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All Journal Humanus: Jurnal ilmiah Ilmu-ilmu Humaniora Lingua Cultura k@ta Capture : Jurnal Seni Media Rekam Indonesian Journal of Visual Culture, Design, and Cinema (IJVCDC) DIALEKTIKA: JURNAL BAHASA, SASTRA DAN BUDAYA
Anton Sutandio
School of Interdisciplinary Arts Ohio University
Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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Monkey Dance Transformation And Displacement: From Traditional Performance To Urban Everydayness Sutandio, Anton
Lingua Cultura Vol 6, No 1 (2012): Lingua Cultura Vol. 6 No. 1
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/lc.v6i1.390

Abstract

This research attempts to investigate how the monkey dance, a traditional mobile performance from village to village, transforms and displaces itself into a semi-permanent urban street performance as the effect of modernization and globalization. The research is closely relevant to the theme of the everyday life on the relation between art and the social. Doger monyet (monkey dance) performance has always been regarded as the marginal art/culture. Its place has always been among the mid-lower class of society, thus when it changes its mode and place of performance, questions and curiosity arises. This phenomenon requires a re-examination of the cultural transformation effect to everyday life. This research attempts to answer several issues regarding the phenomena: how the performance negotiates its way to the urban everyday life and its everydayness; how it manages to place itself within the urban space; how it deals with the authority and the urban dwellers, and what its future is going to be like in the new space.
Female Psychology in August Strindberg’s The Stronger Sutandio, Anton; Apriliani, Erica
Lingua Cultura Vol 11, No 2 (2017): Lingua Cultura Vol. 11 No. 2
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/lc.v11i2.1756

Abstract

This research aimed to offer interpretations of August Strindberg’s The Stronger through the lens of female psychology. The Stronger is unique as it seemed very simple yet so intense and powerful with layers of interpretations. Written during 1888-1889, The Stronger, which only had two characters and only one speaking character, had become one of Strindberg’s shortest yet important plays during his career. The female psychology approach used in the analysis would cover the discussion of gender role, women’s self-esteem, competition for males, women’s friendships, ego style, and female psychology. It was an interdisciplinary research that combined structuralist, historical, biographical, and feminist approach to gain a better interpretation on the play. By referring to three different sources on the concept of female psychology, the analysis offered different and interesting interpretations on the nature and dynamics of the two female characters’ relationship. The Stronger has shown an enigmatic attraction in Strindberg’s authorship in which the readers could see the co-existence, collision, conflict, and merge of different paradigms concerning sex, gender, and sexuality.
Cinematic Representation of Chinese-Indonesians’ Trauma in Jason Iskandar The Day The Sky Roared Sutandio, Anton
Lingua Cultura Vol 13, No 4 (2019): Lingua Cultura
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/lc.v13i4.6000

Abstract

This research analyzed a contemporary independent Indonesian film entitled The Day the Sky Roared (2015) that was directed by Jason Iskandar. This 10-minute silent film talked about the anxiety of Chinese-Indonesians through the eyes of a mother and her daughter regarding the historical trauma of the May 1998 tragedy. The fact that the film was produced about 17 years after the tragedy suggested the director’s awareness that the trauma remained due to the absence of reconciliation and closure. This research would show how the short film frames the incident and trauma of the Chinese-Indonesians. The research was a combination of trauma studies and film studies that focuses on the visual analysis of the film’s cinematography and mise-en-scene to show the cinematic representation of Chinese-Indonesians’ trauma. The findings show that the portrayal of Chinese-Indonesians still strongly suggests unrelieved psychological discomfort, albeit, at different levels, that is closely related to the traumatic past and the pervasive stereotyping of Chinese-Indonesians. 
Existential Crisis through Conflicts in Iñárritu’s "Birdman" or (The Unexpected Virtue of Ignorance) Yudia, Yudia; Sutandio, Anton
Indonesian Journal of Visual Culture, Design, and Cinema Vol. 1 No. 1 (2022): Indonesian Journal of Visual Culture, Design, and Cinema
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (649.502 KB) | DOI: 10.21512/ijvcdc.v1i1.8195

