Title : Memahami Film: Pengantar Sinematik
Publisher : Montase Press
Year : JULI 2025
Writer : Himawan Pratista
Book size : 14cm x 23cm Book Paper 72g
Pages : 364 pages
ISBN : 978-623-89352-3-9 / 978-623-89352-4-6 (PDF)
Email : montaseproduction@gmail.com
Booking via WA: 081229383219
Price : Rp 175.000 ,- (Print on Demand/POD)
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Back Cover:
Kebanyakan dari kita masih menganggap film secara terpisah, yakni sisi tema/cerita (naratif) dan sisi teknis (sinematik). Banyak diskusi film selama ini yang mengulas masalah tema/isu sebuah film atau tentang masalah produksi hingga distribusi, namun tidak banyak yang mengulas aspek cerita dan teknis secara berkesinambungan. Aspek cerita dan teknis adalah hal-hal yang tidak dapat dipisahkan satu sama lain. Cerita merupakan hal penting dalam film, demikian pula dengan aspek teknis. Namun, sebenarnya yang terpenting adalah bagaimana aspek teknis tersebut dapat mewujudkan cerita filmnya. Dengan kata lain, dapat kita katakan, bagaimana aspek sinematik tersebut mampu mendukung aspek naratif (penceritaan) dalam sebuah film. Aspek naratif dan aspek sinematik, keduanya adalah elemen utama pembentuk film.
Melalui edisi sebelumnya, Memahami Film (edisi pertama dan kedua), penulis telah mendeskripsikan unsur-unsur pembentuk film dengan sistematis dan rinci. Aspek naratif dan sinematik saling berhubungan erat. Aspek naratif adalah hal-hal yang terkait dengan penceritaan film serta cara bertuturnya. Sementara aspek sinematik adalah hal-hal yang terkait dengan perlakuan estetik terhadap cerita filmnya. Aspek sinematik dipecah menjadi unsur-unsur yang lebih spesifik, yakni mise-en-scene, sinematografi, editing, dan suara. Seluruh aspek tersebut dalam Memahami Film telah dijelaskan secara rinci dengan menggunakan contoh film-film populer.
Memahami Film: Pengantar Sinematik dimaksudkan sebagai penyempurnaan dan pengembangan buku Memahami Film (edisi kedua). Buku ini memiliki relasi erat dengan Memahami Film: Pengantar Naratif yang juga merupakan update dari edisi kedua, yang terfokus pada aspek naratif (penceritaan). Fokus bahasan buku ini adalah aspek sinematik dan beragam hal yang terkait dengan eksplorasi teknis. Struktur pembahasan secara umum masih menggunakan buku sebelumnya dengan banyak pembaruan isi dan contoh film yang lebih update. Beberapa aspek lain yang terkait dengan eksplorasi teknis adalah pembahasan tentang gaya penyutradaraan, estetika pengadeganan, dan sejarah film. Gaya penyutradaraan dan estetika pengadeganan adalah sebuah pembahasan baru yang menyempurnakan pembahasan buku sebelumnya. Sejarah film tentu adalah satu hal yang patut diketahui, tidak semata hanya aspek teknologi dan pengembangan teknis, namun juga perkembangan industri film sendiri yang berubah demikian dinamis dari masa silam hingga kini.
Most of us still tend to perceive film as a separate entity—dividing it into thematic/narrative aspects and technical/cinematic aspects. Much of the existing discourse around film tends to focus on themes or issues raised in a film, or on aspects of production and distribution. However, there is relatively little discussion that addresses narrative and technical aspects in an integrated manner. In fact, narrative and technical elements are inseparable. The story is undeniably important in a film, as are its technical aspects. More importantly, it is the way in which these technical aspects serve to realize the story that matters most. In other words, it can be said that the cinematic elements of a film should effectively support its narrative. Both the narrative and cinematic aspects are core components in the construction of a film.
In the previous editions of Understanding Film (first and second editions), the author has systematically and thoroughly described the fundamental elements that make up a film. The narrative and cinematic aspects are closely interrelated. The narrative aspect concerns the storytelling of a film and how that story is conveyed. Meanwhile, the cinematic aspect deals with the aesthetic treatment of the story. The cinematic elements are broken down into more specific components: mise-en-scène, cinematography, editing, and sound. Each of these components has been elaborated in detail in Understanding Film, with references to a wide range of popular films. xx
Understanding Film: A Cinematic Introduction is intended as a refinement and development of Understanding Film (second edition). This book has a close relationship with Understanding Film: A Narrative Introduction, which is also an updated version of the second edition, with a focus on narrative aspects. The primary focus of this book is on the cinematic aspects and various elements related to technical exploration. Its structure generally follows that of the previous edition but includes numerous updates in content and more current film examples. Additional topics related to technical exploration include discussions on directorial style, the aesthetics of staging, and film history. The discussions on directorial style and the aesthetics of staging are new additions that complement the content of the previous book. Film history, of course, is essential—not only in terms of technological advancement and technical development, but also in understanding how the film industry itself has evolved over time in increasingly dynamic ways.
