ISME COLLOQUIUM 2016 | 1

proceeding

2016Pengukuhan Budi & Jati Diri

JUNE 2016Tanjung Bidara Resort Melaka

Penyelidikan Jaringan Industri & Alumni

II

ISME COLLOQUIUM 201613

PROCEEDING ISME

Penyunting:Ahmadrashidi bin Hasan

Abd. Rasid Bin IsmailRosli Zakaria

DITERBITKAN OLEHFakulti Seni Lukis & Seni Reka, Vitm Melaka.

ISME COLLOQUIUM 20161 4

PROCEEDING ISME

PenyuntingAhmadrashidi bin Hasan, Abd. Rasid Bin Ismail & RosH Zakaria

Reka bentukNorsharina SamsuriHafiz

Diterbitkan oleh:Fakulti Seni Lukis & Seni Reka, UiTM Melaka.

Segala pendapat yang diterbitkan di dalam buku ini merupakan pendapat para pengarangdan tidak semestinya mewakili pendapat penerbit.

ISBN 978-967-0637-20-4

Hak Cipta Terpelihara.Tidak dibenarkanmengeluarkan ulangan mana-mana bahagian artikel, ilustrasi dan isikandungan buku ini dalam apa jua bentuk dan dengan apa cara sarna ada cara elektronik,fotokopi, rakaman, atau cara lain sebelum mendapat izin bertulis dari penyunting danFakulti Seni Lukis & Seni Reka, UiTM Melaka terlebih dahulu.

Cetakan Pertama 2016

lSI KANDUNGAN

lsi Kandungan 3

lawatankuasa Kolokium ISME 2016 5

1. Creative Art Therapy Program: Case Study on Malay Muslim Inmates at 6Sungai Udang Prison in MelakaAzahar Hamn, Rosli Zakaria, Amirruddin Osman, AriffAli, Hishamudin Ahmad,Haslinda Abd Razak, Meor Hasmadi Meor Hamzah

2. Contemporary Islamic Art of Iraq Country: It's Appreciation 15Fatimatuzzaharah Mohd Kidin

3. Standardizing Malaysian Vehicle Registration Number Plate 22M. R. Ruzalia & G. Daimin

4. Using Photographic Images as an Alternative Method To Learning Process In 32Pre-School LevelFarihan Zaharia, Fatrisha Mohamed Yussof, Nurkhazilah Idris, Aidah Alias

5. A Study of The Malaysian Youth Perception Toward 'Muslim Pro' Apps Through 36Smart Phone in Malaysia Using Technology Acceptance Model (TAM)Hafizah Rosli & Dr Ruslan Abd Rahim

6. Interactive Multimedia: HajjEdu Kiosk 42Ilinadia Binti lamil & Zainal Bin Kadir

7. A Visual Analysis: 3D·Computer Graphic with Narrative Structure ofAdhan 50RecitationLili Eliana Mohd Radzuan, Wan Nur khalisah Shamsudin, Mohamed RazeefAbd Razak& Azahar Harun

8. The Role of Visual Communication in Improving Images of Malaysian Secondary 59School TextbooksN. Yusof & G. Daimin

9. The Styles of Illumination In AI-Qur'ans of The Malay World 66N.H.M. Din, D.H.M. Zain, M. Mokhtar

10. Artistik Rhiz : Seni Rupa Kontemporari Malaysia 73Shahariah Mohamed Roshdi ,Dr. Abd. Rasid Bin Ismail & Mohd HaniffMohd Khalid

11. Penilaian Pengunjung Terhadap Pameran Karya Seni "Travelog" 80Pelajar Seni Halus UiTM MelakaAmiruddin Osman, Dr Rosli Zakaria, Shahrul Munir Mohd Kaulan

12. Compilation Theory Of Malay Malay Aesthetics: Concept Malay Beauty In Arts 86Nurkhazilah Idris, Ruzaika Omar Basaree, Fazlina Mohd Radzi, Fatrisha Mohd Yussof,Farihan Zahari & Shaliza Dasuki.

