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Mag Dr muring-wien Hassan

BA (Malaya) . MA (Malaya). PhD (Vienna)

mempersembahkan

PRODUKSI
DOKUMENTARI
diterbitkan

grahasiber MURING-WIEN cyberathaus


www.muringwien.uni.cc
muringwien@mac.com

Jurusan Filem dan Penyiaran (JUFIUM)


Jabatan Pengajian Media
UNIVERSITI MALAYA

Zentrum Future Studies Malaysia


www.zentrum.uni.cc

HF Two Media Sdn Bhd


Pengenalan

Dokumentari sebagai naskah


sinema non-cereka, tetapi
mempunyai bentuk dan
kandungan kefiksionan
sebagai cara memperucapkan
sinematik secara impresif,
ekspresif dan filosofik.

Dokumentari adalah gerakan


mendokumentasi realiti agar
realiti itu dapat
diperucapkan sebagai sumber
sejarah dan masadepan.

Dokumentari menjadi seni


original dan aktualitas.
Tawarikh
Pra 1900 - Mustafah Arrarat
merujuk DOKUMENTARI sebagai apa
sahaja naskah filem yang mediumnya
non-fiksi seperti rakaman langsung

1900-1920 - Muncul filem travelog


yang berasakan scenics seperti
In the Land of the Head Hunters
(Edwar S Curtis, 1914)

1920 - Robert J Flaherty


mengarahkan Nanook of the North,
naskah romantisisme sekali gus
menjadi naskah dokumentari paling
lengkap pernah dihasilkan (http://
www.youtube.com/watch?
v=cLERFRQl5EY)

1920-1940 - Perkembangan
dokumentari yang sangat pesat dan
digunakan dalam segala cara
seperti untuk propaganda, hiburan
dan sebagainya
JOHN GRIESON
BAHAGIAN PRODUKSI DOKU
Pre-Shoot

A pre-shoot or shooting script


is like carrying a map when you
set out on a road trip.

You may stumble across many


unseen barriers or unexpected
surprises. You may discover
wonderful, uncharted areas off
the beaten track. You may
decide to go in one direction
or the next or perhaps even a
third. A map helps you on your
way and prevents you from
getting lost.
BAHAGIAN PRODUKSI DOKU

Shooting
A shooting script is a conceptual map for
your shooting journey. It consolidates
research and outlines the films story,
providing a visual guideline for the shoot.
It uses the same format and elements as a
post-shoot script and can be as
comprehensive or generic depending on the
information available to the scriptwriter at
that stage.

A shooting script should not be confused


with a shot list. A shot list is a
production tool which contains shot numbers,
descriptions and transitions along with
production details. Even though some
director-scriptwriters often combine the
shooting script and shot list, the two are
separate entities. A shooting script rarely
delves into detailed aspects of production
unless integral to the story. It is more
conceptual in nature; descriptive, but
leaving room for interpretation.
BAHAGIAN PRODUKSI DOKU
Post-Shoot
The post-shoot script is the final version of
the shooting script. This is often a modified or
re-written version of the shooting script and is
created between the shooting and editing
processes of the documentary. The post-shoot
script combines conceptual elements along with
audiovisual information gathered at the
production stage and may also include any new
knowledge gathered along the way. It then weaves
it all together into a cinematic story, which is
used by the filmmaker to edit the documentary.
The post- shoot script often includes
descriptions of shots and actions and is quite
comprehensive.

Again, the post-shoot script should not be


confused with a paper-edit, which contains
detailed shot and production information. Even
though the two are often combined by director-
scriptwriters, they are separate entities. The
paper-edit is a tool for the editor to cut the
footage and includes elements like time-
counters, tape numbers, shot in-points and out-
points etc. The script is conceptual and
descriptive of action but should leave some room
for creative interpretation at the editing
stage.
MENULIS
SKRIP
1. Film is visual
2. Film shows motion
3. Film reveals what the eye
often cant see
4. Film transcends time and
space
5. Film is subjective
6. Film chooses audience
7. Film repeats accurately
8. Film may have colours and
audio elements
9. F i l m emphasizes and
emotionalizes
SKRIP DOKUMENTARI
1. Docu deals with fact
not fiction
2. Docu is flexible
3. Docu inspires movement
and action
4. Docu involves less
control
5. D o c u subject is
paramount
6. D o c u stasis on
credibility
7. Docu kairos on form as
important than formula
GAYA DOKUMENTARI

Classical Cinema

Cinma Vrit 7
Direct Cinema

Documentary Drama
ELEMEN VISUAL
Sejarah Iklim
Geografi (Time)

Sosiologi
KANDUNGAN
Antropologi

Identiti Kultural
Atmosfera
Ekoposialogikal (Space)
RUKUN DOKUMENTARI

Idealisme IKON

Ideologi
Sim
Realisme bol

Indeks
DOKU-SPHERE

Dramaturgi

Sinematomi

Falsafah