Ekranisasi

Abstrak Penelitian ini bertujuan untuk mendeskripsikan dan menjelaskan proses ekranisasi pada alur, tokoh, perbedaan, dan nilai pendidikan karakter yang ada di dalam novel Air Mata Tuhan karya Aguk Irawan MN ke dalam film Air Mata Surga yang disutradarai oleh Hestu Saputra dengan menggunakan teori ekranisasi karena ekranisasi merupakan satu-satunya kunci untuk membedah permasalahan pada novel yang difilmkan. Jenis penelitian yang dipakai dalam penelitian ini adalah jenis penelitian deskriptif, dengan pendekatan kualitatif. Subjek atau sumber data yang digunakan pada penelitian ini adalah dokumen novel yang berjudul Air Mata Tuhan karya Aguk Irawan dan film berjudul Air Mata Surga yang disutradarai Hestu Saputra beserta transkrip filmnya. Instrumen atau alat penelitian adalah peneliti itu sendiri. Teknik analisis data menggunakan teori ekranisasi melalui perbandingan antara novel Air Mata Tuhan karya Aguk Irawan dengan film Air Mata Surga sutradara Hestu Saputra. Validitas data penelitian ini dilakukan dengan deskripsi mendalam dan triangulasi. Hasil penelitian menghasilkan proses ekranisasi yang terjadi pada unsur alur dan tokoh yaitu ada penciutan, penambahan, dan perubahan bervariasi. Terjadi perbedaan dalam novel dan film yang diakibatkan oleh pemunculan cerita yang tujuannya agar cerita tersebut dapat berkembang dan bervariasi. Dan terakhir terdapat 4 nilai pendidikan karakter yang terkandung di dalam novel dan film. Pemunculan nilai pendidikan karakter tersebut karena dari segi konflik yang terjadi merupakan cerita yang mempunyai relevansi terhadap kehidupan di masyarakat pada umumnya. Kata Kunci: Ekranisasi, Novel, Film. Abstract This study aims to describe and explain the process of granularity, character, differences, and the value of character education that is in the novel Air Mata Tuhan by Aguk Irawan MN into the movie Air Mata Surga directed by Hestu Saputra using the theory of ecranization because ecranization is the only key to dissect the problem on the filmed novel. The type of research used in this research is descriptive research type, with qualitative approach. The subject or source of data used in this study is a novel document titled Tears of God by Aguk Irawan and a film titled Air Mata Surga directed by Hestu Saputra along with the transcript of the film. The instrument or research tool is the researcher himself. Data analysis technique using the theory of ekranisasi through comparison between the novel Air Mata Tuhan by Aguk Irawan with the film Air Mata Surga directed by Hestu Saputra. The validity of this research data is done with in-depth description and triangulation. The results of the research resulted in the process of ecranization that occurs on the elements of plot and character that is there is shrinkage, addition, and change varies. Differences in novels and movies are caused by the appearance of a story whose purpose is for the story to flourish and to vary. And lastly there are 4 grades of character education contained in novels and movies. The appearance of the value of character education because of the conflict that occurs is a story that has relevance to life in society in general.

Surga yang Tak Dirindukan novel is interested to be studied using ecranisation since it implies special message, a polemic in society, mainly focused on a woman, it is called polygamy. The novel attracts the writer to analyze assumptions of Asma Nadia's perspective relating to polygamy, whether in the novel or in the film. Ecranisation is the change process or transformation of a literary work, either addition, reduction, or varied change. The writing is qualitative research. Method applied is comparative literature between novel and film. The analysis found out that there is the change in characters number and plot reflecting Asma's sight, considering that when polygamy occurs, then women only should have the patience or leave. Because of, for any reason, polygamy strongly hurt the people involved in. Asma Nadia also seems more tend to drive a man falls in love like a woman does, having loyalty to only one man. Abstrak Novel Surga yang Tak Dirindukan menarik minat untuk dikaji menggunakan ekranisasi karena mengandung pesan khusus, yaitu polemik di dalam masyarakat, khususnya bagi kaum perempuan, yakni poligami. Novel ini menggugah penulis untuk mengkaji asumsi-asumsi pandangan Asma Nadia mengenai poligami baik dalam film maupun novel. Ekranisasi merupakan proses perubahan atau transformasi sebuah karya sastra baik berupa penambahan, pengurangan, maupun perubahan bervariasi. Tulisan ini merupakan penelitian kualitatif, sedangkan metode yang digunakan adalah sastra bandingan antara film dan novel. Analisis menemukan adanya perubahan jumlah tokoh dan alur yang mencerminkan pandangan Asma, yang menganggap bahwa jika terjadi poligami, maka seorang perempuan hanya dapat bersabar atau harus pergi karena bagaimanapun poligami tetap melukai hati orang-orang yang terlibat di dalamnya. Asma Nadia juga tampaknya lebih cenderung mendorong laki-laki untuk mencintai seperti cara seorang perempuan yang jatuh cinta, yakni setia hanya pada satu orang saja.

