Pub Date : 2023-11-30DOI: 10.24821/sense.v6i2.11221
Muhammad Arief Habibi Sukur
Domination of Capitalism Power Over Labor In The Movie Plot, Sorry To Bother You Reviewed Through John Fiske’s Semiotics The research entitled “The Domination of Capitalist Power over Labor in the Plot of Sorry to Bother You Reviewed Through John Fiske’s Semiotics” aims to seek the domination of capitalist power over workers through the plot in the film using three codes of television as part of semiotics by John Fiske. This research is a qualitative research with a qualitative descriptive method, namely by searching for the domination of power by the capitalists over the workers in the plot in the film Sorry to Bother You. The unit of analysis to be used is the scene. The research data were then processed by qualitative analysis, then coded by John Fiske’s three level of social codes theory, so that several conclusions could be drawn. Based on the research results, it can be concluded that the plot in the film Sorry to Bother You shows the domination of power by the RegalView and WorryFree companies as capitalists. John Fiske’s three codes of television theory reveals it through the stages of reality, representation, and ideology.
{"title":"Dominasi Kuasa Kapitalis terhadap Buruh dalam Plot Film Sorry to Bother You Ditinjau melalui Semiotika John Fiske","authors":"Muhammad Arief Habibi Sukur","doi":"10.24821/sense.v6i2.11221","DOIUrl":"https://doi.org/10.24821/sense.v6i2.11221","url":null,"abstract":"Domination of Capitalism Power Over Labor In The Movie Plot, Sorry To Bother You Reviewed Through John Fiske’s Semiotics The research entitled “The Domination of Capitalist Power over Labor in the Plot of Sorry to Bother You Reviewed Through John Fiske’s Semiotics” aims to seek the domination of capitalist power over workers through the plot in the film using three codes of television as part of semiotics by John Fiske. This research is a qualitative research with a qualitative descriptive method, namely by searching for the domination of power by the capitalists over the workers in the plot in the film Sorry to Bother You. The unit of analysis to be used is the scene. The research data were then processed by qualitative analysis, then coded by John Fiske’s three level of social codes theory, so that several conclusions could be drawn. Based on the research results, it can be concluded that the plot in the film Sorry to Bother You shows the domination of power by the RegalView and WorryFree companies as capitalists. John Fiske’s three codes of television theory reveals it through the stages of reality, representation, and ideology.","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139200025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-30DOI: 10.24821/sense.v6i2.10946
Sigit Surahman, Tiara Dewi Asmarani, A. Annisarizki, Eko Hari Saksono
The film Sabtu Bersama Bapak communication patterns between characters interacting with each other, the communication patterns presented can be verbal or non-verbal communication, this film illustrates that each family has different communication patterns depending on the situation and conditions. This research aims to describe the concept of communication patterns which divide four types of family communication, namely consensual, pluralistic, protective and laissez-faire communication patterns. Through a qualitative approach using Roland Barthes' semiotic analysis method to understand the meaning of denotation, connotation and myth. Data collection techniques use observation, documentation and interview techniques. The research results show that the film Sabtu Bersama Bapak represents the communication patterns of two families. In the Gunawan family there is a consensual communication pattern and a pluralistic communication pattern, while in the Satya family there is a consensual communication pattern and a protective communication pattern, and in this research no free communication pattern was found (laissez- faire).
电影《Sabtu Bersama Bapak》中人物之间的沟通模式是相互影响的，所呈现的沟通模式可以是语言沟通，也可以是非语言沟通，这部电影说明了每个家庭都有不同的沟通模式，取决于不同的情况和条件。本研究旨在描述沟通模式的概念，将家庭沟通分为四种类型，即共识沟通模式、多元沟通模式、保护沟通模式和自由放任沟通模式。采用罗兰-巴特（Roland Barthes）的符号学分析方法，通过定性分析来理解指代、内涵和神话的含义。数据收集技术采用了观察、文献和访谈技术。研究结果表明，电影《Sabtu Bersama Bapak》表现了两个家庭的交流模式。在古纳万（Gunawan）家庭中，有一种共识沟通模式和一种多元沟通模式，而在萨提亚（Satya）家庭中，有一种共识沟通模式和一种保护沟通模式，在本研究中没有发现自由沟通模式（自由放任）。
{"title":"Representasi Pola Komunikasi Keluarga dalam Film “Sabtu Bersama Bapak”","authors":"Sigit Surahman, Tiara Dewi Asmarani, A. Annisarizki, Eko Hari Saksono","doi":"10.24821/sense.v6i2.10946","DOIUrl":"https://doi.org/10.24821/sense.v6i2.10946","url":null,"abstract":"The film Sabtu Bersama Bapak communication patterns between characters interacting with each other, the communication patterns presented can be verbal or non-verbal communication, this film illustrates that each family has different communication patterns depending on the situation and conditions. This research aims to describe the concept of communication patterns which divide four types of family communication, namely consensual, pluralistic, protective and laissez-faire communication patterns. Through a qualitative approach using Roland Barthes' semiotic analysis method to understand the meaning of denotation, connotation and myth. Data collection techniques use observation, documentation and interview techniques. The research results show that the film Sabtu Bersama Bapak represents the communication patterns of two families. In the Gunawan family there is a consensual communication pattern and a pluralistic communication pattern, while in the Satya family there is a consensual communication pattern and a protective communication pattern, and in this research no free communication pattern was found (laissez- faire).","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139207457","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-30DOI: 10.24821/sense.v6i2.11217
Laurensia Karin Chrisfenianti, Retno Mustikawati, A. Haryono
.
