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STRATEGI KOMUNIKASI ORGANISASI INKLUSIF CAFE ONNI HOUSE SURABAYA DALAM MELIBATKAN PENYANDANG DOWN SYNDROME UNTUK MAGANG SEBAGAI WAITRESS Conny Brilliant Dwikananda, Kartika; Sunarto, Sunarto; Rahardjo, Turnomo
Interaksi Online Vol 12, No 4: Oktober 2024
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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Organizations require effective communication strategies to achieve their missions and goals. By involving individuals with Down syndrome in a waitress internship program, organizations need to redefine their communication strategies and policies throughout the program to create an inclusive work environment for people with disabilities. Through statements from ten informants involved in the implementation of the collaborative program involving individuals with Down syndrome for a waitress internship, this qualitative research uses an intrinsic case study method within a post-positivist paradigm to find pattern matching from. Karl Weick and James Taylor's Theory of Organizational Sensemaking, Widhawati's Concept of Inclusive Environment, and Fred R. David's Strategic Communication Planning are chosen to help explore the theoretical review. Through research, show the stages of communication strategies carried out by ONNI House Surabaya in implementing an inclusive work environment. Through communication strategies starting from planning, implementation, and evaluation, ONNI House Surabaya successfully completed the program to involve Down syndrome trainees as waitresses.
REPRESENTASI PEREMPUAN MASKULIN DALAM FILM MENCURI RADEN SALEH KARYA ANGGA DWIMAS SASONGKO Yolanda Christin, Urimiana; Nur Suryanto Gono, Joyo; Sunarto, Sunarto
Interaksi Online Vol 12, No 2: April 2024
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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The construction of women in society with the existence of feminine and masculine characters in the midst of a patriarchal culture then seems to provide restrictions and place women in a subordinate position. Women are labeled with feminine traits as weak people under men who are considered superior with the label of masculine traits. This phenomenon then becomes the background of this research, based on the theoretical stand point in the critical paradigm by using the method of analyzing the five codes of Roland Barthes’ semiotic lexia reading. The results of this study indicate that the female characters in Stealing Raden Saleh are portrayed masculine by having dominant, confident, strong, and assertive traits. These traits are the traits of masculine characters. This depiction defies the myth that develops in society if women are figures who are required to have feminine traits and become weak people under the masculine domination of men. When women are constructed in a masculine way and have traits of masculine characters, they can be called masculine women and androgynous individuals. An androgynous individual is an individual who has both masculine and feminine traits at the same time.
Representasi Penerimaan Diri Kaum Wanita pada Vidio Tutur Batin Bahar, Nisauzzahra; Sunarto, Sunarto; Nugroho, Adi
Interaksi Online Vol 12, No 4: Oktober 2024
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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Abstract

The beauty of women in Indonesia is very diverse, but society has the view that the standard of beauty for women is white skin, slim, thin, no acne, straight hair, and must have body goals, which gives rise to body shaming, bullying, even infidelity and can cause mental health disorders. Music can be a creative means to express feelings of happiness or sadness. Tutur Batin by Yura Yunita tells about the life process of women with their own problems and how they can accept themselves. The object of this research is the representation of women's self acceptance in the song Tutur Batin. The researcher uses qualitative methods as a research approach and uses Paul Rice's text hermeneutics methodology. This research uses standpoint theory, representation, self-acceptance, radical feminism, music, new media, and filmic aspects. This research has three research processes through grammatical analysis, semantic analysis, and text interpretation. Research findings in the song Tutur Batin include four stages of disappointment, toughness, sincerity, and self-acceptance. The results of research into the representation of the song Tutur Batin are that the women in the song Tutur Batin are finally able to accept themselves through various problem processes. Then they remember that there are still people who care about them and they meet women who do not have appropriate beauty standards and they exchange stories so that it opens their minds that they have to love themselves with what they have and there are still people near them who still care about their situation, such as the siblings and children they have.
