Article Per Year (5 Year)
p-Index From 2020 - 2025
1.829
P-Index
This Author published in this journals
All Journal Lire journal (journal of linguistics and literature Capture : Jurnal Seni Media Rekam Jounal of Education and Teaching (JET) Paradigma: Jurnal Kajian Budaya Lire Journal (Journal of Linguistics and Literature)
Sonny Angjaya
Universitas Kristen Maranatha
Arts Humanities Education Languange, Linguistic, Communication & Media Library & Information Science Social Sciences

Published : 11 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 4 Documents
Search
Journal : Capture : Jurnal Seni Media Rekam

 1 
THE CONCEPT OF CHINESE-INDONESIAN-NESS AS SEEN FROM ERNEST PRAKASA’S ROLES IN NGENEST, CEK TOKO SEBELAH, SUSAH SINYAL AND STIP & PENSIL Sutandio, Anton; Angjaya, Sonny
Capture : Jurnal Seni Media Rekam Vol. 11 No. 1 (2019)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (530.921 KB) | DOI: 10.33153/capture.v11i1.2665

Abstract

This article discusses four films entitled Ngenest (2015), Cek Toko Sebelah (2016), Susah Sinyal (2017), and Stip & Pensil (2017) in which Ernest Prakasa played a role, in the context of how the four films construct Chinese-Indonesian-ness. In the context of cinema, the appearance of Chinese-Indonesians on the screen during the New Order regime was scarce, and if there is any, the depiction was highly stereotyped. Only after Reform era in the late 1990s that Chinese-Indonesians and their culture began to re-appear on screen. Ernest Prakasa is one of few Chinese-Indonesians who publicly celebrates his Chinese-ness through entertainment platform.  Ethnic identity theory applied on the discussion of the film cinematography and mise-en-scene to show what the films say about the concept of Chinese-Indonesian-ness. The findings show that Prakasa not only celebrates being a Chinese-Indonesian, but he also performs a self-mockery as Chinese-Indonesians by explicitly emphasizing the Chinese-Indonesians stereotypes. He also tries to re-establish inter-ethnic relationship and introduce contemporary Chinese-Indonesian-ness concept through his films.
THE POWER OF BU TEJO AND DIAN? THE ANALYSIS OF FEMINIST POWER RELATION IN THE FILM TILIK Angjaya, Sonny
Capture : Jurnal Seni Media Rekam Vol. 12 No. 2 (2021)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v12i2.3613

Abstract

Tilik is a short film directed by Wahyu Agung Prasetyo. Given that the film's plot is primarily focused on the relationships of its female characters, the problem of female representation cannot be ignored. This article focuses on the power dynamic between the film's two central female characters, Bu Tejo and Dian, through the lens of Amy Allen's feminist perspective on power. The analysis identifies four dimensions of representation that contribute significantly to the development of their power relationship: physical appearance, marital status, gender role depiction, and socioeconomic status. The underlying significance of the power relationship between Bu Tejo and Dian in the film is analyzed through qualitative Content Analysis and Contextual Analysis approaches. This study reveals that the film portrays both women ambiguously, how patriarchal society creates an ecosystem that pits women against one another for power, and how the minor male characters in the film continue to exert signifficant influence over Bu Tejo and Dian in acquiring, maintaining, and exercising their power in a patriarchal society.
THE CONCEPT OF CHINESE-INDONESIAN-NESS AS SEEN FROM ERNEST PRAKASA’S ROLES IN NGENEST, CEK TOKO SEBELAH, SUSAH SINYAL AND STIP & PENSIL Sutandio, Anton; Angjaya, Sonny
Capture : Jurnal Seni Media Rekam Vol. 11 No. 1 (2019)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i1.2665

Abstract

This article discusses four films entitled Ngenest (2015), Cek Toko Sebelah (2016), Susah Sinyal (2017), and Stip & Pensil (2017) in which Ernest Prakasa played a role, in the context of how the four films construct Chinese-Indonesian-ness. In the context of cinema, the appearance of Chinese-Indonesians on the screen during the New Order regime was scarce, and if there is any, the depiction was highly stereotyped. Only after Reform era in the late 1990s that Chinese-Indonesians and their culture began to re-appear on screen. Ernest Prakasa is one of few Chinese-Indonesians who publicly celebrates his Chinese-ness through entertainment platform.  Ethnic identity theory applied on the discussion of the film cinematography and mise-en-scene to show what the films say about the concept of Chinese-Indonesian-ness. The findings show that Prakasa not only celebrates being a Chinese-Indonesian, but he also performs a self-mockery as Chinese-Indonesians by explicitly emphasizing the Chinese-Indonesians stereotypes. He also tries to re-establish inter-ethnic relationship and introduce contemporary Chinese-Indonesian-ness concept through his films.
THE POWER OF BU TEJO AND DIAN? THE ANALYSIS OF FEMINIST POWER RELATION IN THE FILM TILIK Angjaya, Sonny
Capture : Jurnal Seni Media Rekam Vol. 12 No. 2 (2021)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v12i2.3613

Abstract

Tilik is a short film directed by Wahyu Agung Prasetyo. Given that the film's plot is primarily focused on the relationships of its female characters, the problem of female representation cannot be ignored. This article focuses on the power dynamic between the film's two central female characters, Bu Tejo and Dian, through the lens of Amy Allen's feminist perspective on power. The analysis identifies four dimensions of representation that contribute significantly to the development of their power relationship: physical appearance, marital status, gender role depiction, and socioeconomic status. The underlying significance of the power relationship between Bu Tejo and Dian in the film is analyzed through qualitative Content Analysis and Contextual Analysis approaches. This study reveals that the film portrays both women ambiguously, how patriarchal society creates an ecosystem that pits women against one another for power, and how the minor male characters in the film continue to exert signifficant influence over Bu Tejo and Dian in acquiring, maintaining, and exercising their power in a patriarchal society.
Co-Authors Anton Sutandio Hutabarat, Pritz Jennifer Gracia Marsena Joanna Deborah Marsena, Jennifer Gracia Muljadi, Hianly