SEMIOTICS OF BORDER (ANALYSIS OF BATAS, A FILM OF RUDI SOEDJARWO)
This research was conducted to explain the presentation of the boundary meanings presented by Batas film through their character. The border becomes the front face of a country. The social conditions of people who are still lagging behind and far from infrastructure development make the people livin...
| Main Authors: | , |
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| Format: | Article |
| Language: | English |
| Published: |
Universitas Negeri Yogyakarta
2019-08-01
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| Series: | Informasi |
| Subjects: | |
| Online Access: | https://journal.uny.ac.id/index.php/informasi/article/view/25396 |
| _version_ | 1818665923309993984 |
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| author | Sumekar Tanjung Indra Ramanda |
| author_facet | Sumekar Tanjung Indra Ramanda |
| author_sort | Sumekar Tanjung |
| collection | DOAJ |
| description | This research was conducted to explain the presentation of the boundary meanings presented by Batas film through their character. The border becomes the front face of a country. The social conditions of people who are still lagging behind and far from infrastructure development make the people living in the border vulnerable to various problems. As a message delivery medium, meanings are represented by character in film. The author analyzed five scenes on each character in Batas film. These are, Ubuh’s character is threatened by the bad people who chase her in the middle of the forest, Arif’s character as a police officer who looking for the information in the community, Jaleswari’s character who cares about education problems at the border, Adeus’s character who has great desire for the advancement of the people at the border but get threats from individuals who do not want the people on the border to get a high education, the character of the Panglima who has power in the Dayak tribe community. This study uses a critical paradigm with a qualitative approach. The process describes the meaning of signs into denotations, connotations, and myths. The results of this study indicate that meanings are defined as areas that have complex problems. Access to transnational crime is still very easy as security is needed in the area. Despite the increase in technology and technology, the region must have the slightest education, strive to advance the regions, without prioritizing their own interests without ignoring the cultural values of their ancestors.
Penelitian ini dilakukan untuk menjelaskan reperesentasi makna batas yang dihadirkan oleh pembuat film Batas melalui karakter tokohnya. Perbatasan menjadi wajah terdepan dari suatu negara. Keadaaan sosial masyarakat yang masih tertinggal dan jauh dari pembangunan infrastruktur, membuat masyarakat suku Dayak yang tinggal di pedalaman rentan terhadap berbagai permasalahan. Sebagai medium penyampai pesan, film ini penting dikaji untuk menjelaskan bagaimana makna batas direpresentasikan melalui masing-masing karakter. Peneliti melakukan analisis terhadap lima scene pada masing-masing karakter dalam film Batas. Kelima scene tersebut adalah, karakter Ubuh yang terancam dengan adanya orang-orang jahat yang mengejar di tengah hutan, karakter Arif sebagai aparat penegak hukum yang mencari informasi di tengah masyarakat, karakter Jaleswari yang peduli terhadap masalah pendidikan yang terjadi di perbatasan, karakter Adeus yang memiliki keinginan besar demi kemajuan masyarakat di perbatasan namun mendapatkan ancaman dari oknum yang tidak ingin masyarakat di perbatasan mendapatkan pendidikan yang tinggi, karakter Panglima yang memiliki kuasa di masyarakat suku Dayak. Penelitian ini menggunakan paradigma kritis dengan pendekatan kualitatif. Proses analisis yang dilakukan adalah semiotika model Roland Barthes yang menjabarkan makna tanda menjadi denotasi, konotasi, dan mitos. Hasil penelitian ini menunjukkan bahwa makna batas dimaknai adalah daerah-daerah yang memiliki masalah kompleks. Akses kejahatan transnasional masih sangat mudah, sangat diperlukan pengamanan di daerah tersebut. Meskipun terjadi peningkatan teknologi dan teknologi, wilayah harus tetap memiliki pendidikan sekecil apapun, berjuang memajukan daerah, tanpa mementingkan kepentingan sendiri tanpa mengabaikan nilai budaya leluhurnya. |
| first_indexed | 2024-12-17T05:56:21Z |
| format | Article |
| id | doaj.art-0176c5ffd8a74271b14b502ac791951b |
| institution | Directory Open Access Journal |
| issn | 0126-0650 2502-3837 |
| language | English |
| last_indexed | 2024-12-17T05:56:21Z |
| publishDate | 2019-08-01 |
| publisher | Universitas Negeri Yogyakarta |
| record_format | Article |
| series | Informasi |
