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Konstantinov, Mihael. "ROLAND BARTHES AND YURII LOTMAN: SEARCH FOR MEANING IN FILM NARRATIVE." Вісник КНУКіМ Серія «Мистецтвознавство», no. 41 (December 30, 2019): 35–43. http://dx.doi.org/10.31866/2410-1176.41.2019.188528.
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The purpose of the research is to carry out a comparative analysis of the concepts of semiotics of cinema by Roland Barthes and Yurii Lotman in the context of their understanding of the nature of film language, since understanding and methods of studying of contemporary digital audiovisual art are the topic of current interest in contemporary art history. The research methodology. The contemporary study of digital audiovisual art, as a rule, takes place within the context of interdisciplinary work, therefore, one of the methodological principles of such work is structural and semiotic approach. Today, this methodological approach to study the audiovisual art is the most developed in the semiotics of cinema, therefore the visual semiotics is viewed through the semiotics of cinema. The scientific novelty of the research. For the first time a comparative analysis of Yurii Lotman’s and Roland Barthes’s semiotics of cinema within the framework of the structural and semiotic approach was carried out. The potential of this methodological approach in the study of audiovisual art has been revealed. Conclusions. The article highlights the special aspects of understanding and application of semiotic concepts by the mentioned authors based on the cinematographic material. Thus, Roland Barthes thought that problems in a semiotic study of the cinema occur when a linguistic approach is applied, and Yurii Lotman believed such study to be completely acceptable. This resulted in a different understanding by these scientists of the nature of film language, its minimal meaningful unit, the role of syntagmatics and paradigmatics in the film narration. Different perceptions of the nature of film language and its components are an important basis for the study of contemporary digital audiovisual arts. The main difficulty of semiotics of cinema is the issue of non discrete iconic (analogue) sign in the study of cinema within the framework of the structural and semiotic approach. This problem can be solved based on the legacy of semiotics of cinema of R. Barthes and Yu. Lotman. Another important characteristic of the structural and semiotic approach is its ability to be combined with other methodological approaches in the interdisciplinary study of digital audiovisual art
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Khrenov, Nikolai Andreyevich. "S.M. Eisenstein’s Aesthetics in Semiotic Perspective." Journal of Flm Arts and Film Studies 7, no. 1 (2015): 8–25. http://dx.doi.org/10.17816/vgik718-25.
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The article is devoted to the semiotic interpretation of the theoretical heritage of S.M. Eisenstein, the film maker who anticipated the structuralist approach which has been so popular from the 1960s. Back in the 1960s, Eisensteins heritage attracted the attention of Academician Vyacheslav Ivanov because he found there he found a trend for understanding cinema as a language or, to be more precise, as a semiotic system. Vyacheslav Ivanov could not but notice it, as the formation of semiotics methodology in Russia is associated with his name. No wonder that he would reflect on the background of art semiotics which in the sphere of motion pictures is associating with the name of S.M. Eisenstein. While trying to appreciate the significance of Vyacheslav Ivanovs research of Eisensteins aesthetics, the author is contemplates on the application of semiotics methodology to the cinema as a semiotic system. In this regard the article is reproducing the aura of devotion to semiotics of domestic film scholars. When explaining the meaning of the title of Ivanovs book on S. Eisenstein, the author argues that the concept of semiotics was initially developed on the stage of the formation of aesthetics as a philosophical science.
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Maulidah, Linda, Uwes Fatoni, and Atjep Muhlis. "Representasi Ukhuwah Islamiah dalam Film Pendek." Tabligh: Jurnal Komunikasi dan Penyiaran Islam 3, no. 4 (2020): 389–410. http://dx.doi.org/10.15575/tabligh.v3i4.732.
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Penelitian ini bertujuan untuk mengetahui adegan yang merepresentasikan adanya Ukhuwah Islamiah, tentang bagaimana adegan ukhuwah Islamiah ditinjau dari Semiotika model Charles Sanders Piece. Penelitian ini merupakan penelitian kualitatif dengan metode analisis Semiotika Charles Piece yang mengkaji dengan konsep Segitiga makna yaitu Representamen/tanda, Interpretant dan object. Hasil penelitian ini menemukan 14 representament adegan yang merepresentasi ukhuwah Islamiah dalam film Cinta dalam Ukhuwah. Adapun object yang merepresentasikan ukhuwah Islamiah adalah nuansa-nuansa dari ekspresi tokoh atau keadaan-keadaan yang sedang tokoh lakukan. Intrepretant yang didapat ialah bahwa dalam film tersebut menunjukan adanya faktor perusak dan penguat ukhuwah Islamiah dari perilaku-perilaku yang ditunjukan dari representament dan object.
