Articles
<![CDATA[Menertawakan Kejelataan Kita2: Transgresi Batas-Batas Marginalitas dalam Sinetron Komedi Bajaj Bajuri ]]>
<![CDATA[Irawanto, Budi]]>
<![CDATA[ Jurnal Ilmu Komunikasi Vol 3, No 1 (2006) ]]>
Publisher : <![CDATA[Jurnal Ilmu Komunikasi ]]>
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<![CDATA[Abstract: Political transition in Indonesia since 1998 has created uncertain situation for most Indonesian people. Moreover, the hard economic condition has multiplied the number of people living below the poverty line. In these circumstances, the light entertainments such as situation comedy, which blends the portrait of ordinary people and their quaint life style, occupied the prime time of television programming in Indonesia. This paper discusses the popularity of the situation comedy Bajaj Bajuri (bajaj literally means âtwo-passenger pedicab motor with scooter machineâ) in contemporary Indonesia. This series is about the daily life of Bajuriâs (bajajâs driver) family and their lower class neighbours in the edge of metropolitan Jakarta (the capital city of Indonesia). Therefore, this paper focuses on the representation of the marginalised people and how television constructed the boundary of marginality. This paper argues that situation comedy is not only reinforcing stereotype of the lower class group but also transgressing the stereotypical image of the lower class by parodying and abusing popular discourse.]]>
<![CDATA[Ilusi Virtual: Kejayaan Media atas Audien? Telaah Kritis atas Teori Resepsi Media Jean Baudrillard ]]>
<![CDATA[Irawanto, Budi]]>
<![CDATA[ Jurnal Ilmu Sosial dan Ilmu Politik Vol 1, No 3 (1998) ]]>
Publisher : <![CDATA[Fakultas Ilmu Sosial dan Ilmu Politik Universitas Gadjah Mada ]]>
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<![CDATA[This article aims to scruntinize more closely Jean Baudrillard work on media reception. This work is important because Jean Baudrillard is one of the most stimulating and provocative contemporary thinker. In his views, similar in some respects to John Fiskes , consumers (audiences) do resist the media. Far from claiming that media reception is passive and alienated, Baudrillard sees in some reception a resistive response to the media. When understood in the light of media reception perspective, both Baudrillard and Fiske have significant contributions to making the theory of mass communication.]]>
<![CDATA[Film Propaganda: Ikonografi Kekuasaan ]]>
<![CDATA[Irawanto, Budi]]>
<![CDATA[ Jurnal Ilmu Sosial dan Ilmu Politik Vol 8, No 1 (2004): Representasi dan Keberpihakan dalam Media ]]>
Publisher : <![CDATA[Fakultas Ilmu Sosial dan Ilmu Politik Universitas Gadjah Mada ]]>
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<![CDATA[As a modern technological invention cinema has numerous potentialities such as economic, social and political power. Fascist regimes as well as film corporations have employed cinema as a tool of propaganda to control and mobilize the masses for the sake of their power longevity. Moreover, the character of film itself is a perfect fascist medium which came from the network of proto-fascism of the twentieth century civilization. By using various genres of Indonesian cinema from different eras as a case study, this article argues that Indonesian propaganda films have monolithic representation which can be described as a cult of "bapakisme" (patronism), "kultur komando" (command culture), marginalisation of women role in Indonesian revolutionary movement and demonization of progressive women organisation, and glorification of the role of Soeharto in Indonesian revolutionary movement.]]>
<![CDATA[Memerkarakan Identitas Nasional: Representasi Identitas Kultural dalam Sinema Generasi Baru Indonesia dan Malaysia ]]>
<![CDATA[Irawanto, Budi]]>
<![CDATA[ Jurnal Ilmu Sosial dan Ilmu Politik Vol 12, No 2 (2008): Media dan Demokrasi ]]>
Publisher : <![CDATA[Fakultas Ilmu Sosial dan Ilmu Politik Universitas Gadjah Mada ]]>
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<![CDATA[Cinema has been long seen as a trans-cultural phenomenon due to its cross-cultural ability. Cinema posits itself to entertain and to educate people from various backgrounds by using its "universal language" âembracing visual and aesthetic aspects. At the same time, cinema has potentials to bring the discourse of identity. The issue of identity will strongly emerge in cinemas, particularly when a country faces a crisis of identity. Many cases show that cinema plays a significant role in contesting the idea of national identity. Moreover, this article aims at highlighting the notion of identity attached in cinema production. By using comparative perspectives between Indonesia and Malaysia, this paper shows how creative spaces are constructed by new generation of Indonesian and Malaysian film makers. Creative spaces which are initiated by cineaste are intended to open the path for critical ideas on national identity. Instead of a fixed state, national identity is defined by young generation of filmmakers more as a contested idea.]]>
