Articles
<![CDATA[The Practice of Body Power and Masculine Resistance of Male Actors in Indonesian Comedy Films of the Reform Era ]]>
<![CDATA[Aminudin, Amin]]>;
<![CDATA[Ana Nadhya Abrar]]>;
<![CDATA[Novi Kurnia]]>
<![CDATA[ International Journal Of Humanities Education and Social Sciences (IJHESS) Vol 4 No 1 (2024): IJHESS AUGUST 2024 ]]>
Publisher : <![CDATA[CV. AFDIFAL MAJU BERKAH ]]>
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DOI: 10.55227/ijhess.v4i1.1175
<![CDATA[The practice of power over male actors' bodies in comedy films is understood not as a neutral process where factual reality is conveyed directly through text or images, but as a social praxis related to the deconstruction of gender, resulting in new understandings of masculinity depicted in films from the Reform Era. To address this question, the researcher employs Norman Fairclough's critical discourse approach to comedy films as the main theoretical framework, combined with Michel Foucault's perspective on power relations and Maurice Merleau-Ponty's theory of body language. The paradigm used in this research is the critical paradigm, with data collection techniques obtained through film text documentation studies. The research results show that the male actor's body does not merely function as a tool for visual narration but also as a powerful medium for expressing deeper themes related to power, identity, and social dynamics. For instance, in the film Arisan! 2, the narrative highlights sexual freedom and emotional vulnerability. Meanwhile, Bebas emphasizes physical changes and social symbolism through the male body.]]>
<![CDATA[PERSEPSI MASYARAKAT DKI JAKARTA TENTANG PEMBERITAAN PENANGANAN WABAH COVID-19 DI WILAYAH DKI JAKARTA ]]>
<![CDATA[Aminudin, Amin]]>
<![CDATA[ Medium: Jurnal Ilmiah Fakultas Ilmu Komunikasi Vol 9 No 2 (2021): Medium Jurnal Ilmiah Fakultas Ilmu Komunikasi Universitas Islam Riau ]]>
Publisher : <![CDATA[Fakultas Ilmu Komunikasi Universitas Islam Riau ]]>
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DOI: 10.25299/medium.2021.vol9(2).8881
<![CDATA[Handling of COVID 19 Cases in the DKI Jakarta area is quite a concern of the Indonesian public. Jakarta as epicentrum of Indonesia's control is also the Epicentrum of the spread of the COVID-19 virus. So that the information that appears in the mass media is in line with the increasing popularity of Anis Baswedan as Governor of DKI Jakarta. Governor Anies' popularity in the mass media is increasing due to his performance and ability to predict and deal with the COVID-19 outbreak. The goal to be achieved from this study is to find out how the perception of the people of DKI Jakarta about the mass media in reporting strategies for handling the COVID-19 outbreak by the DKI Jakarta Regional Government. 2. To find out how the strategy of handling the COVID-19 outbreak by the DKI Jakarta Regional Government towards the formation of public opinion of DKI Jakarta residents. This research uses a kualiitative approach with perception theory, descriptive qualitative approach with interview methods as an instrument of primary data collection and literature study as secondary material the subject of this study is DKI Jakarta Residents scattered in the regency / city area in DKI Jakarta Province. . The results of this study show that the public tends to follow the mainstream of mass media or can be said to have a high enough confidence in the information disseminated by the mass media about the handling of the COVID-19 pandemic carried out by the Jakarta Provincial Government. Jakarta Provincial Government which is considered good by the mass media. good by the public along with the high intensity of mass media consumption.]]>
<![CDATA[SOSIALISASI ANTI KEKERASAN DAN PEMBENTUKAN KELURAHAN RAMAH PEREMPUAN DAN LAYAK ANAK DI KECAMATAN PESANGGRAHAN JAKARTA SELATAN ]]>
<![CDATA[Wahid, Umaimah]]>;