 Kata Kunci : Film; Semiotika; Ukhuwah Islamiah
 
 Purpuses of the reseach is to know a scene that represent existence of Ukhuwah Islamiah. About how the scene of the Ukhuwah islamiah is viewed from the semiotics model of Charles sanders. This research is a qualitative study with a Semiotics analytical methods of Charles peirce, that examine the concept of the triangle meaning it is representament/sign, interpretant, and object. The results of this study Find 14 representament scenes that represent about ukhuwah Islamiah. As for the object representing ukhuwah Islamiah are nuances of a character's expression, Or the circumstances being where people are. Intepretant is obtained Or the circumstances being where people are. Interpretant is obtained in the film, it shows the destructive factor and the booster of ukhuwah Islamiah from the attitudes indicated by the representament and object.
 Keywords: Movie; Semiotic; Ukhuwah Islamiah
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Wulandari, Raras Arum. "Gambaran nilai budaya dan kearifan lokal dalam film Wood Job!" Jurnal Ilmiah Komunikasi Makna 7, no. 2 (2019): 79. http://dx.doi.org/10.30659/jikm.7.2.79-96.
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Wood Job! is a film produced by Japanese theme-rural comedy-drama. The film, directed by Yaguchi Shinobu is an adaptation of the novel �Kamusari naa naa Nichijo�by Miura Shion. It tells a story of a high school student from the city that had to go through life as a forest farmer (lumberjack) in a remote village, with still so many myths, traditions, and the homage. The existences of the film in the community have a unique meaning among other communication media. Besides regarded as effective communication media in the dissemination of ideas and concepts, the film is also a medium of artistic expression provide disclosure paths of creativity, as well as culture media which depict human life and personality of a nation. Film can be considered as the transformation of people's lives, because in the film we can see the reflection of reality. To find out how the overview of cultural values and local wisdom in this film, researcher using a qualitative descriptive analysis with reference to the use of semiotics model of Roland Barthes. Researcher examine the signs appearing through three levels of meaning, denotation, connotation, and myth. Semiotic approach chosen for semiotics can be used to describe many things that are not visible on the surface. Semiotics able to peels more about the hidden meanings in it. This research is expected to broaden the Indonesian peoples to further the preservation of nature, using natural resources wisely. It is unfortunate if Indonesia's forests which are the lungs of the world misused by elements who are not responsible for the sake of mere group.�Keywords: Culture, Local Wisdom, Semiotics, Film��AbstrakWood Job! adalah sebuah film produksi Jepang yang mengusung tema komedi-drama-rural. Film yang disutradarai oleh Shinobu Yaguchi ini merupakan adaptasi dari novel �Kamusari naa naa Nichijo� karya Shion Miura. Mengisahkan tentang seorang pelajar SMA dari kota harus menjalani kehidupan sebagai seorang petani hutan di sebuah desa terpencil, dengan masih begitu banyak mitos, tradisi, dan sisi penghormatan. Keberadaan film di tengah masyarakat mempunyai makna yang unik diantara media� komunikasi lainnya. Selain dipandang sebagai media komunikasi yang efektif dalam penyebarluasan ide dan gagasan, film juga merupakan media ekspresi seni yang memberikan jalur pengungkapan kreativitas, serta media budaya yang melukiskan kehidupan manusia dan kepribadian suatu bangsa. Film dapat dikatakan sebagai transformasi kehidupan masyarakat, karena dalam film kita bisa melihat cerminan dari realitas. Untuk mengetahui bagaimana gambaran nilai budaya dan kearifan lokal dalam film ini, peneliti menggunakan analisis deskriptif kualitatif dengan mengacu pada penggunaan model semiotika Roland Barthes. Peneliti mengkaji tanda-tanda yang muncul melalui tiga tingkatan makna, yaitu denotasi, konotasi, dan mitos. Pendekatan semiotika dipilih karena semiotika dapat digunakan untuk menjelaskan berbagai hal yang tidak tampak di permukaan. Semiotika mampu mengupas lebih dalam mengenai makna-makna yang tersembunyi di dalamnya. �Penelitian ini diharapkan mampu membuka wawasan masyarakat Indonesia untuk lebih menjaga kelestarian alam, dengan menggunakan sumber daya alam secara bijaksana. Sangat disayangkan jika hutan Indonesia yang merupakan paru-paru dunia disalahgunakan oleh oknum-oknum yang tidak bertanggung jawab demi kepentingan kelompok semata.