DAFTAR ISI
PRAKATA…………………………………………………………………………………………………………………………………….. v
DAFTAR ISI…………………………………………………………………………………………………………………………………. ix
BAB I UNSUR PEMBENTUK FILM………………………………………………………. 3
1.1. Unsur Naratif dan Sinematik ……………………………………………………………………..3
1.2. Memahami Film ………………………………………………………………………………………………5
BAB 2 MISE-EN-SCENE ………………………………………………………………………..9
2.1. Set …………………………………………………………………………………………………………………………..10
2.1.1. Definisi Set ……………………………………………………………………………………………………….10
2.1.2. Lokasi Pengambilan Gambar
Set Studio ……………………………………………………………………………………………………….. 12
Shot on Location ……………………………………………………………………………………………13
2.1.3. Fungsi Set ……………………………………………………………………………………………………….16
Ruang dan Waktu ………………………………………………………………………………………..16
Status Sosial ………………………………………………………………………………………………….. 17
Mood Adegan ……………………………………………………………………………………………….. 19
Motif/Simbol ………………………………………………………………………………………………….20
Pendukung Aktif Aksi/Adegan …………………………………………………………….. 21
2.2. Kostum dan Tata Rias Karakter ……………………………………………………………….22
2.2.1. Kostum dan Fungsinya …………………………………………………………………………….22
Ruang dan Waktu…………………………………………………………………………………………23
Status Sosial /Kelompok………………………………………………………………………….24
Kepribadian Pelaku……………………………………………………………………………………..24
Warna sebagai Simbol……………………………………………………………………………….25
Motif Penggerak Cerita………………………………………………………………………………26
Pencitraan…………………………………………………………………………………………………………26
2.2.2. Tata Rias Karakter…………………………………………………………………………………………27
2.3 Pencahayaan………………………………………………………………………………………………………30
2.3.1. Unsur-unsur Pencahayaan………………………………………………………………………30
Kualitas Pencahayaan……………………………………………………………………………….. 31
Arah Pencahayaan………………………………………………………………………………………. 31
Sumber Cahaya……………………………………………………………………………………………..32
Warna Cahaya………………………………………………………………………………………………..33
2.3.2. Rancangan Tata lampu……………………………………………………………………………..34
High Key Lighting………………………………………………………………………………………….34
Low Key Lighting…………………………………………………………………………………………..35
2.3.3. Bayangan…………………………………………………………………………………………………………36
Bayangan pada Obyek………………………………………………………………………………37
Bayangan dari Obyek………………………………………………………………………………..37
2.4. Pemain serta Pergerakannya…………………………………………………………………….38
2.4.1. Framing dan Pergerakan Pemain…………………………………………………………39
2.4.2. Jenis-Jenis Karakter…………………………………………………………………………………… 41
Karakter Manusia…………………………………………………………………………………………. 41
Karakter Nonmanusia………………………………………………………………………………… 41
Karakter Nonfisik…………………………………………………………………………………………..42
Karakter Animasi……………………………………………………………………………………………43
2.4.3 Casting……………………………………………………………………………………………………………….44
Figuran……………………………………………………………………………………………………………….44
Aktor Amatir…………………………………………………………………………………………………….45
Aktor Profesional / Nonbintang……………………………………………………………45
Bintang……………………………………………………………………………………………………………….46
Superstar…………………………………………………………………………………………………………..48
Cameo………………………………………………………………………………………………………………..49
2.4.4. Akting Pemain……………………………………………………………………………………………….50
BAB 3 SINEMATOGRAFI ………………………………………………………………………. 57
3.1. Aspek Kamera dan Film ……………………………………………………………………………… 62
3.1.1. Jenis Kamera ………………………………………………………………………………………………….58
3.1.2. Tonalitas ……………………………………………………………………………………………………………60
Kontras dan Brightness……………………………………………………………………………..60
Warna………………………………………………………………………………………………………………….61
3.1.3. Kecepatan Gerak Gambar……………………………………………………………………….62
Slow motion…………………………………………………………………………………………………….63
Fast motion………………………………………………………………………………………………………64
Reverse Motion………………………………………………………………………………………………64
3.1.4. Efek Lensa……………………………………………………………………………………………………….65
Short Focal Length (Wide-angle Lens)……………………………………………..66
Normal Focal Length………………………………………………………………………………….67
Long Focal Length (Telephoto Lens)………………………………………………….67
Lensa Zoom…………………………………………………………………………………………………….68
Deep dan Shallow Focus……………………………………………………………………………69
3.2. Framing………………………………………………………………………………………………………………….70
3.2.1. Bentuk dan Dimensi Frame…………………………………………………………………….70