13. Alam Sebagai SUlnber Reka Bentuk Motif-Motif Seni Hiasan Fabrik Masyarakat 95MelayuDr. Abd. Rasid Bin Isn1ail , Shahariah Mohamed Roshdi & Prof. Madya Dr AhmadRashidi Bin Hasan

14. Geometri dalam Rekabentuk Naskhah Dala'il al-Khayrat: Suatu Kajian Awal 104A. Abdullaha*dan S. Silahb

15. Exploring An Art Photography Movement In Malaysia (1900-2000) 112Raziq Abdul Samat, Wan Nor Ayuni Wan Mohd Zain, Shafirah Shaari,Dona Lowii Madon, Aidah Alias & Mohd Fakhrul Rodzi Abd Ghapur

16. Penghayatan Budaya Kebangsaan Dalam Karya Animasi Malaysia 116Pasca-MerdekaShaliza Dasukia, Nurkhazilah Idrisa, Nurhasliza Abdulahbdan Norhazalen Haji Saadc

17. Appreciating Islamic Contemporary Art ofAfghanistan Country 125NurulSyazlina Bt Che Yusof, Nor Kamalia Bt Mohamed Saat, Prof. Dr. Dzul HaimiMd Zain, Dr. Mumtaz Hj Mokhtar

18. Describing Advertising Approach By Ministry Of Health Malaysia For Public 130Service AnnounementCampaign: Case Study On Anti Dengue Campaign InPress AdNorsharina Samsuri, Anith Liyana Amin Nudin

19. Penyimpanan Dan Pendokumentasian Karya KreatifDi Fssr, UiTM Melaka 135Haslinda Abdul Razakl, Nur Hasliza Abdulah2,Azni Ranim Han1zah3, Nurul Izza AbAziz4, Wan Nor Ayuni Wan Mohd Zain5, Noor Hafiza Ismai16

20. Stail Abstrak ArcaAwam Kuala Lumpur: Refeleksi Terhadap Tegahan 144Agama Islam MembinaArca Berbentuk Figura Bernyawa.Dr. Rosli Zakaria

21. Kartun Editorial Internet Indie Melayu: Kritikan Politik Dan Sosial Melalui 159Rangkaian Sosial Facebook Bertemakan Pribahasa Lama MelayuFazlina Mohd Radzi, Shahariah Mohamed Roshdi, Nurkhazilah Idris

22. Creativity and Inspiration Woven Technique By Using Excessive Plastic Bag 167Azni Hanim Hamzah,a , Salina Abdul Mananb , Noor Hafiza Ismaila , Nurhikma MatYusufa , Nurul Izza Ab Aziza

23. Sustainable Furniture Design: An Alternative Approach To Enhance Learning 174Process In Autism ClassroomINurhikma Bt Mat Yusof, 2Rosaliana Bt Rahim, 3Ridzuan Adli Bin Azidin

JAWATANKUASAISME 2016

Penaung I PM Dr. Mohd Adnan Bin Hashim

Penasihat 1 I Dr. Rani Diana Binti Othman

Pengerusi I Dr. Azahar Bin HarunTimbalan Pengerusi Cik Nurhikma Binti Mat YusofKetua Projek I PM Dr. Ahmadrashidi Bin HasanPen. Ketua Projek Dr. Rosli Bin Zakaria

Setiausaha

IPuan Shaliza Binti Dasuki

Timbalan SU 1 Cik Nurkhazilah Binti IdrisTimbalan SU 2 Cik Fazlina Binti Mohd Radzi

(Penerimaan Abstrak & Kertas Kerja)

Wakil Bendahari Fssr I Puan Azni Hanim Bin Hamzah

Editor

IDr. Abd. Rasid Bin Ismail (Ketua)Dr. Rosli Bin ZakariaPM Dr. Ahmadrashidi Bin HasanDr. Azahar Bin Harun

Tempat & Kemudahan I Puan Shaliza Binti DasukiCik Noar Hafiza Binti IsmailJk Dokumentasi

IEn. Raziq Bin Abdul SamarEn. Meor Hasmadi Bin Meor HamzahEn. Mohd HanifBin Mohd OmarCik Aidah Binti Alias

Jk Seranta & Publisiti I En. Ridzuan Adli Bin AzidinCik Nurhikma Binti Mat YusofJk Penyambut Tetamu

IEn. ArifBin Ali

& Protokol Tuan Haji Abd. Wahab Bin MuhammadPuan Shahariah Binti Mohd. RoshdiCik Rosaliana Binti Rahim

Jk Sijil & Cenderamata I Puan Nur Hasliza Binti AbdullahPuan Nurul Izza Bin Ab. AzizJk Jemputan I Puan Haslinda Bin Abd. Razak

Jk Teknikal & Logistik I En. Hisammudin Bin AhmadEn. Rafuzan Bin JaafarJk Pereka

IPuan Norsharina Binti Samsuri (Ketua)Puan Anith Liyana Binti Amin NudinPuan Fatrisha Binti Mohamed Yussof