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Zang, Jinying. "Symbolic Tension in Contemporary Chinese Urban Film: Culture, Space and Community." Tobacco Regulatory Science 7, no. 5 (2021): 3664–70. http://dx.doi.org/10.18001/trs.7.5.1.143.
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Film semiotics is an important theory produced in the modern film period, and urban film closely responds to the process of contemporary Chinese urbanization. Borrowing the theory of film semiotics to analyze Chinese contemporary urban films, it can be found that typical cities have formed a unique symbolic tension, referring to urban culture, and having multiple symbolic elements sets to interpret the new imagination of the city. Urban film and film semiotics should jointly promote the poetic integration of various classes in the city, construct an urban emotional community, and form emotional resonance and spiritual progress.
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Zuliana, Erni. "Film “sang kyai”." Al-Fathin: Jurnal Bahasa dan Sastra Arab 2, no. 1 (2019): 1. http://dx.doi.org/10.32332/al-fathin.v2i2.1466.
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 Analysis ofFilm "Sang Kyai" (Islamic Nationalism Nusantara Perspective Semiotics Roland Barthes).One of the fundamental problems underlying the author's take on this study, becauseas long as it has begun to wear off Indonesia citizen nationalism stance. Such is the case, the tendency of citizens that Indonesia is more loved by the people of the West,dressing style that follows the culture of people of the West,so this leads to a lack of respectcopyright, the initiative of the Indonesian nation.Another unique phenomenon is when a writer tries to analyze many among small children who haven't cultivated an attitude of nationalism or patriotismby their parents this is evident from the songs the children sing a lot of them sing songs welcoming love of the opposite sexeven more deadly many of them don't know the national anthem of the Republic of Indonesia.The author tried to examine this film in the perspective of semiotics Roland Barthes.According to Roland Barthes there are three meanings in the study of semiotics are denotation, connotation and mitos. By formulating a problem formulation is; How can the representation of Islamic Nationalism signs nusantara which is contained in the film "Sang Kyai". This research uses qualitative research using type approach figure KH Hasyim Ash'ari as the driving force of Nahdhatul Ulama (NU) and the founder of the first cottage Tebuireng Jombang. In this study the author uses the analysis of semiotics Roland Barthes, a theory of semiotics examines about signs.
 The study in this research is the study of linguistic,language is a system of sound arbitrer coat of arms,used by members of a community to work together,interact, and identifyWhile the studies related to the science of signs as well as very useful once semiotik in studies of languagebecause with through signs everything can be interpreted.As for the results of this study indicate that Islamic Nationalism in the movie "Sang Kyai" perspective of semiotics Roland Barthes can be categorized into three are;(1) maintaining the unity and the unity of the country that is described in the corpus of 1, 2 and 3, (2)Cultivating Shura (consultation), which elaborated on the bodies of 4, 5 and 6,(3) the fight for Justice that is described in the corpus 7 and 8.
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Rinjani, Dian. "Mengkaji Film The Curious Case of Benjamin Button dengan Semiotika." Edsence: Jurnal Pendidikan Multimedia 1, no. 1 (2019): 35–42. http://dx.doi.org/10.17509/edsence.v1i1.17941.
