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SOEGIJA BIOPIC FILM, POLITICAL AFIRMATION, AND POLITICAL IDENTITY: DECONSTRUCTION OF INDONESIAN HISTORIOGRAPHY Kartika, Bambang Aris; Prihatini, Nanik Sri; Hastanto, Sri; Dharsono, Dharsono
Capture : Jurnal Seni Media Rekam Vol. 12 No. 1 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v12i1.3111

Soegija's movie is a biopic film based on the historiography of the highest leaders of the people and the Catholic church in Indonesia. Soegija's film is an antithesis of Indonesian historiography so far, especially the historiography of the era of the Indonesian independence revolution. This article discusses the political affirmation and identity politics of Soegija's film from the perspective of Derrida's Deconstruction. Derrida's Deconstruction approach and historical methodology consisting of Heuristics, Hermeneutics, and internal criticism are used to understand the position of Soegija's biopic on Indonesian historiography. The results of the study show that Soegija's film is a biography moving picture of the character Mgr. Albertus Soegijapranata, who narrated historical facts about the national attitude of the Catholic leadership as the first native bishop. In deconstruction, it appears that Soegija's biopic is a representation of the political affirmation and identity politics of educational cultural resistance to the truth of the historical facts of the character Mgr. Albertus Soegijapranata who is in binary opposition to Indonesian historiography.

ANTHROPOCENTRIC THEOLOGY IN A BIOPIC FILM : A STUDY OF THE ISLAMIC CONCEPTION OF K.H. HASYIM ASY'ARI IN THE FILM SANG KIAI Kartika, Bambang Aris
Capture : Jurnal Seni Media Rekam Vol. 14 No. 1 (2022)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v14i1.4132

The film Sang Kiai was created based on the biographical history of a person who played a significant role in the Battle of Surabaya on November 10, 1945, a pivotal event in Indonesian history. This film chronicles the story of K.H. Hasyim Asy'ari, a great scholar from Tebuireng Islamic Boarding School in Jombang, the founder and leader of Nahdlatul Ulama (NU), the largest Islamic religious mass organization in Indonesia, as well as a national hero. Accordingly, this study proposes a research problem of the extent to which anthropocentrism theology serves as the foundation for the Islamic conception of K.H. Hasyim Asyari in the movie Sang Kiai. The study of the film Sang Kiai applied an anthropocentric theological reading approach and a qualitative descriptive methodology. The study’s findings reveal that K.H. Hasyim Asy'ari utilized anthropocentric theology to raise Muslims’ awareness to fight the practices of colonialism and break free from its shackles while also fighting the ignorance of aqidah. In sum, anthropocentric theology is the basis for the legitimacy and principles of the Islamic conception of K.H. Hasyim Asy'ari’s attitudes, behavior, thought patterns, and actions to overcome Muslims’ problems.

ANALYSIS OF DOCUDRAMA HISTORY AND REFERENTIAL RECONSTRUCTION OF SANG KIAI MOVIES: ADAPTATION OF BIOGRAPHICAL HISTORIOGRAPHIC TEXTS TO BIOPIC FILM Kartika, Bambang Aris; Prihatini, Nanik S.; Hastanto, Sri; Dharsono, D.,
Capture : Jurnal Seni Media Rekam Vol. 10 No. 2 (2019)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v10i2.2366

This article discusses about the conception of adaptation of biographical historiographic texts into the medium text in the Sang Kiai film which is a type of historical docudrama film. Adaptation conception shows a transposition pattern of content from historical biographical narrative texts constructed into the text medium of Sang Kiai film. By conducting a study on the Sang Kiai film through approaches of adaptation and heuristic, hermeneutic, and internal criticism methodology has produced a pattern of referential reconstruction in the production of historical genre film texts, especially in the types of biopic films. The Sang Kiai film is a moving picture biography of the K.H. Hasyim Asy'ari figure who narrated historical facts about the nationalism of the founder of the Nahdlatul Ulama (NU) against the colonialist hegemony of Japanese and Allied fascist armies. Thus, the docudrama film which is positioned as a document of visualization of the historical facts about the past that is presented today through the reproduction of historical texts in the biopic film medium. The pattern of referential reconstruction shows that the biopic film of the Sang Kiai is a representation of the truth of the biographical facts of the K.H. Hasyim Asy'ari figure, although it was produced and presented through historical fiction film text

