Desakralisasi film horor Indonesia dalam kajian reception analysis

Debby, Yohana; Hartiana, Theresia Intan Putri; Krisdinanto, Nanang

doi:10.24198/ptvf.v4i1.24171

Cited by 5 publications

(6 citation statements)

References 3 publications

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“…The research is conducted by referring to the method of audience reception, which focuses on the audience's action toward the activity of watching or producing a film (Ngong, 2021). The audience in question is the audience of the film Gundala as the subject of research who has the freedom to give meaning to the text, which will be related to their socio-cultural background and subjective experience (Debby et al, 2020;Pertiwi, Ri'aeni, & Yusron, 2020).…”

Section: Methodsmentioning

confidence: 99%

“Gundala” an Indonesian Superhero Film and Its Influence on Audiences’ National Identity

Sutanto,

Kosasih

2023

Humaniora

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The research aimed to find out and prove the impact of the film Gundala on its audience’s sense of national identity. The research was conducted by using the method of audience reception. The target audience of the survey was people who belong to the young adult category called Generation Z. The survey was conducted through the distribution of a seven-question questionnaire, and data were obtained from 53 respondents. The questions were designed according to the expression of four aspects reflected in the film plot: character, accessories, ethnoscape, and community. The results of the questionnaire data are presented through frequency distribution tables, measured according to Likert scale positive statements. Based on the survey results, the Generation Z audience has an awareness of national identity reflected in the film “Gundala”. The results of the qualitative analysis of the questionnaire data show that the film “Gundala” has a minor but discernible impact on the audience’s sense of national identity.

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Section: Methodsmentioning

confidence: 99%

“Gundala” an Indonesian Superhero Film and Its Influence on Audiences’ National Identity

Sutanto,

Kosasih

2023

Humaniora

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“…Peirce's Semiotics offers the concept of trichotomy / triadic, which consists of (Sobur, 2008, p. 98); (1) representamen; namely the form accepted by the sign or function as a sign, (2) interpretant; namely the meaning of the sign, or more refers to the meaning of (3) object; that is, something that refers to a sign. Peirce's triadic model is often called the "triangle meaning semiotics" or triangle meaning theory.…”

Section: Methodsmentioning

confidence: 99%

“…So that the prohibition of going out at sunset which is a myth in Indonesian society and becomes sacred. The process of sacredening myths, this belief is called sacralization (Debby et al, 2020). This myth is sanctified or respected because there is an inner feeling, a sense of fear, and a sense of wanting to avoid danger.…”

Section: The Sacralization Of the Myth… Marwantika 2021mentioning

confidence: 99%

The Sacralization of the Myth of Prohibition of Leaving the House at Dusk in Sandekala Film: Charles Sanders Pierce’s Semiotic Analysis

Marwantika

2021

muharrik

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Abstract Sandekala is a horror film that tells the story of local and religious myths about the prohibition of going out at sunset because the devil hovers around at this time. The combination of myth and religion in this horror film is also an attempt to sacralize myth and religion which is produced in the plot of a scary film scene. This paper aims to determine the position of myth and religious themes in the horror film genre in Indonesia, and discuss how the depiction of the sacred myth comes out at sunset. Sandekala's film was analyzed using Charles Sanders Peirce's semiotic analysis, namely sign, text and interpretant. The results of this paper are first, myth and religion have been used by Indonesian horror film filmmakers since the New Order Era until now. Second, the depiction of the sacredness of the myth of the prohibition of going out at sunset in this film with a dark evening scene, the mother and child as the main characters who have left the house at dusk ignoring the prohibition that has become a myth of society. In addition to confirming the myth of society, this film is also an attempt to remind the segmentation of young people and urbanites who have begun to forget this myth. Abstrak Film Sandekala merupakan film bergenre horor yang bercerita tentang mitos lokal dan religi tentang larangan keluar pada waktu magrib karena setan bergentayangan pada waktu ini. Gabungan antara mitos dan religi dalam film horor ini juga merupakan upaya sakralisasi antara mitos dan religi yang diproduksi dalam alur scene film yang menakutkan. Tulisan ini bertujuan untuk mengetahui posisi tema mitos dan religi dalam genre film horor di Indonesia, dan membahas tentang bagaimana penggambaran sakralisasi mitos keluar pada waktu magrib. Fim Sandekala dianalisis menggunakan analisis semiotik Charles Sanders Peirce yaitu sign, teks dan interpretant. Hasil dari tulisan ini adalah pertama, tema mitos dan religi sudah digunakan sineas film horor Indonesia sejak Era Orde Baru sampai sekarang ini. Kedua, penggambaran sakralisasi mitos larangan keluar magrib di film ini dengan scene suasana magrib yang gelap, ibu dan anak sebagai pemeran utama yang terlanjur keluar rumah waktu magrib ini mengabaikan larangan yang sudah menjadi mitos masyarakat. Film ini selain meneguhkan mitos masyarakat, juga sebagai upaya untuk membidik segmentasi anak muda dan kaum urban yang sudah mulai melupakan mitos ini.