Representasi Sisterhood pada Film Yuni Tansha Nastiti, Talitha; Rahardjo, Turnomo; Sunarto, Sunarto
Interaksi Online Vol 12, No 1: Januari 2024
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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The high rate of early marriage in Indonesia and the existence of cases of women who are perpetrators of psychological violence against other women are the background of this research. Yuni is a film that specifically addresses the main topic of the reality of women's lives in the Serang Banten area as the main premise. This research aims to determine the representation of sisterhood in the film Yuni. The main theory used is standpoint theory supported by the concept of representation and the flow of feminist existentialism. The method used is Roland Barthes' semiotic analysis through five reading codes. This research found four forms of support provided by fellow women, namely tangible support, self-esteem support, appraisal support, and belonging support. This support takes the form of praise, advice, physical assistance, physical touch, feelings of empathy that arise towards fellow women, and acceptance between women. In this research, it was found that there are myths regarding women's self-silencing due to the existence of patriarchal culture and gender norms in society. Sisterhood is described as a value that can provide a sense of calm, happiness, comfort, feeling of acceptance and can increase women's self-confidence. However, this film also illustrates that the value of sisterhood also failed to encourage women to be able to fight against existing social constructions.
REPRESENTATION DISCRIMINATION OF WOMAN ROLE IN DOCUMENTARY FILM “SURGA KECIL DI BONDOWOSO” (SEMIOTIC ANALYSIS BY ROLAND BARTHES) Anastasya, Selaya; Sunarto, Sunarto; Bayu Widagdo, Muhammad
Interaksi Online Vol 12, No 3: Juli 2024
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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The documentary film "Surga Keci di Bondowoso" aims to advocate gender equality by depicting the involvement of a husband in household affairs and the wife's role as the breadwinner. However, forms of role discrimination against women are still prevalent. Therefore, the primary objective of this research is to analyze and describe the forms of discrimination against women's roles and examine the dominant ideology within the text. The research method employed is descriptive qualitative using Roland Barthes' semiotic analysis model (5 codes). The main theories utilized are the standpoint theory, supported by liberal feminist theory. To identify forms of discrimination against women's roles in 5 selected scenes, indicators of gender discrimination by Fakih are applied, including marginalization, subordination, stereotypes, violence, and double duties. Data collection techniques involve documentation and literature review through relevant books and journals. The research findings reveal the persistence of the dominant patriarchal ideology, which discriminates against women's roles both in public and domestic spheres, manifested through marginalization, subordination, and stereotypes, ultimately portraying wives as domestic actors and housekeepers. Discrimination in women's roles is mostly carried out by individuals, with the majority of gender being women. The discovery suggests that as a gender equality-based documentary, there should be no forms of discrimination against women's roles, particularly depicting career wives as powerless within the household. Critically, the research findings indicate that it is inappropriate for the content of the film to be used as a reflection of gender equality, as masculine glorification is still evident in this documentary. Overall, the research underscores the need for more accurate and unbiased representations of gender roles in documentary films, fostering genuine gender equality and eliminating patriarchal biases.
WACANA PEMBUNGKAMAN TERHADAP PEREMPUAN SEBAGAI KORBAN KEKERASAN SEKSUAL DALAM FILM PENYALIN CAHAYA (2021) Octari Ambarita, Angelica; Sunarto, Sunarto; Ratri Rahmiaji, Lintang
Interaksi Online Vol 12, No 1: Januari 2024
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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Aduan mengenai kasus kekerasan seksual tercatat masih sangat tinggi sepanjang tahun 2022 dengan mayoritas korbannya adalah perempuan. Para penegak hukum selalu memilih cara penyelesaian kasus secara “damai” dengan tidak memihak pada korban atau terjadi ketidakadilan. Film merupakan wacana yang merepresentasikan realitas sosial. Dengan berlandaskan realitas sosial yang ada, film Penyalin Cahaya diproduksi untuk menunjukkan pembungkaman yang terjadi terhadap para korban kekerasan seksual. Tujuan dilakukannya penelitian adalah untuk mendeskripsikan wacana pembungkaman terhadap perempuan sebagai korban kekerasan seksual yang dimuat dalam film Penyalin Cahaya. Teori Kelompok Bungkam oleh Cheris Kramarae digunakan sebagai teori utama dan didukung oleh aliran feminisme radikal-libertarian. Penelitian ini menggunakan metode analisis wacana kritis milik Sara Mills yang dibagi dalam empat struktur, yaitu karakter, fragmentasi, fokalisasi, dan skemata. Hasil menunjukkan bahwa karakter perempuan dalam film Penyalin Cahaya merepresentasikan perempuan sebagai korban kekerasan seksual. Walaupun mereka memiliki peran yang penting, para karakter perempuan ditunjukkan tetap dibungkam oleh karakter laki-laki. Fragmentasi berfokus pada mimik wajah dari para karakter sehingga menunjukkan rasa marah dan frustrasi dari para korban. Fokalisasi pada film menunjukkan karakter perempuan yang menjadi korban kekerasan seksual sebagai subjek yang aktif. Subjektivitas dari para korban kekerasan seksual juga berorientasi feminin ketika menceritakan pengalaman mereka. Analisis skemata mengungkap ideologi victim blaming bahwa para perempuan yang menjadi korban kekerasan seksual masih sangat sulit untuk mengungkapkan kebenaran dan menemukan keadilan.