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ABSTRAK Film merupakan salah satu bidang yang relevan bagi analisis semiotika. Analisis semiotik pada film berlangsung pada teks yang merupakan struktur dari produksi tanda. Bagian struktur penandaan dalam film biasanya terdapat dalam unsur tanda paling kecil, dalam film disebut scen. Penelitian ini dilakukan dengan menggunakan pendekatan kualitatif. Pendekatan ini dianggap sesuai, dengan prosedur yang dilakukan peneliti,, menghasilkan data deskriptif berupa kata kata yang dihasilkan dari mengamati tanda tanda berupa visual, gambar bergerak, bahasa tubuh dan audio/suara yang terdapat dalam film The Curious Of Benjamin Button. Ruang lingkup penelitian ini adalah beberapa potongan adegan yang mewakili film The Curious Of Benjamin Button. Bisa ditarik kesimpulan bahwa di dalam sebuah film seperti The Curious Of Benjamin Button penonton bisa membaca tanda yang diberikan oleh pemeran pemeran film The Curious Of Benjamin Button. Melalui tanda-tanda seperti suara, gerakan tubuh, raut muka,, tampilan tokoh-tokoh dan lainnya yang ada di dalam film, penonton dapat menyimpulan isi sebuah film dari tanda tanda yang diberikan oleh sutradara selama film berlangsung. Oleh karena itu dalam membuat film seperti pengambilan gambar dan semua unsur-unsur yang ada didalam sebuah film tidak bisa dibuat dengan sembarangan. Apabila pembuatan film dibuat sembarangan cerita atau maksud dari sutradara tidak akan tersampaikan dengan baik. Kata kunci: Film, Semiotika, Proxemics, Visual, Tanda. ABSTRACT Film is one of the relevant fields for semiotic analysis. The semiotic analysis of the film takes place in the text which is the structure of the sign production. Part of the marking structure in a film is usually contained in the smallest sign element, in a film called a scen. This research was conducted using a qualitative approach. This approach is considered appropriate, with the procedure carried out by the researcher, producing descriptive data in the form of words produced from observing signs in the form of visual, moving images, body language and audio / sound contained in the film The Curious Of Benjamin Button. The scope of this research are several scenes that represent the film The Curious Of Benjamin Button. It can be concluded that in a film like The Curious Of Benjamin Button, the audience can read the sign given by the cast of the film The Curious Of Benjamin Button. Through signs such as sound, body movements, facial expressions, the appearance of characters and others in the film, the audience can conclude the contents of a film from the signs given by the director during the film. Therefore, in making films such as taking pictures and all the elements in a film cannot be made carelessly. If the filmmaking is made carelessly the story or the director's intentions will not be conveyed properly. Keywords: Films, Semiotics, Proxemics, Visuals, Signs
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Pratiwi, Nanda Lifia, and Tawvicky Hidayat. "ANALISIS FILM TRILOGI CINTA SUBUH PRODUKSI DARUL QUR`AN (DAQU) MOVIE TAHUN 2014-2015 MELALUI ANALISIS SEMIOTIKA ROLAND BARTHES." Bayan lin-Naas : Jurnal Dakwah Islam 4, no. 2 (2020): 113. http://dx.doi.org/10.28944/bayanlin-naas.v4i2.587.
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AbstractResearch this purposeful for know dakwah messages in the film Love Dawn Movie Daqu production by way of semiotic. researchers use semiotics as a tool of analysis methods. Semiotics is a technique researching and interpreting signs or text.Scene dakwah messages contained in the film Trilogy of Love Dawn. Among them : Dakwah messages that to be pertient with islamic law and ethics, denotation of meaning contained in the film Love Dawn Movie Daqu production is to visualize symbols when lift scene, Ratih to break off Angga, behave a connaction with type a rival, about love that real just to god and prophet, certainty that god`s guedance just ownership god`s, and morals to propose marriage. While meaning connotations dakwah messages to approach adultery, dakwah messages to be muslima woman dutiful, to add love to god and prophet`s, to add certainty god`s guedance just ownership god`s, and morals to propose marriage. Key Words : Dakwah, Love Dawn, Semiotic.
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Hamdja, Fansier, Fathul Qorib, and Sulih Indra Dewi. "Analisis Film Kartini Dalam Perspektif Kesetaraan Gender." JURNAL SOSIAL : Jurnal Penelitian Ilmu-Ilmu Sosial 21, no. 1 (2020): 1–10. http://dx.doi.org/10.33319/sos.v21i1.48.
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The purpose of this study was to determine the efforts of gender equality contained in the Kartini film through the semiotic study of Roland Barthes. Roland Barthes's analysis is used to find out the meaning of denotation, connotation, and myth in an image contained in artistic visualization, act, and dialogue in the film "Kartini". The results of this study that the connotation meaning of the Kartini film in the perspective of gender equality is an effort to fight for gender equality by Kartini as a woman who likes to write and teach literacy to others while denotative meaningthe effort to fight for gender equality in Kartini's film is that Kartini struggles through the path of literacy because literacy is a good way to fight for gender equality, with literacy she breaks Javanese culture which considers women unequal to men andhave abilities below men.Keywords: Semiotics, Kartini, Gender equality. Keywords—: Semiotics; Kartini; Gender Equality.
