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Application Optimazion Of Fidelity Watermarking Digital Imegery Discrete Fourier Transform Method And Rivest Shamir Adleman Algorithm Wulan, Nur; Harahap, Herlina; Sari Siregar, Yunita
Brilliance: Research of Artificial Intelligence Vol. 4 No. 2 (2024): Brilliance: Research of Artificial Intelligence, Article Research November 2024
Publisher : Yayasan Cita Cendekiawan Al Khwarizmi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47709/brilliance.v4i2.5126

Abstract

As the field of information and communication technology continues to evolve, the potential for digital crimes increases significantly. Information technology plays a key role in facilitating various human activities in the fields of communication and data exchange. The use of digital data, such as documents, photos, videos, and audio, still creates many challenges in proving ownership.. The proliferation of social media platforms like Facebook, Instagram, and TikTok has made it easier for individuals to duplicate, damage, or even steal content, often for malicious purposes related to copyright infringement.To secure digital image data, the technique of fidelity watermarking using Discrete Fourier Transform (DFT) and cryptographic authentication with the Rivest-Shamir-Adleman (RSA) algorithm can be utilized. Watermarking is a technique that embeds information into an image, serving to provide identification marks and secure copyright information. This process does not damage the original image quality. DFT is a watermarking technique that has the capability to convert the image back to the spatial domain after embedding the watermark. On the other hand, RSA is a cryptographic technique that enables data encryption using a public key and decryption with a private key. In the context of image watermarking, RSA is used to secure the watermark information embedded within the image. Watermark information that is encrypted using the public key can only be accessed or decrypted by the party possessing the private key. This enhances the security of the watermark and ensures that the information embedded within the image remains safe, even if the image is shared.
Negotiating Queer Masculinities in Southeast Asian Cinema: Comparative Analysis of The Iron Ladies (2000), Arisan! (2003), Die Beautiful (2016) Pratiwi, Cysakaren Diva; Wulan, Nur; Puryanti, Lina
IMAJI Vol. 16 No. 2 (2025): Film, Masyarakat, Teknologi, dan Identitas Budaya
Publisher : Fakultas Film dan Televisi - Institut Kesenian Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52290/i.v16i2.313

Abstract

This article examines the construction and negotiation of queer masculinities in Southeast Asian cinema through a comparative analysis of The Iron Ladies (dir. Yongyoot Thongkongtoon, Thailand, 2000), Arisan! (dir. Nia Dinata, Indonesia, 2003), and Die Beautiful (dir. Jun Lana, Philippines, 2016). While dominant regional representations of masculinity have been shaped by heteronormative, patriarchal, and nationalist ideologies, these films offer alternative portrayals that challenge and reconfigure normative gender and sexual identities. Drawing on Edward Said’s postcolonial critique of representation and José Esteban Muñoz’s theory of disidentification, this study employs qualitative textual analysis to investigate how queer male identities are represented within specific cultural and national contexts. The findings reveal that queer masculinities in these films are articulated through strategies of disidentification, performance, and resistance, negotiating visibility and belonging without fully conforming to or rejecting dominant norms. Each film reflects the particular socio-political tensions of its national context, while simultaneously disrupting Western-centric or Orientalist constructions of queerness. Ultimately, this study demonstrates how Southeast Asian cinema functions as a critical space for reimagining queer identity and masculinity beyond colonial and heteronormative frameworks.