SOEGIJA BIOPIC FILM, POLITICAL AFIRMATION, AND POLITICAL IDENTITY: DECONSTRUCTION OF INDONESIAN HISTORIOGRAPHY Kartika, Bambang Aris; Prihatini, Nanik Sri; Hastanto, Sri; Dharsono, Dharsono
Capture : Jurnal Seni Media Rekam Vol. 12 No. 1 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v12i1.3111

Soegija's movie is a biopic film based on the historiography of the highest leaders of the people and the Catholic church in Indonesia. Soegija's film is an antithesis of Indonesian historiography so far, especially the historiography of the era of the Indonesian independence revolution. This article discusses the political affirmation and identity politics of Soegija's film from the perspective of Derrida's Deconstruction. Derrida's Deconstruction approach and historical methodology consisting of Heuristics, Hermeneutics, and internal criticism are used to understand the position of Soegija's biopic on Indonesian historiography. The results of the study show that Soegija's film is a biography moving picture of the character Mgr. Albertus Soegijapranata, who narrated historical facts about the national attitude of the Catholic leadership as the first native bishop. In deconstruction, it appears that Soegija's biopic is a representation of the political affirmation and identity politics of educational cultural resistance to the truth of the historical facts of the character Mgr. Albertus Soegijapranata who is in binary opposition to Indonesian historiography.

ANTHROPOCENTRIC THEOLOGY IN A BIOPIC FILM : A STUDY OF THE ISLAMIC CONCEPTION OF K.H. HASYIM ASY'ARI IN THE FILM SANG KIAI Kartika, Bambang Aris
Capture : Jurnal Seni Media Rekam Vol. 14 No. 1 (2022)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v14i1.4132

The film Sang Kiai was created based on the biographical history of a person who played a significant role in the Battle of Surabaya on November 10, 1945, a pivotal event in Indonesian history. This film chronicles the story of K.H. Hasyim Asy'ari, a great scholar from Tebuireng Islamic Boarding School in Jombang, the founder and leader of Nahdlatul Ulama (NU), the largest Islamic religious mass organization in Indonesia, as well as a national hero. Accordingly, this study proposes a research problem of the extent to which anthropocentrism theology serves as the foundation for the Islamic conception of K.H. Hasyim Asyari in the movie Sang Kiai. The study of the film Sang Kiai applied an anthropocentric theological reading approach and a qualitative descriptive methodology. The study’s findings reveal that K.H. Hasyim Asy'ari utilized anthropocentric theology to raise Muslims’ awareness to fight the practices of colonialism and break free from its shackles while also fighting the ignorance of aqidah. In sum, anthropocentric theology is the basis for the legitimacy and principles of the Islamic conception of K.H. Hasyim Asy'ari’s attitudes, behavior, thought patterns, and actions to overcome Muslims’ problems.

Penulisan Naskah Web Series Manusia dan Cerita Sampai Bertemu Cahaya Menggunakan Teori Positive Character Arc Sebagai Penunjang Dramatik Iqlimabelle, Salsa Bila; Kartika, Bambang Aris; Zoebazary, Ilham
ROLLING Vol. 8 No. 1 (2025): ROLLING Volume 8 Nomor 1 Tahun 2025
Publisher : Universitas Jember

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19184/rolling.v8i1.53701

The rise of suicide and bullying today is the basis for the creation of a work entitled Humans and Stories Until Light Meets. This work is a web series script that discusses the relationship between the role of parents in children's lives and children's mental health. This script tells about a child's journey in achieving true happiness or can be referred to as the maturation process. This script uses the positive character arc theory assisted by save the cat technique in its preparation. The purpose of making this script is provide information that parenting has a close relationship with children's mental health, suicide, and bullying behavior in children.

Kajian Psikoanalisis Karakter Rara Pada Film Imperfect CahyaPutra, Dhandy Perkasa CahyaPutra; Kartika, Bambang Aris; Suharijadi, Didik
ROLLING Vol. 8 No. 1 (2025): ROLLING Volume 8 Nomor 1 Tahun 2025
Publisher : Universitas Jember

