Articles
<![CDATA[Selling Spectacular Urban Life: Urban Space and Lifestyle in the Promotion Media of Apartment in Yogyakarta ]]>
<![CDATA[Ratna Noviani]]>;
<![CDATA[Elok Santi Jesica]]>
<![CDATA[ Journal of Urban Society's Arts Vol 8, No 1 (2021): April 2021 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/jousa.v8i1.5223
<![CDATA[This article discusses how urban life is represented through the Barsa City, Uttara the Icon, and The Palace apartment advertisements and promotional videos. Applying Guy Debord's idea of spectacle to examine how urban life is transformed into visualization and commodification, also George Ritzer’s idea of re-enchantment of the disenchanted world and the new means of consumption. This article is aimed to analyze the position of apartments in the urban space of Yogyakarta that is discursively constructed through apartment promotional media. The conclusion of this research shows that apartments are functionalized to create the spectacle of the city. Urban space and life are aestheticized and spectacularized, in which apartments are displayed as part of dramatic and extravagant urban arts. Presented as one-stop-serving buildings, the apartments also promote the fusion of living space, urban style experience, and consumption which lead to the difficulty in distinguishing spatial boundaries. The advertisements and promotional videos of the apartment in Yogyakarta also promote temporal paradox. On the one hand, it promotes time compression and speed, meanwhile, on the other hand it promotes prolonged and extended time to foster consumption in the urban space.]]>
<![CDATA[Estetisasi Jilbab Syar’i Jama’ah Salafi: Studi Kasus di Pondok Pesantren Imam Muslim Kota Kediri ]]>
<![CDATA[Prima Ayu Rizqi Mahanani]]>;
<![CDATA[Irwan Abdullah]]>;
<![CDATA[Ratna Noviani]]>
<![CDATA[ JSW (Jurnal Sosiologi Walisongo) Vol 3, No 1 (2019) ]]>
Publisher : <![CDATA[Faculty of Social and Political Sciences - UIN Walisongo Semarang ]]>
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DOI: 10.21580/jsw.2019.3.1.3415
<![CDATA[Industry of fashion that get into the life of Salafi members makes shar'i hijab become aesthetics. Approximately 30% of Salafi women in Imam Muslim Islamic Boarding School Kediri have worn hijab shar’i as their preference. This article describes the aesthetic practices of shar’i hijab and the factors behind it. This study applies a qualitative approach using a case study as a research method in which it observes the social reality of shar’i hijab aesthetic practices among Salafi women at Imam Muslim Islamic Boarding School. The research analyzes the case and situation that occurred and also attempts to understand the informants’ point of view. Through literature studies, participatory observation, and in-depth interviews, the study found that the informants have been wearing two different shar’i hijab; dark colors and bright colors. The informants also combine their "gamis" in terms of its pattern consisting of ornaments and accents in different colors. The informants also prefer to wear a unique and funny, in order to make them look flexible, younger and up to date.]]>
<![CDATA[Understanding New Consumption Sites of Internet Cafe in Yogyakarta, Indonesia ]]>
<![CDATA[Tangguh Okta Wibowo]]>;
<![CDATA[Wening Udasmoro]]>;
<![CDATA[Ratna Noviani]]>
<![CDATA[ Jurnal Ilmu Sosial dan Ilmu Politik Vol 23, No 3 (2020): March ]]>
Publisher : <![CDATA[Faculty of Social and Political Sciences, Universitas Gadjah Mada ]]>
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DOI: 10.22146/jsp.51707
<![CDATA[In the Indonesian context, we did not find any previous study on internet cafes that discussed the transformation from warnet to internet cafe. Based on our study in Yogyakarta, we found a new internet cafe style that we did not find in other cities. This study offers a new understanding of analyzing internet cafes that users not only consume a computer to access the internet, but they “consume” space as well. This study aims to explore that transformation and to reveal the expansion of consumption patterns. This study emphasizes the empirical investigation to gather the data. We conducted qualitative in-depth interviews