The studio production team

Proses adaptasi dari novel ke bentuk film disebut ekranisasi. Perbedaan yang sering muncul dalam proses ekranisasi selama ini lebih sering disebabkan oleh perbedaan sistem sastra (dalam hal ini novel) dan sistem film. Hal-hal teknis seperti media novel yang berupa kata- kata dan bahasa sementara media utama film adalah audio visual (suara dan gambar) memang menjadi kewajaran jika antara novel dan film menjadi berbeda. Dalam kasus novel dan film Ayat-Ayat Cinta (AAC), perbedaan yang ada bukan sebatas karena masalah teknis tersebut, tetapi adalah perbedaan yang disengaja. Hasil dari penelitian ini adalah menguraikan perbedaan-perbedaan antara novel dan film AAC yang kemudian bisa terdeskripsikan sebab- sebab perbedaan itu terjadi dan juga makna perbedaan tersebut. Dari penelitian ini dapat disimpulkan bahwa perbedaan yang ada antara novel dan film AAC bukan sebatas karena perbedaan sistem sastra dan sistem film, tetapi perbedaan yang disengaja oleh tim produksi film dengan maksud tertentu. Dari pengayaan dan berdasar pada fakta yang diungkap, peneliti menyimpulkan bahwa film AAC lebih menekankan pada persoalan poligami, ini terlihat dengan banyaknya penambahan adegan di dalam film yang menampilkan kehidupan poligami yang tidak ada di novel, sementara novel AAC lebih berisi. penggambaran perjuangan seorang mahasiswa Indonesia yang kuliah di Mesir beserta perjalanan kisah asmaranya. Abstract Adaptation process from novel to film is called ecranization. The differences often show up in the process of ecranization all this time is more regularly because of the difference of art system (in this case novel) and the film system. Technical things as media or novel which consist of words and language, meanwhile film main media is audio visual (sow1d and picture) becomes a common thing if between novel and film become different. In the case of AAC's novel and film, the difference is not only because of that technical problem, but this is an intentional difference. From this research can be concluded that difference among AAC's novel and film is not one bounds because an system difference and film system, but intentional difference by film production team for the specific purposes. From enrichment and based on fact that revealing, researcher concludes that AAC's film more emphasizes on polygamy problem, this appears on many added scenes in film that feature polygamy life that is not tell in the novel, while AAC'S novel more consist of the struggle of an Indonesian college student that study at Egypt there with his love story. Keywords: ecranization, novel and film, struggle of an Indonesian college student, polygamy

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“Des personnages de si près tenus”, TV Fiction and Moral Consensus

Qualitative Sociology Review ◽

10.18778/1733-8077.3.3.02 ◽

2022 ◽

Vol 3 (3) ◽

pp. 6-21

Author(s):

Sabine Chalvon-Demersay

Keyword(s):

Professional Ethics ◽

Temporal Dynamics ◽

Empirical Approach ◽

Production Team ◽

Moral Question ◽

Moral Landscape ◽

Unexpected Findings ◽

Literary Classics ◽

The Way

How can we understand the adaptations of literary classics made for French television? We simultaneously analyzed the works and the context in which they were produced in order to relate the moral configurations that emerge in the stories to activities carried out by identifiable members of the production team, in specific, empirically observable circumstances. This empirical approach to the constitution of the moral panorama in which characters evolve rejects the idea of the pure autonomy of ideological contents, suggesting instead a study of the way normative demands and professional ethics are combined in practice, thus combining a sociology of characters and a sociology of professionals and showing how professional priorities influence production choices. This detaches the moral question from the philosophical horizon it is associated with in order to make it an object of empirial study. Adopting this perspective produces unexpected findings. Observation shows that the moral landscape in which characters are located is neither stable, autonomous, transparent, or consensual. It is instead caught up in material logics, constrained by temporal dynamics, and dependent on professional coordination. It is traversed by tensions between professional logics, and logics of regulation.

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The Production Team and Staff

The Complete Guide to Film and Digital Production ◽

10.4324/9781315294896-4 ◽

2017 ◽

pp. 97-114

Author(s):

Lorene M. Wales

Keyword(s):

Production Team

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Lighting Production Team: Organization and Responsibilities

Designing with Light ◽

10.4324/9780429444678-2 ◽

2019 ◽

pp. 13-23

Author(s):

J. Michael Gillette ◽

Michael McNamara

Keyword(s):

Production Team ◽

Team Organization

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Parade

Routledge Encyclopedia of Modernism ◽

10.4324/9781135000356-rem79-1 ◽

2018 ◽

Author(s):

Juliet Bellow

Keyword(s):

Popular Culture ◽

Pablo Picasso ◽

Jean Cocteau ◽

Avant Garde ◽

Production Team ◽

Ballets Russes ◽

Cabaret Songs ◽

Erik Satie ◽

One Act

A one-act ballet on the theme of a fairground sideshow, Parade was produced by Serge Diaghilev’s Ballets Russes, and premiered on May 18, 1917 at the Théâtre du Châtelet in Paris. According to Jean Cocteau, the poet who wrote the ballet’s libretto, the impetus for Parade originated in 1912 with Diaghilev’s command, ‘‘Astonish me!’’ To fulfill Diaghilev’s mandate, Cocteau assembled a production team drawn from the Parisian avant-garde: for the score, he recruited the composer Erik Satie, known for experimental piano compositions such as Gymnopédies (1888) and for cabaret songs performed at the Montmartre cabaret Le Chat Noir. In 1916, Cocteau secured the participation of Pablo Picasso, a painter associated with the Cubist movement of the early 1910s, to design the overture curtain, set, and costumes. Working with the choreographer Léonide Massine, this group produced a ballet-pantomime featuring familiar characters from the circus, variety shows, and cinema. Mixing various forms of art and entertainment, Parade used dance to explore the unstable relationship between elite and popular culture.

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