RAMANDA, AKBAR SURYA (2025) PERAN JURU KAMERA DALAM FILM DOKUMENTER "PUNK FOOTBALL INDONESIA"COLLECTIVE & FRIENDSHIP". S1 thesis, Universitas Mercu Buana Jakarta.
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Abstract
The documentary film Punk Football Indonesia: Collective & Friendship highlights the punk football movement in Indonesia through three clubs: Riverside Forest (Bandung), FC Rainfall (Bogor), and Port City Wanderers (Jakarta). This movement emerges as a form of resistance against the commercialization of football while emphasizing values of collectivity and solidarity. The purpose of this work is to examine the role of the cameraman in presenting these values through a documentary cinematography approach. The cameraman not only functions technically but also carries a creative responsibility in conveying social realities visually. The method used is an applicative study consisting of pre-production, production, and post-production stages, applying an expository style. Techniques such as handheld camera, various shot sizes, and visual composition were selected to capture the spontaneous yet aesthetic dynamics of the community. The results show that the cameraman plays a vital role in strengthening the social narrative of the documentary. Every visual decision contributes to delivering a film that is communicative, authentic, and meaningful to the audience. Keywords: documentary film, cameraman, cinematography, punk football. Film dokumenter Punk Football Indonesia: Collective & Friendship menyoroti gerakan punk football di Indonesia melalui tiga klub, yakni Riverside Forest (Bandung), FC Rainfall (Bogor), dan Port City Wanderers (Jakarta). Gerakan ini hadir sebagai bentuk perlawanan terhadap komersialisasi sepakbola sekaligus menekankan nilai kolektivitas dan solidaritas. Pembuatan karya ini bertujuan untuk melihat peran juru kamera dalam menghadirkan nilai-nilai tersebut melalui pendekatan sinematografi dokumenter. Juru kamera tidak hanya berfungsi secara teknis, tetapi juga memiliki tanggung jawab kreatif dalam menyampaikan realitas sosial secara visual. Metode yang digunakan adalah studi aplikatif dengan tahapan pra produksi, produksi, dan pasca produksi menggunakan gaya ekspositori. Teknik seperti kamera handheld, variasi ukuran shot, dan komposisi visual dipilih untuk menangkap dinamika komunitas yang spontan sekaligus estetik. Hasil penelitian menunjukkan bahwa juru kamera berperan penting dalam memperkuat narasi sosial dokumenter. Setiap keputusan visual membantu menghadirkan film yang komunikatif, autentik, dan bermakna bagi penonton. Kata kunci: film dokumenter, juru kamera, sinematografi, punk football.
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