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All Journal JOLLT Journal of Languages and Language Teaching Lililacs Journal
Ruslianti, Atikah
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Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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Journal : Lililacs Journal

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False consciousness in Manhattan as depicted in Cosmopolis Husaini, Irzam; Ruslianti, Atikah
Lililacs Journal Vol. 2 No. 2 (2022): Lililacs Journal
Publisher : Lembaga Penelitian dan Pengabdian kepada Masyarakat, Universitas Negeri Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (278.415 KB) | DOI: 10.21009/lililacs.022.02

Abstract

Cosmopolis takes themes around economy, capitalism, Marxism and social class. This study aims to analyse the author’s way to depict false consciousness in Cosmopolis’ “fictionalised” Manhattan through the proletariat’s actions toward the bourgeois main character in keeping on promoting of the latter’s economic interests. The study uses descriptive analytical of qualitative method with Marxist class theory to analyse false consciousness in Manhattan as depicted by the selected proletarian characters who work for the bourgeois main character. The result shows that the proletariat in the book do what they and the society consider to be true by serving the capital owner in return of money which they can use to get better lives, when they should join efforts to tear down the system that keeps them stay in their unfavourable positions as workers.
Cultural representation in three various cover designs of Harry Potter and the Philosopher's Stone Dhiwangkara, Tresnadian; Ruslianti, Atikah
Lililacs Journal Vol. 2 No. 2 (2022): Lililacs Journal
Publisher : Lembaga Penelitian dan Pengabdian kepada Masyarakat, Universitas Negeri Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1131.56 KB) | DOI: 10.21009/lililacs.022.04

Abstract

This study aims to look at the cultural representations within the cover of Harry Potter and the Philosopher's Stone from three different countries, namely the United Kingdom, the United States, and Indonesia, and how the cultures of three countries influence the focuses represented on the cover. Using cultural semiotic theory by Yuri Lotman, this research uses a descriptive-analytical method to analyze the visual and verbal texts synchronicly and diachronicly on the basis of temporal context to see the relationship between the culture and the focuses. This study indicates several cultural representations on each cover that can only be seen when these focuses are analyzed with their diachronic aspects. Some of the focuses only appears on one cover and not on the two other covers because there are no correlations between the focus it represents and the culture of that country, so the cover chooses to display other focuses which do have cultural and historical correlations with the country. These cultures are represented and contributed to influence the focuses displayed on the cover. The influence on each focuses could take the form through its pose and portrayal, size comparison, visibility, location, color, and also the style of the illustration itself.
On the “mise-en-scène” of Pinoocchio 1940 and 2022 films' versions Cha, Mi Song; Ruslianti, Atikah; Kusuma, Dwi Linda
Lililacs Journal Vol. 4 No. 1 (2024): Lililacs Journal
Publisher : Lembaga Penelitian dan Pengabdian kepada Masyarakat, Universitas Negeri Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/lililacs.041.01

Abstract

This study examines the film Pinocchio (2022) by Robert Zemeckis in comparison to the 1940 version of old animation on the basis of mise-en-scène. The analysis was done using the descriptive analysis method with the film approach and the films are analyzed on both the narrative and cinematographic aspect. The result showed that two films show a lot of similarities since they were both made on the same story. The analysis of the narrative aspect showed that they have different opening and conclusion in plot, have extra more characters in the new film, as well as show different social setting of the film. The cinematic examination proved that the new film put more details on the props of cuckoo clocks made by Geppetto and the lighting analysis showed that the 1940 version used constant high-key lighting while the new version used both low-key and high-key lighting. The 2022 version also used various camera angles and movements, while the 1940 version used constant standard camera angles throughout the film. The overall analysis showed that while the old version is made simply for young audiences, the new film targets audiences of not only young children, but also young adults.
Co-Authors Cha, Mi Song Dhiwangkara, Tresnadian Hefandia, Deandra Alika Husaini, Irzam Kusuma, Dwi Linda