Abstract

This paper aims to explore the existential crisis through conflicts in Alejandro González Iñárritu's film, Birdman or (The Unexpected Virtue of Ignorance) (2014). The film won numerous awards including the prestigious Academy Awards in 2015. Iñárritu is dubbed as the most successful Mexican director with his other notable films such as Amores Perros (2000), 21 Grams (2003), Babel (2006), and The Revenant (2015). This paper borrows Sartre's existentialist theory to reveal the conflicts that the protagonist, Riggan Thomson, experiences. The discussion on the film cinematography is also done to show how the film visually depicts and emphasizes the existential crisis through the conflicts. The findings reveal that the main cause of Thomson's conflicts is his ambition to have a meaningful life and define his existence. All his conflicts, both internal and social, show that Thomson first exists as a "Birdman" that does not reflect who he is as a human being. Thus, the conflicts become a part of his journey to find his essence and to free himself from the shadow of the Birdman.
Conflict Analysis in Luca Guadagnino's Call Me by Your Name Amaranty Putri, Tisca; Sutandio, Anton
DIALEKTIKA: JURNAL BAHASA, SASTRA DAN BUDAYA Vol. 10 No. 1 (2023): JUNI
Publisher : Prodi Sastra Inggris UKI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33541/dia.v10i1.4713

Abstract

This article analyzes the conflicts experienced by the main character in the film Call Me by Your Name by Luca Guadagnino. Guadagnino is an Italian director known for films such as The Protagonist (1999), I am Love (2010), and Suspiria (2018). Call Me by Your Name (2017) is Guadagnino's film which discusses the issue of homosexuality set in a rural area in Lombardy, Italy in 1983. The analysis focuses on aspects of conflict because the issue of homosexuality is most clearly reflected through this aspect. The analysis is carried out to reveal the types of conflicts that occur, the causes of conflicts, conflict resolution, and how the film's cinematography helps visualize these conflicts. By using the formalism approach, it is concluded that there are two types of dominant conflict, namely social conflict and inner conflict. The main cause of the conflict is the character's inability to express his identity as a homosexual. The cinematographic aspect also helps conflict analysis through the visualization that is displayed.
DISCUSSION OF VICTORIAN UTILITARIANISM IN PITT’S THE STRING OF PEARLS OR THE FIEND OF FLEET STREET Sutandio, Anton
DIALEKTIKA: JURNAL BAHASA, SASTRA DAN BUDAYA Vol. 7 No. 1 (2020): JUNI
Publisher : Prodi Sastra Inggris UKI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33541/dia.v7i1.4773

Abstract

Artikel ini membahas sebuah melodrama karya George Dibdin Pitt berjudul The String of Pearls or The Fiend of Fleet Street (1847) dengan fokus pada kritik konsep utilitarianisme dari Jeremy Bentham dan pengikutnya, John Stuart Mill yang terefleksikan lewat karya sastra ini. Ditulis di pertengahan abad ke-19, kisah tragis Sweeney Todd tidak pernah habis dibahas karena muatan kritik sosialnya yang sangat mengena dan masih relevan di masa kontemporer ini. Dengan menggunakan metode kualitatif, penelitian menunjukkan bagaimana melodrama ini merefleksikan sekaligus mengkritik konsep filosofis dominan saat itu dan ide-ide fundamental dari zaman Victoria di Inggris. Berdasarkan hasil analisis, ditemukan bahwa karya ini berhasil mengkontestasi konsep utilitarianisme sebagai filsafat etika di satu sisi dan filsafat politik di sisi lain lewat dua karakter utamanya. Disimpulkan juga bahwa modernitas zaman Victoria di Inggris ternyata merefleksikan nilai-nilai paradoks yang ditunjukkan lewat masyarakatnya dan apa yang terjadi pada masa itu. Zaman tersebut, yang kelihatannya seperti zaman “Gilded Age” menunjukkan ketidakseimbangan perkembangan antara kemajuan industri serta teknologi dan kemakmuran masyarakatnya.
THE PORTRAYAL OF THE FEMALE PROTAGONIST IN DARREN ARONOFSKY’S BLACK SWAN USING FREUD’S PSYCHOANALYTIC THEORY OF PERSONALITY AND DEFENSE MECHANISMS Nastiti, Anisa Efani Yulandara; Sutandio, Anton
Capture : Jurnal Seni Media Rekam Vol. 14 No. 2 (2023)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v14i2.4993

