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Muhammad Bayu Widagdo
Prodi S1 Ilmu Komunikasi
Library & Information Science Social Sciences

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REPRESENTASI MASKULINITAS PADA KARAKTER PEREMPUAN DI FILM THE 355 (2022) Bella Charina Putri; Muhammad Bayu Widagdo
Interaksi Online Vol 14, No 3: Juli 2026
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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Films can construct gender roles in society by conveying them through their characters. The film "The 355 (2022) depicts characters with masculine traits: tough, physically strong, intelligent, and independent of men. Based on this context, this study aims to analyze the representation of female masculinity in the film The 355 (2022). This study uses representation theory as the primary theory, supplemented by elements of masculinity as outlined by Peter Lehmann, traits as outlined by Meehan, and Judith Halberstam's theory of masculinity. The analytical method employed is Roland Barthes's semiotic analysis, with three levels of coding: denotation, connotation (with five reading codes), and myth. Overall, the masculinity that appears in the film The 355 in female characters is characterized by the presence of things that are understood by society as "masculine" by showing scenes that contain visual and verbal symbols that are constructed in nature, attitudes, responses, and reactions that contain elements of power, courage, heroism, and leadership and have dominant, independent, rational, assertive, analytical, brave, active, and insensitive characteristics. The formation of masculinity is also influenced by the experiences of each character in facing differences in power relations in organizations and societies that adhere to patriarchal ideology. The film The 355 also seems to try to deconstruct the myth that women are subordinate and present a counter ideology, namely feminist ideology, especially liberal feminism.
REPRESENTASI DEMONSTRASI 25 AGUSTUS 2025 DALAM FOTO JURNALISTIK PADA MEDIA KOMPAS.ID: ANALISIS SEMIOTIKA ROLAND BARTHES Andita Ari Putri; Muhammad Bayu Widagdo
Interaksi Online Vol 14, No 3: Juli 2026
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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The August 25, 2025 demonstration in front of the DPR/MPR RI building attracted widespread public attention and extensive media coverage, including by Kompas.id. Through photojournalism, media not only documents events but also constructs particular representations and meanings. This study aims to analyze the denotative, connotative, and mythological meanings embedded in the photojournalistic coverage of the demonstration published by Kompas.id. Employing a descriptive qualitative approach within a critical paradigm, this research applies Roland Barthes' semiotic analysis to 13 purposively selected photographs. The analysis was conducted through three levels of signification: denotation, connotation, and myth. The findings show that, at the denotative level, the photographs depict various dynamics of the demonstration involving demonstrators, security forces, and crowd-control equipment around the DPR/MPR RI complex. At the connotative level, demonstrators are represented as courageous actors advocating for public interests, while security forces are portrayed as symbols of state authority and control. At the mythological level, four dominant myths emerge: demonstrations as a struggle for justice, the state represented through its coercive security apparatus, nationalism aligned with the people's side, and demonstrations as a contestation arena between citizens and power. This study concludes that Kompas.id's photojournalism functions not only as visual documentation but also as a medium for constructing social and ideological meanings related to the relationship between citizens, the state, and democracy.
REPRESENTASI PERILAKU MANIPULATIF TOKOH GEMA PADA FILM TINGGAL MENINGGAL (2025) Nur Azizah Febriani Nur Azizah Febriani; Muhammad Bayu Widagdo
Interaksi Online Vol 14, No 3: Juli 2026
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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Film Tinggal Meninggal (2025), directed by Kristo Immanuel, reached the top position on Netflix Indonesia in January 2026, centering on Gema, a corporate employee who develops manipulative behaviors after experiencing systematic social neglect. This study aims to analyze how Gema's manipulative behavior is represented through denotation, connotation, and myth in Roland Barthes' semiotics. Using a qualitative descriptive approach with a critical paradigm, this research applies Stuart Hall's representation theory, Gramsci's hegemony, and Cultural Studies, with data drawn from 15 purposively selected scene lexias analyzed through Barthes' five reading codes. Findings reveal that at the denotation level, Gema's manipulation is captured through her fabrication of identity "Bima"; at the connotation level, it signifies a survival mechanism of a marginalized individual; and at the myth level, the film dismantles the assumption that manipulators are entirely culpable. This study concludes that film can deconstruct hegemonic myths surrounding social marginalization
PENGARUH PERCEIVED ATTRACTIVENESS OF NOSTALGIC APPEALS DAN PERCEIVED COLLECTIVE NOSTALGIA TERHADAP PURCHASE INTENTION PADA PRODUK KOLABORASI EDISI NOSTALGIA CHIKI BALLS X RANGGA & CINTA: THE REBIRTH OF AADC Yonna Chantika Novyanasari; Muhammad Bayu Widagdo
Interaksi Online Vol 14, No 2: April 2026
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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Chiki, a snack brand under PT Indofood CBP Sukses Makmur Tbk, faces intense competition in Indonesia’s snack industry. To strengthen its brand appeal, Chiki launched anostalgic edition of Chiki Balls in collaboration with the film “Rangga & Cinta: The Rebirthof Ada Apa Dengan Cinta?”. This strategy employed nostalgic appeals and collective memoryto evoke consumers’ past memories. Although nostalgic appeals and collective nostalgia aretheoretically associated with higher purchase intention, empirical evidence in the Indonesiansnack industry remains limited. This study aims to examine the effect of these two variables onpurchase intention toward the Chiki Balls x Rangga & Cinta nostalgic collaboration product.This study employs a quantitative approach with the Theory of Planned Behavior as itstheoretical foundation. Data were collected from 155 respondents selected through purposivesampling and analyzed using multiple linear regression analysis. The finding show thatperceived attractiveness of nostalgic appeals and perceived collective nostalgia have a positiveand significant effect on purchase intention, with a significance value of 0.000 < 0.05.
