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All Journal ANDHARUPA ProTVF Gelar : Jurnal Seni Budaya Jurnal Desain Melayu Arts and Performance Journal Blantika : Multidisciplinary Journal INJECT Interdisciplinary Journal of Communication
Ranang Agung Sugihartono
Institut Seni Indonesia Surakarta
Religion Arts Humanities Computer Science & IT Economics, Econometrics & Finance Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Social Sciences

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The aesthetics of virtual wayang performances during the covid-19 pandemic Sunardi Sunardi; Jaka Rianto; Katarina Indah Sulastuti; Tatik Harpawati; Purbo Asmoro; Ranang Agung Sugihartono
Gelar : Jurnal Seni Budaya Vol 21, No 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v21i1.4571

Abstract

This paper discusses the aesthetics of virtual wayang performances by puppeteers. The problems studied are: (1) why puppeteers have a new tendency to perform virtual wayang; and (2) the aesthetic style of the virtual wayang performances. Data collection methods by interviews with puppeteers, literature studies about virtual wayang, and observations of wayang virtual performances by puppeteers were analyzed by aesthetic theory. The study results showed that puppeteers used digital platforms to maintain their profession's continuity and economic living conditions. The tendency of virtual wayang to give rise to an aesthetic style of digital puppets is known as aesthetics of taste, with the orientation of wayang performance to meet public tastes. The conclusion results state that the aesthetic style of the virtual wayang performance: (1) the camera as a representation of the audience's eyes; (2) puppeteers are required to be creative, innovative, and productive; (3) the audience has the freedom to determine their tastes; and (4) the importance of collaboration that must be carried out by the puppeteer.
Characterization of Juno in the Film Kucumbu Tubuh Indahku Ranang Agung Sugihartono; Diego Aiwawi Wanggay
ProTVF Vol 7, No 2 (2023): September 2023
Publisher : Universitas Padjadjaran

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24198/ptvf.v7i2.46538

Abstract

Background: The film Kucumbu Tubuh Indahku (Memories of My Body) raises the theme of gender and the social life and culture of the Javanese people. This film has a main character named Juno, who has a strong and interesting character. Purpose: This study aims to explain how the main characters embody the film Kucumbu Tubuh Indahku. The reading of Juno’s character is carried out to explain how the character Juno through his name and appearance, can represent his life as a Lengger dancer. Methods: This research uses a qualitative descriptive approach to explain the characterization using the Telling Method of Albertine Mainderop. Data collection used observation and literature study methods and was processed using qualitative data analysis techniques. Results: This film presents the main character’s complexity from childhood to adulthood. The results of character analysis based on three character dimensions show that physical, sociological, and psychological typologies also influence the determination of character functions. Character development is increasingly obvious when Juno is a small teenager until he grows up. The study shows an overview of Juno’s character and the changes formed by the influence of the sociocultural environment of the community. The character of Juno reflects the conditions of his life journey and the social conditions at that time. Implications: It can provide an overview for society about the psychological life of a man who looks like a woman. It can be a learning tool for novice filmmakers in creating the characters in their films.
The Panginyongan Film Identity: Narrative and Cinematic Approaches of Local Cinema Ferdinanda; Guntur; Ranang Agung Sugihartono
INJECT (Interdisciplinary Journal of Communication) Vol. 10 No. 2 (2025)
Publisher : FAKULTAS DAKWAH UIN SALATIGA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18326/inject.v10i2.5078

Abstract

This study examines how narrative and cinematic constructions in the short films of Banyumas Raya, Indonesia, contribute to the formation of a distinct Panginyongan film identity. Focusing on three fictional film works, Dolanan Layangan, Pur, and SETAN: Seni Tani, this research employs a qualitative content analysis method grounded in Bordwell's film concept, integrated with theories of realism (Bazin), creative improvisation (Sawyer), and identity representation (Hall). The findings reveal a synergistic construction of identity through three interconnected themes: (1) narratives centered on everyday conflicts resolved through communal values, (2) a realist-improvisational aesthetic using long takes, natural lighting, and non-professional actors to achieve authenticity, and (3) the use of the Ngapak language and local cultural symbols as markers of identity and symbolic resistance. The study concludes that these films function not merely as cultural representations but as active sites of identity negotiation. Furthermore, it proposes a Panginyongan Film Identity Model that synthesizes these elements, offering a framework for understanding similar practices in other Indonesian regional cinemas. This research underscores the significance of local cinema as a vital cultural practice that challenges mainstream aesthetics and contributes to Indonesia's diverse national cinematic landscape.
Body-Shaming as Humor Superiority: A Discourse Analysis of Sekawan Limo (2024) Falesha Libertalea Taufik; Ranang Agung Sugihartono
INJECT (Interdisciplinary Journal of Communication) Vol. 10 No. 2 (2025)
Publisher : FAKULTAS DAKWAH UIN SALATIGA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18326/inject.v10i2.5807