<![CDATA[Sumardi, Eko]]>;
<![CDATA[Lydiani, Saskia]]>;
<![CDATA[Aminudin, Amin]]>;
<![CDATA[Mulyati, Mulyati]]>;
<![CDATA[Kusumawardhany, Nidya]]>;
<![CDATA[Rosita, Reni]]>;
<![CDATA[Suwarno, Suwarno]]>;
<![CDATA[Andini, Prita]]>;
<![CDATA[Gusnita, Chazizah]]>
<![CDATA[ Martabe : Jurnal Pengabdian Kepada Masyarakat Vol 7, No 12 (2024): MARTABE : JURNAL PENGABDIAN MASYARAKAT ]]>
Publisher : <![CDATA[Universitas Muhammadiyah Tapanuli Selatan ]]>
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DOI: 10.31604/jpm.v7i12.5049-5063
<![CDATA[Menurut Laporan Tahunan Komisi Nasional Anti Kekerasan terhadap Perempuan (Komnas Perempuan) 2020, DKI Jakarta mencatat angka tertinggi kasus kekerasan terhadap perempuan dan anak perempuan di Indonesia. Kekekerasan yang sering terjadi meliputi kekerasan fisik, psikologis, seksual, serta pengabaian. Diperlukan langkah-langkah preventif yang keras untuk meningkatkan kesadaran masyarakat dalam menciptakan lingkungan yang bebas dari kekerasan di kota atau desanya. Namun, belum semua kabupaten atau kota di Indonesia bersahabat untuk anak-anak. Sebuah sistem kesejahteraan sosial yang berhasil bagi anak-anak dan keluarga dan dukungan mekanisme sangatlah penting untuk mendorong perilaku positif dalam masyarakat ini. Diperlukan juga landasan hukum dan kebijakan yang mendukung serta sistem data dan informasi yang memadai untuk melindungi anak-anak. Penyuluhan tentang komunikasi yang efektif dan penggunaan media sosial serta upaya membentuk lingkungan masyarakat yang ramah terhadap perempuan dan aman bagi anak-anak (tanpa kekerasan seksual) di Kecamatan Pesanggrahan di Jakarta Selatan sangatlah penting untuk memberikan informasi penting serta pengetahuan yang diperlukan kepada masyarakat guna melindungi perempuan dan anak-anak sebagai kelompok yang rentan terhadap tindakan kekerasan. Program pembentukan lingkungan masyarakat yang ramah terhadap perempuan dan layak bagi anak-anak tanpa pelecehan dan kekerasan adalah tanggung jawab hukum sekaligus kemanusiaan agar dapat memperkuat hubungan keluarga dan membangun masyarakat yang damai.]]>
<![CDATA[KONFLIK IDENTITAS NEGOSIASI MUKA MAHASISWA ISLAM DALAM PEMANFATAN SOSIAL MEDIA UNTUK DAKWAH ]]>
<![CDATA[Wahid, Umaimah]]>;
<![CDATA[Saeno, Saeno]]>;
<![CDATA[Lestari, Rini]]>;
<![CDATA[Suwarno, Suwarno]]>;
<![CDATA[Aminudin, Amin]]>
<![CDATA[ ORASI: Jurnal Dakwah dan Komunikasi Vol 12, No 1 (2021): Juli 2021 ]]>
Publisher : <![CDATA[IAIN Syekh Nurjati Cirebon ]]>
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DOI: 10.24235/orasi.v12i1.7343
<![CDATA[Pengguna media baru dan media sosial terus bertambah di Indonesia, namun faktanya pertumbuhan pengguna media sosial tidak berbanding lurus pemanfaatannya untuk aktivitas dakwah. Fokus masalah penelitian adalah konflik identitas mahasiswa Komunikasi dan Penyiaran Islam UIN Syarif Hidayatulah Jakarta dan UIN Sunan Gunung Jati dalam memanfaatkan media sosial untuk aktivitas dakwah. Penelitian ini menggunakan teori negosiasi muka Stella Sting-Toomey, konsep media sosial, dan paradigma baru dakwah. Pendekatan kualitatif dan metode studi kasus tipe kasus tunggal holistik digunakan dalam penelitian ini. Data diperoleh melalui teknik wawancara dan obsevasi. Hasil penelitian menjelaskan, mahasiswa cenderung tidak tertarik menggunakan media sosial untuk aktivitas dakwah karena kekhawatiran munculnya konflik dalam interaksi online karena akan merusak citra mereka. Mereka juga dapat dinilai atau dicap sebagai orang yang sok alim, sok suci bahkan fundamentalis dan teroris. Mereka adalah pengguna aktif media sosial dan media baru bahkan beberapa di antaranya memiliki akun media sosial lebih dari 5 jenis dan menghabiskan waktu berselancar di media sosial selama 2,5 sampai 5 jam dalam satu hari. Di sisi lain pemanfaatan media baru dan media sosial untuk dakwah Islam mendesak diadopsi karena masyarakat muslim terutama kaum muda merupakan pengguna media sosial aktif. Hal tersebut sebagai solusi agar dakwah Islam tidak ditinggal oleh umatnya harus dilakukan melalui media sosial dan media baru sebagai bentuk baru berdakwah di era internet.]]>
