Article Per Year (5 Year)
p-Index From 2021 - 2026
0.444
P-Index
This Author published in this journals
All Journal Tonil, Jurnal Kajian Sastra, Teater dan Sinema Locus
Bunga Islammy
Universitas Padjadjaran
Arts Humanities

Published : 2 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 2 Documents
Search

 1 
Brikolase dan Thrifting dalam subkultur Punk Bunga Islammy
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 23, No 2: September 2026
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v23i2.21518

Abstract

Thrifting atau praktik membeli dan mengenakan pakaian bekas telah lama melekat pada sejarah subkultur punk sebagai bentuk perlawanan kultural yang bekerja melalui mekanisme brikolase. Menggunakan pendekatan studi literatur kualitatif-interpretatif dan bertumpu pada kerangka teori subkultur Birmingham Centre for Contemporary Cultural Studies (CCCS) serta konsep brikolase Hebdige, artikel ini menelaah bagaimana komunitas punk Inggris pada dekade 1970-an mengubah pakaian bekas dari penanda subordinasi ekonomi menjadi instrumen ekspresi oposisional terhadap budaya dominan. Analisis dilakukan melalui pemetaan literatur, analisis tematik, dan interpretasi teoretis atas berbagai sumber tentang thrifting, brikolase, dan subkultur punk. Temuan menunjukkan bahwa perlawanan punk melalui thrifting bekerja secara simultan pada tiga tingkatan, yakni penolakan terhadap logika konsumsi kapitalis, pembongkaran hierarki selera kelas menengah, dan pernyataan terbuka atas posisi kelas yang oleh budaya dominan hendak disembunyikan. Artikel ini juga memperluas pembacaan tersebut dengan meninjau dimensi gender dalam praktik berburu barang bekas, etika DIY (do it yourself) sebagai landasan otonomi ekonomi komunitas, serta relevansi thrifting punk bagi wacana konsumsi berkelanjutan masa kini, tanpa mengabaikan kritik pasca-subkultural yang mempertanyakan koherensi ideologis semacam itu. Artikel ini menyimpulkan bahwa thrifting dalam konteks punk merupakan praktik yang secara ideologis koheren, dan bahwa komodifikasi estetika punk oleh industri mode kontemporer justru menjadi bukti atas kekuatan kultural gerakan ini yang masih bertahan hingga kini.Kata kunci: thrifting; subkultur punk; brikolase; perlawanan kultural; mode subkulturalKata kunci: thrifting; subkultur punk; brikolase; perlawanan kultural; mode subkultural
Narrative Discourse as Social Cristique in Mouly Surya's Sumba Film Marlina the Murderer in Four Act Bunga Islammy
Journal of Local Culture Study Vol. 3 No. 02: December, 2025
Publisher : Research And Social Study Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33292/locus.v3i02.28

Abstract

Indonesian scholarship on Mouly Surya's 2017 feature set in Sumba has concentrated almost entirely on what the film represents: gender injustice, feminist symbolism, and female resistance to patriarchal custom. How that representation is organised as discourse has remained unexamined. This article analyses the film as an audiovisual narrative text in order to establish how its formal organisation carries an argument about sexual violence. The study applies Gerard Genette's narratology to the complete 93-minute film, read through three stages of viewing conducted between February and May 2025, with every observation logged by timecode against the five categories of order, duration, frequency, mood, and voice; Laura Mulvey's critique of the gaze and Cathy Caruth's account of traumatic memory are introduced as interpretive lenses at the point of discussion. The analysis finds an almost unbroken linear order across four titled acts, with analepsis withheld precisely where the protagonist's past and her post-violence state would conventionally invite it; a duration that expands when power relations shift, compresses movement that does not alter the conflict, and elides the aftermath of killing; a strictly singulative frequency; a mood that migrates between internal, zero, and external focalisation so that victimhood is distributed across two women without the victim's body becoming spectacle; and a voice that remains heterodiegetic and extradiegetic throughout, refusing the protagonist verbal authority over her own story. Together these choices constitute a structural refusal of the social demand that survivors repeatedly explain and prove their experience.
Co-Authors