cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
Salsa Solli Nafsika
Contact Email
essa.navzka@upi.edu
Phone
+62895346080851
Journal Mail Official
ftv_fpsd@upi.edu
Editorial Address
Jl Dr Setiabudi No 229 Isola Kec Sukasari Kota Bandung Jawa Barat 40154 Bandung Provinsi Jawa Barat 0222009198
Location
Kota bandung,
Jawa barat
INDONESIA
Cinematology Journal Anthology of Film and Television Studies
Published by Universitas Pendidikan Indonesia
ISSN : 27977099     EISSN : 27979903     DOI : https://doi.org/10.17509/ftv-upi.v0i0
Core Subject : Art,
Arts
The Aesthetics and Film Sciences Expertise is a group of expertise that covers areas of study that are more scientific and related to film practice The subjects included in this expertise are in the scientific areas of Television Film History Television Film Studies Film and Television Semiotics Film and Television Aesthetics Archipelago Cultural Analysis Methodology Film and Television Production Management Media and Cultural Literacy and Film and Television Criticism Television developed in the FTV curriculum This KBK is more related to the profession of filmmaking practitioner directors producers editors camera engineers sound engineers artistic directors film actors documentary filmmakers casting action and visual effects such as screenwriters critics film historians film curators film lecturers film managers and experts film conservation Popular culture and mass media have a relationship like two sides of a coin knitting into an inseparable whole The popularity of a culture is very dependent on the mass media to be introduced and then become part of peoples lives For the mass media constructing and exposing culture to be popularized has become the pulse of life It is not surprising then that todays mass media are familiar as creators and owners of popular cultural content In addition to marketing the culture itself the media also tries to always present programs that are loved by the community While in the Motion Picture Aesthetics KBK the focus is on the profession of film and other motion picture practitioners such as animation the KBK for Media Studies and Popular Culture tries to see the potential of other professions that do not only study moving pictures Producer profession content production related to the broadcasting industry to studies related to programs carried out in other work practices which are related to the process of disseminating information to a wide audience So the professions that are part of the main focus in the KBK for Media Studies and Popular Culture are important factors especially in the current era of new media
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 5 Documents
 1 
Search results for , issue "Vol 5, No 3 (2025): October" : 5 Documents clear
An Exploration of Romance Formulas: The Film Can You Keep a Secret? by Sophie Kinsella Nugroho, Aji Royan
Cinematology: Journal Anthology of Film and Television Studies Vol 5, No 3 (2025): October
Publisher : Universitas Pendidikan Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17509/cinematology.v5i3.90983

Abstract

The research with Can You Keep a Secret? Film as an object material aimed to investigate the romance formula within this popular masterpiece. The popular work in this research is based on the same title by the writer Sophie Kinsella. This means the popularity is not just limited to the novel but continued throughout the film. The methodology of this research used qualitative description, which obtained the primary source from scenes of the film and the secondary source from references, books, and previous studies. How the elements and Roman formula are narrated, dominated become the main focus of this research to be analyzed. The result of this study showed that the Roman element narrated the whole story, which is dominated by romance and comedy, supported by the third figure. Meanwhile, the setting within the story uses romantic places, and the plot is easy to guess. Furthermore, the romantic element is followed by other films: a happy ending plot.
Language Styles Used by the Main Characters in the Movie Cruella (2021) Nainggolan, Clara Shinta; Rejeki, Sari; Widodo, Jordy Satria
Cinematology: Journal Anthology of Film and Television Studies Vol 5, No 3 (2025): October
Publisher : Universitas Pendidikan Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17509/cinematology.v5i3.86571

Abstract

This study aims to analyze the language styles used by the main characters, Cruella (Estella) and Baroness, in the Cruella movie (2021). The language use of the two main characters is studied because their socioeconomic classes differ, which leads to variances in language styles. Using a qualitative descriptive method, this study analyzes the language styles and communication components that influence the movie Cruella. Martin Joos’ (1967, as cited in Chaer and Agustina, 2010) theory is used to analyze the types of language styles, whilst Hymes’ “SPEAKING” (2013) theory is used to analyze communication component. The data collection technique used is the uninvolved conversation observation (simak bebas cakap) to understand the use of language styles directly. According to the study’s findings, there are 65 language styles: 26 casual style, 22 consultative style, 13 formal style, and 4 intimate style. The use of these language styles is heavily influenced by communication components such as setting, participants, and conversation goals. The results show that casual style dominates the conversation, suggesting that language is more than just a communication tool; it is also a political and psychological domain where identities are at stake.
Female catfight in Mark Waters' Mean Girls (2004)
Cinematology: Journal Anthology of Film and Television Studies Vol 5, No 3 (2025): October
Publisher : Universitas Pendidikan Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17509/cinematology.v5i3.91227