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Osimo, Bruno. "Strange, very strange, like in a dream: Borders and translations in ‘Strogij Yunosha’." Sign Systems Studies 31, no. 1 (2003): 177–89. http://dx.doi.org/10.12697/sss.2003.31.1.07.
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Semiotics applied to translation studies produces an original approach that is generating scientific texts of high interest. On the other side, the notion of “translation” in a broad sense appears very important within semiotics itself, as in Ch. Peirce’s and J. Lotman’s thought. Distinguishing between translation studies’ influences on semiotics and semiotics’ influence on translation studies becomes increasingly difficult. In this article a synthesis is tried: the Soviet film ‘Strogij Yunosha’ is analyzed using the tools of both disciplines. At first the concept of “strange” is analyzed from a semiotic point of view, looking also for etymological reasons to classify strangeness as simple difference or as inimicality. Then cultural implicit is considered as the problem of mediation between Self and Other, both in a collective and in an individual (psychological) sense. The ways of relating to the Other are then considered in the light of a systemic approach to the cultural polysystem, in which the least unit or subsystem is the individual. The film is then decomposed in many “worlds”, and their borders and relations are viewed in the light of the aforementioned approaches. Such translatological analysis of the film allows to hypothesize why it was banned from the Soviet regime.
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Hatcher, Anthony. "Buckland’s ‘Cognitive Semiotics of Film’." American Journal of Semiotics 21, no. 1 (2005): 108–9. http://dx.doi.org/10.5840/ajs2005211/415.
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Wijaya, Theo Triansa, and Gregorius Genep Sukendro. "Representasi Femininitas Pada Tokoh Juno dalam Film “Kucumbu Tubuh Indahku” (Analisis Semiotika Roland Barthes)." Koneksi 5, no. 2 (2021): 295. http://dx.doi.org/10.24912/kn.v5i2.10308.
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Film is one of the most influential and massive mass communication media. The film "Kucumbu Tubuh Indahku" is one of the films that has this influence. This film tells the story of the life journey of a professional dancer and choreographer in Indonesia, Rianto. In this film, Rianto is told as Juno, an orphaned boy who has a sad and violent life journey, so as to melt the feminine and masculine characters that exist in his body. This research is a qualitative descriptive study with a semiotic approach, one of which is Roland Barthes' semiotics. The purpose of this research is to find out and show how and what are the signs, meanings of the results of the representation of femininity in the character Juno in the film "Kucumbu Tubuh Indahku". There are several theories that the author uses in this research, namely, the theory of film as mass communication, mass media, representation, Roland Barthes' semiotics, and Simone de Beauvoir's main theory of femininity. Based on the results of the analysis and findings made by the author about the representation of femininity in the character Juno in the film "Kucumbu Body Indahku". Juno's character can be said to be a man who tends to be feminine and less masculine, according to the description of Simone de Beauvoir's femininity characteristics, namely, cowardice, caring, emotional, multitasking, kind, patient, obedient, loves beauty and shy. But that doesn't matter, because these characters tend to be positive.Film merupakan salah satu media komunikasi massa yang paling berpengaruh dan masif. Film “Kucumbu Tubuh Indahku” salah satu film yang memiliki pengaruh tersebut.. Film ini menceritakan alur perjalanan hidup seorang penari dan koreografer profesional di Indonesia, Rianto. Dalam film ini, Rianto diceritakan sebagai Juno, seorang bocah yatim piatu, yang memiliki perjalanan hidup yang pilu dan penuh kekerasan, sehingga dapat meleburnya karakter feminim dan maskulin yang ada pada tubuhnya. Penelitian ini merupakan penelitian kualitatif deskriptif dengan pendekatan semiotika, salah satunya semiotika Roland Barthes. Tujuan penelitian ini untuk mengetahui dan memperlihatkan bagaimana dan apa saja tanda-tanda, makna-makna dari hasil representasi femininitas pada tokoh Juno dalam film “Kucumbu Tubuh Indahku”. Ada beberapa teori yang penulis gunakan dalam penelitian ini, yaitu, teori film sebagai komunikasi massa, media massa, representasi, semiotika Roland Barthes, dan teori utama femininitas Simone de Beauvoir. Berdasarkan hasil analisis dan temuan yang penulis lakukan tentang representasi femininitas pada tokoh Juno dalam film “Kucumbu Tubuh Indahku”. Tokoh Juno dapat dikatakan sebagai laki-laki yang cenderung feminim dan kurang maskulin, sesuai dengan penjabaran karakteristik femininitas Simone de Beauvoir, yaitu, penakut, peduli, lemah, emosional, multitasking, baik, sabar, taat, menyukai keindahan dan pemalu. Tetapi hal itu tidak menjadi masalah, karena karakter tersebut cenderung positif.