Abstract

This study analyzes the phenomenon of normalizing body-shaming humor in the Indonesian comedy film Sekawan Limo (2024), using a qualitative narrative study approach, focusing on discourse analysis of dialogue and interactions between characters to reveal how body-shaming-based humor is constructed. Data were collected from dialogue in the film scenes and analyzed using a critical paradigm aimed at sparking social change. The results show that body-shaming is consistently portrayed as a joke, with the character Juna being the primary target. These jokes are found in various forms, such as comparing Juna to ugly mythological figures, direct comments that demean his physical appearance, and nicknames that associate his character with his physique. The use of humor aligns with the theory of superiority humor, where laughter arises from feelings of superiority or satisfaction derived from demeaning others. This study argues that the normalization of body-shaming in the film functions as a degradation ceremony. The sociological process reduces Juna's identity to a mere object of laughter. This process also contributes to cultural hegemony by reinforcing the view that non-ideal bodies are acceptable objects of ridicule, which ultimately influences how viewers view ideal body standards. Films serve not only as entertainment but also as a reflection and formation of social values. Critical reflection on the role of media in reproducing social norms and the ethics of producing more inclusive entertainment content is necessary.
Ekspresi Budaya Jawa pada Figur Dewa dalam Ilustrasi Pawukon Santi Sidhartani; Ranang Agung Sugihartono; Suyanto Suyanto
Jurnal Desain Vol 11, No 1 (2023): Jurnal Desain
Publisher : Universitas Indraprasta PGRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30998/jd.v11i1.17376

Abstract

Commodification Of Cultural Identity: A Qualitative Visual Analysis Of The Semar Figure In Trademark Logos Yayah Rukiah; Ranang Agung Sugihartono; Sarwanto; Sunardi
INJECT (Interdisciplinary Journal of Communication) Vol. 11 No. 1 (2026)
Publisher : FAKULTAS DAKWAH UIN SALATIGA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18326/inject.v11i1.6523

Abstract

Logos are important identity markers in a trademark. This becomes interesting when many local trademarks originating from Central Java use the figure of Semar in their logos. Through observation on trademark registration sites, there are 208 trademarks that use the figure of Semar in their logos, with 108 of them officially registered. This study examines how the mythological figure of Semar is transformed and interpreted as a modern visual identity through the approach of Stuart Hall's theory of representation and identity, as well as Gillian Rose's visual methodology in the realm of the site of audiencing. The research analyzed several logos taken based on purposive sampling, then discussed in detail the visuals of the logos that contain deep historical and social significance. The results of the analysis show that the shift in medium from shadow puppets to logos changes the mechanism of audience meaning, from a narrative-pedagogical approach to instant and associative visual recognition. The use of the figure of Semar in trademark logos is not merely an aesthetic strategy, but a representational practice that negotiates Javanese cultural identity in the contemporary public space. This article concludes that the cultural identity represented by Semar is not static, but is continuously reconstructed by the audience to build emotional bonds and cultural legitimacy amid the dynamics of modernization, one of which is through cultural commodification in the form of trademark logos.
Semiotic Thinning of the Surya Majapahit in Java’s Hindu-to-Islamic Transition Wisnu Adisukma; Ranang Agung Sugihartono; Harmilyanti Sulistyani
INJECT (Interdisciplinary Journal of Communication) Vol. 11 No. 1 (2026)
Publisher : FAKULTAS DAKWAH UIN SALATIGA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18326/inject.v11i1.6775

Abstract

The transformation of visual symbols in contexts of religious transition is a complex phenomenon of cultural communication. This article analyzes the symbolic negotiation of Surya Majapahit, the eight-pointed solar emblem of the Majapahit Empire, as a visual communication medium that persisted across the shift from Hindu-Buddhist to Islamic cosmology in Java. Existing scholarship has largely overlooked how this symbol was actively renegotiated rather than passively inherited. Using a qualitative iconological method integrated with translocality theory, data were collected through artifact observation at temples, tombs, and the Great Mosque of Demak; semi-structured interviews with site custodians and cultural practitioners; and document analysis. The findings reveal a three-phase transformation: (1) full cosmological icon, (2) figurative reduction, and (3) geometric abstraction. The radial core was strategically retained as the communicative core, while Hindu-Buddhist figurative content was gradually eliminated to adapt to the aniconic Islamic visual regime. This symbol, therefore, functioned as a translocal node that actively produced a new Javanese-Islamic locality. The study contributes to intercultural visual communication by proposing “semiotic thinning” as a mechanism of symbolic continuity amid religious change. Limitations and recommendations for heritage interpretation and future research are outlined.
PENGGUNAAN METAHUMAN SEBAGAI MODEL DOKUMENTASI BARU: STUDI KASUS SOSOK PENCARI FOSIL SANGIRAN Ranang Agung Sugihartono; Tatik Harpawati; Koko Is Prayogo; Wahib M. Afif; Kosalalita Anggiyumna Ranangsari
ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia Vol. 11 No. 03 (2025): Vol. 11 No. 3 (2025): September 2025
Publisher : Dian Nuswantoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33633/andharupa.v11i03.11215