<![CDATA[Menertawakan Kejelataan Kita2: Transgresi Batas-Batas Marginalitas dalam Sinetron Komedi Bajaj Bajuri ]]>
<![CDATA[Irawanto, Budi]]>
<![CDATA[ Jurnal ILMU KOMUNIKASI Vol 3, No 1 (2006) ]]>
Publisher : <![CDATA[FISIP Universitas Atma Jaya Yogyakarta ]]>
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DOI: 10.24002/jik.v3i1.240
<![CDATA[Abstract: Political transition in Indonesia since 1998 has created uncertain situation for most Indonesian people. Moreover, the hard economic condition has multiplied the number of people living below the poverty line. In these circumstances, the light entertainments such as situation comedy, which blends the portrait of ordinary people and their quaint life style, occupied the prime time of television programming in Indonesia. This paper discusses the popularity of the situation comedy Bajaj Bajuri (bajaj literally means “two-passenger pedicab motor with scooter machineâ€Â) in contemporary Indonesia. This series is about the daily life of Bajuri’s (bajaj’s driver) family and their lower class neighbours in the edge of metropolitan Jakarta (the capital city of Indonesia). Therefore, this paper focuses on the representation of the marginalised people and how television constructed the boundary of marginality. This paper argues that situation comedy is not only reinforcing stereotype of the lower class group but also transgressing the stereotypical image of the lower class by parodying and abusing popular discourse.]]>
<![CDATA[MEREGUK KENIKMATAN DI DUNIA MAYA: VIRTUALITAS DAN PENUBUHAN DALAM CYBERSEX ]]>
<![CDATA[Budi Irawanto]]>
<![CDATA[ Jurnal Kawistara Vol 7, No 1 (2017) ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/kawistara.23728
<![CDATA[Dubbed methaporically as “sex without secretions”, cybersex has transformed the sexual practice and the meaning of erotica. This article seeks to explore the issues of sexuality in cyberspace, particularly its virtuality and embodiment in cybersex. Many discussions on cybersex revolve around issues of accessibility, affordability and anonymity that draw sharp lines between the real and the virtual. Therefore, in this article I argue that cybersex does not completely distinct from sexuality in the real world due to the interpenetration process between sex in the virtual and real world.]]>
<![CDATA[FILM DOKUMENTER SEBAGAI KATALIS PERUBAHAN SOSIAL: STUDI KASUS AMBON, ACEH DAN BALI ]]>
<![CDATA[Budi Irawanto]]>;
<![CDATA[Theresia Octastefani]]>
<![CDATA[ Jurnal Kawistara Vol 9, No 1 (2019) ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/kawistara.40986
<![CDATA[Since democratization (Reformasi) in 1998, documentary films gradually evolve with their locus of production spreading across the Indonesian archipelago. With the spirit of democratization brought about by digital technology, film communities and civil organizations in outer islands of Java utilize digital documentary film to capture several pertinent socio-political issues and raise public and government attention and responses. Those issues are commonly overlooked by the local media and were never a part of local government’s policies. Based on our fieldwork conducted in three areas outside of the Java Island (Ambon, Aceh and Bali), where digital documentary filmmaking and civil organizations are active and vibrant, our study indicates that rather than simply producing documentaries, film communities or non-governmental organizations disseminated documentaries through public screenings to invite further engagement of audiences by discussing the film with authorities (policy makers) that were often invited in that event. In this article, we attempt to illuminate how documentary filmmaking allows the unseen and neglected issues to be articulated visually and sonically. Therefore, it would be compelling public or media attention and encouraging further government policy to resolve that matters. In other words, documentary films are a catalyst for social change by taking their roles as witness for the public and demanding responsibilities of the political authority.]]>
<![CDATA[Menyoroti Jurnalisme Warga: Lintasan Sejarah, Konflik Kepentingan, dan Keterkaitannya dengan Jurnalisme Profesional ]]>
<![CDATA[Aryo Subarkah Eddyono]]>;
<![CDATA[Faruk HT]]>;
<![CDATA[Budi Irawanto]]>