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Vidiyah, Nurul. "Semiotik Roland Barthes dalam Film Animasi Entong Sebagai Implikasi Penerapan Bahan Ajar Sastra di Sekolah Dasar." Jurnal Perseda : Jurnal Pendidikan Guru Sekolah Dasar 4, no. 3 (2022): 187–95. http://dx.doi.org/10.37150/perseda.v4i3.1472.
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The problem in this research is the lack of alternative literature teaching materials used by teachers in the learning process. This study aims to analyze the semiotics of Roland Barthes in the animated film Entong which will be used as an alternative material for teaching literature in elementary schools. The research method applied in this research is content analysis method. Data collection techniques were carried out by observation and documentation. The results of the observation show that there are semiotic codes of Roland Barthes in the episodes of the animated film Entong. This happens because, data retrieval is taken from the YouTube application. The semiotic codes contained in the animated film Entong are hermeneutic codes that function to see the problems of a narrative and create a solution or an answer, semiotic codes function to a connecting relation code which is the connotation of a person, place, object whose sign is a character, code symbolic functions as symbols, preauretic codes function to see the basic narrative actions in various sequences that may be indicated, and cultural codes function to see the cultural side of a story. Based on Roland Barthes' semiotics contained in the animated film Entong, it can be used as an alternative to teaching literature in elementary schools so that students can apply it in their daily lives.
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Ngalu, Rudolof, Lasarus Jehamat, and Laurensius D.E.P. Putra. "Semiotic Analysis of Ideology Conflict (Media Analysis of Sociology in General Soedirman's Film)." Jurnal Pendidikan dan Kebudayaan Missio 12, no. 1 (2020): 67–82. http://dx.doi.org/10.36928/jpkm.v12i1.215.
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This research is entitled Semiotic Analysis of Ideology Conflict (Media Analysis of Sociology in General Soedirman's Film). This research is based on the consideration that all things including films are not immune to the process and power relations. The presence of a film has a purpose and therefore has a certain meaning. This research focuses on the analysis of interarideological conflicts in the film General Soedirman. It is said, in the film, conflicts often occur in several segments. All conflicts are certainly based on certain roots and causes. Likewise, every conflict always has a certain dynamic. Whatever the reason, the dynamics of the conflict whether socially or symbolically in the film has a certain meaning. Therefore, the dynamics of the conflict can be analyzed and worth checking. The study uses Ralf Dahrendorf's conflict theory. The analysis of this study uses a qualitative interpretive concept. The method used as an analytical machine uses the Roland Barthes semiotics method. Roland Barthes' semiotics focuses the analysis of signs by looking at denotations, connotations and myths. The results showed a number of ideological conflicts that occurred in the film. Some of them are conflicts between narrow ideology of nationalism (chauvinism) vs. fascism, between nationalism vs. colonialism, between nationalism vs. communism, and communism vs. colonialism conflict. Understanding of ideological conflicts is urgently analyzed so that people are not manipulated by various ideas and ideas that emerge from certain regimes can be immediately overcome.
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Salim, Vanessa, and Gregorius Genep Sukendro. "Representasi Kritik Sosial dalam Film Parasite (Analisis Semiotika Roland Barthes)." Koneksi 5, no. 2 (2021): 381. http://dx.doi.org/10.24912/kn.v5i2.10387.