Abstract

Mean Girls (2004), an America drama movie directed by Mark Waters, demonstrates how female catfights in popular culture are often problematically portrayed as ‘normal’ and humorous, while simultaneously reinforcing sexist and patriarchal ideologies. The film portrays women who compete for social status and male attention. Consequently, it sustains negative stereotypes about female relationships The objective of this research is to identify and analyze how female catfighting is represented in Mean Girls. Employing qualitative approach within a pop culture studies, this analysis applies Stuart Hall’s concept of representation, Rachel Reinke’s concept of female catfighting, and Angela McRobbie’s post-feminist masquerade. Mulvey’s concept of male gaze is also utilized to dismantle how dominant ideology presents women through visuals. The data consist of narrative, dialogue, and visual elements from Mean Girls. The research findings posit that the movie represents female catfight through the characters Cady Heron and Regina George, who are constructed within a patriarchal framework. Additionally, the film also highlights the male gaze and how female identity is linked to physical appearance. Although the ending of the movie offers a slight sense of resistance at the end, overall, it still reflects the ideological values of a sexist popular culture.
A Morphological Study of Aesthetic Styles in Spider-Man Animated Series and Film Adaptations
Cinematology: Journal Anthology of Film and Television Studies Vol 5, No 3 (2025): October
Publisher : Universitas Pendidikan Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17509/cinematology.v5i3.89529

Abstract

To this day, many still perceive animation merely as a product for children, a perspective that motivated the push for the movement of “animation is cinema.” Driven by this movement, this research focuses on the artistic and technological evolution of animation through three Spider-Man adaptations, each representing a different era: Spider-Man (1967), Spider-Man: The New Animated Series (2003), and Spider-Man: Across the Spider-Verse (2023). Using a qualitative method with a content analysis approach, this research examines the three works through the frameworks of animation aesthetic morphology, and also Paul Wells’ classification of animation styles. The results of the study show a clear progression from one work to another, with each possessing its own characteristics and identity that represent the era in which they were made. The development of animation, as represented by the aesthetics of these three objects, affirms that animation is a medium of boundless artistic expression. So with this article, the researcher hopes could help those who read it to better understand animation capabilities as a medium.
Scene Reconstruction in the Docudrama Film "Remedi" as an Advocacy Strategy on Sexual Violence Against Persons with Disabilities
Cinematology: Journal Anthology of Film and Television Studies Vol 5, No 3 (2025): October
Publisher : Universitas Pendidikan Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17509/cinematology.v5i3.89546

Abstract

The docudrama film Remedi was created as an advocacy medium to voice the issue of sexual violence against persons with disabilities, a topic that remains underrepresented in Indonesian cinema. This study employs a qualitative method with a phenomenological approach to explore the subjective experiences of survivors, along with a scene reconstruction strategy as a form of sensitive and ethical visual representation. The findings indicate that the integration of survivors’ daily-life documentation with fictional reconstruction is able to create a balance between factual accuracy and emotional depth, thus providing space for victims to express their voices without having to relive their trauma. These findings affirm that docudrama functions not only as a medium of representation but also as an effective instrument of social advocacy in building public awareness, fostering empathy, and encouraging the emergence of policy support that is more inclusive toward vulnerable groups. Accordingly, Remedi demonstrates how cinema can serve as both a creative medium and a tool for social change that stands in solidarity with persons with disabilities who are victims of sexual violence.

Page 1 of 1 | Total Record : 5

 1 

Filter by Year

2025 2025


Reset
Filter By Issues
All Issue Vol 6, No 1 (2026): February Vol 5, No 3 (2025): October Vol 5, No 2 (2025): June Vol 5, No 1 (2025): February Vol 4, No 3 (2024): October Vol 4, No 2 (2024): June Vol 4, No 1 (2024): February Vol 3, No 3 (2023): October Vol 3, No 2 (2023): June Vol 3, No 1 (2023): February Vol 2, No 3 (2022): October Vol 2, No 2 (2022): June Vol 2, No 1 (2022): February Vol 1, No 3 (2021): October Vol 1, No 2 (2021): June Vol 1, No 1 (2021): February More Issue