Full Description
| Cataloguing Source | LibUI ind rda |
| Content Type | text (rdacontent) |
| Media Type | unmediated (rdamedia); computer (rdamedia) |
| Carrier Type | volume (rdacarrier); online resource (rdacarrier) |
| Physical Description | xi, 59 pages ; 30 cm |
| Concise Text | |
| Holding Institution | Universitas Indonesia |
| Location | Perpustakaan UI, Lantai 3 |
- Availability
- Digital Files: 1
- Review
- Cover
- Abstract
| Call Number | Barcode Number | Availability |
|---|---|---|
| S43307 | 14-17-446506502 | TERSEDIA |
| No review available for this collection: 20311354 |
Abstract
Skripsi ini membahas tentang representasi kota dalam sebuah film sebagai ruang sinematis sehingga kita dapat melihat kota dengan cara yang berbeda melalui film. Sebagai ruang sinematis, kota menjadi sebuah ruang yang ada di dalam film dan digunakan sebagai latar tempat yang memiliki unsur fisik dan intrinsik. Selain itu, terdapat hubungan geografis antar unsur fisik yang ada di dalamnya dan tandatanda yang menuntun penonton merasakan pengalaman ruang secara sinematis. Dengan menggunakan dua studi kasus, yaitu film Laskar Pelangi dan Nagabonar jadi 2 maka terlihat perbedaan representasi kota yang ditampilkan. Hal tersebut disebabkan oleh perbedaan unsur fisik dan intrinsik serta kehadiran karakteristik film setelah masa orde baru yang secara langsung terkait dengan kondisi sosialekonomi saat dua film tersebut diproduksi (2007-2008).
This thesis discusses the representation of city in film as a cinematic space, so that we can see a city in a different way through the film. As cinematic space, city become a space in film and it?s used as backround which has physical and intrinsic elements. In addition, there are geographic relationships between the physical elements on it and signs which lead the spectators to feel the cinematic experience. By using two case studies, Laskar Pelangi (The Rainbow Troops) and Nagabonar jadi 2, there is a difference of representation of the city on screen. It is caused by a difference of physic and intrinsic elements and also the appearance of film?s characteristic after New Order period which directly has a relationship with socio-economic condition in Indonesia when that films are produced (2007-2008).
This thesis discusses the representation of city in film as a cinematic space, so that we can see a city in a different way through the film. As cinematic space, city become a space in film and it?s used as backround which has physical and intrinsic elements. In addition, there are geographic relationships between the physical elements on it and signs which lead the spectators to feel the cinematic experience. By using two case studies, Laskar Pelangi (The Rainbow Troops) and Nagabonar jadi 2, there is a difference of representation of the city on screen. It is caused by a difference of physic and intrinsic elements and also the appearance of film?s characteristic after New Order period which directly has a relationship with socio-economic condition in Indonesia when that films are produced (2007-2008).