STRATEGI KONVERGENSI MEDIA RRI SEMARANG DALAM MEMPERTAHANKAN EKSISTENSI RRI SEMARANG DI ERA DIGITAL Faizal Maghriza, Mukhammad; Sunarto, Sunarto; Hasfi, Nurul
Interaksi Online Vol 12, No 2: April 2024
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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Media convergence is interpreted as the combination of various information and communication technology services, along with increasing digitalization making it possible for people to access various types of media content, making media organizations produce content that can be enjoyed across media. On the other hand, internet users continue to increase and people's attention to conventional media, especially radio, has decreased, which has caused the radio industry to begin to decline. A strategy is needed for radio to still be heard, namely by carrying out media convergence. This research aims to find out how the media convergence process strategy is carried out by Radio Republik Indonesia Semarang to maintain its existence in the digital era. The theory used in this research is Media Convergence Theory, while the method used is qualitative research using a case study approach, by conducting interviews and observations in the RRI Semarang environment who are involved and related to the process of implementing media convergence. The results of this research indicate that RRI Semarang views media convergence as quite important in its position as a Public Broadcasting Institution and reference media which needs to anticipate changes in information consumption patterns in society. This is done through various owned platforms such as RRI Digital, the RRI.co.id page, the RRI NET channel, social media for each program and news, as well as the YouTube channel. Planning is carried out in the broadcast and news sector, guided by the LPP RRI Broadcast Guidelines Book and the Reporting Style Book. The technical convergence strategy refers to understanding the direction of convergence, positioning as a media verifier, following the flow of convergence, strengthening the technical and multimedia sectors, adapting content, and building interactivity. The promotional strategy refers to the use of soft-selling through promotions on personal accounts and hard-selling through on-air and off-air promotions. This has implications for analytical and quality achievements, although it still has shortcomings.
DESENTRALISASI” PENYIARAN TELEVISI DI INDONESIA DALAM KERANGKA HUKUM Nyoman Septiari, I Gusti Ayu; Sunarto, Sunarto; Nugroho, Adi
Interaksi Online Vol 12, No 3: Juli 2024
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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During the reform era, the word “decentralization” was often associated with the television broadcasting system in Indonesia. Decentralization is the transfer of responsibility from the ruler at the center to a lower unit. However, in the broadcasting industry, the concept of decentralization is also often associated with the network station system in Law Number 32 of 2002 concerning Broadcasting. This research aims to find the meaning of decentralization contained in the legal framework regarding broadcasting, namely in Law Number 32 of 2002 concerning Broadcasting and Law Number 11 of 2020 concerning Cipta Kerja. The method used in this study is Wilhelm Dilthey hermeneutic analysis through five analysis techniques, namely grammatical analysis, semantic analysis, and text meaning analysis. The word "decentralization" does not appear explicitly in the regulation regarding broadcasting. However, this study found that the meaning of decentralization appears implicitly in Law Number 32 of 2002 concerning Broadcasting and Law Number 11 of 2020 concerning Cipta Kerja. Broadcasting decentralization appears in regulation that discuss KPI Daerah at the regional level, the establishment of network station systems, ownership and control, and the ideology contained in the two laws. This study finds that the meaning of broadcasting decentralization is not only contained in the regulations regarding the network station system, but also in the regulation regarding KPI, ownership and control, broadcast content, and broadcasting licensing. However, in its development and implementation, these regulations do not run as they should in the broadcasting industry in Indonesia. This is because the existing regulations have not expressly regulated the decentralization of broadcasting, thus providing a loophole for broadcasting operators not to implement these regulations. As a result, the broadcasting industry in Indonesia is increasingly centralized, especially in terms of bureaucracy regulated in business licensing Article 72 number 3 of the Cipta Kerja Law. Negative implications not only appear in the field of bureaucracy, but also result in the centralization of ownership and broadcast content that ignores local interests.
