CINEMATIC SPACE STUDIES OF KOMPLEK SUSTER-SUSTER ST. FRANSISKUS IN SEMARANG

- Cinema and Architecture are two art media that dependent on some human senses to give experience and define space compared of other art medium. These two media have been trying to show and convince film viewers or architecture users as a work of art. Both have quality value that will be higher if they can be as close to reality. However, architecture tend to use visual but lack of emotions. As a result, buildings left us as only a viewers without invite us to engaged. Therefore, from cinema to architecture, the thinking of thematic conditions of architecture can be brought together with conceptual, contextual, architectonic, and technical. Ave Maryam (2020) is a film that takes place in Semarang, and Kompleks Susteran St. Fransiskus is the main setting that interesting to studied. From each scene it can clearly describe space with a visual composition to convey a strong spatial experience. Departing from an approach to cinema that is parallel to architecture so that the audience can experience spaces outside the formal architectural experience. The purpose of this study is to identify cinematic themes that can be discussed and reconstruct the cinematic space as a search for understanding the potential and meaning of cinematic in Kompleks Kesusteran St. Fransiskus based on the film Ave Maryam (2020). By using a qualitative descriptive method, from data that achieved by literature studies and film observations. It can be concluded that the existing approaches to architecture and cinema from Ave Maryam (2020) can be interpreted to build a concept that achieves the beauty and experience experienced in architecture such as watching the film. Key Words: cinematic, architecture and film, cinematic approach, Ave Maryam, Komplek Kesusteran St. Fransiskus, Semarang.

Echoing the Call for Multimodal Representation

The editor’s introduction to the Visual Anthropology Review, Vol. 32, Issue 2, from fall 2016 emphasizes the necessity of anthropology to engage in multimodal methodologies of research and research communication. An expanded view of visual anthropology, and its methodological and analytical contributions to current debates, recognizes and builds on the field’s commitment to a reflexive awareness of the social relationships at stake in the process of making images and an engagement with the politics of representation. It also encompasses an active approach toward learning to see how others see, how technologies of imaging picture the world, and a serious consideration of the technical capacities necessary for communicating ethnographic knowledge through visual composition, editing, and design. (Chio & Cox, 2016, pp. 101–102) The claim that the reflection on images has been neglected compared to the reflection on language, echoing in the introduction of Chio and Cox (216), has been made in the context of the iconic turn in the mid-1990s. In reference to the linguistic turn in philosophy coined by Richard Rorty (1967) in philosophy, art historian Gottfried Boehm (1994, pp. 11–38) described the iconic turn, and Thomas W. Mitchell (1995, pp. 11–34) used the term pictorial turn, observing a significant shift toward communication by images. Both recognized the increasing power of images in society through the digital means of communication, which enables everyone to easily create and disseminate images. Both were aware of the lack of reflection on the meaning of images in Western thought.

Moving Pictures and Renaissance Art History

Film, like the printed imagery inaugurated during the Renaissance, spread ideas---not least the idea of the power of visual art---across not only geographical and political divides but also strata of class and gender. Moving Pictures and Renaissance Art History examines the early flourishing of film, 1920s-mid-60s, as partly reprising the introduction of mass media in the Renaissance, allowing for innovation that reflected an art free of the control of a patron though required to attract a broad public. Rivalry between word and image, narrative and visual composition shifted in both cases toward acknowledging the compelling nature of the visual. The twentieth century also saw the development of the discipline of art history; transfusions between cinematic practice and art historical postulates and preoccupations are part of the story told here.

