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All Journal e-Journal Pustaka Kesehatan Publika Budaya LITERASI: Jurnal Ilmu-Ilmu Humaniora Semiotika Sense : Journal of Film and Television Studies Rolling Jurnal Pengkajian dan Penciptaan Film, Televisi, dan Media Kontemporer Jurnal Audiens
Hartanto, Denny Antyo
Universitas Jember
Arts Humanities Health Professions Languange, Linguistic, Communication & Media Library & Information Science Social Sciences Other

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The Concept Promtoional Mix Max Pictures in Promotional Strategy Film Dilan 1991 Joshua Eka Saputra; Denny Antyo Hartanto; Soekma Yeni Astuti
ROLLING Vol 6 No 1 (2023): Rolling Volume 6 Nomor 1 Tahun 2023
Publisher : Program Studi Film dan Televisi Universitas Jember

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19184/rolling.v6i1.15674

Abstract

Film distribution is an activity in the form of promotion with the aim to bring the film together with the audience. This is the basis of this research with the object of the film Dilan 1991. The problem of the research is how the concept of reference mix by Max Pictures in conducting the promotion strategy of the film Dilan 1991. The purpose of this research is to find out the concept of mixing reference by Max Pictures in conducting the film Dilan 1991 promotion strategy. This study uses qualitative research methods and theoretical approaches to marketing and promotion strategies. Data collection techniques used in this study were interviews with film Dilan 1991 producers and the film Dilan 1991 promotion team, observation of reporting on film Dilan 1991 in the mass media, and literature studies on marketing and promotion strategies. The results of this study are expected to be able to reveal how the concept of the promotional mix reference by Max Pictures in carrying out the promotion strategy of the film Dilan 1991. This research resulted in 2 discussions including a marketing strategy and a promotional mix reference in the film Dilan 1991.
Perjalanan Sineas Independen Jember: Diseminasi Film Melalui Program Misbar Komunitas Film Layar Kamisan Muhammad Zamroni; Ni Luh Ayu Sukmawati; Bambang Aris Kartika; Denny Antyo Hartanto
Jurnal Audiens Vol. 5 No. 4 (2024): December
Publisher : Universitas Muhammdiyah Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18196/jas.v5i4.516

Abstract

Kajian ini membahas strategi Komunitas Layar Kamisan di Jember dalam mendiseminasikan film independen melalui program "Misbar." Program ini menjadi platform bagi sineas lokal untuk memamerkan karya mereka, menciptakan ruang diskusi, dan memfasilitasi kolaborasi antar komunitas. Dengan menggunakan pendekatan circuit of culture yang dikembangkan oleh Hall dan du Gay, kajian ini menyoroti bagaimana produksi, distribusi, dan penerimaan film independen berinteraksi dalam konteks sosial, budaya, dan ekonomi Jember. Melalui program "Misbar," komunitas ini berhasil memperluas jaringan distribusi alternatif, memanfaatkan festival dan pemutaran di ruang komunitas untuk menjangkau audiens yang lebih luas. Program ini juga berperan penting dalam membangun apresiasi publik terhadap film-film independen yang mencerminkan identitas dan isu sosial lokal. Kajian ini menggunakan metode kualitatif, termasuk wawancara dan observasi, untuk menggali dinamika komunitas film di Jember. Hasil penelitian menunjukkan bahwa melalui program seperti "Misbar," sineas lokal dapat mengatasi keterbatasan sumber daya, mendistribusikan karya mereka secara lebih mandiri, dan membangun dialog konstruktif dengan penonton. Strategi ini memperkaya ekosistem kreatif lokal dan mendukung keberlanjutan industri film independen di Jember.
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

Abstract

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
Co-Authors Annisa Nurseptianditha Asti Widya Adriyani Bambang Aris Kartika Bambang Aris Kartika, Bambang Aris Christanto P Raharjo Daris Dzulfikar Didik Suharijadi Eriga Agustiningsasi Fajar Aji, Fajar Firda Miaz Pranela Gita Pradhana Diputra Ivan Bagus Nimoyan Joshua Eka Saputra Mohammad Riza Oktavianto Muhammad Zamroni Muhammad Zamroni Mury Ririanty Ni Luh Ayu Sukmawati Ni Luh Ayu Sukmawati Romdhi Fatkhur Rozi saleksa srengenge Soekma Yeni Astuti Soekma Yeni Astuti Wen-Hung Chao