REPRESENTASI PEREMPUAN PENYINTAS KEKERASAN SEKSUAL DALAM FILM LIKE & SHARE (2022) Maharani, Mandu; Sunarto, Sunarto; Hasfi, Nurul
Interaksi Online Vol 12, No 4: Oktober 2024
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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Women with experiences of sexual violence are often viewed as individuals who cannot rise and live their lives as they did before. This perception stems from a patriarchal ideology that oppresses women through sexual violence, causing women who have experienced such actions to be seen as degraded, inferior, and impure. However, Gina S. Noer, as the writer and director, along with Chand Parwez Servia, the producer of the film Like & Share (2022), strive to show how women can break free from these oppressive thoughts by portraying female survivors of sexual violence who are able to recover and find meaning in their traumatic experiences. The research titled ‘The Representation of Female Survivors of Sexual Violence in the Film Like & Share (2022)’ aims to describe female survivors and the actualization of Gina and Chand's statements regarding the film through the lens of critical theory: gender and race in organizational communication and the muted group theory. The research employs a qualitative descriptive method with a critical paradigm and Schleiermacher's hermeneutic analysis approach. The research results show that the character Sarah experiences rape and Online Gender-Based Violence (OGBV), while Fita faces OGBV. Both have gone through various stages, ultimately reaching the stage of acceptance as female survivors of sexual violence. Character analysis reveals that Sarah goes through stages of denial, depression, problem-solving, and acceptance, while Fita goes through stages of anger, problem-solving, and acceptance. Furthermore, the hermeneutics of the message conveyed by Gina and Chand regarding female survivors of sexual violence in the film Like & Share is also successfully actualized through scenes in the film that depict female as survivors of sexual violence who are able to heal and accept themselves despite having to overcome various obstacles in society.
ANALISIS RESEPSI FILM YUNI : FILM PERLAWANAN PEREMPUAN BANTEN TERHADAP KETIDAKADILAN GENDER Rahma Aulia, Zulfa; Hasfi, Nurul; Sunarto, Sunarto
Interaksi Online Vol 12, No 1: Januari 2024
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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Film Yuni is a film that brings up the issue of women's resistance to patriarchal domination. This research uses qualitative methodology with Stuart Hall's reception analysis to determine the audience's meaning position based on dominant, negotiation and opposition positions. To reveal the dominant meaning that emerges, this research uses Roland Barthes' semiotics. The theory used in this research is Muted Group Theory. This research aims to determine the representation of Banten women's resistance to gender injustice in the Film Yuni and to determine the audience's reception regarding the issue of Banten women's resistance to gender injustice in the Film Yuni. The results of research related to the representation of Banten women's resistance to gender injustice in the film Yuni found that women resisted by expressing their desire to continue their education, rejecting early marriage proposals directly, filing for divorce, deciding to continue their education. having free sex, crying, living alone and independently, and escaping from early marriage. Regarding public reception, the research results show that the majority of informants are in an oppositional position regarding the silencing process and a dominant position in women's resistance strategies.Keywords : Film, Woman Resistance, Reception Analysis