Abstract

Black Swan is a psychological horror movie by Darren Aronofsky. This movie tells of a ballerina named Nina Sayers, who desires to be a perfect ballerina. On her way to achieving her desire, Nina experiences psychological problems where she often hallucinates and even hurts herself. It results from Nina’s anxiety that causes her to be afraid that her desire will not be fulfilled. This article aims to examine Nina’s psychological state during the process of achieving her dreams. To reveal the psychological issues experienced by Nina, a characteristic analysis was carried out using Sigmund Freud’s theory of psychoanalysis, the theory of human defense mechanisms, and the cinematographic aspects of this film. The results showed that uncontrolled desires could cause psychological disorders that influence a person’s characteristics.
Ecological Metaphor in Shinkai Makoto’s Animated Film Tenki No Ko Sutanto, Marisa Rianti; Indrabhaswara, Kemal Yusuf; Sutandio, Anton
Humanus Vol 22, No 1 (2023)
Publisher : Pusat Kajian Humaniora FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/humanus.v22i1.117183

Abstract

This paper discusses a 2019 animated film entitled Tenki no Ko by Shinkai Makoto. This film is Shinkai’s most commercially successful work. Like other Shinkai’s works, Tenki no Ko talks about a romantic story between two teenage characters. The film is not only a work of fantasy or romance, but it also brings up natural elements that are expressed in the plot. Not only do the natural elements expressed in the film send the message of global warming, but they also show the reality of human life. Therefore, the analysis will be carried out with an epistemological method to prove the truth of the reality of life that the film expresses. The explanatory element applied to the object is a metaphorical expression of the scenes with reference to the multimodal metaphor theory through an ecological perspective. The analysis aims to trace ecological metaphorical expressions in the film. The findings show that the dominant metaphorical expression is “human life is like the weather” which can be called an ecological metaphor in connection with the ecological relationship between the human characters and their environment.
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.
RESTRAINING THE MOOD FOR LOVE: A SEMIOTIC ANALYSIS OF WONG KAR WAI’S IN THE MOOD FOR LOVE Sutandio, Anton
Capture : Jurnal Seni Media Rekam Vol. 12 No. 1 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v12i1.3086

Abstract

This article attempts to explore the visual signs in Wong Kar Wai’s In the Mood for Love in the context of how they support and emphasize the topic of restraint through the film’s cinematography and misè-en-scèene. As the theoretical foundation, Peirce’s classification of signs into symbol, icon, and index is chosen in addition to Barthes’ five systems of meanings that are applied to cinema. The visual signs in focus are not limited to objects within the film, but also the characters’ actions as well as the cinematography. The findings show that certain signs are effectively displayed to signify and amplify the idea of restraint. Not only that, some signs evolve into different signs through intentional repetition to further emphasize the aforementioned idea and the arbitrary nature of the signs, and at the same time open the possibilities of different interpretations of the signs within the film. 
Co-Authors Amaranty Putri, Tisca Apriliani, Erica Indrabhaswara, Kemal Yusuf Nastiti, Anisa Efani Yulandara Sonny Angjaya Sutanto, Marisa Rianti Yudia, Yudia Yusuf Arifin, Yohan