Jk Pendaftaran I Cik Fazlina Binti Mohd RadziPuan Azni Hanim Bin HamzahCik Siti Sarah Binti Adam Wan

ISME COLLOQUIUM 2016150

A VISUAL ANALYSIS: 3D COMPUTER GRAPHIC WITH NARRATIVE STRUCTURE OFADHAN RECITATION

ILili Eliana Mohd Radzuana, 2Wan Nur khalisah Shamsudin,3Mohamed RazeefAbd Razak,4Azahar Harun

*corresponding author: lilieliana.mr@gmail.com

Abstract

In recent years, a number of researchers have reported that there has been an increasing interest inincorporating three dinlensional computer graphics (3D CG) features in various applications fromdifferent areas. In the broadcasting industry, the growing demand to produce a TV content which inte-grates the 3D CG elements leads to a further improvement of the product. Designers need to identifycreative approaches to present the content creatively and meaningfully. Narrative structured contentthat uses 3D CGas the visual signs are expected to be acceptable by the audience due to its character-istics that able to engage them emotionally and encourage their perceptive abilities. However, the nar-rative structure should be able to represent the designated content effectively in order to offer novelexperience to the viewers. This study seeks to find the relations of visual signs that use 3D CG withthe narrative structured designed for the adhan recitation on TV network. Qualitative interpretativeapproach is used to find the latent meaning of the visual signs. Since the adhan recitation in local TVnetworks has never been created using entirely 3D CG features, lnost likely it will acquire significantreaction by the viewers both emotionally and perceptively.

Author Keywords: 3D conlputer graphics; Television progranls; Islamic content; Narrative

INTRODUCTION

The rapid development of software technologies and methods of delivering art and imageeffectively leads to further improvement of 3D conlputer graphics products and fuels the creativeimagination among the artists or designers [1] New potentials broaden the boundaries of 3D graphicapplications that are widely applied in many areas, such as gaming, marketing, movie industry andeven architecture and education. The prospects are apparently enormous. Designers are driven tokeep creating new methods of 3D content in order to boost the market growth.

Recent year's research found that the 3D graphics were tremendously utilized in the web envi-ronment, parallel with the rise oftheWebGL technology which allowed the rendering of3D graphicson compatible browser without using any plug-in [2]. Today, despite of its increasing reception on theweb, ·3D graphics content has been receiving more attention as a result of its widely application onthe television broadcast such as commercials, news, opening titles and montage. With high-definitiontelevision (HDTV) being extensively available now; the production companies and distributors, andthe industries have been discovering the next step that will improve the television experience [3].

3D conlputer graphics content has the ability to display unconventional looks that is identifi edas an innovative way to enhance communication in such fields as product design, architecture ande-commerce [4]. In the broadcasting industry, the use of 3D computer graphics provides creative op-portunities for incorporating the delivery of information and entertainment. They are able to graphi-cally simplify complex concepts or inter-relationships that are hard to visualize. The visuals can beviewed from different angle with the extra depth. 3D graphics are reliable at capturing attention withgreater accuracy, especially when displayed as moving images and able to keep the viewer's attentionfor a longer time. 3D computer graphics are also capable to re-create actions, event or environment

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which are too costly, unsafe and not accessible to the nlaker. And yet, they are still believable. Theirflexibility earns great delnand in the industly, consequently leads to extensive research on the contentdevelopment, mainly for TV viewers. One of the many ways to implement this is by offering a nar-rative experience to the visuals [5]. Visually, the narrative structures are composed to communicatemeanings that stimulate the audience emotions and thoughts. Both visuals and narrative elements,\vhen are weaved together, they are capable to accentuate the beauty and the fluidity ofthe artworks.The audience would easily get attracted and able to express their appreciation as the work of art ad-hered to a very intricate details to fornl expressive visuals.

Narrative in 3D Computer Graphics Content

The developnlent of the 3D con1puter graphic systems is primarily influenced by the urgeof the 3D graphics enthusiast to create alternative visuals that display realistic features [6]. As thecounterpoint to the agenda, broad researches were conducted to explore the different values that 3Dgraphics could offer. One of the possible values is to. have more expressive features that arouse theemotions of the viewers, despite assisting their understanding towards the meaning of the visuals.Narrative or story structure consists of connected events that are conveyed using words, voice over orsequence of images.· In order to deliver narrative content in the 3D computer graphics modality effec-tively, not only the selection of 3D models are essential, elements of naturalistic such as singe-pointperspective and photo-realistic rendering could also accentuate the expressive potential of the visuals[6].

