Anggy Umbara印尼电影《阿里夫·兰姆》中恐怖主义问题的建构

Muh. Bahruddin, Ibnu Hamad
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引用次数: 0

摘要

本研究旨在探讨以场景化概念为基础的法语符号学文本分析。研究者用一种反霸权的方法来看待电影人的意识形态。这种组合被用来识别由电影导演Anggy Umbara执导的印度尼西亚电影《3》(Alif Lam Mim)所构建的恐怖主义问题。影片将宗教对抗世俗主义的问题放在高科技时代,构建印尼恐怖主义的重大问题。3 (Alif Lam Mim)想要向公众传达一个信息,恐怖主义问题不是由一个宗教团体(伊斯兰教)制造的,因为社会上广泛的话语认为伊斯兰教是激进的。本研究使用符号、指数和符号进行符号学分析。关于分析单元,它是基于mise en scene的概念,即通过电影演员的表演、手势等框架中的场景、服装和化妆、灯光和动作来构建恐怖主义问题。通过这种方法,本研究不仅关注电影的内容,还关注电影制作人在制作过程中如何构建电影的内容。电影制作人使用的逻辑推理表明,虚构的故事为想要获得权力的个人制造的恐怖主义问题提供了真相。Keywords-film;3(所有人);符号学;场景;反霸权;恐怖主义
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The Construction of Terrorism Issue in Indonesian Movie Entitled 3 (Alif Lam Mim) by Anggy Umbara
This study aims to explore Peircean semiotic text analysis with mise en scene concept. Researcher use a counter hegemony approach to see the ideology of filmmaker. For This combination is used to identify terrorism issue constructed by an Indonesian movie entitled 3 (Alif Lam Mim) by film director Anggy Umbara. The film puts the issue of religion against secularism in the midst of high-tech times to construct a major issue of terrorism in Indonesia. 3 (Alif Lam Mim) wants to convey a message to the public that the issue of terrorism was not created by a religious group (Islam) which was considered radical as told by widespread discourses in society. This study applies Peircean semiotic analysis using icons, indices, and symbols. About the unit of analysis, it is based on the concept of mise en scene, that is, through setting, costume and make-up, lighting and motions in frames such as acting and gesture of film players that construct the issue of terrorism. With this method, this study not only looks at the contents of the film but also how the contents of the film are constructed by the filmmaker in the production process. Logical reasoning used by filmmakers shows that constructed stories provide truth about the issue of terrorism created by individuals who want to gain power. Keywords—film; 3 (alif lam mim); semiotics; mise en scene; counter hegemony; terrorism
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