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ProTVF
Published by Universitas Padjadjaran
ISSN : 2548687X     EISSN : 25490087     DOI : -
Core Subject : Education, Art, Social,
Arts Languange, Linguistic, Communication & Media Social Sciences
ProTVF is published twice a year (March and September) published by the Faculty of Communication Science, Universitas Padjadjaran. ProTVF provides open access to the public to read abstract and complete papers. ProTVF focuses on Television and Film studies.
Arjuna Subject : -
Articles 134 Documents
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Women on the screen: A comparison of gender representation in Indonesian cinema Hasan, Yassar; Wulan, Roro Retno; Nurhayati, Iis Kurnia; Sintowoko, Dyah Ayu Wiwid
ProTVF Vol 9, No 1 (2025): March 2025
Publisher : Universitas Padjadjaran

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24198/ptvf.v9i1.58206

Abstract

Background: The emergence of Indonesian female directors is expected to be able to represent female characters in films based on the perspective of women themselves. However, in one film directed by a female director, a scene was found showing the female lead wearing revealing clothing that is identical to the concept of the male gaze. Purpose: This study aims to see whether the director's gender influences the depiction of female characters in the films they direct. Methods: Therefore, an analysis was conducted on four films directed by two male directors and two female directors to see how the representation of female characters in films is based on the director's gender using Sara Mills' critical discourse analysis. Results: Several contrasting differences were found between male and female directors in depicting female characters in films, especially in the four films analyzed, namely 27 Steps of May, Imperfect (by male directors), and Marlina si Pembunuh dalam Empat Babak, Yuni (by female directors), which can be seen in the aspects of characterization, location setting, explanations regarding the fate of predators, and a number of issues touched upon. Conclusion: Based on the comparative results, it was found that the director's gender influences the representation of women in films. Implications: Indonesian filmmakers, especially women, are expected to utilize the mass media of film to correct various stigmas and problems that tend to marginalize women in order to create a social and work environment that is free from gender-based discrimination.
Cinema insights: The power of movies for adult learners Khalish, Fakhuriy Fieddienil; Hanami, Yuliana
ProTVF Vol 9, No 1 (2025): March 2025
Publisher : Universitas Padjadjaran

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24198/ptvf.v9i1.52881

Abstract

Background: Modern adults frequently integrate movie watching into their daily routines. While traditionally regarded as entertainment, movies have also been recognized as valuable learning and personal growth tools. While previous research has demonstrated the effectiveness of movies as educational tools in academic settings, there is a notable scarcity of studies focusing on their application among adults in Indonesia. Purpose: This study aimed to discover the utilization of movies as a learning tool for adults. We explored all types of lessons adults learn after they watch movies and examined how movies reflect their problems. Methods: A qualitative descriptive approach was employed, involving seven participants selected through snowball sampling. Data collection was conducted using an online questionnaire with open-ended questions. Thematic analysis was applied to analyze the data. Results: Three prominent themes emerged from the data processing: (1) learning about various relationships, (2) the movie as a mirror of reality, and (3) key elements of a memorable movie for adults. The emerging themes aid us in gaining a deeper understanding of how adults perceive and derive meaning from the movies they watch. Conclusion: The findings indicated that movies offer adults meaningful insights. Moreover, watching movies contributed to their understanding of intrapersonal and interpersonal relationships. Additionally, movies serve as a stimulus for self-reflection. Therefore, these findings have implications for instructional designers who leverage movies as inspirational and educational tools. Implications: This study highlights that movies are more than just entertainment—they can inspire adults, specifically those aged 18-40. The insights gained from this research can be applied to adult learning experiences, particularly those incorporating movies as valuable educational tools.
Television and film studies in Indonesia: A bibliometric analysis Ratnasari, Eny; Mahameruaji, Jimi Narotama; Bantugan, Brian; Adi, Achwan Noorlistyo
ProTVF Vol 9, No 1 (2025): March 2025
Publisher : Universitas Padjadjaran