.
{"title":"Pengaruh Konflik Multiple terhadap Character Arc “Beth” pada Serial The Queen's Gambit","authors":"Laurensia Karin Chrisfenianti, Retno Mustikawati, A. Haryono","doi":"10.24821/sense.v6i2.11217","DOIUrl":"https://doi.org/10.24821/sense.v6i2.11217","url":null,"abstract":".","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139203349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-30DOI: 10.24821/sense.v6i2.10958
Muhammad Fatahilah Syam
Analysis of Manga Adaptation into Feature-length Anime Film: Kimetsu no Yaiba Manga to Kimetsu no Yaiba: Mugen Train Anime Film, Examining the Aspect of Camera Angles . Manga and feature-length anime films have distinct differences in conveying stories visually. This study aims to examine the disparities in the adaptation of the “Kimetsu no Yaiba” manga into the “Kimetsu no Yaiba: Mugen Ressha-Hen” anime film. A qualitative descriptive research method was employed, focusing on the aspect of camera angles. The research objects encompassed the manga and the anime film. The findings revealed that the manga-to-anime adaptation led to changes in camera angles, including scaling down, adding, and varying modifications. However, despite the alterations in camera angles, the emphasis on scenes did not significantly alter the narrative flow from the manga to the feature film. These disparities can be attributed to the divergent nature of the manga and feature-length anime mediums. This research contributes to a deeper understanding of the importance of camera angles in adaptation and their role in preserving the core essence of the story.
{"title":"Analisis Ekranisasi Manga “Kimetsu No Yaiba” ke dalam Film Anime Layar Lebar “Kimetsu No Yaiba: Mugen Reshha-Hen” Ditinjau dari Aspek Angle Kamera","authors":"Muhammad Fatahilah Syam","doi":"10.24821/sense.v6i2.10958","DOIUrl":"https://doi.org/10.24821/sense.v6i2.10958","url":null,"abstract":"Analysis of Manga Adaptation into Feature-length Anime Film: Kimetsu no Yaiba Manga to Kimetsu no Yaiba: Mugen Train Anime Film, Examining the Aspect of Camera Angles . Manga and feature-length anime films have distinct differences in conveying stories visually. This study aims to examine the disparities in the adaptation of the “Kimetsu no Yaiba” manga into the “Kimetsu no Yaiba: Mugen Ressha-Hen” anime film. A qualitative descriptive research method was employed, focusing on the aspect of camera angles. The research objects encompassed the manga and the anime film. The findings revealed that the manga-to-anime adaptation led to changes in camera angles, including scaling down, adding, and varying modifications. However, despite the alterations in camera angles, the emphasis on scenes did not significantly alter the narrative flow from the manga to the feature film. These disparities can be attributed to the divergent nature of the manga and feature-length anime mediums. This research contributes to a deeper understanding of the importance of camera angles in adaptation and their role in preserving the core essence of the story.","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139201145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-30DOI: 10.24821/sense.v6i2.11220
Brigita Sekar, Lilik Kustanto, Siti Maemunah
Film mempunyai dua inti unsur, yaitu sinematik dan naratif. Narasi sendiri selalu mempunyai struktur yang membentuk rangkaian cerita yang terjadi sepanjang film. Penelitian ini menganalisis perubahan karakter tokoh Humbert dan Lolita dalam film Lolita (1997) berdasarkan struktur cerita yang dijelaskan oleh Nick Lacey. Metode penelitian deskriptif kualitatif digunakan dengan teori Struktur Cerita Nick Lacey sebagai teori utama. Data yang dikaji adalah seluruh scene film Lolita (1997) dengan analisis perubahan karakter melalui unsur dialog dan data pendukung berupa shot untuk visual dan stage direction. Analisis dilakukan dengan mengidentifikasi struktur cerita menggunakan kategorisasi adegan (scene) pada film, menganalisis karakterisasi melalui teori Tiga Dimensi Karakter, dan menyimpulkan proses perubahan karakter yang terjadi. Hasil penelitian menunjukkan bahwa tokoh Humbert dan Lolita mengalami perubahan karakter yang signifikan sepanjang narasi film yang memicu rantai aksi-reaksi dari masing-masing tokoh. Penggunaan struktur cerita Nick Lacey membentuk proses runtut terhadap perubahan karakter dari situasi awal, fase transisi, dan situasi terakhir.