REPRESENTASI REMAJA DALAM SERIES ADOLESCENCE (2025) Nikita Audia Pradita; Muhammad Bayu Widagdo
Interaksi Online Vol 14, No 3: Juli 2026
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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Adolescence is a crucial stage of development characterized by complex physical, psychological, and social changes. During this period, adolescents are expected to begin behaving more maturely; however, they often do not possess full autonomy over themselves. This condition makes adolescents vulnerable to unequal power relations and social discrimination, one of which appears through negative stereotypes portraying them as problematic, emotional, rebellious, and difficult to manage. Such perceptions are further reinforced through media representations, including films and television series. One series that explores adolescent issues is Adolescence (2025), a British psychological crime series that portrays adolescent characters through various social and emotional conflicts. Therefore, this study aims to examine how adolescents are represented in the series Adolescence (2025). This study employs a qualitative approach using John Fiske’s semiotic analysis method, which consists of three levels of coding: the level of reality, the level of representation, and the level of ideology. The findings reveal that adolescents are portrayed as unequal through various aspects, including behavioral dominance, camera techniques, camera angles, lighting, narrative, and other cinematic elements. Adolescents are also negatively represented as emotional, difficult to control, withdrawn, and vulnerable to violent behavior. Furthermore, adolescents are depicted as a social group that is controlled and excessively regulated, as reflected in the dominance of adult authority across various aspects of adolescent life. Based on these findings, it can be concluded that Adolescence (2025) tends to strongly emphasize the negative aspects of adolescence. The series has the potential to normalize stereotypes that problematic behavior is an inherent characteristic of adolescents. However, the series also offers criticism of the overly simplistic ways society and adults perceive adolescents.
PERAN CREATIVE DESIGN & CONTENT PLANNER DALAM STRATEGI BRANDING “COOL ENOUGH” UNTUK PENINGKATAN BRAND AWARENESS DAN BRAND ASSOCIATION DI SMOOLY SEMARANG Nabila Nur Khotimah; Muhammad Bayu Widagdo
Interaksi Online Vol 14, No 2: April 2026
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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This research is motivated by the low level of brand awareness and brand association of Smooly, a healthy beverage brand in Semarang. Based on a survey of 200 respondents, only 30.5% were aware of the brand, and most did not understand its value as a healthy lifestyle brand. This indicates that Smooly’s communication strategy, particularly through social media, has not been optimal. This study aims to improve brand awareness and brand association through the “Cool Enough” campaign using social media management and event management strategies. The research applies Brand Equity, Brand Communication, and AISAS model as theoretical frameworks. The campaign was conducted for six weeks through Instagram, TikTok, and the “Smooly Health and Move Fest” event. The author acted as Creative Design and Content Planner responsible for visual design and content planning. The results show an increase in Instagram followers from 4,951 to 5,157, production of 20 Instagram contents and 10 TikTok videos, and an offline event attended by approximately 50 participants. These findings indicate that the campaign successfully increased brand exposure and audience engagement. 
PERAN PROJECT MANAGER DAN ACCOUNT EXECUTIVE DALAM STRATEGI BRANDING “COOL ENOUGH” UNTUK PENINGKATAN BRAND AWARENESS DAN BRAND ASSOCIATION DI SMOOLY SEMARANG Farah Syifa Fauzia Farah Syifa Fauzia; Muhammad Bayu Widagdo
Interaksi Online Vol 14, No 2: April 2026
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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The problem faced by the Smooly brand in Semarang is the low level of brand awareness and brand association as a healthy beverage brand. Based on a survey of 200 respondents, only 30.5% of respondents were aware of the Smooly brand and most of them did not understand the brand value that emphasizes concern for health. This condition indicates that the previous communication strategy had not been optimal. This project aims to increase Smooly’s brand awareness and brand association through the “Cool Enough” campaign. This study uses the theoretical framework of Brand Equity, Brand Commutation, and the AISAS model to explain the communication process in the digital era. The method used in this project is the implementation of communication programs through social media management and event management. In its implementation, the roles of the Project Manager and Account Executive include planning, maintaining relationships with external stakeholders, coordinating the team, and supervising the execution of the campaign. The results of the campaign show an increase in social media reach, audience engagement, and a stronger consumer perception of Smooly as a brand that supports a healthy lifestyle. The campaign successfully increased brand awareness from 30.5% to 71%, representing an increase of 40.5 percentage points. Therefore, the “Cool Enough” campaign is considered effective in supporting the improvement of brand awareness and brand association of Smooly in Semarang.
Co-Authors Adi Nugroho Andita Ari Putri Aulia Retno Utami Bella Charina Putri Farah Syifa Fauzia Farah Syifa Fauzia Felita Irham Rachman Ikhsanny Novira Ishlah Kartika Dewi Hadiyono Loekito Marsa Syifa Azzahra Muhammad Raihan Febrianto Nabila Nur Khotimah Nikita Audia Pradita Nur Azizah Febriani Nur Azizah Febriani Sunarto Sunarto Syahrul Sahrila Tandiyo Pradekso Tiara Ayu Raharjo Triyono Lukmantoro Turnomo Rahardjo Wina Natasya Saragih Winda Novianti Yonna Chantika Novyanasari