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24198/ptvf.v9i1.60404

Abstract

Background: Television and film research must be continuously updated due to media convergence. Moreover, Indonesia experienced an analog switch-off event that changed how television viewers consume television shows. Furthermore, the pattern of Indonesian film consumption has also changed since the existence of over-the-top streaming platforms, which have continued to grow. Purpose: This study aims to conduct bibliometric research on articles in the ProTVF Journal published from 2017 to 2024. Methods: This study analyzes 107 articles in the ProTVF Journal from the Google Scholar and Dimension database between 2017 and 2024. This study uses VOSviewer, Dimension, and Litmaps to assist in visualization and analysis. Results: Articles in the ProTVF journal were dominated by qualitative methods, followed by quantitative and mixed methods. Among the qualitative methods, qualitative descriptive techniques are the most frequently used, followed by semiotic and discourse analysis. Then, there are five main topics: television studies, media convergence, analysis of television shows in the Indonesian context, audience research, and the young generation as viewers in the digital era. Conclusion: The publication trend in the ProTVF Journal increased from 2017 to 2024. Based on the focus on television or film, research focusing on films is higher than research related to television. Implications: This study is the first bibliometric study to comprehensively describe articles published in the ProTVF Journal since its establishment. The results can help film, television, and media researchers understand research trends, find research collaborators, and optimize the choice of research topics. Further research will likely involve scientific collaboration between authors from various institutions, especially policymakers in Indonesia's broadcasting, advertising, and film industries.
The representation of Reog Ponorogo’s character construction in Marjan’s beverage product advertisement Wijaya, Rizki Ardiatama; Suryana, Asep; Syuderajat, Fajar
ProTVF Vol 9, No 1 (2025): March 2025
Publisher : Universitas Padjadjaran

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24198/ptvf.v9i1.48204

Abstract

Background: This research was motivated by the different approaches taken in Marjan’s advertisement for Ramadan 2021 compared to previous years. Marjan is known for always showcasing local Indonesian culture explicitly in its advertisements so that the culture presented is identical to the original. In 2021, Marjan presented Reog Ponorogo with a superhero fantasy story, so Reog Ponorogo was implicitly displayed in the advertisement. Purpose: This research aims to determine the representation of the Reog Ponorogo character construction in Marjan’s Ramadan 2021 advertisement. Methods: This research uses a qualitative method with Peirce’s triadic semiotic analytic approach. Results: The representation of Reog Ponorogo construction characters in the Marjan advertisement for Ramadan 2021 was evident in the signs that represent Reog Ponorogo. Marjan’s advertisement constructs the concept of fusing traditional culture with modern popular culture. Conclusions: The resulting fusion creates an advertisement that tells a superhero fantasy story but still carries the identity of Reog Ponorogo. The media construction is built to keep Marjan’s advertisement relevant to the product’s target market, with a message of unity and heroism that differs from its traditional counterpart. Implication: The presentation of traditional culture in media should be done with the utmost care so as not to conflict with the culture’s traditional origin. Consumers are expected to start by getting to know the local culture inherent in themselves so that when this culture is presented in media, consumers can evaluate the media’s presentation of culture in the created content.
Feminist narratives in Indian digital television: A discourse analysis of Scoop Verma, Amit; Kusmayadi, Ika Merdekawati; Arbani, Mochamad
ProTVF Vol 9, No 1 (2025): March 2025
Publisher : Universitas Padjadjaran

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24198/ptvf.v9i1.59404

Abstract

Background: The portrayal of women in media often perpetuates gender disparities, limiting their participation and the impact of their issues. This study addresses the gap in understanding how journalism practices, particularly in India, navigate these challenges, using the web series Scoop as a lens to explore feminist realities within the media industry. Purpose: This study aims to dive into how the Scoop series displays women and feminist ideas through the lens of the feminist theories of Laura Mulvey. Methods: This study employs a qualitative discourse analysis approach and looks closely at the narrative, character development, and cinematic écriture of the series. Results: It reveals that the series has a different point of view from traditional stereotypes; Jagruthi Pathak, as the female lead, is portrayed as a versatile and strong character facing challenges in a male-dominated journalism world. It also exposes how journalism commonly feminizes labor, emphasizing the mix of gender, power, and professionalism. Conclusion: This study concludes by noting that Scoop has pushed feminist stories in Indian media, providing us with a leveled look at females in journalism while handling deep-rooted gender biases. This study also accentuates how essential comprehensive storytelling is for promoting gender equality and its challenge in patriarchal norms. It also makes room for more diversification and allows media representation. Implications: This research advocates for more women to participate in media production and storytelling, stressing needing narratives that shake up societal norms and inspire real change.
Reception analysis of popular feminism in the series Gadis Kretek on Netflix Auliadinanti, Maria Adiska; Wulandari, Zhafira; Wibisono, Khairunnisa Azzahra
ProTVF Vol 9, No 1 (2025): March 2025
Publisher : Universitas Padjadjaran

