Research Article
Creative Transposition of Puppet’s Movement as Cultural Identity Case Study ‘Setan Jawa’ Film By Garin Nugroho
@INPROCEEDINGS{10.4108/eai.2-11-2019.2294929, author={Agustina Kusuma Dewi and Yasraf Amir Piliang and Irfansyah Irfansyah and Acep Iwan Saidi}, title={Creative Transposition of Puppet’s Movement as Cultural Identity Case Study ‘Setan Jawa’ Film By Garin Nugroho}, proceedings={Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia}, publisher={EAI}, proceedings_a={CONVASH}, year={2020}, month={8}, keywords={setan jawa film cultural identity creative transposition cultural code inter-semiotic}, doi={10.4108/eai.2-11-2019.2294929} }- Agustina Kusuma Dewi
Yasraf Amir Piliang
Irfansyah Irfansyah
Acep Iwan Saidi
Year: 2020
Creative Transposition of Puppet’s Movement as Cultural Identity Case Study ‘Setan Jawa’ Film By Garin Nugroho
CONVASH
EAI
DOI: 10.4108/eai.2-11-2019.2294929
Abstract
Image in film is language that can be understood when the image were moving. 'Movement' is a change of position on a body of the initial balance point. Acceleration technologies positioning 'movement' became important keywords that need to be presented in each communication channel. 'Setan Jawa' Film by Garin Nugroho (2016) is black and white silent film, which the gamelan orchestra composed by Rahayu Supanggah. On ‘Setan Jawa’ Film, 'movement' being the narrative visual sign in the various arts—including puppet—a vehicle for constructing sign of 'movement' as cultural identity. Focusing on the Javanese identity refers to the result of research by Roger Long (1979), using a narrative visual approach, case study and analysis of documentation, this study aims to identify form of creative transposition puppet’s movement in 'Setan Jawa' Film as cultural identity. Result of the study conclude that creative transposition on ‘Setan Jawa’ Film which constructed based on several types of movement adapted from Roger Long (1979)’s research—there are kadhak, mukadhiphuh and kathentheng—meaning should be considered in order to represent gesture as specific nonverbal message in relation on its context. It’s not only showing the surface of cultural narration, but also representation of transcendental meaning.