Application of The Synesthetic Approach in A Layout Design Course

<p>In visual communication design education, teachers strive to help students understand how to generate ideas in whatever form of graphics they are trying to create. This paper focuses on how we apply the concept of synesthesia in a visual composition, specifically in the form of a page layout comprising both text and images. This research is done in a class of second-year students majoring in graphic design in a visual communication design bachelor program. Students are given an assignment to create a multi-column layout and incorporate the synesthesia concept in their design. The result is quite interesting, with some artworks showing what can be considered as universal synesthetic experience for the viewers. The artworks are then evaluated and considered for future classroom exercises.</p>

The Color Pile: Equitable Self-Expression Through Color and Abstraction

The Color Pile is a visual tool transported from the author’s art-student context, and builds on the teaching model of Connie Smith Siegel and the Color Contrast work of Johannes Itten. As re-positioned, it offers a novel path to eliciting student narratives and point of view in language-dependent learning settings. Can this playful exercise support the clear articulation of complex ideas and help generate descriptive language? The Color Pile process moves from prompt to reflection to abstract visual composition, and resolves in a verbal, written or drawn reflection. Color and abstraction may help students gain access to their full capacities for complex thought and self-expression. Could this approach provide differently equitable support for student-produced narratives and descriptive language than is afforded by viewing representational imagery? Direct observations of middle school students using the Color Pile suggest the method could be meaningful to a diverse audience of teachers and learners. Its usefulness in a broad spectrum of language-oriented learning settings is considered.

Crosses on Rune-Stones: Functions and Interpretations

Crosses on Swedish rune-stones have been studied on numerous occasions, mostly in isolation from other features of the monument. This article exam- ines the use of rune-stone crosses with an emphasis upon their varying functions in the total composition of runic monuments. The analysis that combines the level of visual composition with textual elements re- veals different strategies in the display of crosses. Be- sides functioning as externalized Christian markers, crosses could be made to serve various internal (i.e. inscription-based) stylistic, decorative and practical purposes. The role of the cross could be modified ac- cording to particular contexts of usage.

Animated Film Visual Style Preferences of Elementary School Students in Malang Regency

In 2013 curriculum-based learning, the availability of learning media is still lacking. Indonesian children like to watch animated films and tend to remember the characters easily. They are also emotionally involved in animated films. Animated films can influence behavior and improve learning outcomes for children, so they are a suitable learning media. To make animation learning media requires studying the visual styles of animated films favored by children, especially elementary school students in Malang Regency. Quantitative and descriptive analyses were used in this study. The results showed that students like animated films that contain heroic actions. In addition, students like the realist-imaginative drawing style for characters and visual composition in animated films. Keywords: visual style, animated film, learning media

From the Antenna to the Display Devices: Transformation of the Colombian Radio Industry

Consolidation of the digital environment has become an irreversible global reality and, for the Colombian radio industry, it implies not only assuming a process of transformation in its actions, but, above all, continuous learning. Technological innovation imposes new forms of consumption whose logic corresponds to new systems for the production, distribution and commercialization of information, culture, science and entertainment. Object of study. Adaptation of the radio medium to the digital ecosystem of audiences invites us to focus the attention of researchers on the media’s use of web-radio, app–radio and social media; the relevance of sound semiotics compared to other components of the message on users’ screens; and the alterations suffered by the business model and productive routines of the radio. Methodology. This research took as its focus of study three Colombian radio stations and their informative stations—Caracol Radio, W Radio, Blu Radio, RCN Radio and La FM—through a mixed methodology. Quantitative instruments—numerical data to monitor activities on social platforms—and qualitative instruments—interpretation of messages and visual composition of the message—allow for the monitoring and analyzing of the performance of the radio medium in the digital environment, and the tactical approach of radio agents to delineate the strategies that promote the expansion, positioning and participation of radio in the Colombian media ecosystem. Results. Normalization of connectivity, ubiquity, timelessness and interactivity are, today, inherent values of the content broadcast by the radio industry, which needs to appropriate the tastes and interests of the audience through multi-device, multi-tasking and multi-user devices. Conclusion. Consumption actions of listeners: users are concentrated on the Smartphone screens, which provides a habit of listening and monitoring that forces the media to incorporate the format—and language—of video into their productive dynamics in order to attract and retain the attention of their audiences.