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24198/ptvf.v9i1.51866

Abstract

Background: Feminism in popular culture is currently growing, one of which is through television or drama series. Active female advocates are increasingly creating female-centered and feminist content. The presence of feminism in popular culture makes this understanding more widely understood by the public. Gadis Kretek is one form of popular culture that can popularize feminism. Purpose: This research aims to find out how the audience interpreted the feminism issues contained in the Gadis Kretek series based on their perspectives and experiences, especially regarding the acceptance of feminism discourse, Jeng Yah as the key character of feminist heroism, and the Gadis Kretek series as the spearhead of the spread of popular feminism. Method: This descriptive qualitative research uses Stuart Hall's reception analysis of Gadis Kretek's six audiences. The data was collected using in-depth semi-structured interviews. Results: Based on the findings, all of them are in a dominant-hegemonic reading position, which agrees that Jeng Yah experienced many challenges in fighting for women's equality. This study shows that only two informants are in the dominant-hegemonic reading position when considering Jeng Yah as a key character of feminist heroism. At the same time, two are in a negotiated position, and two take an oppositional stance. The study also found that five informants were in the dominant-hegemonic position by agreeing that the series could be used to spread feminism in popular culture. In contrast, one informant disagreed and put her in the oppositional position. Conclusion: The audience of Gadis Kretek's series constructed the meaning of feminism through different perspectives and experiences. However, most informants saw Gadis Kretek as a means to spread popular feminism. Implications: This research can provide insights for feminist filmmakers in creating strong female characters and portraying the struggles and roles of women in a more accurate and empowered way in society.
Analysis of sexist humour content in Lapor Pak! on Trans7 television Al Aqilah, Laila Syahar Zainab; Maryani, Eni; Aristi, Nindi
ProTVF Vol 9, No 2 (2025): September 2025
Publisher : Universitas Padjadjaran

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24198/ptvf.v9i2.53431

Abstract

Background: Sexist humour in the mass media has a significant impact on gender perceptions in society, especially for women who are often victims of real actions. Purpose: This research aims to understand the meaning of humour that contains sexist elements towards women using message content analysis. Methods: This study uses a qualitative descriptive method with content analysis from Krippendorf. The data collection process is carried out through observation techniques, with an emphasis on the analysis of the content of the material or materials, such as text, images, audio or video. The use of this technique is expected to provide comprehensive and in-depth data on sexist humor in the comedy program "Lapor Pak!". Results: It was found that sexist humour words and behaviours, such as objectification, use of sexualised double meanings, celebrating sexist humour, and the selection of sexy guest stars in the segment, have a derogatory meaning towards women. These findings suggest that there is a pattern of verbal behaviour that can reinforce gender stereotypes and create an environment that is detrimental to women. The normalisation of insulting jokes can affect society's perception and attitude towards women in general. Therefore, increasing the use of humour in the context of mass media needs to be considered to create a more positive and inclusive representation. Conclusion: The verbal behaviour pattern of sexist humour in the show "Lapor Pak!" can reinforce gender stereotypes and create an environment that is detrimental to women. Implications: This comedy program carries sexist messages that degrade women several times, which are packaged with funny behaviour so that the audience readily accepts them; this strengthens the normalisation and sensitivity of sexual harassment.
Production management of Indonesian-Malaysian animation: Les’Copaque and Visinema case study Rivalda, Reza Zulfiqar; Sukmono, Filosa Gita
ProTVF Vol 10, No 1 (2026): March 2026
Publisher : Universitas Padjadjaran

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24198/ptvf.v10i1.65372

Abstract

Background: Animation in Southeast Asia has developed rapidly, as evidenced by certain Indonesian and Malaysian animated films. However, many research that have been conducted focused mainly on animation production management within specific industries, such as film or television, without considering differences in studio size, asset lifespan, and workflow structure across productions. Purpose: This research aims to address this gap by comparing animation production management of film Jumbo at Visinema Pictures (Indonesia) with the series Upin & Ipin at Les’ Copaque Production (Malaysia). More specifically, it examines production processes in terms of originality, efficiency, and scalability. Methods: Using a qualitative case study approach, data were collected through in-depth interviews with key stakeholders, such as directors and compositors from both studios. The research was organized into three phases: pre-production, production, and post-production. Results: The results indicate that each production management puts more emphasis on content format and organizational strategy. Visinema Pictures prioritizes pre-production, emphasizing creativity in building the original story and visual elements for Jumbo. In contrast, Les’ Copaque Production utilizes existing asset collections and standardized workflows for more efficient production of Upin & Ipin series. Both studios use organized processes for production and post-production; however, Visinema prioritizes creative exploration while Les’ Copaque prioritizes long-term operational efficiency. Conclusion: This research concludes that animation production management in Southeast Asia relies on a strategic interplay between originality, efficiency, and scalability, rather than a single ideal model. Implications: The findings would contribute to comparative research on animation production management in Indonesia and Malaysia. Also, this research provides practical insights for animation studios’ productions regarding content format, target markets, and long-term sustainability.
The state, people, and zombie outbreak: Foucauldian reading of Zona Merah series Agung, Lingga; Wismoyo, Erlana Adli; Adi, Anggar Erdhina
ProTVF Vol 10, No 1 (2026): March 2026
Publisher : Universitas Padjadjaran

