<![CDATA[This study examines the representation of Yogyakarta’s traditional culinary culture in the global documentary series Street Food: Asia, with a particular focus on the Yogyakarta episode. Rather than examining the direct impact of media exposure on tourist behavior, this article analyzes how traditional culinary practices are selected, adapted, and visually constructed for global audiences. Using a qualitative visual content analysis approach, the study observes selected scenes, visual sequences, narration, dialogue, and spatial representations related to traditional food vendors, including Mbah Satinem, Mbah Lindu, and the production of mie lethek. The analysis is guided by Stuart Hall’s theory of representation and Linda Hutcheon’s theory of adaptation. The findings show that the documentary represents Yogyakarta’s culinary tradition through three main patterns: the visual construction of authenticity in traditional food practices, the narrative framing of elderly food vendors as cultural guardians, and the transformation of everyday culinary spaces into meaningful cultural spaces. These representations do not merely document local culinary practices but reconstruct them into emotionally engaging and culturally legible narratives for global viewers. The study concludes that Street Food: Asia functions as a global media text that adapts local culinary traditions into a representational form shaped by visual selection, narrative simplification, and cultural translation.]]>
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