<![CDATA[Dismantling The Ideology Of The Film Budi Pekerti (Discourse on Character and Morality Education on the Big Screen) ]]>
<![CDATA[Nurapni Pebyyani]]>;
<![CDATA[Amin Aminudin]]>
<![CDATA[ International Journal Of Humanities Education and Social Sciences (IJHESS) Vol 4 No 6 (2025): IJHESS JUNE 2025 ]]>
Publisher : <![CDATA[CV. AFDIFAL MAJU BERKAH ]]>
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DOI: 10.55227/ijhess.v4i6.1745
<![CDATA[This study examines the ideological discourse embedded in the 2023 film Ethics, with a focus on the depiction of character education and morality. Through critical discourse analysis, this research identifies how films build moral values, representations of ethical dilemmas, and ideological messages conveyed to the audience. This research highlights the role of film in shaping public perception of ethics and character education. Furthermore, this research explores how film narratives engage with traditional and modern perspectives on moral values. Using Van Dijk's critical discourse analysis, this study investigates how Ethics builds its ideological attitudes and the implications of its moral representations. The film is positioned in a larger discourse than Indonesian cinema as a tool for moral storytelling, emphasizing its potential in shaping societal norms. The study also discusses how audiences interpret the moral and ethical dilemmas presented, taking into account the socio-cultural context of Indonesia. The findings of the study show that Ethics strengthens the importance of character education through the depiction of ethical struggles, depicting individual and systemic moral conflicts. This highlights the film's dual function: as a reflection of contemporary moral values and as a critique of the ethical tensions prevailing in Indonesian society.]]>
<![CDATA[Media Hegemony and Political Scandal: The Narrative of Ridwan Kamil Alleged Affair in the Vortex of Power ]]>
<![CDATA[Aminudin, Amin]]>
<![CDATA[ Jurnal JTIK (Jurnal Teknologi Informasi dan Komunikasi) Vol 10 No 1 (2026): JANUARY 2026 ]]>
Publisher : <![CDATA[Lembaga Otonom Lembaga Informasi dan Riset Indonesia (KITA INFO dan RISET) ]]>
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DOI: 10.35870/jtik.v10i1.5631
<![CDATA[In the realm of politics, scandals involving public figures often attract significant attention, especially when reported by the media. One major scandal that once stirred public discourse was the alleged affair involving Ridwan Kamil. The media plays a crucial role in shaping public perception of political figures, often through news reporting constructed with specific narratives. This study aims to explore how the media constructs narratives surrounding the alleged affair of Ridwan Kamil, and how it utilises its influence to shape public opinion and reinforce power structures through such reporting. Using Antonio Gramsci’s theory of hegemony, this research analyses how major Indonesian media outlets, such as Kompas.com, Detik.com, and CNN Indonesia, presented news coverage of this scandal. It also examines how the media frames the news in ways that influence the public’s perception of Ridwan Kamil and his political standing. The method employed is discourse analysis, focusing on the texts and narratives built by the media. This research not only investigates what is reported but also how the reporting itself constructs public perception and discourse. The findings reveal that scandals related to personal morality have significant destructive potential, as Indonesian society still views political leaders as moral figures. The clear polarisation of public opinion in Ridwan Kamil’s case is not solely caused by the content of the news but also by the selective consumption of information facilitated by social media algorithms. This study also identifies character assassination as a political communication strategy used to damage reputations by attacking personal aspects. Ideological bias in media coverage aligns with Herman and Chomsky’s propaganda model, where the media serves the interests of capital owners and those in power.]]>
