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Reni Nuraeni, Reni
Universitas Telkom
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The Meaning of Motivation in the Netflix Documentary Serial “The Last Dance” (John Fiske Semiotic Analysis) Muhammad Daffa Hauzan; Reni Nuraeni
Budapest International Research and Critics Institute-Journal (BIRCI-Journal) Vol 5, No 2 (2022): Budapest International Research and Critics Institute May
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v5i2.5287

Abstract

This study discusses the meaning of motivation, especially in the documentary film The Last Dance using John Fiske's semiotics method. Motivation based on Maslow's hierarchy of needs coded in the documentary film The Last Dance is categorized into three levels of needs, namely social needs, self-esteem needs, and self-actualization needs. The purpose of this study is to determine the meaning of motivation at the level of reality, the level of representation, and the level of ideology. This study uses a qualitative method, which is a research approach based on phenomenology and an interpretive paradigm. In this study, the subject used is the Netflix documentary series The Last Dance which consists of 10 episodes. Meanwhile, the objects in this study are signs that contain the meaning of motivation in the documentary film The Last Dance. Data collection techniques used are documentation studies, literature studies, and online data searches. This study concludes that the level of reality that displays the motivation of social needs in the form of the film shows Michael Jordan's relationship with his Chicago Bulls teammates and family. The motivation for self-esteem needs is shown by the appearance and speech of the characters in the film, which focuses more on Air Jordan shoes. Meanwhile, the motivation for self-actualization needs shows Michael Jordan's hard work to practice his basketball skills. Furthermore, the level of representation in The Last Dance film, motivational social needs, self-esteem needs, and self-actualization needs are shown by shooting techniques in the form of long shots, medium shots, close-ups, conversations, and backsounds as well as editing that combines footage and interviews. And the last is the ideological level, the motivation of social needs shows the meaning that the relationships and interactions carried out by Michael Jordan are based on love and feelings of not wanting to be underestimated. The ideology that emphasizes the motivation for self-esteem needs is the popularity of the Air Jordan shoe brand as a form of appreciation from the world community for Michael Jordan's achievements. And the ideology displayed in the motivation for self-actualization needs is Michael Jordan's efforts to always improve and develop his basketball skills.
Representation of the Role of a Mother in the Mother's Version of Dancow Advertising is Not Perfect but Mother's Love Always is there Rafi Nafis; Reni Nuraeni
Budapest International Research and Critics Institute-Journal (BIRCI-Journal) Vol 5, No 2 (2022): Budapest International Research and Critics Institute May
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v5i2.5418

Abstract

The phenomenon of women as mothers who work and educate children has its own challenges. A mother is required to maintain communication with her child and also be professional at work. The mother can be the head of the family who has responsibility for the family, by managing all household matters including children, and this shows the importance of a mother in the family other than the father. Seeing how women as mothers are represented in a media and considering the progress of a mother's representation in the general world, the researchers are interested in seeing how mass media such as advertisements on YouTube describe the role of a mother. This makes advertising through YouTube more accessible to the wider community and in large numbers. In addition, making advertisements on YouTube will be able to be enjoyed by the public for a longer time because the duration of the video is longer than other social media or television. In this study, the researcher used a qualitative research method with a semiotic theory approach of Roland Barthes. The subject of the research focuses on the representation of the role of a mother in the Dancow version of the Mother Not Perfect But Mother's Love is Always There. Researchers have determined 8 scenes / scenes to identify research problems. The researcher's goal in determining these scenes is to fit the research focus that has been discussed in the previous chapter. The researcher analyzed 8 scenes of Dancow's milk commercial, Mother's version is not perfect but Mother's Love is always there to analyze the representation of a mother's role.
John Fiske's Semiotic Analysis: Representation of Social Criticism in Pretty Boys Tasya Arlina; Reni Nuraeni
Budapest International Research and Critics Institute-Journal (BIRCI-Journal) Vol 5, No 2 (2022): Budapest International Research and Critics Institute May
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v5i2.5427

