Bioskop Dalam Rumah (Mediatisasi Bioskop)

Abstract

In-Home Cinema (Mediatization of Cinema). The current pandemic is driving many changes, including in the way to enjoy entertainment, which is now mostly online. One of the newest online video entertainment service providers is bioskoponline.com. As the name suggests, this site adopts conventional cinema services, but provides exclusive Indonesian films that can be accessed by users who have purchased tickets for 48 hours. Although enjoying movies online is nothing new, the concept that bioskoponline.com carries in the midst of this pandemic condition provides new experiences for its users and is interesting to research. The results of the study are expected to provide an overview of the changes that occur now and in the future due to changes in the media for watching movies, so that concrete steps can be taken in relation to this. In this research report, I use an intrinsic case study as a method to explain this new media-driven mediation. The results showed that as a new media, bioskoponline.com not only changed the vehicle for watching movies in the cinema into a digital version, but also provided several new experiences to its users. bioskoponline.com encourages new ways to enjoy films, as well as encourages new discourse about Indonesian films, especially regarding piracy which is a crucial issue for the film industry. Meanwhile, considering that cinemas will resume, it is advisable that bioskoponline.com improve its media technology and community base. Keywords: mediatization, cinema, film, piracy, discourse. ABSTRAKPagebluk yang tengah melanda mendorong banyak perubahan, termasuk dalam cara menikmati hiburan yang kini sebagian besar beralih secara daring. Salah satu penyedia layanan hiburan berupa video secara daring yang terbaru adalah bioskoponline.com. Sebagaimana namanya, situs tersebut mengadopsi layanan bioskop konvensional, namun dengan menyediakan film-film Indonesia eksklusif yang dapat diakses oleh pengguna yang telah membeli tiket selama 48 jam. Meskipun menikmati film secara daring bukan hal baru, tetapi konsep yang diusung bioskoponline.com di tengah kondisi pagebluk ini memberi pengalaman baru bagi penggunanya dan menarik untuk diteliti. Hasil penelitian diharapkan dapat memberi gambaran tentang perubahan yang terjadi saat ini dan yang akan datang karena perubahan pada media untuk menonton film, sehingga dapat dilakukan langkah konkret terkait hal tersebut. Dalam laporan penelitian ini, saya menggunakan intrinsic case study sebagai metode untuk menjelaskan mediatisasi yang didorong oleh media baru ini. Hasil penelitian menunjukkan bahwa sebagai media baru, bioskoponline.com bukan sekadar mengalih wahana kegiatan menonton film di bioskop ke dalam versi digital, melainkan juga memberikan beberapa pengalaman baru kepada penggunanya. bioskoponline.com mendorong adanya cara-cara baru dalam menikmati film, sekaligus mendorong wacana baru tentang film Indonesia, terutama terkait pembajakan yang merupakan isu krusial industri film. Sementara itu mengingat bahwa bioskop konvensional akan kembali beroperasi, disarankan bioskoponline.com untuk menyempurnakan teknologi medianya dan basis komunitasnya. Kata kunci: mediatisasi, bioskop, film, pembajakan, wacana.

Wisata Kampoeng Pendekar Menembus Lorong Waktu Dengan Teori Linieritas Lima Dimensi

“…Pada Jurnal Inovasi Daerah, Vol 02, No. 01, Juni 2023 51 format film lima dimensi penonton seakan-akan hadir dalam tayangan film yang sedang ditontonnya (Mazidah, 2015).…”

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“…There are other factors that influence Good Corporate Governance, namely: 1) Transparency: (F. Saputra & Mahaputra, 2022a), (Maharani & Saputra, 2021), (Widyantoro, Solihin, Rosihan, & Fajar, 2020), (Mukhtar, Risnita, Saifillah, & Ali, 2016), (Lathiifa & Ali, 2013), (Sinaga, Madonna, & Novrian, 2020), (Karsono, Suraji, & Sastrodiharjo, 2022), (Riyani, Sitanggang, & Novrian, 2008), (Sinaga et al, 2020), (Kuba, 2022). 2) Leadership: (F. Saputra & Saputra, 2021), (Shobirin & Ali, 2019), (Zahra, 2020), (Suharyono & Ali, 2015) (Sabilah, Hernadewita, Wibowo, Damanik, & Susanti, 2019), (Irpan & Spalanzani, 2020), (Rony, Lubis, Santoso, & Rizkyta, 2020), (Noorfikri, Narpati, Bukhari, & Nursal, 2021). 4) Fairness: (Ali, Sastrodiharjo, & Saputra, 2022), (Siregar, 2019), (Nugraha, Rahmi, & Balsa, 2017), (Iksan, Imaddudin, & Athalarik, 2022), (Syauket, Karsono, & Atmoko, 2022), (F. Saputra & Ali, 2022), , (A.…”

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