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Yoga Sudarisman
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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 85 Documents
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IDENTITY CONSTRUCTION AND CULTURAL VALUES IN THE SCREENPLAY OF ZATHURA: A SPACE ADVENTURE (2005) Aidelwaiss Ulfatul Kamilah; Arsyi Azwar; Jasmine Flora Nirwana
Saksama: Jurnal Sastra Vol. 5 No. 1 (2026): 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.v5i1.47302

Abstract

This study examines Zathura: A Space Adventure (2005), based on the screenplay by David Koepp, as a work of popular literature that grounds a fantastical cosmic journey in the "quotidian realities" of a fragmented family. By analyzing the script's portrayal of sibling rivalry and the logistical stresses of a "three-day Dad week," the research explores how fantasy serves as a vehicle for identity negotiation. Utilizing Joseph Campbell’s Hero’s Journey framework, the narrative is traced from the "Departure" in a cemetery to the "Initiation" through trials—such as the attack of a "defective robot"—culminating in a "Return with Change" where the house is "perfectly restored" and the brothers are psychologically transformed. Stuart Hall’s Cultural Identity Theory is applied to analyze how Walter and Danny move beyond fixed labels of "baby" and "older brother" to negotiate a new, unified identity through shared crisis. The script transmits core cultural values—empathy, responsibility, and solidarity—exemplified in domestic scenes like Walter’s attempt to cook "macaroni and cheese" for Danny while adrift in space. Ultimately, the analysis demonstrates that Zathura transcends its sci-fi spectacle to function as a cultural artifact that facilitates critical reflection on family connection and the "journey home" toward emotional maturity.
CAMERA ANGLES AS MISE-EN-SCÈNE IN THE WONDERFUL STORY OF HENRY SUGAR Fathin Aulia Fatharani; Rinda Revanita; Syabrina Sri Sulistyani; Febriani Ahmad
Saksama: Jurnal Sastra Vol. 5 No. 1 (2026): 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.v5i1.47561

Abstract

This study explores the use of camera angles as integral elements of mise-en-scène in shaping the visual identity of The Wonderful Story of Henry Sugar, a short film directed by Wes Anderson. Rooted in the assumption that all cinematic representations carry expressive meaning, the study investigates how camera angles: eye-level, high-angle, low-angle, bird’s-eye view, and Dutch tilt are contributed to constructing visual narratives and influencing audience perception. Drawing on the theoretical framework of Mise-en-Scène: Within the Image, which defines mise-en-scène as the totality of expressive content within a frame, this research views camera angles not as neutral tools, but as carriers of meaning shaped by compositional choices. The research adopts a descriptive qualitative method through content analysis, closely examining selected scenes from the film by observing the function and impact of specific camera angles in context. The findings demonstrate that eye-level shots dominate Anderson’s style, reinforcing narrative neutrality and intimacy, while high-angle and low-angle shots reflect vulnerability and dominance, respectively. Bird’s-eye views are used to evoke detachment, and Dutch tilts mark psychological tension or narrative shifts. Through symmetrical compositions and careful angle selections, the film establishes a stylized yet emotionally resonant visual language. Ultimately, this study affirms that camera angles, as mise-en-scène components, function beyond visual aesthetics, they serve as narrative devices that shape the viewer’s emotional and interpretive experience, supporting the notion that every element within the frame is a deliberate and expressive cinematic choice.
DECONSTRUCTING MOTHERHOOD IN TANGLED (2010): A DERRIDEAN ANALYSIS OF MOTHER GOTHEL Hilalliah Isna Putri; Reza Anis Maulidya
Saksama: Jurnal Sastra Vol. 5 No. 1 (2026): 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.v5i1.48887

Abstract

Film is a visual art form that communicates stories, information, and messages through moving images and sound. It combines various elements such as screenplay, acting, cinematography, directing, music, and editing. Many films also address current social or philosophical themes. A notable example is Tangled (2010), directed by Nathan Greno and Byron Howard and produced by Disney as part of its series of princess films. This journal analyzes the character of Mother Gothel using Jacques Derrida’s post-structuralist approach. It looks at how binary oppositions like mother/monster and freedom/control are called into question. The analysis suggests that Tangled exposes the inherent instability of language, identity, and moral judgment within its narrative framework when deconstructed.
READING YOUTH ALIENATION AND MORAL TURMOIL IN AVENGED SEVENFOLD’S CITY OF EVIL (2005) A. Fahmi Dahlan
Saksama: Jurnal Sastra Vol. 5 No. 1 (2026): 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.v5i1.52314

Abstract

Avenged Sevenfold's City of Evil (2005) stands out as a unique cultural text that captures the intense emotional chaos and cultural uncertainty of American youth in the mid-2000s. This study aims to examine how youth alienation and moral turmoil are lyrically constructed in City of Evil, and to explain what this construction reveals about the sociocultural anxieties of mid-2000s American youth. Using a textual analysis of the album's lyrics, the study traces how alienation and moral turmoil are built through recurrent imagery of violence, displacement, betrayal, and existential strain. The analysis reveals that these lyrical patterns articulate a profound crisis of identity rooted in the anxieties of post-9/11 American consciousness, where notions of authority and purpose were destabilized. Crucially, the lyrics situate personal struggles—such as grief, addiction, and rage—not as purely individual problems, but as reflections of wider sociocultural tensions and national uncertainty. Ultimately, City of Evil is shown to mediate the fragile boundary between rebellion and resignation, demonstrating how contemporary metal encodes and expresses youth alienation as both an intimate emotional struggle and a symptom of collective cultural fracture.
THE NARRATIVE CONSTRUCTION OF FREUDIAN GUILT IN OPPENHEIMER (2023) Irsyad Rauhillah Fa'iz; Evangeline G. Luna; Davin Zachary Yassa; Ghalib Amri Musyafa
Saksama: Jurnal Sastra Vol. 5 No. 1 (2026): 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.v5i1.56336

Abstract

This study examines the representation of guilt in Christopher Nolan’s film Oppenheimer (2023) by synthesizing David Bordwell’s narratological framework with Sigmund Freud’s structural model of psychoanalysis. Rather than offering a clinical diagnosis or analyzing the film as an objective historical biography, this research treats the work as a formal narrative construct where non-linear temporal reordering directly mirrors the protagonist's internal psychic fragmentation and moral decay. Using a qualitative-descriptive methodology, the paper conducts a detailed textual analysis of selected scenes, cinematic devices, and mise-en-scène to examine how the reordering of the syuzhet (plot) relative to the chronological fabula (story) functions as a cinematic metaphor for the dynamic tension between the Id, Ego, and Superego. The analysis reveals that the film's narrative architecture systematically maps Oppenheimer’s psychological deterioration. Specifically, the color-saturated Fission timeline and early impulsive acts foreground the unchecked intellectual drives of the Id. The logistical orchestration of the Manhattan Project and the Trinity Test depict the pragmatic mediation of the Ego, which ultimately weakens under overwhelming historical pressures. Finally, the black-and-white Fusion timeline, non-linear fragmentation, and subjective hallucination sequences embody the punitive, sadistically aggressive nature of the Superego, trapping the protagonist in chronic melancholia and unassimilated remorse. The study concludes that Nolan’s non-linear narrative structure is an artistic tool where cinematic form enacts psychoanalytic depth, projecting Oppenheimer's inescapable guilt and the structural collapse of the self.

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