and observations from January to June 2018. We also examined several previous studies about internet cafes to expose a gap that can be extended in this study. Based on findings, we found that the transformation from warnet was a way to survive amid mobile technology. This transformation gives an implication to the new means of consumption. However, the expansion of consumption patterns can be explored from the consumption of space and digital content. Overall, digital content is the new insight to understand that internet cafes are not only a place to copy contents, but this can be seen as a symbol of empowerment to local users. Therefore, internet cafes can be seen as media-industry bottom lines to promote a culture of resistance to digital content without going to the store or going to the cinema.]]>
<![CDATA[KONSTRUKSI KORBAN DALAM FILM DOKUMENTER SEXY KILLERS ]]>
<![CDATA[Chelsy Yesicha]]>;
<![CDATA[Ratna Noviani]]>
<![CDATA[ Bricolage : Jurnal Magister Ilmu Komunikasi Vol 7, No 2 (2021): Accredited by Kemenristekdikti RI SK No. 36/E/KPT/2019 ]]>
Publisher : <![CDATA[Universitas Bunda Mulia ]]>
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DOI: 10.30813/bricolage.v7i2.2171
<![CDATA[Reformasi memberikan ruang demokrasi yang ditandai dengan kebebasan pers hal ini mendorong lahirnya film-film documenter di Indonesia. Wacthdoc sengaja dirilis Sexy Killer pada masa tenang pemilihan umum dengan tujuan menginterupsi perdebatan para pendukung kedua calon yang sudah keluar dari inti permasalahan politik saat itu. Diangkat dari realitas kebutuhan pasokan listrik yang menjadi tuntutan bagi pembangunan dan masyarakat manapun. Sesuai dengan karakternya sebagai documenter, korban dihadirkan sebagai narasumber yang berperan langsung dalam fokus peristiwa. Lebih dari 22 korban yang memberikan pernyataan dalam film tersebut sehingga muncul asumsi korban menjadi sumber komoditas dari media untuk mendapatkan keuntungan politis atas nama human interest. Analisis naratif Chatman dengan membagi naratif kedua bagian yaitu story dan discourse yang bertujuan menganalisis konstruksi naratif dan visual korban dalam Sexy Killers. Muncul makna Sexy Killers yang mengandung arti pembunuhan secara perlahan tanpa sadari. Komodifikasi ideal victim antara korban laki-laki sebagai sosok yang tabah dan tetap berjuang sebagai kepala keluarga yang memberikan nafkah, korban perempuan lebih emosional sekaligus menjadi pendukung dari penderitaan oleh kaum laki-laki sedangkan anak-anak dikonstruksikan sebagai korban yang tidak tau apa-apa dengan realitas yang ada. Hyperealitas dimunculkan dari repetisi angle kamera dan naratif membahayakan korban selaku kaum yang tidak berdaya dengan ketidakpastian nasib. Ancaman akan kerugian, kerusakan lingkungan, kesehatan hingga keselamatan disimulasi berdasarkan fakta visual dan naratif yang disampaikan, korban kehilangan hak mereka tanpa adanya kepedulian dari pemerintah dan pihak perusahaan.]]>
<![CDATA[Multiplisitas Wajah Rahim: Karya Seni sebagai Narasi Feminis (Refleksi atas Pameran Tunggal Dewi Candraningrum “Dokumen Rahim”) ]]>
<![CDATA[Ratna Noviani]]>
<![CDATA[ Jurnal Kajian Seni Vol 1, No 2 (2015): Jurnal Kajian Seni Vol 1 No 2 April 2015 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/art.11635
<![CDATA[The term ‘womb’ is an organ in the lower abdomen of female body, which is particularlyassociated with pregnancy. Metaphorically, womb is perceived as the origination ofthings that are brought to life with the pour of an intense feeling of affection. The wombis an act of creation, a document of maternal procreation. This article is a refl ectivereading of ‘Womb Document’, a solo painting exhibition by a feminist female artist,Dewi Candraningrum. She tries to move away from what is considered aspure, selfreferentialand apolitical art. Artwork is a feminist narration. Clusters of her mostlyfemale portraiture paintings and sketches represent multiple faces of womb, which havebeen resided in the margins of hegemonic discourse. She uses aesthetic conventionsin her visual artworks, which are different from those applied in the canon. Dewi hasconsidered visual artworks as part of political arts, which should take a side andemancipate the considered Others.]]>