{"title":"Perubahan Karakter Tokoh Humbert dan Lolita menurut Struktur Cerita oleh Nick Lacey pada Film ‘Lolita’ (1997)","authors":"Brigita Sekar, Lilik Kustanto, Siti Maemunah","doi":"10.24821/sense.v6i2.11220","DOIUrl":"https://doi.org/10.24821/sense.v6i2.11220","url":null,"abstract":"Film mempunyai dua inti unsur, yaitu sinematik dan naratif. Narasi sendiri selalu mempunyai struktur yang membentuk rangkaian cerita yang terjadi sepanjang film. Penelitian ini menganalisis perubahan karakter tokoh Humbert dan Lolita dalam film Lolita (1997) berdasarkan struktur cerita yang dijelaskan oleh Nick Lacey. Metode penelitian deskriptif kualitatif digunakan dengan teori Struktur Cerita Nick Lacey sebagai teori utama. Data yang dikaji adalah seluruh scene film Lolita (1997) dengan analisis perubahan karakter melalui unsur dialog dan data pendukung berupa shot untuk visual dan stage direction. Analisis dilakukan dengan mengidentifikasi struktur cerita menggunakan kategorisasi adegan (scene) pada film, menganalisis karakterisasi melalui teori Tiga Dimensi Karakter, dan menyimpulkan proses perubahan karakter yang terjadi. Hasil penelitian menunjukkan bahwa tokoh Humbert dan Lolita mengalami perubahan karakter yang signifikan sepanjang narasi film yang memicu rantai aksi-reaksi dari masing-masing tokoh. Penggunaan struktur cerita Nick Lacey membentuk proses runtut terhadap perubahan karakter dari situasi awal, fase transisi, dan situasi terakhir.","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139199696","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Efektivitas Teknik Pembacaan Narasi Visual dalam Pemutaran Film untuk Disabilitas Netra","authors":"Atalia Praratya, Kenmada Widjajanto, Soerachman Dwiwaloejo","doi":"10.24821/sense.v6i2.11194","DOIUrl":"https://doi.org/10.24821/sense.v6i2.11194","url":null,"abstract":",","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139196419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-30DOI: 10.24821/sense.v6i2.11289
W. Sanjaya
.
.
{"title":"Analisis Perubahan Sifat Karakter Berdasarkan Tahap Cerita Dalam Film “Jumanji: Welcome To The Jungle”","authors":"W. Sanjaya","doi":"10.24821/sense.v6i2.11289","DOIUrl":"https://doi.org/10.24821/sense.v6i2.11289","url":null,"abstract":".","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139201735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-31DOI: 10.24821/sense.v6i1.9359
S. Wibisono, Rifki Esa Syahnarki
{"title":"CONTINUITY SHOT SEBAGAI UPAYA PENYAJIAN VISUAL REALISTIS PADA DRAMA TELEVISI ALUN","authors":"S. Wibisono, Rifki Esa Syahnarki","doi":"10.24821/sense.v6i1.9359","DOIUrl":"https://doi.org/10.24821/sense.v6i1.9359","url":null,"abstract":"","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123129148","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-31DOI: 10.24821/sense.v6i1.9471
B. Wibawa
{"title":"DIVA (1981) DALAM TINJAUAN HERMENEUTIKA RADIKAL JACQUES DERRIDA","authors":"B. Wibawa","doi":"10.24821/sense.v6i1.9471","DOIUrl":"https://doi.org/10.24821/sense.v6i1.9471","url":null,"abstract":"","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132549976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-31DOI: 10.24821/sense.v6i1.9386
Martinus Eko Prasetyo
{"title":"ANALISIS FILM DOKUMENTER BADUT “DI BALIK TAWA”","authors":"Martinus Eko Prasetyo","doi":"10.24821/sense.v6i1.9386","DOIUrl":"https://doi.org/10.24821/sense.v6i1.9386","url":null,"abstract":"","PeriodicalId":326029,"journal":{"name":"Sense: Journal of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121024287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：