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All Journal Journal of Content and Engagement
Fanny Lesmana
Communication Science Department Petra Christian University
Social Sciences

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Representation of Communication Patterns Adults to Autism Children in Film Innocent Witness Fabianus Valentino Setiawan; Fanny Lesmana
Journal of Content and Engagement Vol 1 Issue 2 (2023): August 2023
Publisher : Communication Science Department - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/joce.1.2.152-168

Abstract

Communication patterns help a person to communicate effectively with other people who have difficulty communicating. Difficulty in communicating is the main problem for autism children so that adults are needed to help them. It takes the right pattern of communication to understand the information that autism children want to convey. This depiction can be found in the film Innocent Witness which features a lawyer who mush know and be friends with autism child to help him solve the cases he is handling. This research was conducted with the aim of knowing how to describe the communication patterns of adults to autism children in this Innocent Witness film. The researcher will use a descriptive qualitative approach using John Fiske’s television semiotics method. From this study it was found that the communication patterns of adults to autism children experienced a process of finding the right communication patterns, namely adults having difficulty communicating with autism children before getting to know them, adults must understand autism children in the process of getting to know autism children, adults are able to create good communication effective with autism children after getting know autism children. And the idology of egalitarianism which adheres to equality for all people, including in communicatig with autism children.
The Influence of “Every U Does Good Heroes” Public Relations Campaign Message on Followers Attitudes regarding Unilever Indonesia’s Vision and Mission on Instagram @unileveridn Vienny Chikita; Fanny Lesmana; Inri Inggrit Indrayani
Journal of Content and Engagement Vol 2 Issue 1 (2024): April 2024
Publisher : Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/joce.2.1.54-81

Abstract

This research was intended to explain the influence of campaign message Every U Does GoodHeroes on the followers of @unileveridn. Unilever Indonesia has run a campaign of Every U DoesGood Heroes since August 2021 until now. The campaign invites individuals or companies toextend kindness to others in simple ways. To provide kindness for around, Indonesia Unileverguides on three pillars that are in line with this campaign. These pillars are building moresustainable planets, improving the health and well-being of the community, and contributing to ajust and inclusive society. The kind of research is explanatory quantitative, with online methodsof surveys and simple linear regression as data analysis techniques. The number of samples, asmany as 100 followers of @unileveridn based on purposive sampling. Research has shown thatcampaign messages influence the followers of @unilever. The highest influence is on the messagestructure sub-indicator, namely conclusion statement. The lowest influence is in the message'scontent sub-indicator, supporting material that contains the purpose of campaign message.Research shows that variable x: public relations campaign message also has strong correlation withvariable y: attitude. This was due to campaign messages consistent with three pillars of UnileverIndonesia.
Representation of Social Inequality in the Film “Wicked”: Reconfiguring Power Through Fantasy — a Semiotic Reading. Sherlynn Yuwono; Jandy Edipson Luik; Fanny Lesmana
Journal of Content and Engagement Vol 3 Issue 3 (2025): December 2025
Publisher : Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/joce.3.3.222-241

Abstract

This paper explores the representation of social inequality in Wicked (2024), a fantasy musical film directed by Jon M. Chu, using John Fiske’s semiotic approach. Set in the fictional Kingdom of Oz, Wicked offers more than visual spectacle; it is a profound allegory that critiques hegemonic power, class stratification, and systemic marginalization. Through qualitative analysis, this study dissects the film’s signs—costume design, spatial hierarchies, character interactions, and narrative structures—to expose how social disparities are not only depicted but ideologically constructed. Utilizing John Fiske’s semiotic approach, this study aims to uncover how the film, as a subject, conveys objects in the form of signs that reproduce social inequality. The findings reveal that Wicked employs costume design and set aesthetics as semiotic codes to construct the image of hegemony, thereby reinforcing class disparity. Furthermore, the study concludes that the film underscores a critical message: it is not the distinction between right and wrong that determines one’s life trajectory, but rather the possession of power. The unequal access to truth and narrative voice ultimately strengthens the social divide within the film’s storyline—mirroring broader societal realities.
Co-Authors Fabianus Valentino Setiawan Inri Inggrit Indrayani Jandy Edipson Luik Sherlynn Yuwono Vienny Chikita