<![CDATA[Representasi Rumah dan Keluarga sebagai Simbol Keharmonisan dalam Film Pendek “Rumah Punya Cerita” melalui Analisis Semiotika Roland Barthes ]]>
<![CDATA[Afnan Malaakhim]]>;
<![CDATA[Amin aminudin]]>
<![CDATA[ PESHUM : Jurnal Pendidikan, Sosial dan Humaniora Vol. 5 No. 3: April 2026 ]]>
Publisher : <![CDATA[CV. Ulil Albab Corp ]]>
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DOI: 10.56799/peshum.v5i3.16431
<![CDATA[Film pendek iklan telah menjadi medium strategis bagi merek untuk membangun narasi emosional yang bersinggungan dengan nilai budaya audiens. Salah satu contohnya adalah film pendek ‘Rumah Punya Cerita’ dari Tropicana Slim, yang mengemas pesan gaya hidup sehat dalam sebuah cerita keluarga. Penelitian ini bertujuan untuk membongkar bagaimana representasi ‘rumah’ dan ‘keluarga’ dikonstruksikan secara ideologis dalam film tersebut untuk menaturalisasi pesan merek. Dengan menggunakan metode kualitatif melalui analisis semiotika Roland Barthes, penelitian ini membedah makna pada tiga tingkatan: denotasi, konotasi, dan mitos. Hasil analisis menunjukkan bahwa secara denotatif, film ini menampilkan potret keseharian sebuah keluarga di dalam rumah mereka. Namun pada level konotatif, ‘rumah’ direpresentasikan sebagai ruang emosional yang merefleksikan keharmonisan, dan ‘keluarga’ diidealkan dengan sosok ibu sebagai pilar utamanya. Puncaknya, penelitian ini mengungkap operasionalisasi mitos di mana keutuhan keluarga modern dihubungkan secara inheren dengan gaya hidup sehat, yang difasilitasi oleh produk Tropicana Slim. Disimpulkan bahwa film ini secara efektif menaturalisasi ideologi konsumsi dengan cara mengintegrasikan pesan komersial ke dalam simbol-simbol kultural fundamental seperti rumah dan keluarga.]]>
<![CDATA[Analisis Gaya Komunikasi Youtuber Jerome Polin Pada Kanal Youtube “Nihongo Mantappu” Edisi Aku Jadi Guru Di Pedalaman Lombok ]]>
<![CDATA[Syifa Fauziah Saputri]]>;
<![CDATA[Amin Aminudin]]>
<![CDATA[ PESHUM : Jurnal Pendidikan, Sosial dan Humaniora Vol. 5 No. 3: April 2026 ]]>
Publisher : <![CDATA[CV. Ulil Albab Corp ]]>
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DOI: 10.56799/peshum.v5i3.16664
<![CDATA[Komunikasi merupakan kegiatan pertukaran gagasan secara verbal maupun nonverbal antar manusia. Suatu kegiatan komunikasi memerlukan cara penyampaian dan gaya bahasa yang baik. Oleh karena itu dalam berkomunikasi manusia tidak akan bisa lepas dari gaya komunikasi. Fenomena YouTube sebagai platform media baru telah melahirkan banyak content creator dengan gaya komunikasi yang khas. Salah satu di antaranya adalah Jerome Polin, seorang YouTuber asal Indonesia yang dikenal dengan konten edukatif sekaligus menghibur. Penelitian ini bertujuan untuk menganalisis gaya komunikasi baru yang ditampilkan oleh Jerome Polin melalui kanal YouTube Nihongo Mantappu. Metode penelitian menggunakan pendekatan kualitatif deskriptif dengan teknik observasi dan analisis isi video. Hasil penelitian menunjukkan bahwa gaya komunikasi Jerome Polin menekankan pada storytelling edukatif, penggunaan bahasa campuran (Indonesia–Inggris–Jepang), serta humor ringan yang mampu membangun kedekatan emosional dengan audiens. Kombinasi gaya komunikasi tersebut tidak hanya memperkuat citra personal Jerome sebagai content creator edukatif, tetapi juga meningkatkan daya tarik dan loyalitas penonton.]]>
<![CDATA[Strategi Digital Storytelling dalam Membangun Interaksi Audiens pada Konten YouTube NERROR @Nessie Judge ]]>