Purpose of study

The purpose of this study is to explore the meaning ofthe visuals created using 3D CG ele-ments which are incorporated with the narrative structures. It is also to discover new knowledge ofthe user experience with 3D computer graphics mainly for television content which the viewer hasnever experienced before. The process includes analyzing the relation of visual sign to the designednarrative structured content. The visuals are analyzed with specific regard to expressive cOlnnlunica-tion and indication for emotional engagement. The television content selected is the Adhan slot thatis aired on Malaysia television network.

In Malaysia, adhan or the Islalnic callto prayer has been broadcasted five times a day in mostofthe local channels on the television network. The adhan recitation on the television is accompaniedby the voice of the person who recites it and·visuals comprising either still images or video footagesor both. Since adhan is an integral part of the Muslim faith, the visuals usually portray real objects orhuman activities associated with the lifestyle of a Muslim.

In 2014, beginning of the month of Ramadhan, ASTRO, a Malaysian direct broadcast satel-lite paid television service provider produced a totally 3D computer graphics version ofAdhan. Theverses depicted on the television comprise of the Arabic verses including four other translations;English, Malay, Chinese and Tanlil. The adhan was aired on the OASIS channel (Channel 106) forone year, five times every day at prescribed times. Hence, this study will explore the visual signs andtheir latent meaning in relation to the verses of the Adhan recitation. I

ISME COLLOQUIUM 20161 52

METHODS

Qualitative approach is selected to study the message conveyed in the adhan video that com-prises 3D visual representations which empower the audience's creative imagination while viewingthem. In view of the semiotics of Roland Barthes [7], a visual narrative is a reading of the imagina-tion that aims to form the perception of the audience. Visual perception built in the mind of the audi-ence can be established through the narrative structures that represent the reality. The visual signsare analysed using the semiotic analysis model originated by Ferdinand de Saussure in 1966 whichfocuses on the sign as the objects of study and how to interpret the meaning behind it. Barthes (1968)in Elements of Semiology developed the sign classification as signifier and signified. The signifierconstitutes the substance or the subject, while the signified is the meaning or expression. Hence, thisstudy explores the relation between the signifier and the signified in the overall narrative structure ofthe adhan.

Before the study could be carried out, the visuals had to be parted according to the verses ofthe adhan into a table that consist of three columns; Verse, Signifier and Signified. The column ofVerse consist the verse of the adhan recitation, the column of Signifier contains the signs (visuals)and the column of Signified describes our interpretation of the Signifier. Some interpretations aresupported by translations of the verses from the Quran to describe their meaning in the perspective ofIslam.

ANALYSIS AND DISCUSSION

Versi

Allah The Almighty(recited 2 times)

SignifiedThe images show a tremendousvisual effect of an explosion whichthen reveals the earth, the sun and themoon.

Interpretation:

The visuals portray the GreatnessofAllah S. W.T as the Creator of allthings (Qur'an 39:62).

The Quran states that Allah S.W.Tcreated the sun, the moon, and theplanets, each with their own individu-al courses or orbits.

"It is He Who created the night andthe day, and the sun and the moon;all (the celestial bodies) swim along,each in its rounded course" (Qur'an21:33).

Allah The Almighty(recited 2 times)

ISME COLLOQUIUM 2016 I 53

In this verse, closed-up images ofdew covered on the palm ofleavesand a butterfly with vibrant colouredpatterns.

Interpretation:

Allah S.W.T is all wise that Hepossess all knowledge even in thecreation oflittIe things. Every crea-tion disposed in a perfect order andreasons. They are dependent on thebiodiversity. They are created fromdifferent stages oflife, where eachstage has their own benefits andpurpose.

"And with Him are the keys of theunseen; none knows them exceptHim. And He knows what is on theland and in the sea. Not a leaf fallsbut that He knows it. And no grainis there within the darkness's of theearth and no moist or dry [thing] butthat it is [written] in a clear record,"(Qur'an, 6:59

I bear witness thatthere's no God worthyofworship except Allah(recited 2 times)

The image shows that the butterfly isflapping its wings.

Interpretation:

To retain the continuity of the scenes,this scene works as the transition tothe next scene.

The camera tilts upward revealingthe garden of blooming flowers at theforeground, and the cloudy skies, theray of sunlight and the rainbow at thebackground.