Abstract

This study aims to analyze the representation of social criticism in the film Pretty Boys using John Fiske's semiotic analysis. In this study, the researcher used a qualitative research method with a descriptive type of research to examine a social critique that occurred in the film "Pretty Boys." In contrast, the approach used was John Fiske's semiotic approach which was used to investigate the level of reality, the level of representation, and the level of ideology. Based on the analysis, it is known that at the reality level, nine television codes represent social criticism through four scenes analyzed by the researchers, namely the display code, dress code, and makeup code—media owner. At the representation level, five television codes represent social criticism through four scenes analyzed by the researcher showing the camera code the shooting technique used is close up to show Bayu's gesture when giving an example to appear as a kemayu man to Rahmat and Anugrah, medium close up shows the player's expression, the medium shot shows the atmosphere captured by the camera and the extended photo shows the player's clothing, makeup, words, and gestures clearly. At the ideological level, it describes the existence of an ideology of capitalism which shows that media ownership is concerned with economic profit compared to the interests of the audience, with Karl Max's critical theory as a supporter and the commodification that occurs behind a media, the author concludes that there is a social criticism that arises in the Pretty Boys film.
Co-Authors Abdul Fadli Kalaloi Adi Bayu Mahadian Adi Wiguna ADRIO KUSMAREZA ADIM Agus Aprianti Ahmad, Annisa Nuraini Ahsan, Nur Isya Awaliah Ai Suryani AINA, QORRI Al Jupri Alila Pramiyanti Amallia Ashuri Ananda Rayhan Anisa Diniati Annisa, Ulfah Aprilia Shesarita Arina, Jia Aristima, Iqbal Asep Sapei Astuti, Sri Wahyuning Azaria, Rahma Bobbi Rahman Dadang Juandi Damayanti, Desi Deddy Sofyan, Deddy Denisa, Alya Dety Mulyanti Dewi, Martha Wida Kusuma Dewi, Ranti Santika Dian Mardiani, Dian Dimas Satrio Wijaksono Dinda, Nasywa DINDIN DIMYATI Dini Salmiyah Eka Tri Wulandari, Eka Tri Ekasatya Aldila Afriansyah Elah Nurlaelah Elis Hastuti Elis Hastuti Elsa Noviani Eska, Fulky Irham Prasetyo Fanji Fakhru Zaman Farah Dhiba Putri Liany Fauzan, Muhammad Rizki Fauzia Octaviani Fikri Fikri Fildzah Jonerd Ramadhani Finola Marta Putri Fiona Suwana Fiqie Lavani Melano Fitrijani Anggraini Fitrijani Anggraini, Fitrijani Freddy Yusanto Gede Agung Ary Hadid, Al Araaf Nur Hanifah, Hilmi Ramdayani Fauziah Nur Harmika Pradnya Rosediana Hasanudin Hasanudin Hesty Marwani Siregar Huwaidi, Muhammad Hasyim Idola Perdini Putri Ihsan Hadiansah Indah, Mellyana Indah, Puspita Ira Dwi Mayangsari Irena Puji Luritawaty Irna Yuniar Iryana Muhammad Jaelani, Jeje Jalesita Putri Pramitha Jarnawi Afgani Dahlan Jejen Jejen, Jejen Kadia Sandi Kastaman, Kastaman Ketut Chintya Adnyaswari Kristiantoro , Julian Lalana, Siti Akilah Labitta Larasati Indhita Sugianto Lesi, Alpia Nadia Lesmana, Andi Lestari, Liya Manggala, Trisna Saputra Marhami Maryani Maryani Maudyakasih, Prabawati Yusandra Meiske Widyarti Miftakhul Fikri Mochamad Adam Fauzi Muhammad Daffa Hauzan Muriah, Muriah Mutmainah, Nur Afifah N. Nurjanah Nabila Syawitri Nadya Winefadila Nadya Winefadila Neng Sri Lathifah Zulfa Nezar Ariffananda Nofha Rina Noordina, Mega Achdisty Nurazhari, Luthfiah Nurjanah Nurmeliyanti, Astri Permatasari, Rani Prabawati Yusandra Maudyakasih Pramitha, Jalesita Putri Pratiwi, Dinni Nurul Prayogo, Dimas Ageng Priendamingtyas, Ajeng Puannandini, Dewi Asri Puji Savvy Dian Faizati Puspitarini, Dinda Sekar Puspitasari, Nitta Qomaruddin, Daffaa Esh-Shidqy Rafi Nafis Rah Utami Nugrahani Rah Utami Nugrahani Raihanah, Yasmin Neza Rana Akbari Fitriawan Rani Martalisa Taorina Raswyshnoe Boing Kotjoprayudi Ratih Hasanah Sudrajat Resya Fikriyah Febriyanti Rima Aksen Cahdriyana Rindi Antika Rizca Haqqu Rizky Rosjanuardi Rostina Sundayana Rozaq, Miftahul Saadah Saadah, Saadah Sardin Shalsyabilla, Shafira Silmi Salimah Simorangkir, Noel Yecsen Siti Maesaroh Sudartono, Tiris Sumia, Sumia Sundari, Asri Supriyadi Supriyadi Sylvie Nurfebiaraning Talisadika Serrisanti Maifa Tarida Elisabet Christina S Tasya Arlina Thoibah, Sufaira Tiara Angelica Tita Melia Milyane Tonra, Wilda Syam Wahyu Setiawan Widayanti, Asti Willy Abdul Ghany Wulan Purnama, Wulan Wulandari, Riana Trisna Yasinta Firdaus Yulinawati, Alti Yuni Nurhalimah YUYUN SITI ROHMAH Zaxrie, Shifa Ainun Zhafran, Tandya Rayhan