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Yoga Sudarisman
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Lt. 3 Gedung Fakultas Adab dan Humaniora UIN Sunan Gunung Djati Bandung Jl. AH. Nasution No. 105 Cipadung Cibiru Bandung 40614 Telp. (022) 7810790 Fax. (022) 7803936
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Saksama: Jurnal Sastra
Published by UIN Sunan Gunung Djati Bandung
ISSN : -     EISSN : 29864550     DOI : https://doi.org/10.15575/sksm
Core Subject : Humanities, Art,
Arts Humanities
Saksama: Jurnal Sastra is a twice-yearly open access journal starts on the structural, post-structural, post-modern, comparative and post-colonial approaches to the critical analysis and interpretation of literature, with a special preference given to underrepresented works. Articles submitted should offer a critical viewpoint on modern works and contribute to ongoing literary discussions.
Arjuna Subject : Seni dan Humaniora - Sastra dan Teori Sastra
Articles 6 Documents
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Search results for , issue "Vol. 4 No. 2 (2025): Saksama" : 6 Documents clear
SOLVING THE FORMULA: AN ANALYSIS OF MYSTERY STRUCTURE ON MURDER ON THE ORIENT EXPRESS Fathan Fadhlullah, Muhammad Sayyid; Baheransyah, Zahwa Bilbina Putri; Nugroho, Agung Dwi
Saksama: Jurnal Sastra Vol. 4 No. 2 (2025): Saksama
Publisher : Fakultas Adab dan Humaniora UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/sksm.v4i2.47309

Abstract

This article discusses Kenneth Branagh's film Murder on the Orient Express (2017) through John G. Cawelti's popular formula theory, particularly in the context of the mystery genre. This study aims to examine how the narrative structure typical of the detective genre—consisting of the stages of crime, investigation, and resolution—is adapted in the medium of film. By utilizing Cawelti's theory, which emphasizes the combination of convention and innovation, this analysis shows that the film retains the main elements of the mystery formula while introducing aesthetic and moral variations that reflect contemporary values. The use of cinematic techniques such as temporal manipulation, limited perspective, and mise-en-scène enhances the audience's experience in following the investigation. Additionally, the film's theme of alternative justice adds a complex ethical dimension to Agatha Christie's classic narrative. This study confirms that Murder on the Orient Express is not merely a passive adaptation but a critical and relevant reinterpretation of the genre formula within the context of modern popular culture.
SLICE OF LIFE FORMULA IN JONAH HILL’S MID90S (2018) FILM Rusmawan, Dendy Abyaz; Ropaidah, Anisa
Saksama: Jurnal Sastra Vol. 4 No. 2 (2025): Saksama
Publisher : Fakultas Adab dan Humaniora UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/sksm.v4i2.47525

Abstract

Mid90s (2018), a film directed by Jonah Hill, masterfully employs a slice-of-life formula to depict the coming-of-age of Stevie, a thirteen-year-old in 1990s Los Angeles, abstracting the often-unspoken complexities of adolescence through a series of loosely connected, observational vignettes rather than a traditional linear narrative. The film eschews explicit plot points and grand dramatic arcs, instead immersing the viewer in the mundane yet formative experiences of Stevie's summer: the tentative steps into a new social group of older, rebellious skateboarders, the awkward fumbling with identity and belonging, the casual cruelty and genuine camaraderie within the group, and the subtle shifts in his relationship with his troubled home life. Through extended, unhurried scenes of skateboarding, loitering, and late-night conversations, the film captures the raw, unfiltered essence of youth, where moments of boredom, exhilaration, vulnerability, and fleeting independence coalesce to form the fragmented but deeply impactful mosaic of a boy finding his place in a chaotic world, allowing the audience to intuit the emotional and psychological shifts occurring beneath the surface of everyday interactions.
DETECTIVE PATTERNS IN THE PALE BLUE EYES (2022) FILM Sulistyani, Syabrina Sri; Bella Siti Nur Azizah
Saksama: Jurnal Sastra Vol. 4 No. 2 (2025): Saksama
Publisher : Fakultas Adab dan Humaniora UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/sksm.v4i2.47534

Abstract

This study explores the application of John G. Cawelti's classic detective formula in the film The Pale Blue Eye (2022), which is an adaptation of Louis Bayard's 2003 novel. As part of popular literature, the film represents the enduring appeal of the mystery-detective genre through recognizable narrative patterns and conventions. Using a qualitative descriptive approach and narrative analysis techniques, this study identifies how the six main elements of the classic detective formula (1) mysterious crime situation, (2) introduction of the detective character, (3) investigation process, (4) announcement of the solution, (5) explanation of the solution, and (6) final resolution, are implemented in the film's story structure. The results of the analysis show that the film not only follows the conventional structure of the detective genre, but also enriches the narrative through additional elements such as a Watsonian-style narrator (Edgar Allan Poe) and the existence of a two-layer solution that deviates from the role of the classic detective as a neutral and detached figure. Thus, The Pale Blue Eye proves the flexibility and cultural relevance of the detective story formula in contemporary popular media, as Cawelti's theory suggests that genre conventions serve as both structural guides and mirrors of cultural meanings.
BECOMING THE MAY QUEEN: THE IMAGINARY, THE SYMBOLIC, AND THE REAL IN ARI ASTER’S MIDSOMMAR FILM Haromain, M. Zia Al; Abqory, M. Naufal
Saksama: Jurnal Sastra Vol. 4 No. 2 (2025): Saksama
Publisher : Fakultas Adab dan Humaniora UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/sksm.v4i2.47633