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24198/ptvf.v10i1.62498

Abstract

Background: Indonesian horror cinema has long relied on local ghost figures, while zombies often appear as a borrowed form with weaker cultural intimacy. Zona Merah (2024), a Vidio Original series, becomes a strategic case because it shifts horror from the supernatural to a politically managed emergency, where governance operates through discourse, media visibility, and securitized control. Purpose: This study examines how Zona Merah represents the relationship between the state, the people, and the zombie outbreak, and how it articulates post-Reformasi local power through dynastic politics, oligarchic networks, and institutional capture under crisis conditions. Methods: This qualitative study applies scene-based textual analysis combined with Foucauldian discourse analysis. The primary data consists of all eight episodes of Season 1, viewed repeatedly to map recurring crisis discourse and governing practices. The analysis integrates dialogue and visual composition to identify discursive objects, authorized speakers, subject positions, and their practical effects as techniques of rule, including surveillance, scapegoating, crowd management, and decisions over protection and sacrifice. Results: Zona Merah frames the outbreak as a governance crisis, not only a biomedical event. Local elites control public announcements and TV narratives to shift blame and justify security measures that endanger citizens for elite continuity. Zaenal sustains dynastic power through institutions, media, and business networks, masked by welfare rhetoric. Dyah Ayu uses pastoral care and propaganda to manage consent and legitimize sacrifice, even at her faction’s expense. Media works as a regime of truth through “most wanted” framing that disciplines behavior via stigma and fear. Maya and Risang resist, but power also shapes social reality, limiting oppositional claims and systemic change. Conclusion: Zona Merah depicts crisis as a dispositif where power circulates through discourse, surveillance, and truth-production, enabling elite consolidation while positioning citizens as expendable. Implications: This study expands scholarship on Indonesian zombie cinema by showing how the genre can critique crisis governance, biopolitics, and media power in contemporary Indonesia.
The new colonial politics in Indonesia: Representations in the documentary film Colonial Debris Wahyudi, Dicky; Sujoko, Anang; Suatan, Joycelyn Abigail; Ginting, Carmenita Alexandra Gracianti; Putri, Nakeisha Joenanda
ProTVF Vol 10, No 1 (2026): March 2026
Publisher : Universitas Padjadjaran

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24198/ptvf.v10i1.64163

Abstract

Background: The documentary film Colonial Debris attempts to represent new colonial politics in Indonesia, providing a narrative of resource exploitation and agrarian conflict by corporations and state apparatus against indigenous peoples in Indonesia. Purpose: This study aims to reveal how the documentary film Colonial Debris represents new colonial politics in Indonesia through a system of visual signs. Method: This study uses qualitative content analysis with a semiotic approach, with data collection techniques in the form of film archive documentation, which obtained a corpus of 40 sign-objects from the film Colonial Debris. The data was analyzed using Pierce's semiotic method with a sign, object, and interpretant framework. Result: This study shows that the film Colonial Debris represents new colonial politics through visual narratives about colonial legacy in the Indonesia’s agrarian system; State-Corporate repression and criminalization of community resistance; Socio-ecological inequality; People's resistance and solidarity. The interrelationship of the film's visual sign system reveals the power imbalance and social inequality maintained by the state apparatus and corporations as the superior, and indigenous communities as the inferior. Conclusion: Colonial Debris depicts new colonial politics as a continuation of old colonialism, through signs of eviction, state apparatus, biased rules, and citizens' struggles refer to the object of state-corporate colonialism, forming an interpretant that positions Indigenous communities as the colonized. Implications: This study contributes to media and documentary film studies, particularly in postcolonial approach, by showing how documentary films can reveal postcolonial power dynamics and inequalities in society.

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