Co-Authors 08.05.52.0064 Novi Perwitasari 09.05.52.0075 Lia Yuliana 10.05.52.0010 Dwi Sulistyowati 10.05.52.0030 Christina Dewi 12.05.52.0210 Resty Andini Putri, 12.05.52.0210 12.52.02.0204 Kinayah, 12.52.02.0204 12.5202.0172 Sukowati 1352020069 Prijatno Sri Eko Putranto, 1352020069 1352020070 Teguh Purnomo, 1352020070 1352020104 Pujadi, 1352020104 1352020105 SRI HERANINGSIH, 1352020105 A. Arviani Desianti Nur A.A. Ketut Agung Cahyawan W A.N., Irfan Abas, Abas Abda Abda Abdul Aziz Abdul Gafur Abdul Hadi Abdul Latief Arung Arafah Abdul Latip Achmad Asrori Achmad Badjuri Achmad Fachrudin Addi Mardi Harnanto Adi Nugroho Adi Nurcahyo, Daffiansyah Adilla, Annisa Aditya, Dwiky Septian Adnan Sofyan Adrian Budynata, Johan Adriyani Adam Adyani, Kartika Afiana Praditasari, Afiana Afidati Hidayanti, Syafira Afifah, Nor Aghnini, Aghnini Agrasadya, Agrasadya Agres Vivi Susanti Agung Budi Raharjo Agung Dwi Bahtiar El Rizaq Agus Cahyono Agus Faisal Asyha Agus Jatmiko Agus Pahrudin Agus Prasetyo Budi Agus Suprijono Agus, Rifdah Adilah Agustinus Arum Eka Nugroho, Agustinus Arum Eka Ahmad Fauzan Ajeng Dinda Lestari Aji Setiawan Akbar, Islam Ali Akbar, Muh. 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Fery Febriagazi, Tendian Febrianto, Aji Sofian Febriyani, Abrar Rizqa Febriyanto Ferdiansyah Ferdiansyah Ferrianto Gozali Fiddy Semba Prasetiya Firdaus, Rizki Anugrah Firdausi, Aulya Della Fitrah Satrya Fajar Kusumah Fitri Anggraini, Fitri Fitri Sagantha Fitria Mahdiyyani, Anisah Fitriyanti, Addina Rizky Fredy Kurniawan Freza, Freza Gandini, Dini Ginting, Stefany Gulo, Joice Elma Miranda Gumilang, Anggita Moro Guntaris, Endik Gutomo, Gutomo Habiba Abror, Robby Hadi Paramu Hadiani, Prayekti Diftania Hafeez, Jehan Shaila Handoyo Saputro, Handoyo Hani Faurizka Hanifah Widyadhana, Nastiti Happy Ade Permanasari Hapsari Dwiningtyas Sulistyani Hapsari, Wahyu Ratri Harahap, Syawaluddin Harahap, Syawaludin A Hardi Saputro, Iwan Hardyansa, Hardyansa Harmanto Harmanto Harry Supriyono, Harry Hartono Hartono Hartono, Rudi Harwanto, Dody Candra Hasanuddin, Wahdatuljannah Hasnawati Hasnawati Hazhari, Alvan HENDRI WASITO Hendrik Napitupulu Heni Pujiastuti Heraziza, Dinda Prilla Herbowo Hardianto Heri Wijayanto Herina, Stefanus Junliem Nugratama Heriyanto Heriyanto Heriyato, Heriyanto Hersugondo Hersugondo Heru Juabdin Sada Heru Santoso Wahito Nugroho Hery Tristijanto HIDAYAH, YOVI MILA Hidayat, R. 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Showi Nailul Umam, Muhammad Khairul Umi Kulsum Urbac, Juliyani Utami Utami Verlingga Diah Oktiasa Putri Vita Kartikasari, Vita Vivi Ervina Dewi Wadiyo Wadiyo Wahyu Lestari Wahyu Prawesthi, Wahyu Wahyu Yun Santoso Wahyuniar Pamungkas Wahyuningtyas, Riska Septia Waluyo Erry Wahyudi Wangge, Trivonia Dona Lau Warsinah Warsinah Warsono Warsono Wasino Wasino Wattimena, Riles Melvy Wdayanti, Widayanti Wibowo, Des Saputro Wibowo, Sugeng Wicaksono, Gusti Widaryo, Iwan Widianingrum, Reina Widianingrum, Reina Widihastuti, Santi Widiyanti, Anik Widiyati, Dian Widodo S Pranowo Widodo Widodo Wijaya, Barkah Bangkit Wijayanti Endang, Wijayanti Wijayanti, Sovia Wirasetiyo, Kukuh Wiryanto Wiryanto Wita, Nurul Kurnia Wiwid Noor Rakhmad Wiwik Wijaningsih Wiyono, Jalu Sigit Aji Wulan Widiyanti, Wulan Wulandari, Annisa Dyah Wulandari, Arista Wuryaningrum, Endah Y., Eva Yahya, Yud’a Yuha Yanu Arianto, Doni Yanuar Luqman Yasarah Diswari Ditiya, 15.05.52.0204 Yasin, Fatimah Yatimin Yatimin Yohanes Ferry Cahaya Yolanda Christin, Urimiana Yuandita, Tinta Yudi Nurul Ihsan Yudi Prana Hikmat Yuditiyani, Yuditiyani Yuli Kurnia Ningsih Yuliani, Esti Yulianto, Moch. Iman Yuliasari, Agnes Yuliyanto Budi Setiawan Yuniarti Yuniarti Yunita Kwartarani Yunita Sari Yusriana, Amida Zain, Ferdianto Zallesa, Sheila Zam, Bagus Muhammad Iqbal Al Zam Zul fikar Zulfalia Az Zahra, Annisa Zulkarnain Zulkarnain