<![CDATA[Implementasi Teknologi Informasi di Perpustakaan: Representasi dalam Film Indonesia Era 2000-an ]]>
<![CDATA[Nina Mayesti]]>;
<![CDATA[Aprinus Salam]]>;
<![CDATA[Ratna Noviani]]>
<![CDATA[ LIBRARIA : Jurnal Ilmu Perpustakaan dan Informasi Volumen 6, Nomor 2, Tahun 2017 (Desember 2017) ]]>
Publisher : <![CDATA[FPPTI Jawa Tengah ]]>
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<![CDATA[melihat gambaran implementasi teknologi informasi di perpustakaan. Film Indonesiadi era 2000-an menjadi objek yang menarik untuk dikaji dan dikaitkandengan perkembangan dunia perpustakaan di era milenium ketiga. Artikel inimengkaji implementasi teknologi informasi di perpustakaan yang direpresentasikandalam 5 (lima) judul film Indonesia yang rilis pada era tahun 2000-an.Menggunakan paradigma kajian budaya dan media, penelitian ini mengkajibabak-babak dalam film tersebut yang menampilkan adegan berlatar perpustakaanyang memuat gambaran implementasi teknologi informasi. Metodeyang digunakan untuk menganalisis sumber data adalah Analisis WacanaKritis. Hasil penelitian menunjukkan bahwa representasi perpustakaan dalamfilm-film Indonesia yang dikaji masih dipengaruhi wacana mengenai perpustakaantradisional. Wacana tersebut masih terus menerus direproduksi dandikukuhkan melalui representasi dalam film. Tidak ada upaya pembaharuanwacana mengenai perpustakaan digital atau perilaku pengunjung yang sesuaidengan era milenium ketiga. Kalaupun ada komputer atau perangkat teknologiyang muncul dalam latar, nampak sebatas simbol untuk memperkaya unsurdekoratif film. Keberadaan teknologi dan budaya digital yang sudah menjadibagian dari perpustakaan, ternyata tidak dianggap sebagai hal yang penting]]>
<![CDATA[Woman in niqab and contestation of piety show-off in the media ]]>
<![CDATA[Awanis Akalili]]>;
<![CDATA[Wening Udasmoro]]>;
<![CDATA[Ratna Noviani]]>
<![CDATA[ Informasi Vol 53, No 1 (2023): Informasi ]]>
Publisher : <![CDATA[Universitas Negeri Yogyakarta ]]>
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DOI: 10.21831/informasi.v53i1.59261
<![CDATA[HIjrah is not only limited on human relation with God, but also how hijrah discourse existence is delivered in the media as discourse battle arena. Niqab is a characteristic of a woman going through hijrah. By using multimodality of Gunther Kress and Theo van Leuween, this critical discourse digs deeper on phenomena of woman in niqab and contestation of piety show-off in the media. Based on analysis performed on four accounts of woman with niqab in Instagram, narration found that the most massive show-off action of piety are performed by niqabis, that is in the act of religious activities, such as reading Al-Qur'an, praying, suggestion on sadaqa and five-times prayer. Moreover, piety representation is also performed by using quotes in Arabian language and Arabian woman figure as illustration to legitimate the hijrah journey of a woman in niqab. Piety, not only it displays woman in covering clothes, but also intersection with popular culture. It’s existence is put together with the incidentally profane Korean wave love romance This phenomena shows a paradox where there is incorporation of religious sacredness with the often considered profane Korean wave. ]]>
<![CDATA[Hijrah and Islamic Movement in Social Media: A Social Movement Study of Anti-Dating Movement #IndonesiaTanpaPacaran ]]>
<![CDATA[Trie Yunita Sari]]>;
<![CDATA[Fatimah Husein]]>;
<![CDATA[Ratna Noviani]]>
<![CDATA[ DINIKA : Academic Journal of Islamic Studies Vol. 5 No. 1 (2020) ]]>
Publisher : <![CDATA[UIN Raden Mas Said Surakarta ]]>
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DOI: 10.22515/dinika.v5i1.1673