| spelling | doaj.art-0176c5ffd8a74271b14b502ac791951b2022-12-21T22:01:00ZengUniversitas Negeri YogyakartaInformasi0126-06502502-38372019-08-01491374910.21831/informasi.v49i1.2539611803SEMIOTICS OF BORDER (ANALYSIS OF BATAS, A FILM OF RUDI SOEDJARWO)Sumekar Tanjung0Indra Ramanda1Communication Studies Program Universitas Islam IndonesiaCommunication Studies Program Universitas Islam IndonesiaThis research was conducted to explain the presentation of the boundary meanings presented by Batas film through their character. The border becomes the front face of a country. The social conditions of people who are still lagging behind and far from infrastructure development make the people living in the border vulnerable to various problems. As a message delivery medium, meanings are represented by character in film. The author analyzed five scenes on each character in Batas film. These are, Ubuh’s character is threatened by the bad people who chase her in the middle of the forest, Arif’s character as a police officer who looking for the information in the community, Jaleswari’s character who cares about education problems at the border, Adeus’s character who has great desire for the advancement of the people at the border but get threats from individuals who do not want the people on the border to get a high education, the character of the Panglima who has power in the Dayak tribe community. This study uses a critical paradigm with a qualitative approach. The process describes the meaning of signs into denotations, connotations, and myths. The results of this study indicate that meanings are defined as areas that have complex problems. Access to transnational crime is still very easy as security is needed in the area. Despite the increase in technology and technology, the region must have the slightest education, strive to advance the regions, without prioritizing their own interests without ignoring the cultural values of their ancestors. Penelitian ini dilakukan untuk menjelaskan reperesentasi makna batas yang dihadirkan oleh pembuat film Batas melalui karakter tokohnya. Perbatasan menjadi wajah terdepan dari suatu negara. Keadaaan sosial masyarakat yang masih tertinggal dan jauh dari pembangunan infrastruktur, membuat masyarakat suku Dayak yang tinggal di pedalaman rentan terhadap berbagai permasalahan. Sebagai medium penyampai pesan, film ini penting dikaji untuk menjelaskan bagaimana makna batas direpresentasikan melalui masing-masing karakter. Peneliti melakukan analisis terhadap lima scene pada masing-masing karakter dalam film Batas. Kelima scene tersebut adalah, karakter Ubuh yang terancam dengan adanya orang-orang jahat yang mengejar di tengah hutan, karakter Arif sebagai aparat penegak hukum yang mencari informasi di tengah masyarakat, karakter Jaleswari yang peduli terhadap masalah pendidikan yang terjadi di perbatasan, karakter Adeus yang memiliki keinginan besar demi kemajuan masyarakat di perbatasan namun mendapatkan ancaman dari oknum yang tidak ingin masyarakat di perbatasan mendapatkan pendidikan yang tinggi, karakter Panglima yang memiliki kuasa di masyarakat suku Dayak. Penelitian ini menggunakan paradigma kritis dengan pendekatan kualitatif. Proses analisis yang dilakukan adalah semiotika model Roland Barthes yang menjabarkan makna tanda menjadi denotasi, konotasi, dan mitos. Hasil penelitian ini menunjukkan bahwa makna batas dimaknai adalah daerah-daerah yang memiliki masalah kompleks. Akses kejahatan transnasional masih sangat mudah, sangat diperlukan pengamanan di daerah tersebut. Meskipun terjadi peningkatan teknologi dan teknologi, wilayah harus tetap memiliki pendidikan sekecil apapun, berjuang memajukan daerah, tanpa mementingkan kepentingan sendiri tanpa mengabaikan nilai budaya leluhurnya.https://journal.uny.ac.id/index.php/informasi/article/view/25396Semiotics, Movie, Boundary, Character, Cinema |
| spellingShingle | Sumekar Tanjung Indra Ramanda SEMIOTICS OF BORDER (ANALYSIS OF BATAS, A FILM OF RUDI SOEDJARWO) Informasi Semiotics, Movie, Boundary, Character, Cinema |
| title | SEMIOTICS OF BORDER (ANALYSIS OF BATAS, A FILM OF RUDI SOEDJARWO) |
| title_full | SEMIOTICS OF BORDER (ANALYSIS OF BATAS, A FILM OF RUDI SOEDJARWO) |
| title_fullStr | SEMIOTICS OF BORDER (ANALYSIS OF BATAS, A FILM OF RUDI SOEDJARWO) |
| title_full_unstemmed | SEMIOTICS OF BORDER (ANALYSIS OF BATAS, A FILM OF RUDI SOEDJARWO) |
| title_short | SEMIOTICS OF BORDER (ANALYSIS OF BATAS, A FILM OF RUDI SOEDJARWO) |
| title_sort | semiotics of border analysis of batas a film of rudi soedjarwo |
| topic | Semiotics, Movie, Boundary, Character, Cinema |
| url | https://journal.uny.ac.id/index.php/informasi/article/view/25396 |
| work_keys_str_mv | AT sumekartanjung semioticsofborderanalysisofbatasafilmofrudisoedjarwo AT indraramanda semioticsofborderanalysisofbatasafilmofrudisoedjarwo |