<![CDATA[This study aims to describe the manners of Javanese nobility in the Kartini film. Using qualitative methods, with a sociology of literature approach based on Ian Watt's theory and semiotics according to Charles Sanders Peirce. Data collection techniques include observing and taking notes. Primary data was obtained from the film in the form of dialogue, visual expressions, and interactions between characters, while secondary data came from various supporting literature. Data analysis was carried out through the stages of data reduction, data presentation, interpretation of visual-verbal signs, and drawing conclusions. The results of the study show that the character Kartini represents a Javanese noble figure who still holds fast to the values of manners despite having a critical view of customs that limit the role of women. The character Kartini does not fight tradition head-on, but chooses a dialogical path by continuing to carry out aristocratic ethics such as sembah, ndodhok, and timpuh. This attitude reflects that manners are a cultural awareness that plays a role in maintaining social harmony, not just a formality. Thus, the Kartini film emphasizes that tradition does not have to be a barrier to change, but can be a dialectical space between respect for cultural heritage and the courage to think progressively. Abstrak Penelitian ini bertujuan untuk mendeskripsikan unggah-ungguh bangsawan Jawa dalam film Kartini. Menggunakan metode kualitatif, dengan pendekatan sosiologi sastra berdasarkan teori Ian Watt dan semiotika menurut Charles Sanders Peirce. Teknik pengumpulan data berupa simak dan catat. Data primer diperoleh dari film dalam bentuk dialog, ekspresi visual, dan interaksi antartokoh, sedangkan data sekunder bersumber dari berbagai literatur pendukung. Analisis data dilakukan melalui tahapan reduksi data, penyajian data, interpretasi tanda visual-verbal, serta penarikan simpulan. Hasil penelitian menunjukkan bahwa tokoh Kartini merepresentasikan sosok bangsawan Jawa yang tetap memegang teguh nilai unggah-ungguh meskipun memiliki pandangan kritis terhadap adat yang membatasi peran perempuan. Tokoh Kartini tidak melawan tradisi secara frontal, tetapi memilih jalan dialogis dengan tetap menjalankan etika aristokratik seperti sembah, ndodhok, dan timpuh. Sikap ini mencerminkan bahwa unggah-ungguh merupakan kesadaran budaya yang berperan menjaga harmoni sosial, bukan sekadar formalitas. Dengan demikian, film Kartini menegaskan bahwa tradisi tidak harus menjadi penghalang perubahan, melainkan dapat menjadi ruang dialektika antara penghormatan terhadap warisan budaya dan keberanian untuk berpikir progresif.]]>