3.2.1.1. Aspect Ratio…………………………………………………………………………………………………70
Fullscreen………………………………………………………………………………………………………… 71
Widescreen……………………………………………………………………………………………………..72
IMAX…………………………………………………………………………………………………………………….72
3.2.1.2. Multiple Frame (Split Screen)………………………………………………………………73
3.2.2. Offscreen dan Onscreen……………………………………………………………………………..75
3.2.3. Dimensi Kamera terhadap Obyek……………………………………………………….76
Jarak…………………………………………………………………………………………………………………….76
Sudut Pengambilan…………………………………………………………………………………….79
Kemiringan……………………………………………………………………………………………………….81
Ketinggian…………………………………………………………………………………………………………82
3.2.4. Pergerakan Kamera……………………………………………………………………………………83
Pan……………………………………………………………………………………………………………………….85
Tilt…………………………………………………………………………………………………………………………85
Roll Shot…………………………………………………………………………………………………………….86
Tracking Shot………………………………………………………………………………………………….87
Crane Shot……………………………………………………………………………………………………….88
Drone Shot……………………………………………………………………………………………………….88
3.2.5. Kamera Subyektif (POV Shot)………………………………………………………………..89
3.2.6. Handheld Camera………………………………………………………………………………………..92
3.2.7. Freeze Frame……………………………………………………………………………………………………94
3.2.8. Komposisi Simetris dan Dinamis………………………………………………………….96
Komposisi Simetris………………………………………………………………………………………96
Komposisi Dinamis……………………………………………………………………………………….97
3.3 Durasi Shot……………………………………………………………………………………………………………98
3.3.1. Durasi Cerita dan Durasi Shot………………………………………………………….98
3.3.2. Long Take……………………………………………………………………………………………..99
Long Take Segment/Scene…………………………………………………………………… 101
Simulated One Shot…………………………………………………………………………………….103
One Shot One Take………………………………………………………………………………………105
3.4. Pencapaian dan Inovasi Efek Visual………………………………………………………105
BAB 4 EDITING………………………………………………………………………………………..113
4.1. Jenis Transisi………………………………………………………………………………………………………. 114
Cut……………………………………………………………………………………………………………………….. 115
Dissolve…………………………………………………………………………………………………………….. 115
Fade……………………………………………………………………………………………………………………. 116
Wipe…………………………………………………………………………………………………………………… 116
Variasi Lain………………………………………………………………………………………………………. 117
4.2. Continuity Editing………………………………………………………………………………………………118
Aturan 180°………………………………………………………………………………………………………. 119
Shot/Reverse-Shot…………………………………………………………………………………….. 121
Establishing Shot………………………………………………………………………………………….. 122
Eyeline Match………………………………………………………………………………………………… 123
Cut-in………………………………………………………………………………………………………………….. 123
Match on Action……………………………………………………………………………………………. 124
Point of View (POV) Cutting…………………………………………………………………….. 125
4.3. Relasi Dan Estetika Antar Shot…………………………………………………………………. 125
Crosscutting……………………………………………………………………………………………………. 125
Montage …………………………………………………………………………………………………………..128
Graphic Match………………………………………………………………………………………………..130
Ritmik Editing…………………………………………………………………………………………………. 132
Efek Kuleshov………………………………………………………………………………………………… 134
Overlapping Editing…………………………………………………………………………………….136
4.4. Melawan Kontinuitas…………………………………………………………………………………….. 137
Pelanggaran Aturan 180°………………………………………………………………………….. 137
Jump-Cut………………………………………………………………………………………………………….139
Nondiegetic Insert……………………………………………………………………………………….140
BAB 5 SUARA…………………………………………………………………………………………..145
5.1. Elemen Suara dalam Film………………………………………………………………………….. 145
5.1.1. Dialog………………………………………………………………………………………………………………….146
Bahasa Bicara…………………………………………………………………………………………………146
Transisi Bahasa……………………………………………………………………………………………..148
Aksen………………………………………………………………………………………………………………….149
Monolog…………………………………………………………………………………………………………….149
Voice Acting…………………………………………………………………………………………………….150
Film Minim/Non-Dialog…………………………………………………………………………… 151
5.1.2. Musik………………………………………………………………………………………………………………….. 153
Ilustrasi Musik………………………………………………………………………………………………… 153
Lagu……………………………………………………………………………………………………………………. 155
5.1.3. Efek Suara……………………………………………………………………………………………………….. 157
5.2. Estetika dalam Aspek Suara………………………………………………………………………159