<![CDATA[Ridho Avis]]>;
<![CDATA[Amin Aminudin]]>
<![CDATA[ SOSMANIORA: Jurnal Ilmu Sosial dan Humaniora Vol. 5 No. 1 (2026): Maret 2026 ]]>
Publisher : <![CDATA[Yayasan Literasi Sains Indonesia ]]>
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DOI: 10.55123/sosmaniora.v5i1.7664
<![CDATA[The development of digital media, particularly YouTube, has transformed communication patterns and information consumption from passive reception to more participatory engagement. As an audiovisual platform, YouTube enables creators to build audience involvement through narratives that are delivered in personal and persuasive ways. Amid increasingly intense competition among content creators, digital storytelling has emerged as a strategic approach to attract attention while fostering audience interaction. Nessie Judge is one of the creators who consistently applies digital storytelling through her NERROR content on YouTube. This study aims to explore the digital storytelling strategies employed by Nessie Judge and analyze how these strategies construct audience interaction within the comment section. This research adopts a descriptive qualitative approach, using a single NERROR video selected purposively as an information-rich and analytically relevant case. Data were collected through non-participant observation of both the video’s narrative structure and the dynamics of audience responses in the comment section. The data were analyzed using thematic analysis to identify storytelling patterns and forms of audience engagement. The findings indicate that the digital storytelling strategy is constructed through a coherent and emotionally driven narrative structure, reinforced by tempo management, contextual visual and audio elements, and a personal communication style that fosters a sense of closeness. Audience immersion in the narrative is reflected in reflective and discursive responses that appear asynchronously in the comment section. These findings demonstrate that long-form storytelling practices on YouTube can sustain audience attention while simultaneously generating interactive engagement within the digital public sphere.]]>
<![CDATA[Analisis Semiotika pada Poster Film “The Willoughbys" ]]>
<![CDATA[Ester Armaylia]]>;
<![CDATA[Amin Aminudin]]>
<![CDATA[ SOSMANIORA: Jurnal Ilmu Sosial dan Humaniora Vol. 5 No. 1 (2026): Maret 2026 ]]>
Publisher : <![CDATA[Yayasan Literasi Sains Indonesia ]]>
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DOI: 10.55123/sosmaniora.v5i1.7720
<![CDATA[A film poster is more than an ordinary image; it is a visual communication medium representing specific cultures and ideologies. Amidst animated narratives that often glorify the ideal family, the film The Willoughbys (2020) presents a unique satirical approach to themes of imperfect or dysfunctional families. This study addresses a central question: how does the poster, as a primary visual representation, convey a narrative that challenges such norms?. Utilizing Roland Barthes’ semiotic theory—encompassing denotation, connotation, and myth—within a qualitative constructivist paradigm, the research demonstrates the poster's role as a complete narrative text. The findings reveal that the poster systematically constructs a comprehensive narrative through a strategic orchestration of visual signs. Specifically, the premise of family dysfunction is established through compositional separation between the background and foreground. The core conflict is manifested in the visual contrast between rigid, passive parent figures and proactive, dynamic children. Furthermore, the inciting incident is symbolized by a satirical travel brochure representing a rebellion plan. Ultimately, the poster transcends mere character introduction to function as a standalone text that effectively encapsulates the film’s critique of "The Myth of the Ideal Family".]]>
