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All Journal Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Sanggitarupa Retina Jurnal Fotografi
Febrian Putra
Institut Seni Indonesia Surakarta
Arts Humanities Education Other

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Stadium dan Punctum dalam The Impact of Nickel Mining on Halmahera Island Karya Mas Agung Wilis Yudha Baskoro: Kajian Semiotika Febrian Putra; Aninditya Ardhana Riswari; Novia Sisca Haryani; I Putu Adi Putra Wiwana
Retina Jurnal Fotografi Vol 6 No 1 (2026): Retina Jurnal Fotografi
Publisher : Lembaga Penelitian dan Pengabdian kepada Masyarakat (LPPM) Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/rjf.v6i1.5736

Abstract

Pertumbuhan industri nikel di Indonesia sebagai bagian dari transisi energi hijau membawa konsekuensi sosial dan ekologis yang kompleks, khususnya bagi komunitas lokal dan pekerja tambang. Di tengah narasi pembangunan berkelanjutan, isu-isu ketimpangan, eksploitasi tenaga kerja, dan kerusakan lingkungan sering kali terpinggirkan. Penelitian ini mengkaji upaya fotografi dokumenter yang dapat berfungsi sebagai medium kritik sosial, dengan fokus pada karya The Impact of Nickel Mining on Halmahera Island oleh Mas Agung Wilis Yudha Baskoro. Penelitian ini menggunakan pendekatan kualitatif dengan analisis visual semiotik berdasarkan teori Roland Barthes, khususnya konsep stadium dan punctum. Teori representasi Stuart Hall juga digunakan untuk menelusuri makna. Analisis menunjukkan bahwa karya Baskoro merepresentasikan wajah tersembunyi dari industri ekstraktif dari kelelahan para buruh tambang hingga kerusakan ekologis yang tidak tertampung dalam narasi pembangunan resmi. Elemen stadium memetakan konteks struktural dan politik yang melingkupi kehidupan pekerja tambang, sedangkan punctum seperti tatapan kosong, luka, dan debu di wajah menembus kesadaran penonton secara afektif. Visual tidak lagi sekadar representasi, tetapi menjadi alat simbolik untuk membongkar relasi kuasa dan membangkitkan empati serta kegelisahan moral terhadap eksploitasi yang terjadi. Penelitian ini menunjukkan bahwa fotografi dokumenter dapat menjadi bentuk intervensi kultural yang kritis dan efektif dalam mengangkat isu ketidakadilan sosial dan ekologis.
Penjara sebagai Ruang Ideologis dalam Film Ghost in the Cell: Perspektif Spatial Ideology Henri Lefebvre Febrian Putra; Bhimo Wicaksono Makardi; Aninditya Ardhana Riswari
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 18 No. 1 (2026)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v18i1.8373

Abstract

This article examines the prison as an ideological space in the film Ghost in the Cell directed by Joko Anwar through Henri Lefebvre’s spatial ideology perspective. The study is grounded in the development of spatial criticism in cinema, which views space not merely as a narrative setting but as a socio-political construction representing power relations and ideology. This research employs a qualitative approach within an interpretive-critical paradigm. The research data consist of the film’s visual and narrative elements, including mise-en-scène, cinematography, lighting, spatial setting, dialogue, and narrative structure. The data are analyzed using cinematic close reading by applying Lefebvre’s spatial triad: spatial practice, representations of space, and representational spaces. The findings reveal that the prison space in the film is produced as an ideological mechanism representing bodily discipline, state surveillance, structural corruption, and social resistance. Spatial practice is reflected in disciplinary routines and the control of prisoners’ bodies. Representations of space are manifested through prison architecture, surveillance systems, and visual hierarchies that symbolize state power. Meanwhile, representational spaces emerge through prisoners’ emotional experiences, collective solidarity, and supernatural elements as symbolic resistance against the repressive system. This study concludes that the film employs prison space as an allegory of the state and as a medium of socio-political criticism in contemporary Indonesian cinema.
One Piece Symbols in Journalistic Photography of the 2025 Madagascar Protests: A Visual Culture Analysis through Participatory Culture Febrian Putra; Aninditya Ardhana Riswari; I Putu Adi Putra Wiwana; Galih Apriliyanto; Azmy Hanif
Sanggitarupa Vol. 6 No. 1 (2026): Sanggitarupa
Publisher : Institut Seni Indonesia Surakarta

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Abstract

Journalistic photography in contemporary visual culture no longer functions merely as a medium for documenting events, but also as a site of meaning production that represents social identity, ideology, and the cultural practices of the digital generation. This article aims to analyze the photograph “Madagascar’s Gen Z Protests” by Luis Tato through the perspectives of visual culture and Henry Jenkins’ theory of participatory culture. This study employs a qualitative approach using visual analysis methods focusing on photographic elements such as composition, framing, body gestures, visual artifacts, and the relationship between subjects and protest space. The analysis interprets the use of popular culture symbols, particularly the Jolly Roger from the manga One Piece, within the context of the 2025 student protests in Madagascar. The findings reveal that the One Piece symbol in the photograph represents the appropriation of transnational popular culture as a visual language of Gen Z resistance. Through the concept of participatory culture, the photograph demonstrates practices of global community affiliation, creative expression, symbolic digital circulation, collaborative problem-solving, and connections between fictional narratives and political realities. Luis Tato’s photograph not only documents a student protest but also captures the transformation of visual culture among digital generation, in which popular culture symbols function as instruments of contemporary political articulation. This study argues that contemporary journalistic photography can be understood as a visual cultural practice actively shaping the production of social meaning within the global media ecosystem.
Co-Authors Aninditya Ardhana Riswari Azmy Hanif Bhimo Wicaksono Makardi Galih Apriliyanto I Putu Adi Putra Wiwana Novia Sisca Haryani