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“…Indonesia sendiri cukup akrab dengan magi (Ilyas, 2018;Saputra, 2007), bahkan dalam banyak hal, magi tetap beroperasi dalam kesadaran masyarakat modern di negeri ini (Humaeni, 2014;Savitri, 2015). Film-film misteri dan horor juga mengambil tempat yang cukup tinggi dalam perfilman Indonesia (Bernard Arps and Katinka Van Heeren, 2006;Debby et al, 2020;Rusdiarti, 2009;van Heeren, 2014), karena setiap daerah memiliki kisah-kisah misterinya sendiri (Humaeni, 2014;Suyono, 2007) yang cukup signifikan bagi perluasan pasar. Dalam konteks yang demikian, tokoh-tokoh seperti Om Hao yang dipercaya memiliki kemampuan luar biasa dalam membangun komunikasi dengan yang gaib, cukup menemukan tempat di ruang publik negeri ini.…”

Section: Hasil Dan Pembahasan Om Hao Dan "Kisah" Tanah Jawaunclassified

Virtualitas Retrokognisi-Magi Om Hao “Kisah Tanah Jawa” di Media Sosial

Faiz¹

2022

smrt

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Virtualization enables the magical to be imagined and seen through social media. Om Hao and the crew from Kisah Tanah Jawa (the Tale of the Land of Java) can make retrocognition-magic as a show by using a realist narrative that allows viewers to have the sensation of an unseen 'presence'. Therefore, this paper aims to explore Om Hao's retrocognition-magic virtualization and the narratives that operate within it. To complete this objective, the netnographic method was used in the form of online observation and videography on Kisah Tanah Jawa youtube. This study has resulted that: first, retrocognition virtuality is performed through new media technology devices that are able to visualize event actors and bring them closer and real to their viewers; Second, Om Hao's retrocognition-magic virtuality becomes extra textual which builds the interaction between the magic and the actual in social media where both of them become the power of the narrative that contains the magic appearing and thought of; third, Virtuality magic appears actual because it is supported by Om Hao's narrative that sounds rational, objective and neutral. All the three are strengthened because they are relevant to the historical experience, stories, and mystical beliefs of the Javanese people as a socio-cultural context. As a product of postmodern culture, Om Hao's retrocognition-magic virtualization is seemingly able to present a divergent fantasy of alternative "truth" of history of the land of Java.

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Desakralisasi film horor Indonesia dalam kajian reception analysis

Cited by 5 publications

References 3 publications

“Gundala” an Indonesian Superhero Film and Its Influence on Audiences’ National Identity

“Gundala” an Indonesian Superhero Film and Its Influence on Audiences’ National Identity

The Sacralization of the Myth of Prohibition of Leaving the House at Dusk in Sandekala Film: Charles Sanders Pierce’s Semiotic Analysis

Virtualitas Retrokognisi-Magi Om Hao “Kisah Tanah Jawa” di Media Sosial

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