Abstract

Fenomena kehidupan pedesaan menarik adalah para pencari fosil tradisional di balik kebesaran nama Sangiran yang telah mendunia. Penciptaan ini dimaksudkan untuk menghasilkan model dokumentasi baru dengan teknologi MetaHuman mengenai pencari fosil tradisional Sangiran. Penciptaan ini menggunakan jenis penelitian artistik, dengan prosedur, meliputi: 1) definisi masalah; 2) pengembangan model; 3) sintesis; 4) penyempurnaan/resolusi; 5) generalisasi. Adapun pengembangan model dilakukan melalui pemotretan, pemodelan, pengisian suara, dan publikasi. Hasil penciptaan menunjukkan bahwa implementasi teknologi MetaHuman terhadap dua subjek pencari fosil tradisional di Sangiran, yaitu Mbah RT dan Mbah Setu, menghasilkan data atau rekaman audio visual tiga dimensi yang interaktif dan imersif, dan disebut Meta-Dokumentasi. 
The Narrative Style of Randai in the Film Rantau Adri Yandi; Ranang Agung Sugihartono; Pande Made Sukerta
Melayu Arts and Performance Journal Vol 8, No 2 (2025): Melayu Arts and Performance Journal
Publisher : Pascasarjana Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/mapj.v8i2.5185

Abstract

This article investigates the structural translation of the Minangkabau performative tradition of randai into cinematic language through a practice-led research framework. Departing from representational or thematic adaptation, the study positions randai as an organizing principle that shapes the narrative architecture, temporality, and audiovisual rhythm of the film Rantau. Core performative elements, such as dendang, galombang transitions, episodic composition, circular staging, and the mediating function of the Janang, are operationalized as structural devices rather than ethnographic references. The article adopts practice led research approach, a reflective and cyclical creative process integrating observation, interviews, textual study, scripting, performance translation, and editing. Editing is conceptualized as an epistemological site where meaning emerges through montage, temporal layering, and audiovisual juxtaposition. The resulting film employs a dual narrative system, linear within performative segments and non-linear within cinematic sequence, producing stratified temporality that articulates generational reinterpretations of merantau (migration). The findings demonstrate that performative tradition can be translated structurally into contemporary film without hierarchical subordination. The study contributes to discourses on intermediality, artistic research, and decolonial aesthetics by repositioning tradition as a generative epistemic framework within audiovisual production, while proposing a model for culturally grounded cinematic innovation.
Uncovering Visual Expression Driver on the Back of the Truck Anthony Yudhie Mahendra Tumimomor; Ranang Agung Sugihartono; Pande Made Sukerta; Sunardi Sunardi
Blantika: Multidisciplinary Journal Vol. 4 No. 6 (2026): Blantika: Multidisciplinary Journal
Publisher : PT. Publikasiku Academic Solution

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.57096/blantika.v4i6.517

Abstract

The present study seeks to elucidate the visual expressions of drivers manifested on the back of trucks. Visual expressions represent a unique phenomenon from budaya populer Indonesia's popular culture. The data in this study consists of images and sentences found on the rear of 100 trucks operating in Central Java, Indonesia. It is a common misconception that all visualizations on trucks are aesthetically pleasing; some individuals still harbor negative stereotypes toward them. The objective of this study is to ascertain the meaning and message that drivers seek to convey to the public. The present study employed an interpretive ethnographic methodology to understand the drivers' ways of thinking, their perspectives, and how they interact in their daily lives. The application of qualitative research with descriptive methods has been found to reveal visual elements, forms of expression, linguistic expressions, and the underlying meaning behind the creation of such visualizations. The results of this study illuminate the true message of these visual expressions, one of which is to showcase the conditions and outpourings of sentiment as experienced by truck drivers in reality.
Co-Authors Adri Yandi Anthony Yudhie Mahendra Tumimomor Diego Aiwawi Wanggay Falesha Libertalea Taufik Ferdinanda Guntur Harmilyanti Sulistyani Jaka Rianto Katarina Indah Sulastuti Koko Is Prayogo Kosalalita Anggiyumna Ranangsari Pande Made Sukerta Purbo Asmoro Santi Sidhartani Sarwanto Sunardi Suyanto Suyanto Tatik Harpawati Tatik Harpawati Wahib M. Afif Wisnu Adisukma Yayah Rukiah