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All Journal MetaCommunication; Journal Of Communication Studies El Madani: Jurnal Dakwah dan Komunikasi Islam
Ahmad Rofi Syamsuri
STID Dirosat Islamiyah Al-Hikmah Jakarta
Religion Humanities Languange, Linguistic, Communication & Media Social Sciences

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Dakwah Digital dalam Komik Line Webtoon Laa Tahzan: Don’t Be Sad dalam Perspektif Semiotika Ahmad Rofi Syamsuri; Sunaryanto; Afnan Nadjib Helmy
El Madani : Jurnal Dakwah dan Komunikasi Islam Vol. 4 No. 02 (2023): El Madani: Jurnal Dakwah dan Komunikasi Islam
Publisher : Dakwah Institut PTIQ Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53678/elmadani.v4i02.1460

Abstract

Line Webtoon comics can be used as a digital da'wah tool that conveys da'wah messages through a cultural approach. But the problem is, even though it can be used as a means of digital da'wah, Line Webtoon Comics actually develop through industrial interests and media capitalism. The industrialization process for Line Webtoon Comics can develop well because the process uses what is known as glocalization. This research analyzes the meaning of digital da'wah in the Line Web Comic Ton Laa Tahzan: Don't be Sad episodes #88 #89#90 and #116. The research method used is textual analysis with semiotic theory. This research found digital preaching in The Line Webtoon: Laa Tahzan Don't Be Sad in four episodes, namely using matchsticks, glasses, hijab, beach, translated text of the Koran and hadith. The markers used in the four episodes are Arno, Hatta, Uda Sheng, Aliya and Aya. The signs used are learning, discipline, knowledge, patience, honesty, not lying, the power of Allah SWT, piety, faith, power of Allah SWT, surrender to Allah SWT, mistakes towards Allah SWT, injustice towards Allah SWT. If we conclude, the meaning of digital preaching of this comic is divided into three important points, namely aqidah, morals and muamalah. The denotational meaning is the importance of knowledge, the importance of fasting, the meaning of the tarawih prayer rakat, and the prohibition of shirk towards Allah SWT. The current connotation means that Muslims have not yet developed knowledge, fasting that has not been practiced properly, conflict due to differences in the rakats of tarawih prayers, and shirk towards Allah SWT.
Representasi Wajah Masyarakat Gunung Kidul dalam Film Pendek Njagong: Perspektif Meanings and Media Sunaryanto Sunaryanto; Ahmad Rofi Syamsuri
Metacommunication: Journal of Communication Studies Vol 10, No 2 (2025): SEPTEMBER
Publisher : Universitas Lambung Mangkurat

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20527/mc.v10i2.19001

Abstract

This research critically analyzes the representation of the Gunungkidul community in the short film Njagong. Employing a qualitative method with a critical paradigm from media and cultural studies, this study applies Gill Branston and Roy Stafford’s textual analysis. This framework investigates four concepts: semiotics, structuralism, denotation/connotation, and ideological codes. Semiotically, signifiers like bamboo houses, traditional utensils (e.g., kukusan, irik), dry fields, and salt connote poverty, constructing a social meaning of enduring impoverishment. Structurally, the film depicts a community without class division, where everyone exists in the same social stratum—impoverished farmers working barren land. Connotatively, rural women are portrayed as underdeveloped due to limited education access. The region itself is constructed as barren, dry, and non-modern, suggesting it is unfit for habitation. These representations are reinforced through ideological codes and myths: that villages are too harsh for a proper life and that rural women, expected to marry young, do not require higher education. This study contributes to media and cultural studies by demonstrating how rural representation in film extends beyond depicting material conditions to actively perpetuating ideologies and myths that sustain social inequality. It enriches the discourse on how film can simultaneously reproduce and critique stigmas against marginalized regions. Ultimately, the research underscores the importance of a critical perspective in viewing media as a contested arena where local identity negotiates with dominant discourses of poverty, gender, and modernity.
Co-Authors Afnan Nadjib Helmy Sunaryanto Sunaryanto Sunaryanto