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Social criticism is considered as a form of deep communication that aims or controls a social system. Parasite is a film that represents sharp social inequalities and contains social criticism about social problems that occur in South Korea. This study uses various theories, namely mass communication theory, film, semiotics, representation and social criticism. By using a descriptive qualitative approach with Roland Barthes' semiotic analysis technique which consists of denotation, connotation and myth, this study aims to determine the representation of social criticism in the film Parasite. The method used in this research is semiotic analysis method. In this study, it was found that the message conveyed by the director as a communicator in the film Parasite regarding social problems was packaged with a dark comedy genre film that included some social criticism in it. Social criticisms depicted in this film include criticism of poverty which is depicted through living and living with unemployment, criticism of crimes committed by lower-class families by falsifying documents, and uneven urban planning.Kritik sosial dianggap sebagai bentuk komunikasi mendalam yang bertujuan atau mengendalikan suatu sistem sosial. Parasitemerupakan sebuah film yang merepresentasikan kesenjangan sosial yang tajam dan mengandung kritik sosial mengenai masalah sosial yang terjadi di Korea Selatan. Penelitian ini menggunakan berbagai teori yaitu teori komunikasi massa, film, semiotika, representasi dan kritik sosial. Dengan menggunakan pendekatan kualitatif yang bersifat deskriptif dengan teknik analisis semiotika Roland Barthes yang terdiri dari denotasi, konotasi dan mitos penelitian ini memiliki tujuan untuk memiliki tujuan untuk mengetahui representasi kritik sosial dalam film Parasite. Metode yang digunakan dalam penelitian ini adalah metode analisis semiotika. Dalam penelitian ini ditemukan bahwa pesan yang disampaikan oleh sutradara sebagai komunikator dalam film Parasite mengenai masalah sosial, dikemas dengan film bergenre komedi gelap yang menyelipkan beberapa kritik sosial didalamnya. Kritik sosial yang digambarkan pada film ini antara lain kritik terhadap kemiskinan yang digambarkan melalui tempat tinggal dan hidup dengan pengangguran, kritik terhadap kejahatan yang dilakukan oleh keluarga kelas bawah dengan memalsukan dokumen, dan pembangunan tata kota yang tidak merata.
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Yusriana, Amida, and Antika Nurinsa. "PESAN SUBLIMINAL MENGANDUNG UNSUR SEKSUAL DALAM FILM DISNEY COCO." Jurnal Audience 3, no. 1 (2020): 99–116. http://dx.doi.org/10.33633/ja.v3i1.3704.
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AbstrakSebuah film akan dianggap layak tonton setelah melalui proses sensor dan penyaringan. Pada tahun 2017, Disney meluncurkan sebuah film berkategori anak-anak berjudul Coco. Film ini cukup sukses di pasaran dan memperoleh review yang baik. Idealnya, Coco adalah sebuah film kategori semua umur yang di dalamnya tidak mengandung unsur pelanggaran kategori, namun kenyataannya ditemukan unsur pelanggaran pornografi untuk kategori usia dengan menggunakan metode pesan subliminal. Maka penelitian ini bertujuan mengungkapkan bagaimana pesan subliminal dikemas dalam film Coco. Penelitian ini menggunakan paradigma kritis dan metode semiotika sebagai metode operasionalnya. Teori yang digunakan adalah teori pesan subliminal. Hasil menunjukkan terdapat tiga pesan subliminal visual bernuansa seksual yakni Motorboating, French Kiss dan Nude Art.Kata Kunci: Pesan Subliminal, Semiotika, Coco, Film AbstractA published movie should have passed the censorship and screening process. In 2017, Disney produced a G rated movie titled Coco. This movie was succeed and gained favourable review. Ideally, Coco is a G rated movie thus there should no any qualification violence inside, but in fact there are some violences in the sexual aspect. This research aims to reveal how the subliminal message is packaged within the Coco Movie. This research uses the critical paradigm and semiotics as the operational method. Subliminal message theory is used to understand the research. The result shows that there are three visual sexually subliminal messages: Motorboating, French Kiss and Nude Art. Keywords: Subliminal Message, Semiotics, Coco, Film
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Setiawan, Harry, Abdul Aziz, and Debby Kurniadi. "IDEOLOGI PATRIARKI DALAM FILM (SEMIOTIKA JOHN FISKE PADA INTERAKSI AYAH DAN ANAK DALAM FILM CHEF)." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 6, no. 02 (2020): 251–62. http://dx.doi.org/10.33633/andharupa.v6i02.3502.