Abstract: The thesis entitled “Transformation of Short Stories Collection Rectoverso Opus Dewi Lestari in the Rectoverso Movie: Seymour Chatman Naratology Analysis” describes the changes that occur from the transformation of five short stories that are CBS (“Curhat Buat Sahabat”), MJT (“Malaikat Juga Tahu”), HI (“Hanya Isyarat”), CdD (“Cicak-cicak di Dinding”), and “Firasat” into Rectoverso movie. This research uses the naratology theory of Seymour Chatman to see the intrinsic elements between short stories and movie. The intrinsic elements are plot, character, and background. Chatman says that fiction, in this case are novel or short story and movie, are parallel, altough they are different media, but both of them communicate things in same way. To seek the changes from short stories to movie, then used the Pamusuk Eneste concept about ekranisasi. Ekranisasi also called changing of literature into movies. In these process occurs narrowing or removal, expansion, and variations of the story. The result showed that changes in short stories collection Rectoverso into movie tend to occur in terms of extension and variation of the story. The narrowing tends to occur in background of time or time flow removal because not suitable to movie.
Keywords: Transformation, Narrative, Chatman, Ekranisasi

The process instead rides of the literary novel into films is part of the creative process of literature called ecranization. This ecranization phenomenon of middle a cutting-edge issue in the literary world. This is related to films that get listed in box office movies Indonesia, 70% of which are movie ecranization results from the novel. Emergence of the wide range of appreciation of literature lovers, both negative and positive attitude of the literary connoisseur solely as an expression of welcome will be the emergence of a literary phenomenon. The positive attitude of the connoisseur it should be motivation for the author of the novel or movie producers, while a negative attitude can be overcome by two alternasi, namely: (1) establish cooperation between writer and producer as well as (2) make a movie of his own. Thus, ecranization can be received well be part of a creative process of literature. Abstrak Proses alih wahana sastra dari novel menjadi film merupakan bagian dari pr...

Adaptasi karya sastra ke dalam film tentu menyebabkan adanya perbedaan dari karya sastra dan hasil adaptasi filmnya. Perbedaan-perbedaan tersebut kemudian disebut "ekranisasi". Dalam penelitian ini akan disajikan ekranisasi komik dan film Astérix le Gaulois. Peneliri menggunakan metode deskriptif kualitatif. Dari hasil penelitian, maka ditemukan beberapa perbedaan Astérix le Gaulois  dalam komik dan film, mulai dari pernambahan dan penciutan alur, tokoh, dan latar. Perubahan yang paling banyak terjadi adalah pada alur, yakni terdapat 6 penambahan. Artinya terdapat 6 adegan yang terdapat dalam film namun tidak ditemukan dalam komik Astérix le Gaulois .

ABSTRAK
Tujuan penelitian ini adalah untuk mendeskripsikan wujud ekranisasi dari komik Le bleu est une couleur chaude karya Julie Maroh. Ekranisasi merupakan kajian berupa adaptasi sebuah penyesuaian, pengubahan, dan pencocokan, alih wacana, atau perubahan dari karya sastra ke dalam bentuk film. Dalam penelitian ini digunakan metode deskriptif kualitatif. Data dikumpulkan melalui studi pustaka dan sumber data dari komik Le bleu est une couleur chaude dan film La vie d’Adèle. Hasil penelitian menunjukkan wujud ekranisasi komik ke film terdapat penciutan, penambahan, dan variasi baru baik dari isi cerita maupun unsur pembentuk ceritanya.
Kata kunci: Ekranisasi, Le bleu est une couleur chaude, La vie d’Adèle, komik, film

According to Horatius a literary work has two functions, Dulce et Utile”, which mean aesthetic and beneficial. One of the greatest Indonesian classical literary works, Di Bawah Lindungan Ka’bah, written by Haji Abdul Malik Karim Amrullah famed as HAMKA, covers both functions. The novel presents the aesthetic of ill-fated love story that is forcedly ended because of unsuited strata between both Hamid and Zainab, whether the unmatched between both lovers are of economic problem, social status, and even classical reason which fortified love and man's bravery upon proposing the woman. This love is finally recorded as the ill-fated love story for the love of both is brought to the grave. It naturally becomes the “dulce” for the readers because HAMKA was a religious figure, there have been implicit messages in his work and represent the life of HAMKA, or even his society at that time. It also brings benefits for the readers because the construction of love between both Hamid and Zainab was built on pure faith and respective norm.

