<![CDATA[The debate between artistic and commercial films has tended to be understood as a binaryopposition between artistic autonomy and market logic. This article analyzes how Imajinari'sfilm "Jatuh Cinta Seperti di Film-Film" repositions artistic aesthetics as a form ofentertainment in the contemporary Indonesian cinematic landscape. Through PierreBourdieu's theory of the cultural production arena, this study reads the film as a culturalpractice that negotiates within the national film production field. The method used is JohnFiske's semiotic analysis at the levels of reality, representation, and ideology to identify theaesthetic codes that construct the meaning of entertainment. The results show that the filmarticulates entertainment not as a spectacle, but as a reflective experience legitimized throughblack-and-white visual strategies, contemplative narrative rhythms, and metacinematicdialogue. These strategies place the film in an ambivalent position between autonomous andheteronomous poles, thus blurring the artistic-commercial dichotomy. These findingsemphasize that the film does not simply combine two production logics, but produces a newideological configuration of quality entertainment in the Indonesian cinematic arena.Keywords: Cultural Production Arena, Artistic Film, Entertainment Ideology, John Fiske'sSemiotics, Contemporary Indonesian Cinema]]>
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