Abstract

This article explores Ari Aster’s Midsommar (2019) through a Lacanian psychoanalytic lens, focusing on the protagonist Dani’s psychological transformation as she navigates trauma, desire, and identity within the framework of Lacan’s tripartite register: the Imaginary, the Symbolic, and the Real. The film, positioned within the realm of popular horror cinema, offers a fertile text for examining how contemporary narratives ritualize and aestheticize psychological breakdowns. Dani’s disintegration following personal loss is restructured through her encounter with the Harga community, which functions as a symbolic order offering both the illusion of belonging and a mechanism of sublimation. Her final acceptance as the May Queen signifies not merely empowerment, but a complex negotiation between desire, repression, and the Other. Through this reading, Midsommar emerges as a modern cultural artifact that stages psychic trauma within the structures of popular visual culture, revealing the entanglements between horror, identity, and symbolic violence.
RACE, RELIGION, AND THE MORAL OF WHITENESS: A POSTCOLONIAL READING OF NADINE GORDIMER’S COUNTRY LOVERS Nurrachman, Dian; Dody S. Truna; Ilim Abdul Halim; Mohammad Ziaul Haq
Saksama: Jurnal Sastra Vol. 4 No. 2 (2025): Saksama
Publisher : Fakultas Adab dan Humaniora UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/sksm.v4i2.52685

Abstract

This article examines Nadine Gordimer’s Country Lovers through an integrated framework drawn from postcolonial criticism, critical race theory, and the genealogy of religion. It argues that Gordimer’s short story offers a concentrated narrative archive of how race and religion function as co-constitutive systems of colonial power. Using a mimetic method of literary criticism, the study treats the narrative as a representational site where social, legal, and moral structures of apartheid South Africa are reproduced and contested. The analysis is grounded in the contemporary understanding of race as a sociohistorical construct whose apparent naturalness conceals political and institutional production. The study also draws on Talal Asad’s formulation of religion as a historically contingent category shaped by European intellectual and colonial histories, as well as Malory Nye’s and Theodore Vial’s arguments that race and religion are inseparable “conjoined twins” of modernity. Within this theoretical constellation, Country Lovers emerges as a text that discloses how Christian-inflected moral orders and secular legal practices jointly uphold racial hierarchies. Close readings of key narrative scenes—Paulus and Thebedi’s secret encounters, the description of the mixed-race infant, the court proceedings, and Thebedi’s coerced silence—demonstrate the ways in which whiteness operates as moral purity while blackness is aligned with sin, transgression, and disposability. By analyzing these narrative elements as mimetic representations of structural power, the article argues that Gordimer’s work illuminates the afterlives of colonial religio-racial discourse in modernity. Ultimately, the study contends that Country Lovers not only critiques apartheid but also exposes the deeper moral and epistemic architectures through which colonialism continues to shape postcolonial consciousness. The article contributes to broader scholarly conversations about decolonization by foregrounding literature as a site where racialized religious imaginaries are produced, contested, and potentially transformed.
FEMINISM AT THE CROSSROADS OF FAITH AND SOCIAL POWER IN DOROTHEA ROSA HERLIANY’S PEREMPUAN BERDOSA Sudarisman, Yoga; Nugraha, Rachmat; Lustiyowati, Ana; Solahudin, Dindin; Abidin, Yusuf Zainal
Saksama: Jurnal Sastra Vol. 4 No. 2 (2025): Saksama
Publisher : Fakultas Adab dan Humaniora UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/sksm.v4i2.53130

Abstract

This article examines the female body within a feminist framework that operates at the intersection of religion and social space through a reading of Dorothea Rosa Herliany’s poem Perempuan Berdosa. The poem portrays a woman burdened by accusations of sin and by the symbolic violence imposed upon her body by society. Images of being hunted, pressed down, and judged reveal how religious and social norms often position women as the source of moral wrongdoing. Feminist analysis challenges these patterns by asserting that women possess voices and lived experiences that cannot be reduced to moral stigma. Through this poetic reading, the article argues that the female body can become a site of resistance against patriarchal control and unjust moral scrutiny. Women’s awareness of their bodies and experiences opens possibilities for renegotiating identity, spirituality, and their place within everyday social life.

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