<![CDATA[AbstrakPenelitian ini bertujuan untuk mengetahui bagaimana narasi counter-stereotype direpresentasikan dalam film Ngeri-Ngeri Sedap. Penelitian ini menggunakan metode kualitatif dengan analisis isi berupa analisis wacana kritis Norman Fairclough. Penelitian ini berfokus analisis pada level teks yang dihadirkan dalam film. Analisis pada level praktik wacana dan praktik sosial budaya dilakukan untuk menganalisis secara kritis alasan narasi counter- stereotype dihadirkan. Hasil penelitian menunjukan bahwa terdapat sebelas scene yang menunjukan adanya counter-stereotype etnis Batak dalam film Ngeri-Ngeri Sedap yang terbagi dalam beberapa kategori, yakni counter-stereotype pekerjaan etnis Batak dalam bidang hukum, counter-stereotype pernikahan etnis Batak, counter-stereotype sifat keras kepala etnis Batak, counter-stereotype sifat keras kepala etnis Batak, counter-stereotype perempuan etnis Batak, dan counter-stereotype anak laki-laki terakhir etnis Batak. Selain itu, pemilihan narasi yang dihadirkan dalam film dilatar belakangi oleh kehidupan pribadi pembuat film serta keresahan khalayak.Kata kunci : Counter-stereotype, Representasi, Etnis Batak, Wacana Kritis AbstractThis study aims to find out how counter-stereotype narratives of Batak ethnic are represented in Ngeri-Ngeri Sedap movie. This study uses a qualitative method with content analysis of Norman Fairclough's critical discourse analysis. This research focuses on analysis at level of text presented in film. Analysis at level of discourse practice and socio-cultural practice are carried out to critically analyse the reasons why counter-stereotype narratives are presented. The results of the study show that there are eleven scenes which show counter- stereotypes of Batak ethnic in Ngeri-Ngeri Sedap movie which are divided into several categories, namely counter-stereotypes of Batak ethnic work in the legal field, counter- stereotypes of Batak ethnic marriages, counter-stereotype of the Batak ethnic stubbornness, counter-stereotype of the Batak ethnic stubbornness, counter-stereotype of women from Batak ethnicity, and counter-stereotype of the last son from Batak ethnicity. In addition, the narrative selection presented in film is motivated by filmmaker’s personal life and the audience’s concerns.Keywords: Counter-stereotype, Representation, Batak ethnic, Critical Discourse]]>