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19184/rolling.v8i1.53704

Imperfect is a film directed by Ernest Prakasa and based on his wife Meira's book called Imperfect: A Journey to Self-Acceptance airing on December 19, 2019. Imperfect tells the story of a woman named Rara (Jessica Milla), an employee at a cosmetics company who doubts her body shape because she doesn't meet the beauty standards of others. The method used in this research is a qualitative research method using Sigmund Freud's psychoanalytic theory as the main theory and Bordwell's mise en scene theory as a supporting theory in analyzing Rara's character in the film Imperfect. The division of scenes is based on the mise en scene aspect and considers the physical changes in Rara's character as a comparison for changes in attitude and character. This research identifies two forms different of Rara's character present in the 8 scene. Provides a deeper understanding of how visual elements in film, such as setting, costume and makeup, lighting, and staging, collaborate to construct a powerful concept of psychoanalytic character within a scene. The conclusion of this research reveals that mise-en-scene plays a pivotal role in shaping the perceived emotional Rara's character into audience. The demands of beauty standards dominate most segments in this scene. Rara's determination to make physical changes is supported by the mise-en-scene aspect. The results of the physical changes made Rara's career dreams come true. Physical changes and appearance also dominate Rara's character, becoming selfish and arrogant, thereby losing the people around her.

Visualization of Patriarchal Culture in the Film Kartini (2017): A Semiotic Analysis by John Fiske Pratiwi, Rizky Indah; Kartika, Bambang Aris; Hartanto, Denny Antyo; Murti, Ghanesya Hari
Journal of Language, Communication, and Tourism Vol. 2 No. 2 (2024): June
Publisher : P3M Politeknik Negeri Jember

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25047/jlct.v2i2.5035

Film is a medium that represents various socio-cultural realities, enabling the visualization and depiction of social issues, one of which is the culture of patriarchy. Patriarchy is a term used to describe a social system where power, control, and authority are primarily in the hands of men or male figures. Patriarchy is a central theme in the film Kartini. Therefore, the aim of this study is to reveal and understand the hidden meanings that depict the visualization of patriarchal culture in the film Kartini. This study employs a qualitative research method, utilizing John Fiske's semiotic analysis approach. The findings of this research indicate that patriarchal culture is visualized through John Fiske's three codes of encoding, including 1) reality, 2) representation, and 3) ideology, demonstrating that patriarchal culture remains influential in affecting women's lives.

Representation of Social Inequality in the Film Shoplifters: A Semiotic Study of Roland Barthes Danuta Korpas, Azalea; Zamroni , Muhammad; Sukmawati, Ni Luh Ayu; Kartika, Bambang Aris; Hartanto, Denny Antyo
Cultural Narratives Vol. 3 No. 1 (2025): August
Publisher : CV. Era Digital Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59066/cn.v3i1.1356

This study examines the representation of social inequality in the film Shoplifters (2018) by Hirokazu Kore-eda through the lens of Roland Barthes semiotic theory. As an audiovisual medium, film reflects social realities and conveys ideological messages, with Shoplifters serving as a poignant depiction of poverty and marginalization. The study explores how mise-en-scene elements such as setting, costume, make up, and camera angles communicate deeper meanings through Barthes three levels of signification: denotation, connotation, and myth. Using a descriptive qualitative method and focusing on two key scenes, the research identifies how the film presents various dimensions of social inequality including economic hardship and social exclusion. The findings reveal that the Shibata family's unconventional structure and survival strategies underscore systemic disparities and challenge dominant societal norms.

THE GOOD MOTHER AS REPUTATIONAL PERFORMANCE: MYTH AND SOCIAL SURVEILLANCE IN LEFT-HANDED GIRL (2025) Ni Luh Ayu Sukmawati; Wen-Hung Chao; Denny Antyo Hartanto; Bambang Aris Kartika
Sense: Journal of Film and Television Studies Vol 9, No 1 (2026)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/sense.v9i1.19531

This article examines Left Handed Girl (2025) to refine how patriarchy works through moralised of reputation and public evaluation. Patriarchy appears as a social process sustained through gendered self policing, where mothers protect family face by managing secrecy, shame, and communal judgement. The framework draws on Roland Barthes’ semiotics of denotation, connotation, and myth, Friedrich Nietzsche’s moral genealogy of ressentiment, bad conscience, and the conversion of debt into guilt, and Judith Butler’s performativity as repeated acts shaped by social norms. The study uses close readings of selected sequences and recurring motifs that organise the film’s moral economy. Motifs include the stigmatisation of left handedness as the devil’s hand, the night market as a semiotic economy of female commodification, the concealment of nonmarital motherhood, and an incident where a pet’s fatal fall is disavowed to avert censure. Barthesian myth shows how reputational discipline becomes common sense, Nietzschean genealogy explains how external judgement turns inward as bad conscience, and Butlerian performativity frames concealment as affective labour that produces the figure of the good mother. The findings portray patriarchy as reproduced through women’s enforced moral responsibility, binding care to coercive respectability

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