<![CDATA[This article examines a flourishing Islamic youth movement in Indonesia, #IndonesiaTanpaPacaran or Indonesia without Dating. This movement calls for hijrah (literally means an action of moving to another place) from Western dating habits to ta'aruf or an Islamic practice of getting married without dating among the Muslim millennial. This article aims to explain the emergence of this movement. Drawing approach from social movement theory, the writer argues that this movement is culturally embedded since piety, religious commodification and political resistance against existing political nuance are overshadowed the emergence of this anti-dating movement. It is found out that this movement is an offshoot of banned Islamic organization Hizbut Tahrir Indonesia (HTI) that continuously struggles to revive the past transnational rule of khalifah (caliphate) in Indonesia. Consequently, the concept of hijrah in social media campaign does not only to promote Islamic lifestyle like ta'aruf but also to promote caliphate as an alternative to secular democracy. This study is presented given the fact that the research on Islamic youth movement in social media is still lack of attention, despite the so-called hijrah movement is legion and may strategically important to make social change through the use of social media.]]>
<![CDATA[DISKURSUS ISLAM DALAM KONSTRUKSI MEDIA ]]>
<![CDATA[Muhammad Fahmi]]>;
<![CDATA[Irwan Abdullah]]>;
<![CDATA[Ratna Noviani]]>;
<![CDATA[Wening Udasmoro]]>
<![CDATA[ LiNGUA: Jurnal Ilmu Bahasa dan Sastra Vol 10, No 2 (2015): LiNGUA ]]>
Publisher : <![CDATA[Laboratorium Informasi & Publikasi Fakultas Humaniora UIN Maulana Malik Ibrahim Malang ]]>
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DOI: 10.18860/ling.v10i2.3214
<![CDATA[This paper aims to examine how the secular media in Surakarta represent Islam in the case of Charlie Hebdo. Therefore, this study used discourse analysis of Theo van Leeuwen focusing on how the subject or actor of the show in the media. This study concluded that the media represent Islam not only with “Western ideology” through idioms such as radical Islamist militants and terrorists, but also with "Islamic ideology". It is done through the construction of Islam as a religion of moderation and delegitimize Charlie Hebdo as magazine satyr abusing freedom. Various strategies are used ranging from strategy passivation to interdetermination. In this case, there are two poles of attraction in both media, namely the Western and Islamic ideology. If both media are quoting from Western sources, the Western ideology dominates the media narrative. Conversely, when both media used Islamic sources, the influence of Islamic ideology dominates the narrative of both media. ]]>
<![CDATA[DINAMIKA SHARING ECONOMY: APROPRIASI KARYA DESAIN GRAFIS MELALUI CROWDSOURCING ]]>
<![CDATA[Bangsa, Gogor]]>;
<![CDATA[Udasmoro, Wening]]>;
<![CDATA[Noviani, Ratna]]>
<![CDATA[ ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia Vol. 10 No. 03 (2024): September 2024 ]]>
Publisher : <![CDATA[Dian Nuswantoro University ]]>
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DOI: 10.33633/andharupa.v10i03.11441
<![CDATA[Penelitian ini mengkaji bagaimana praktik crowdsourcing dalam kontes desain grafis di platform digital memunculkan bentuk baru dari eksploitasi di era kapitalisme digital. Penelitian ini berfokus pada dua kelompok utama: komunitas desainer grafis online otodidak di desa Kaliabu, Kecamatan Salaman, Kabupaten Magelang, Jawa Tengah, dan para desainer grafis online akademis di Yogyakarta. Dengan menggunakan teori Christian Fuchs mengenai tenaga kerja digital (digital labour), penelitian ini menggambarkan bagaimana desainer terlibat dalam kontes desain tanpa adanya jaminan kompensasi, yang pada akhirnya menciptakan nilai lebih (surplus value) yang dieksploitasi oleh kapitalis digital. Melalui studi kasus dan wawancara mendalam dengan desainer dari kedua kelompok, penelitian ini mengungkapkan bahwa digitalisasi kerja memberikan keuntungan ganda bagi pemilik platform digital. Mereka dapat memanfaatkan tenaga kerja gratis yang disumbangkan oleh desainer, serta mendapatkan keuntungan dari apropriasi data dan karya yang dihasilkan desainer tanpa kompensasi yang layak. Dalam proses ini, apropriasi terjadi ketika karya-karya yang tidak memenangkan kontes dan data pribadi desainer digunakan oleh pihak ketiga tanpa sepengetahuan atau izin mereka, menjadikan desainer sebagai subjek eksploitasi yang tidak hanya merugikan secara finansial tetapi juga dalam aspek data pribadi mereka. Penelitian ini menunjukkan bahwa praktik-praktik crowdsourcing dalam industri desain grafis digital perlu ditinjau kembali.]]>