Interpretation:

The purposeful camera movementgives the majestic feeling of theobjects in the scene. It suggests thesymbiotic relationships between theobjects in the scene indicating thatthere are detailed and purposefulcreations among us. The bright lightilluminates the meaning of the posi-tive vibes that feed one's soul, justlike how the tights are beneficial toall living things.

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I bear witness thatProphet Muhammad isthe messenger ofAllah.

The camera moves closer to a grow-ing flower bud which has not yetbloomed.

Interpretation:

The purpose of this scene is to createanticipation to the viewer of what isgoing to happen in the next scene.The camera zoomed in slightly toregister the excitement. It symbolisesthe process oflife carried out by theliving things where each process shalldetermine the outcome of life. Be itgood or bad, small or big, beautiful orugly and others.

The camera slowly pans as theflower bud started to bloom. It showsan image of a huge red hibiscus. But-terflies are seen to fly off the frame.

Interpretation:

The royal look of the bloominghibiscus accentuate the feeling ofbeauty and perfection ofAllah S.W.Tcreation.It expresses the glory of ProphetMuhammad (p.b.u.h) that was sent asa blessing to the mankind.In addition, the type of hibiscusshown in this image is also a symbolof national flower for Malaysia. Fuel-ling the sense of gratefulness living ina peaceful and harmony country likeMalaysia.

The scene changes to an image ofgrowing green coloured fern leaveswhile preserving the previous back-ground.

Interpretation:

The message and the mood of thisimage continue as the visual stylesand the camera movement work simi-larly like the previous scene.

Let us perform thesalah (recited 2 times)

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There are many folklores that areassociated to the fern plants. Thesecurely curled fronds of young fernsare deceiving and it is impossible towonder what it would look like whenit is fully grown. Similarly to thehuman, exemplified to the life orafern, we shall grow and flourish irweunfold toward light of truth. As weloosen, soften and surrender, the ten-drils of our true nature will emerge.Thus, people around us shall absorbthe positive vibes we are spreadingmaking us a stronger person.

This verse continues from the previ-ous scene where it takes the viewer tothe next scene where an image of theminaret appears followed by flock ofbirds flying off the frame.

The scene then cuts to different frameshowing a close up view of an antcrawling while the camera movesforward passing by the ant and takesthe viewer to the scene where dewdroplets are forming.

The camera then moves closer toone ofthe droplet that becomes thetransition to the next frame. Thedroplet gradually turns into a beam-ing jellyfish.

I ntupretation:

Minaret is known as a tall and slandertower of a masjid where the muezzin(the person) calls the Muslims forprayers. It shows the significant rolesofmasjid which is not only a place toperform prayer but also an institutionto develop the ummah.

The mosques ofAllah are only to bemaintained by those who believe inAllah and the Last Day and establishprayer and give zakah and do not fearexcept Allah, for it is expected thatthose will be of the [rightly] guided(Qur'an 9:18)

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The visuals of the creatures can beinterpreted as; not only the humanworships Allah S.WT through solahand ibadah, but all of His creations;that lives in the air, earth, wateror everywhere in the universe areworshipping Him in their own wayswhich are incomprehensible by thehuman being. Allah S.WT is the mostBeneficent.

"Allah has created every [living]creature from water. And of themare those that move on their bell ies,and of them are those that walk ontwo legs, and of them are those thatwalk on four. Allah creates what Hewills. Indeed, Allah is over all thingscompetent" (Qur'an, 24:45).

Let us follow the pathto success (recited 2times)

In this verse, the scene changes to animage ofneurons which are energizedwith electrical effects while movingin a consistent beat. Followed bya close-up view of a chromosomegrowing progressively as the cameramoves.

Interpretations:

Neurons are the core components ofthe brain and the spinal cord of thecentral nervous system. They processinfomlation through electrical andchemical signals.

Chromosomes are made of ONAwhich passed by the parents to theiroffspring. They are responsible tomake each type ofliving creaturesexclusive.

These are very few evident of howdelicate and magnificent ofAllahS.WT creations, particularly in hu-man. There are a lot more. They areinvented with purpose so that thehuman has the ability to use themwisely, and keep exploring the bless-ings that Allah S.WT has providedto us and becoming an obedient andsuccessful Muslim.

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In the same verse, the scene thenchange to the image ofBaitul Haram,sparkling with particle effects comeout from the Kaabah (the House ofGod) while the camera rotating in360 degrees.