<![CDATA[ Jurnal Kajian Jurnalisme Vol 3, No 1 (2019): Kajian Jurnalisme ]]>
Publisher : <![CDATA[School of Journalism, Faculty of Communication Sciences, Universitas Padjadjaran ]]>
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DOI: 10.24198/jkj.v3i1.21762
<![CDATA[Jurnalisme warga, yang praktiknya masih bisa ditemui, adalah proses produksi informasi yang dilakukan warga biasa atas peristiwa yang terjadi di sekitarnya di berbagai media. Meskipun terlihat egaliter dan inklusif, pada kenyataannya praktik jurnalisme warga timpang dan diskriminatif. Artikel ini menunjukkan awal mula perjalanan jurnalisme warga dan hal apa saja yang melatarinya. Tujuannya adalah memberikan alternatif pandangan awal mula kehadiran jurnalisme warga, baik di dunia maupun di Indonesia. Data diperoleh melalui wawancara, observasi, dokumen, serta kepustakaan. Hasil penelitian ini menunjukkan bahwa praktik jurnalisme warga sudah sejak lama ada, bahkan lebih tua dari jurnalisme itu sendiri. Jurnalisme warga muncul karena kritik atas jurnalisme profesional yang partisan dan terlalu berorientasi pada pasar; perkembangan teknologi internet; situasi di mana jurnalisme profesional sejak awal keberadaanya tidak bisa dilepaskan dari warga; dan keinginan mendapatkan keuntungan. Di balik itu semua, kepentingan-kepentingan besar yang membayanginya adalah jurnalisme itu sendiri (jurnalisme profesional), demokrasi (kebebasan berekspresi dan menyampaikan pendapat), serta pasar. Ketiganya saling terkait dalam memotivasi kehadiran jurnalisme warga.]]>
<![CDATA[BEYOND PROSUMPTION: PRAKTIK PROSUMSI PENULIS KONTEN DALAM PLATFORM NEWS AGGREGATOR UC NEWS ]]>
<![CDATA[Maruti Asmaul Husna Subagio]]>;
<![CDATA[Budi Irawanto]]>
<![CDATA[ Masyarakat Indonesia Vol 44, No 1 (2018): Majalah Ilmu-Ilmu Sosial Indonesia ]]>
Publisher : <![CDATA[Kedeputian Bidang Ilmu Sosial dan Kemanusiaan (IPSK-LIPI) ]]>
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DOI: 10.14203/jmi.v44i1.796
<![CDATA[Kemunculan teknologi Web 2.0 memungkinkan para pengguna internet tidak lagi terbatas menjadi konsumen yang mampu membaca, menjelajah, dan mengonsumsi konten internet saja. Lebih dari itu, kini pengguna dapat terlibat aktif menjadi konsumen sekaligus produsen (prosumer). Salah satu platform digital yang menjadi tren dalam satu dekade terakhir adalah news aggregator. Penelitian ini akan menjawab pertanyaan tentang bagaimana para penulis konten di aplikasi UC News, salah satu news aggregator terbesar di Indonesia, melakukan aktivitas produksi-konsumsi (prosumsi) tulisan-tulisan sebagai bagian dari digital labor (pekerja digital). Adapun tujuan penelitian ini ialah menganalisis praktik-praktik prosumsi yang dilakukan oleh penulis konten UC News dikaitkan dengan posisinya sebagai pekerja digital. Metodologi yang digunakan dalam penelitian ini adalah etnografi virtual untuk memeroleh gambaran tentang kebudayaan digital yang termediasi internet. Data didapatkan dari jawaban pertanyaan terbuka kepada 6 orang informan yang dipilih berdasarkan variasi gender, tingkat keaktifan, dan lama keterlibatan menjadi penulis konten UC News. Selain itu, data sekunder penulis dapat dari konten-konten tulisan yang dihasilkan para informan di media UC News. Hasil temuan penelitian ini menunjukkan bahwa para penulis konten melakukan praktik prosumsi dengan cara yang beragam. Mulai dari mencari sendiri informasi tulisan (witness journalism) hingga mengolah informasi yang ada di media maupun literatur untuk dibuat tulisan baru. Peneliti juga menemukan bahwa bentuk kapitalisme era prosumer tidak sebatas memengaruhi penulis konten melakukan aktivitas produksi dan konsumsi saja -seperti yang diketahui sebelumnya- namun juga meluas pada distribusi dan marketisasi oleh para user sendiri.]]>
<![CDATA[Menginterogasi Budaya: Memperkarakan Metodologi dalam Kajian Budaya ]]>
<![CDATA[Budi Irawanto]]>
<![CDATA[ Jurnal Komunikasi Vol. 2 No. 2 (2008): Volume 2, Nomor 2, April 2008 ]]>
Publisher : <![CDATA[Program Studi Ilmu Komunikasi ]]>
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<![CDATA[Methodology in cultural studies has triggered some conflicting discourses hence it has become harder, not easier, to be pined down and defined neatly. Since its inception cultural studies was dubbed as “an intellectual guerrilla” against the rigidity of disciplines in the academia. Further, in cultural studies knowledge is perceived as a practice rather than a sum of abstract propositions or general objective laws. This article argues that methodology in cultural studies is far to be “objective” (as defined by the positivist approach) since it context-bonded influenced by social position, historical moment and particular political agendas.]]>