Novel Toba Dreams bercerita tentang kehidupan keluarga Sersan Tebe yang oleh TB Silalahi ditulis dalam bahasa komunikatif. Dua bulan setelah dipublikasikan, novel tersebut diadaptasi menjadi film dengan judul yang sama oleh Benni Setiawan (penulis naskah sekaligus sutradara). Perbedaan media ternyata menimbulkan berbagai perubahan pada cerita, tokoh, dialog, bahkan latar ruang, waktu, dan suasana. Pembuat film tidak serta merta memindahkan isi novel ke media baru, sebab sebagaimana dijelaskan Eneste (1991:67), seringkali perlu dilakukan perubahan berupa penciutan, penambahan, atau perubahan bervariasi.

Dialog merupakan aspek penting dalam cerita, namun karakter berlainan
novel dan film ternyata menciptakan perbedaan pula dalam cara dialog hasil adaptasi ditampilkan. Perbandingan berlandaskan teori ilmiah mutlak diperlukan untuk mengetahui bagaimana kedua media menyajikan dialog kepada pembaca dan penontonnya. Penelitian ini dibatasi untuk hanya membandingkan isi dialog tanpa mengikutsertakan bahasa-bahasa nonverbal di kedua media.

Perbandingan dialog novel dan film Toba Dreams menuntun penelitian ini pada kesimpulan yang menguatkan pernyataan Eneste di atas. Penemuan beberapa persamaan juga membuktikan bahwa tidak semua dialog perlu diubah. Perbedaan akibat penciutan paling banyak ditemukan, disusul penambahan lalu perubahan bervariasi. Persamaan umumnya terjadi di kalimat-kalimat pendek dan dalam jumlah sangat sedikit. Perbedaan dan persamaan dialog merupakan wujud kebebasan dan tanggung jawab seniman dalam karya masing-masing.

Kata kunci: adaptasi, dialog, perbandingan

This research aims to determine the ecranization process and the differences in plot, figures, and setting in the
form of simplification, addition, or variation changes in the process of adaptation of the 5 CM novel by Donny
Dhirgantoro to the film of the same title by director Rizal Mantovani. The method used in this study is
descriptive with a qualitative approach. The research data source is the 5 CM novel and the 5 CM film. Data
collection techniques are done by reading, watching, and capturing. The analysis guidelines for this research
are researchers. The validity of the data used in this study was the validity of discourse. Reliability of data is
obtained using the reliability of the test integrates. The results of the study of the 5 CM novel by Donny
Dhirgantoro and the 5 CM film by Rizal Mantovani produced an ecranization process that is a simplification,
addition, and various changes in the plot, figure, and setting.
Keywords: ecranization, comparative structure, novels, films.

The theory offered by George Bluestone in his book Novels into Film (1957) is one of the most influential in the field of adaptation studies, both domestically and internationally. However, this theory has yet to be discussed in detail in Indonesian; as such, its application has often been found lacking. In this article, we discuss the fundamental aspects of Bluestone’s theory of adaptation as well as its philosophical basis and methodological implications. Bluestone writes that, in the adaptation process, it is impossible for there to not be any changes, as the differences in media between novels (as a language medium) and film (as a plastic medium) demands transformations, which can be classified as additions, subtractions, and deletions. Because of this difference in media, characters in films adapted from novels become simpler, scenes are added, subtracted, or deleted, and symbols used in the narrative undergo transformation. As such, Bluestone opines that films based on novels should be judged qua film; comparing films with their source novels is of as (little) value as comparing a work of architecture with a song.
Keywords: Screen adaptation, George Bluestone, Novels, Films

In the advancement of thought and ideology that is very rapid at this time gives a new nuance in the world of Indonesian cinema where there are so many film works in Indonesia that try to add films from short stories or best seller novels which is the process of adaptation from novel to form the film called Enest is ekranisasi. In Indonesia, ekranisasi is not a new thing. Many films have been adopted from short stories and novels. The differences that often appear in the process of ecranization have been more often caused by differences in the literary system (in this case short stories) and the short story system. Technical matters such as short stories (in the form of words and languages), while the main media of films are audio and visual (sound and images) are indeed normal if they are different. In the case of KMGP short stories and films. The differences that arise are not only technical, but intentionally for a particular function, which is to give an illumination of meaning or add to the harmony of the story that will be displayed.

Keywords: Short Story, Ecranization, Film, Transformation