Article Per Year (5 Year)
p-Index From 2021 - 2026
0.23
P-Index
This Author published in this journals
All Journal International Journal of Multidisciplinary Research and Literature (IJOMRAL)
Zaqia Ramallah
Universitas Multimedia Nusantara
Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Mathematics Physics Social Sciences Other

Published : 1 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 1 Documents
Search

 1 
english Representasi Sinematik Interior Arsitektur Jengki dalam Film Tiga Dara (1956): Representasi Sinematik Interior Arsitektur Jengki dalam Film Tiga Dara (1956) Ahmad Fajar Ariyanto; Sri Wastiwi Setiawati; Zaqia Ramallah; St. Andre Triadiputra
International Journal of Multidisciplinary Research and Literature Vol. 5 No. 3 (2026): INTERNATIONAL JOURNAL OF MULTIDISCIPLINARY RESEARCH AND LITERATURE
Publisher : Yayasan Education and Social Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53067/ijomral.v5i3.425

Abstract

Jengki architecture is a distinctive manifestation of Indonesian modernism that emerged in the 1950s, shaped by the post-independence spirit and a deliberate rejection of colonial aesthetic dominance. In the same period, Indonesian cinema developed as a visual medium capable of recording social change, cultural transformation, and shifting urban lifestyles. This study investigates the representation of Jengki architectural interiors in Tiga Dara (1956), directed by Usmar Ismail, using a cinematic approach and Roland Barthes’ semiotic analysis. Employing a qualitative descriptive method, the research draws on literature review, frame-by-frame visual observation, and documentation of film scenes featuring interior spaces. The analysis identifies denotative and connotative meanings of interior elements, including spatial layout, architectural components, lighting, ventilation, furniture, and furnishings as part of the film’s mise-en-scène. The findings reveal that Jengki interiors are represented through asymmetrical spatial compositions, flexible layouts, slanted forms, climatic responsiveness, and hybrid furniture influenced by international modernism. At the connotative level, these visual representations articulate ideas of modernity, freedom, innovation, and national optimism in the construction of post-independence identity. This study highlights the role of film as a valuable visual archive for understanding the development of interior design and architectural discourse in Indonesia’s transition toward national modernity.
Co-Authors Ahmad Fajar Ariyanto Setiawati, Sri Wastiwi St. Andre Triadiputra