan kendiri melalui persekitaran sosial (Cole, 2004). Media massa pula dikaitkan dengan belia dalam kertas kerja ini kerana dianggap sebagai pedagogi budaya yang mencerminkan media sebagai petunjuk arah kehidupan seseorang manusia yang mempunyai peradaban (Robson, 2008). Terdapat beberapa konsep representasi terhadap belia yang dibincangkan dalam kertas kerja ini. Antaranya ialah representasi keganasan, masalah sosial dan stereotaip imej negatif. Oleh itu, kajian seumpama ini perlu dilakukan untuk melihat signifikan representasi belia dalam media massa pada masa kini, sama ada ia menggambarkan situasi sebenar kehidupan belia atau sebaliknya. Hal ini demikian kerana belia pada masa kini lebih tertarik dengan representasi mereka dalam media sosial yang seterusnya dijadikan sebagai kayu ukur dalam menjalani kehidupan harian mereka (Hanckel, 2016). \u0000  \u0000This article discusses the concept of youth representation in the mass media. Dissemination of representation through a culture that practiced in everyday life contributes to views and understanding of oneself and others. Definition of youths in this paper explained in the form of phases, which are the intermediate stage of life between children and adults, period where they know their rights and as a citizen, the official phase determined by law, the adulthood-biology phase, psychology, emotion and maturity, the social life transition phase and the self-development through the social environment (Cole, 2004). As a cultural pedagogical to a civilize human which used as the guide of a way of life as human, mass media plays an essential role in youth life (Robson, 2008). There are several youth representation concepts discussed in this paper: violent representation, social problems and negative image stereotypes. Therefore, this study is crucial to see a significant description of youth in the mass media, whether it is showing the reality of how youth live or vice versa. Moreover, youth nowadays are more interested in their representation in social media and makes it as a guide to living their everyday life (Hanckel, 2016).","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"92 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125011437","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"KOMPOSISI TARI MELAYU DALAM FILEM P. RAMLEE SUMPAH ORANG MINYAK (1958): ANALISIS TERHADAP TARIAN TUDUNG PERIUK","authors":"Sharip Zainal bin Sagkif Shek, Zairul Anuar Md Dawam","doi":"10.51200/ga.v10i.2510","DOIUrl":"https://doi.org/10.51200/ga.v10i.2510","url":null,"abstract":"Artikel ini menganalisis komposisi tari Melayu dalam filem P. Ramlee, iaitu Sumpah Orang Minyak (1958). Perbincangan terhadap Tari Tudung Periuk dalam filem ini dilakukan berdasarkan analisis komposisi tari yang meliputi tema, gerak tari, pola lantai, penggunaan muzik dan kostum serta props. Analisisk tema atau pokok persoalan yang cuba dipaparkan melalui makna gerak tari dan pola lantai yang dipersembahkan telah dilakukan. Ia bertujuan melihat sama ada gerak dan pola lantai yang digunakan bersesuaian dengan tema yang cuba disampaikan melalui filem tersebut. Selain itu, analisis juga akan meliputi penggunaan muzik, lagu dan kostum serta props yang digunakan oleh penari, sama ada memenuhi ciri-ciri sebuah tari Melayu yang mempunyai unsur budaya dan tradisi Melayu. Analisis ini juga akan dihubung kait dengan tujuan adegan yang dipaparkan dalam filem tersebut. Kajian ini mendapati tema yang cuba disampaikan melalui gerak tari dan pola lantai dalam dua buah tarian tersebut bersesuaian dengan tujuan adegan yang cuba dipaparkan dalam filem. Malah, pola lantai, penggunaan muzik, lagu dan kostum serta props dalam tarian tersebut memenuhi ciri-ciri komposisi sebuah tari Melayu yang mempunyai unsur budaya dan tradisi Melayu. Analisis komposisi tari tarian Melayu dalam filem P. Ramlee ini diharap dapat dijadikan panduan kepada penggiat seni tanah air, para pelajar tari, koreografer dan penulis untuk mengkaji dan menghasilkan tari yang mempunyai ciri-ciri budaya dan tradisi Melayu dari aspek tema, gerak tari, pola lantai, penggunaan muzik dan lain-lain lagi. \u0000  \u0000This article analyzes composition of Malay dance in the P. Ramlee film with title Sumpah Orang Minyak (1958). The discussion on Tari Tudung Periuk in this film is performed based on the analysis of dance compositions, covering the theme, dance movement, floor pattern, musical and costume use and props. Analysis of the theme or the subject matter that is being tried through the meaning of dance movements and the presented floor pattern has been done. This is to see if the motion and floor patterns are used in conjunction with the theme being tried through the film. In addition, the analysis will also examine the use of music, songs and costumes as well as props used by dancers to meet the characteristics of a Malay dance that has Malay cultural and traditions. In addition, this analysis will be associated with the purpose of the scene displayed in the film. The study found that the themes that were tried through the dance movements and floor patterns in the two dances were in line with the purpose of the scenes being tried in the film. Even the floor pattern, the use of music, songs and costumes and props in the dance meets the characteristics of a Malay dance that has Malay cultural and traditions. The analysis of Malay dance composition in P. Ramlee film is expected to be used as a guide to homeland arts practitioners, dance students, choreographers and writers to study and produce dance with cultur","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130983846","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}