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So far the study of cinema is still dominated by the use of a Narrative Analysis approach, where its weaknesses do not have empirical evidences, so the resulting analysis is assumptions which then followed by a text debate. Statistical Style Analysis or Stylometry is an alternative method in the study of cinema used to measure the director's formal (film style) parameters. This study applied Stylometry to the films by Chaerul Umam for decades (1970-2000). From this study it was found statistically that the Chaerul Umam style film underwent a change in the use of zoom techniques, the dominance of the use of medium shot (MS) and classified as small ASL units under 9 seconds / shot which is 6.6 / seconds.

<p>The film is one of the media that can describe a generation of speech in an era. The stuttering of the older generation is often described as conservative-minded actors facing the changing times. On the other hand, the uncertainty of the young generation facing their own times is loaded with inherited values which are always in conflict with the principles of modern life. This paper tries to analyze how these generations are presented into the film. Taking the film Turah as a research material, the author wants to analyze further how the character of the figures in this film represents his generation. The author uses two sets of analysis, that is generation theory David and Jonah Stillman to identify generations and their characteristics. Secondly, the analysis of Christian Metz's shot to examine the relations of generation in the film Turah. Turah is the main character in the film representing the generation of X (middle aged). Generation X has a role as a bridge between the generations above it and the generation below it (millennial). The generation X's ability to absorb its predecessor values to be inherited to the millennials generations will shape the character of the generation Z, the farthest generation of its predecessors.</p><p><br /><strong>Keywords : Film, Turah, Generation X, and Millennial.</strong></p>

Cinema is one industry that is not affected by digital disruption. As a means of distribution and exhibition of conventional films, cinemas have the ability to adapt to digital innovation; starting from the audio-visual projection device; ticket booking, and payment system; to 3D technology. In the midst of the COVID-19 pandemic which has pushed the world economy back, cinemas are dying. The existence of cinemas is influenced by two factors, namely the distribution of films and the factors of moviegoers. The restrictions on social activities due to the pandemic have really shifted the paradigm of these two factors into online distribution and online streaming movie audiences. This study analyzes the paradigm shift in film distribution during the pandemic and post-pandemic. This study uses “A three-stage model of theory building” as an analytical tool which is part of the descriptive-qualitative methodology. The results show that the COVID-19 pandemic is an anomaly that shifts the paradigm of conventional film distribution. Cinema has analytical paralysis so that it is unable to provide answers and solutions to existing problems. This proves that new media is not a deadly threat to the existence of cinema, but the value and function of the film’s socialization itself have been deprived. There are 5 factors why cinema continues to thrive as post-covid-19 film distribution and exhibition medium: cinema adaptation, presenting a unique experience of watching the big screen, the nature of entertainment and socialization, the historical value of cinema, and the economic value of cinema.Bioskop merupakan salah satu industri yang tidak terpengaruh oleh disrupsi digital. Sebagai sarana distribusi dan ekshibisi film konvensional, bioskop memiliki kemampuan beradaptasi terhadap inovasi digital, mulai dari perangkat proyeksi audio visual, sistem pemesanan dan pembayaran tiket, hingga teknologi 3Dimensi. Di tengah pandemi Covid-19 yang memukul mundur perekonomian dunia, bioskop seperti mengalami “kematian” yang sangat cepat. Eksistensi bioskop dipengaruhi oleh dua faktor, yaitu faktor distribusi film dan faktor penonton film. Pembatasan kegiatan sosial akibat pandemi telah menggeser paradigma kedua faktor tersebut sepenuhnya menjadi distribusi online dan penonton film online streaming. Penelitian ini berisi analisis pergeseran paradigma distribusi film pada masa pandemi dan pascapandemi. Penelitian ini menggunakan a threestage model of theory building sebagai alat analisis yang merupakan bagian dari metodologi deskriptif-kualitatif. Hasil penelitian menunjukkan bahwa pandemi Covid-19 merupakan anomali yang menggeser paradigma distribusi film konvensional, sebab bioskop mengalami kelumpuhan analitik sehingga tidak mampu memberi jawaban dan solusi terhadap persoalan yang ada. Hal ini membuktikan bahwa media baru (new media) bukanlah sesuatu yang menjadi ancaman mematikan bagi eksistensi bioskop, melainkan ancaman terbesar adalah tercabutnya nilai dan fungsi sosialisasi film itu sendiri. Terdapat lima faktor mengapa bioskop masih akan tetap berjaya sebagai media distribusi dan ekshibisi film pascapandemi Covid-19, yaitu daya adaptasi bioskop, pengalaman unik menonton layar lebar, sifat hiburan dan sosialisasi, nilai historis bioskop, serta nilai ekonomis bioskop.

Mass media is one of the leading sectors in handling COVID-19. Amidst current health emergency, public trusttowards the information conveyed by the mass media is the key to successful mitigation. Various types of newsregarding massive COVID-19 reports in several media channels have the potential to cause information bias whichends in pros and cons. Insubstantial debates in varied media are counter-productive to the efforts of various partiesin educating the society to avoid misinformation. Based on this, it is important to know the media that are referencesand that gain public trust in seeking information. This study examines the level of public trust in information aboutCOVID-19 in the mass media, both old and new media, using an online questionnaire methodology on May 3, 2020,which was given to 60 respondents. The results show that the respondents’ level of faith in television is higher, but itsconsumption by viewers is much lower than that of online media (news sites and social media). The results showedthat viewers still deemed television a reliable reference for information. From these data it was found out why themedia are rarely used by the people but are able to gain high trust in the eyes of the public. The results of this studyare expected to provide an overview of the attitudes and behavior of the community in understanding COVID-19information so that relevant parties can make appropriate policies in the perspectives of media and communication.