The paper analyzes the cultural interaction in mixed marriage of Indian national who live in Jakarta with Indonesian in the more penetrating globalization process in Asia in the 21st century. The research aims to examine the binding of two cultures tied in the knot in the marriage institution, its problem and negotiation. The qualitative methods used here is conducted through questionnaire and direct interview and through the social media. The result of which shows that factors such as cultural difference, respective country rules, and family tie interfere the social interaction in mixed marriage. But, despite the challenges, it is capable to generate negotiation and cultural appropriation of each party to support a multicultural and cosmopolitan marriage. KeywordsInter-Asia globalization, cultural interaction, India, Indonesia, mixed marriage, migration, cosmopolitanism AbstrakTulisan ini dibuat untuk mengkaji bagaimana interaksi budaya yang terbentuk di dalam pernikahan campuran seiring dengan semakin intensnya proses globalisasi yang terjadi di kawasan Asia di abad 21. Penelitian ini secara khusus mengkaji perkawinan campuran yang terjadi antara warga negara India dan Indonesia yang tinggal di Jakarta dengan tujuan untuk melihat bagaimana proses interaksi budaya yang muncul ketika dua kebudayaan yang berbeda dipersatukan di dalam sebuah institusi perkawinan serta permasalahan dan negosiasi seperti apa yang muncul di dalamnya. Metodologi yang digunakan adalah metode kualitatif melalui pengisian survei dan wawancara langsung maupun wawancara melalui media sosial. Hasil dari penelitian ini memperlihatkan bagaimana faktor perbedaan budaya, institusi kenegaraan maupun faktor keluarga sangatlah mempengaruhi interaksi sosial yang terjadi di dalam sebuah perkawinan campuran. Namun di luar perbedaan-perbedaan tersebut, pasangan kawin campur ternyata mampu untuk saling bernegosiasi dan mengapropriasi kebudayan masing-masing untuk menghasilkan sebuah pernikahan yang bersifat multikultural serta kosmopolitan. Kata Kunciglobalisasi inter-Asia, interaksi budaya, India, Indonesia, perkawinan campuran, migrasi, kosmopolitanisme

Tilik is a short film directed by Wahyu Agung Prasetyo. Given that the film's plot is primarily focused on the relationships of its female characters, the problem of female representation cannot be ignored. This article focuses on the power dynamic between the film's two central female characters, Bu Tejo and Dian, through the lens of Amy Allen's feminist perspective on power. The analysis identifies four dimensions of representation that contribute significantly to the development of their power relationship: physical appearance, marital status, gender role depiction, and socioeconomic status. The underlying significance of the power relationship between Bu Tejo and Dian in the film is analyzed through qualitative Content Analysis and Contextual Analysis approaches. This study reveals that the film portrays both women ambiguously, how patriarchal society creates an ecosystem that pits women against one another for power, and how the minor male characters in the film continue to exert signifficant influence over Bu Tejo and Dian in acquiring, maintaining, and exercising their power in a patriarchal society.

Social inequality has continuously become a problem especially towards marginalized group. Such topic is presented in Todd Phillips latest psychological thriller, Joker (2019). Whilst other researches focus on the psychological aspect of the film, this study takes on the perspective of the sociological/socio-political aspect in the film which is social inequality. In analyzing the social inequality aspect of the film, this study uses theory of structural discrimination by Link, et al. which theorizes that laws, policies, or other practices. are discriminating a marginalized group. To analyze the film itself, the writers analyzed the mise-en- scène and cinematography aspects of the film. The purpose of this study is to find if government’s policies have any involvement of impact to the life of a mentally ill person. Method used for this analysis is qualitative data research. In analyzing the film, it is found that Fleck’s life as a mentally ill and poor person is deliberately sabotaged by the discriminative policies and laws applied in Gotham city. In conclusion, this film represents Joker as more than just a Batman’s main film but rather used as a vehicle to criticize the state of social inequality in the world.

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This article discusses four films entitled Ngenest (2015), Cek Toko Sebelah (2016), Susah Sinyal (2017), and Stip & Pensil (2017) in which Ernest Prakasa played a role, in the context of how the four films construct Chinese-Indonesian-ness. In the context of cinema, the appearance of Chinese-Indonesians on the screen during the New Order regime was scarce, and if there is any, the depiction was highly stereotyped. Only after Reform era in the late 1990s that Chinese-Indonesians and their culture began to re-appear on screen. Ernest Prakasa is one of few Chinese-Indonesians who publicly celebrates his Chinese-ness through entertainment platform. Ethnic identity theory applied on the discussion of the film cinematography and mise-en-scene to show what the films say about the concept of Chinese-Indonesian-ness. The findings show that Prakasa not only celebrates being a Chinese-Indonesian, but he also performs a self-mockery as Chinese-Indonesians by explicitly emphasizing the Chinese-Indonesians stereotypes. He also tries to re-establish inter-ethnic relationship and introduce contemporary Chinese-Indonesian-ness concept through his films. ABSTRAKArtikel ini membahas empat film berjudul Ngenest (2015), Cek Toko Sebelah (2016), Susah Sinyal (2017), dan Stip & Pensil (2017) dengan aktor Ernest Prakasa sebagai salah satu pemerannya, dalam konteks bagaimana keempat film tersebut membangun konteks Chinese-Indonesian-ness/Ke-Tionghoa-Indonesia-an. Dalam konteks perfilman, penampilan orang Tionghoa-Indonesia di layar selama rezim Orde Baru sangat langka, dan jika ada, penggambarannya sangat stereotipikal. Hanya setelah era Reformasi pada akhir tahun1990an, orang Tionghoa-Indonesia dan budaya mereka mulai muncul kembali di layar kaca dan bioskop. Ernest Prakasa adalah satu dari sedikit orang Tionghoa-Indonesia yang secara terbuka merayakan ke-Tionghoa-annya melalui platform hiburan. Teori identitas etnis diterapkan pada diskusi sinematografi dan mise-en-scene film untuk menunjukkan konsep ke-Tionghoa-an yang ditunjukkan dalam film. Temuan menunjukkan bahwa Prakasa tidak hanya merayakan dirinya sebagai Tionghoa-Indonesia, tetapi ia juga mengejek dirinya sendiri sebagai Tionghoa-Indonesia dan secara eksplisit menekankan stereotip orang Tionghoa-Indonesia. Ia juga mencoba membangun kembali hubungan antar-etnis dan memperkenalkan konsep kontemporer Tionghoa-Indonesia melalui film-filmnya.