Interpretations:

It is a once - in a -lifetime obligationto every Muslim to perfonn the Hajjor the pilgrimage to Mecca as it is thefifth pillar in Islam.

Allah the Almighty(recited 2 times)

There is no God worthyof worship except Allah.

It is a journey of purification ofone'ssoul. Hence, it is like a true destina-tion to every Muslim to be in theHoly land.

It is the birth place of the ProphetMuhammad (p.b.u.h) and Islam. It isa place of sanctity to all Muslim.

This scene portrays the fonnation of"Allah" in Arabic augmented withspectacular shimmering light effects.

Interpretations:

This scene appears at almost the endof the verses. We can interpret it as aconfession that Allah S. W.T is a truereliance.

"Allah (Alone) is Sufficient for us,and He is the Best Disposer of affairs(for us)" (Qur'an, 3:73)

This scene continues from the firstverse where the earth glows brightlyin the centre of the universe.

Interpretations:

Allah S.W.T ordered us to learn andbeliefHis existence and onenessthrough His attributes and namesand by witnessing His infinite crea-tions around us. It is a sign of a truebeliever.

"Indeed, within the heavens andearth are signs for the believers"(Quran,45:3).

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This project has never been attempted before on any of the local television networks. Theainls are to provide new experience and knowledge to the viewers regardless of their religion, al-though the content is mainly dedicated to the Muslim audience. Their interpretations could be basedon personal or cultural experience. In this context, the visuals in the adhan video were totally madeusing computer graphics software which integrating mostly3D elements and supported by 2D visualeffects. Thus, it opens to various opportunities to the designer to create boundless kind of visual con-tent and explore them from different perspective. In this case, the designer produced visuals that areimaginative using photo-realistic rendering to maintain the naturalistic of the content. The reason isto ensure that the ilnages are able represent the concept of greatness and benefi cence. The pictorialdepiction of each of the verses encourages active engagement to the viewer's attention and emotions.For the Muslim viewer's, the visuals stimulate their imaginations to pondering Allah S.W.T creationswhile listening to the recitation. As for the non-Muslim audience, they could appreciate the aestheticvalues portrayed in the visuals. In the same time, they are able to understand the meaning ofthe versesthrough the provided translations. Eventually, it is also a form of da'wah. It is intended to bring to themind of every believer and non-believer the substance of Islamic beliefs, or its spiritual ideology [8].

CONCLUSION

Realistic feeling and amusiveness are usually regarded as the criteria for designing 3D com-puter graphics content for TV progranls. It is a challenging task for the designer to incorporate thesecriteria in 3D elements with a narrative structure. They need to explore more suitable content toimplement the idea. For instance the adhan recitation on television is a successful experiment of in-tegrating 3D graphics content with narrative structure. Not only the audiences are attracted to the 3Dvisuals, they are also fascinated at how the· video touched their emotions and perception towards themeaning behind them. The power of visual signs to deliver nlessage is undeniable, as long as theykeep providing new experience and are ableto produce novel content that is conlprehensible for theaudience to interpret.

REFERENCES

[1] Power, P. (2009). Animated Expressions: Expressive Style in 3D Computer Graphic NarrativeAnimation. Animation, 107-129.[2] Evans, A., Romeo, M., Bahrehmand, A., Agenjo, J.,& Blat, J. (2014). 3D Graphics on theWeb: A survey. Computers & Graphics, 43-61.[3] Huynh-Thu, Q., Barkowsky, M., & Callet, P. L. (2011). The Inlportance ofVisual Attention inInlproving the 3D-TV Viewing Experience: Overview and New Perspectives. IEEE Transactions OnBroadcasting, 421-431.[4] Yoon, S.-Y., Laffey, J., & Oh, H. (2008). Understanding Usability and User Experience ofWeb-Based 3D Graphics Technology. International Journal of Human-Computer Interaction, 288-306.[5] Gunarti, W.,Pratama, D., & Winarni, R. W. (2013). The Relation of Visual Signs in the Nar-rative Structure ofMTV Exit Human Trafficking Canlpaign Video. Journal ofArts and Humanities,58-71.

[6] Power, P. (2010). 3D Computer Graphic Narrative Animation. Library, 107-129.[7] Barthes, R. (1964). Elements of Semiology. Paris: Hill and Wang.

[8] Ambiance. (n.d.). Retrieved fronl http://anlbianceapp.com/s/5hWW/call-to-prayer