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All Journal Rekam : Jurnal, Fotografi, Televisi Animasi Tanra : Jurnal Desain Komunikasi Visual Fakultas Seni dan Desain Universitas Negeri Makassar ProTVF Texture : Art and Culture Journal Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Capture : Jurnal Seni Media Rekam Jurnal Rupa International Journal of Visual and Performing Arts Widya Komunika: Jurnal Komunikasi Pendidikan Narada : Jurnal Desain dan Seni Jurnal Pengabdian Seni Jurnal Abdimas Komunikasi dan Bahasa Prosiding Konferensi Nasional PKM-CSR Sense : Journal of Film and Television Studies Jurnal Visual Ideas eProceedings of Art & Design Pengabdian Seni
Dyah Ayu Wiwid Sintowoko
Telkom University
Arts Humanities Control & Systems Engineering Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Library & Information Science Nursing Public Health Social Sciences Other

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Journal : ProTVF

 1 
Hibridisasi budaya: studi kasus dua drama korea tahun 2018-2020 Dyah Ayu Wiwid Sintowoko
ProTVF Vol 5, No 2 (2021): September 2021
Publisher : Universitas Padjadjaran

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24198/ptvf.v5i2.31687

Abstract

Kajian tentang hibridisasi budaya Korea dalam konten drama masih diperdebatkan hingga sekarang oleh beberapa peneliti terdahulu. Penelitian ini bertujuan untuk mengetahui bentuk hibridisasi budaya Korea melalui drama The World of the Married dan Touch Your Heart dengan pendekatan teori visual lavish production. Penelitian ini menggunakan metode kualitatif dan teori lavish production untuk menemukan kesan mewah pada visual drama Korea. Karakteristik lavish production pada visual drama juga dianalisis melalui mise-en-scene untuk mengidentifikasi hibridisasi budaya Korea. Hibridisasi budaya dan kesan lavish production di dalam drama Korea tercermin melalui mise-en-ecene. Hibridisasi juga merupakan dampak dari diadaptasinya slogan Learning from Hollywood oleh sineas Korea. Adapun konsep drama trendy Korea merupakan adaptasi strategi dari Jepang untuk memunculkan kesan Asian taste. Hasil penelitian menunjukkan bahwa: (1) lavish production mengacu pada classy mise-en-scene dimana setting, properti, narasi dan gesture karakter sangat merepresentasikan perubahan teknis standar industri drama Korea menjadi cinematic orientation; (2) hibridisasi tampak pada kostum, gesture, dan beauty standart ala Western style yang didukung dengan narasi adaptasi trendy drama dari Jepang. Romantisme, non-sex dominant dan eye-contact merepresentasikan Asian sentiment karena cenderung menggunakan pendekatan estetika olah rasa; dan (3) konsep hibridisasi akan mengalami perkembangan bukan hanya di ranah budaya saja, namun juga pada produk budaya itu sendiri karena adanya persaingan global dan eksistensi Western media mainstream di Asia.
Women on the screen: A comparison of gender representation in Indonesian cinema Hasan, Yassar; Wulan, Roro Retno; Nurhayati, Iis Kurnia; Sintowoko, Dyah Ayu Wiwid
ProTVF Vol 9, No 1 (2025): March 2025
Publisher : Universitas Padjadjaran

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24198/ptvf.v9i1.58206

Abstract

Background: The emergence of Indonesian female directors is expected to be able to represent female characters in films based on the perspective of women themselves. However, in one film directed by a female director, a scene was found showing the female lead wearing revealing clothing that is identical to the concept of the male gaze. Purpose: This study aims to see whether the director's gender influences the depiction of female characters in the films they direct. Methods: Therefore, an analysis was conducted on four films directed by two male directors and two female directors to see how the representation of female characters in films is based on the director's gender using Sara Mills' critical discourse analysis. Results: Several contrasting differences were found between male and female directors in depicting female characters in films, especially in the four films analyzed, namely 27 Steps of May, Imperfect (by male directors), and Marlina si Pembunuh dalam Empat Babak, Yuni (by female directors), which can be seen in the aspects of characterization, location setting, explanations regarding the fate of predators, and a number of issues touched upon. Conclusion: Based on the comparative results, it was found that the director's gender influences the representation of women in films. Implications: Indonesian filmmakers, especially women, are expected to utilize the mass media of film to correct various stigmas and problems that tend to marginalize women in order to create a social and work environment that is free from gender-based discrimination.
Co-Authors Adeseptian, Ricco Adrian Permana Zen Akbar, Mohammad Zydan Akhmadi Akhmadi Alfianto, Rynaldi Alghonyu, Dhara Alifiardi, Lukman Alifyan, Muhammad Daffa Amalia, Shalvinna Anggar Erdhina Adi Arfi Andrian Arini Arumsari Ariq, Nadhif Jasir Arsyafitri, Yasmin Annisaa Aryawijaya, Emir Hakim Asfar, Muhammad Qessar Ashila, Muhammad Azka Avianto Nugroho Azahra, Qonita Rahima Azwar, Azwin Bahri, Rizki Fahreza Belinda, Geby Ayu Budi Haswati, Sri Maharani Cucu Retno Yuningsih Didit Endriawan Donny Trihanondo Dony Tri Hanondo Dwitama, Muhamad Rizki Epri Diningrum, Anisa Ersyad, Firdaus Anwar Fadhilla, Alya Fauzan, Emir Ahmad Febrian, Yusep Febriana, Sheva Pahlevi Fiallco, Yoppyndra Fikriansyah, Muhammad Rizki Firdaus Azwar Ersyad, Firdaus Azwar Firdaus, Firdaus Azwar Ersyad Firdaus, Ivan Fauzy Ganjar Gumilar Gregorius Kresna Haga Ginting Gumelar, Muhammad Handriyandi, Muhammad Adli Hanif Azhar Hasan, Yassar Herliana, Zhira Ananda Iis Kurnia Nurhayati Ikhlas, Nazryl Akmallul Iqbal Prabawa Wiguna Isroni Muhammad Miraj Malau, Nova Astrit Febrianty Martiyadi Nurhidayat Miftahussurur, Giat Agus Muchammad Zaenal Al Ansory Muhammad Arief Fauzi Muhammad Rizky Ramadhan Nacazeta, Alghofiri Omar Nathaniel, Sibyl Negara, Fajar Wijaya Novian Denny Nugraha Nugraha, Arjuun Khanif Alfin Nugraha, Yudhistira Farhanda Nurul Fitriana Bahri Paku Kusuma Pratama, Febrian Aggy Putra, Edwar Fernanda Dwi Putri, Anisa Silviana Putri, Jade Elisa Putri, Shalomitha Debora Rahmah, Fathiyah Nurshabrina Ramadhan, Muhammad Sabili Ramadhana, Syahdila Novanza Ranti Rachmawanti Rapekan, Muhammad Fakhrinur Shiyam Refi Rifaldi Windya Giri Ridzky, Axel Ramadhan Roro Retno Wulan Salsabila, Siela Salma Semesta, Cakrawala Jagad Shafy Putra, Muhammad Situmeang, Ezra Dereno Siwi Anjar Sari Soni Sadono Sugihartono, Ranang Agung Sukarso, Dwie Alfhyandy Sumarnis, Nisa Teddy Ageng Maulana Vega Giri Rohadiat Wijayanti, Sheila Nurfitri Yanuar Rahman