5.2.1. Volume Suara…………………………………………………………………………………………………159
5.2.2. Efek Gema……………………………………………………………………………………………………….160
5.2.3. Ritme Suara……………………………………………………………………………………………………. 161
5.2.4 Akurasi Suara………………………………………………………………………………………………….. 161
5.2.5 Diegetic dan Nondiegetic Sound……………………………………………………………162
5.2.5.1 Diegetic Sound……………………………………………………………………………………………..162
Onscreen dan Offscreen Sound…………………………………………………………….163
External dan Internal Diegetic Sound…………………………………………………..164
5.2.5.2 Nondiegetic Sound…………………………………………………………………………………….166
5.2.6 Sound Bridge……………………………………………………………………………………………………167
Suara Sebelum Aksi Cerita………………………………………………………………………167
Suara Setelah Aksi Cerita………………………………………………………………………….169
BAB 6 OPENING & ENDING CREDITS ……………………………………………….173
6.1. Opening Credits ………………………………………………………………………………………………..173
Opening Logo…………………………………………………………………………………………………. 176
Opening Title Sequence……………………………………………………………………………… 178
Pre-Opening Credits…………………………………………………………………………………….. 179
6.2 Ending Credits…………………………………………………………………………………………………….180
Closing Title Sequence………………………………………………………………………………..182
Epilog………………………………………………………………………………………………………………….183
Outtake……………………………………………………………………………………………………………….184
Mid-Credits Scene…………………………………………………………………………………………185
Post-Credits Scene………………………………………………………………………………………..185
BAB 7 TRIBUTE / HOMAGE ………………………………………………………………… 191
7.1. Tribute Naratif …………………………………………………………………………………………………… 191
Remake………………………………………………………………………………………………………………192
Komedi Parodi………………………………………………………………………………………………..193
Motif Plot/Adegan……………………………………………………………………………………….194
7.2 Tribute Sinematik………………………………………………………………………………………………195
Pengadeganan………………………………………………………………………………………………196
Tokoh/Karakter……………………………………………………………………………………………..198
Ilustrasi Musik…………………………………………………………………………………………………200
Kutipan Dialog………………………………………………………………………………………………..201
Studi Kasus: Ready Player One……………………………………………………………….203
BAB 8 DIRECTING STYLE ………………………………………………………………………..209
8.1 Apa itu Directing Style?…………………………………………………………………………………..209
8.2. Tim Burton…………………………………………………………………………………………………………. 212
8.3. James Cameron……………………………………………………………………………………………….218
8.4. Quentin Tarantino……………………………………………………………………………………………223
8.5 Seri James Bond………………………………………………………………………………………………229
BAB 9 ESTETIKA PENGADEGANAN…………………………………………………..237
9.1 Pengadeganan Dialog……………………………………………………………………………………237
9.2. Jump Scare………………………………………………………………………………………………………..242
9.3. Car Chase……………………………………………………………………………………………………………248
BAB 10 SEJARAH SINEMA DARI ERA SILAM HINGGA KINI…………..257
10.1. Awal Kemunculan Sinema………………………………………………………………………..258
10.2. Awal Perkembangan Industri Film di Amerika Serikat……………….260
10.3. Gerakan Sinema Berpengaruh di Era Film Bisu…………………………….261
10.4. Munculnya Teknologi Suara dan Warna……………………………………………263
10.5. Era Keemasan Hollywood (1927 -1950)……………………………………………..264
10.6. Persaingan dengan Televisi dan Akhir Era Sistem Studio
(1950-1970)……………………………………………………………………………………………………….266
10.7. Perkembangan Sinema dan Gerakan Berpengaruh
di Era Klasik……………………………………………………………………………………………………..268
10.8. Dimulainya Era Blockbuster (1970 – 1980)………………………………………270
10.9. Era Blockbuster Berlanjut (1980 -1990)…………………………………………….273
10.10. Lahirnya Era Digital (CGI) (1990 – 2000)………………………………………….. 275
10.11. Milenium Baru: Era Kejayaan Franchise dan
Teknologi 3D (2000 –2019)………………………………………………………………………279
10.12. Era Pandemi COVID-19 (2020 – 2024)………………………………………………285
10.13. Sekilas Perkembangan Sinema Asia…………………………………………………287
BAB 11 PENUTUP………………………………………………………………………………….299
FIlm Glossary…………………………………………………………………………………………………………………………….303
Index Film……………………………………………………………………………………………………………………………………
Index Sutradara………………………………………………………………………………………………………………………..333
Index Gambar……………………………………………………………………………………………………………………………335
Daftar Pustaka ………………………………………………………………………………………………………………………….341
Profil Penulis………………………………………………………………………………………………………………………………345