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AbstrakFilm Chef yang beraliran drama – komedi ini dirilis pada tahun 2014 dengan menghasilkan US$45 Juta pada dua minggu penayangannya di bioskop seluruh Amerika dan masuk jajaran film box office dengan rating 7,3/10 versi IMDb. Film ini menghadirkan banyak interaksi antara ayah dan anak yang bisa menjadi acuan bagi orang tua dalam membangun interaksi terhadap anak. Interaksi karakter Carl (Ayah) dan Percy (Anak) yang menjadi subjek penelitian ini diulas dengan pendekatan semiotika John Fiske. Hasil penelitian ini tersaji pada tiga level analisis semiotika John Fiske yaitu level realitas yang digambarkan dengan interaksi karakter Carl dan Percy di ruang-ruang sempit dan padat pada area food truck “El Jefe” maupun area lain baik interior (dalam ruang) maupun exterior (luar ruang). Level representasi yang digambarkan dengan sudut pengambilan gambar (angle) dan komposisi yang membawa penonton untuk tetap terlibat dalam setiap interaksi antar karakter. Terakhir level ideologi patriarki yang menjadi temuan dalam penelitian ini bahwa ideologi patriarki yang dihadirkan dalam film ini bisa dijadikan acuan dalam membangun interaksi ayah dan anak sehingga anak tersebut tidak kehilangan sosok orang tuanya. Kata Kunci : interkasi sosial, patriarki, realitas, semiotika AbstractThis drama-comedy film, Chef, was released in 2014 with the US $ 45 million in two weeks of screenings in theaters across America and entered the ranks of box office films with a rating of 7.3/10 of the IMDb version. This film presents many interactions between father and son that can be a reference for parents in building interactions with their children. The interaction of Carl (Father) and Percy (Son) characters are the subjects of this study are reviewed by John Fiske's semiotic approach. The results of this study presented at three levels of John Fiske's semiotic analysis; the level of reality depicted by Carl and Percy's character interaction in narrow and dense spaces in the "El Jefe" food truck area and other areas both interior (inside) and exterior (outside room). The level of representation depicted by the camera angle and the composition that brings the audience to remain involved in every interaction between characters. Finally, the level of patriarchal ideology found in this study that the patriarchal ideology presented in this film can use as a reference in building the interaction of fathers and children so that the child does not lose the figure of his parents. Keywords: patriarchy, reality, semiotics, social interaction
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Situmeang, Drilona Vicenovieoisina. "MAKNA CINTA DALAM LIRIK LAGU AUT BOI NIAN SOUNDTRACK FILM TOBA DREAMS (Analisis Semiotika Ferdinan De Saussure)." Commed : Jurnal Komunikasi dan Media 4, no. 2 (2020): 123. http://dx.doi.org/10.33884/commed.v4i2.1474.
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ABSTRAK
 Biasanya lirik lagu memiliki makna tersendiri yang menjadi ciri khas dari lagu tersebut. Lirik lagu ada yang bertemakan cinta, keluarga, mengungkapkan rasa senang maupun rasa sedih dari penciptanya. Sama halnya denga lirik lagu dari Aut Boi Nian yang digunakan dalam sountrack film Toba Dreams yang menceritakan tentang cinta yang ditentang oleh keluarga dikarenakan alasan faktor ekonomi. Penelitian ini menggunakan analisis semiotika Ferdinan De Saussure tentang lirik yang ada dalam lagu tersebut. Menggunakan paradigma konstruktivisme dengan pendekatan penelitian kualitatif dan sifat penelitian deskriptif. Hasil dalam penelitian ini memberikan makna pada lirik terkait tentang Signifier (penanda) dan signified (petanda), Form (bentuk) dan content (isi), Langue (bahasa) dan parole (tuturan/ujaran), Synchronic (sinkronik) dan diachronic (diakronik), Syntagmatic (sintagmatik) dan associative (paradigmatik).
 Keyword: Makna Cinta, Lirik Lagu, Aut Boi Nian, Semiotika, Semiotika Ferdinan De Saussure.
 ABSTRACT
 Generally the song lyrics have their own meaning that is characteristic of the song. Song lyrics there are themed love, family, expressing the feeling of pleasure and sadness of the creator. Likewise, the song lyrics from Aut Boi Nian used in the Toba Dreams movie soundtrack tell about love that is opposed by families due to economic reasons. This study uses Ferdinan De Saussure's semiotic analysis of the lyrics contained in the song. Using the constructivist paradigm with a qualitative research approach and the nature of descriptive research. The results in this study give meaning to the lyrics related to Signifier and signified, Form and content, Langue (language) and parole (speech / utterance), Synchronic (synchronous) and diachronic (diachronic) ), Syntagmatic (syntagmatic) and associative (paradigmatic).
 Keyword: Meaning of Love, Song Lyrics, Aut Boi Nian, Semiotics, Semiotics of Ferdinan De Saussure.
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Muscio, Giuliana, and Roberto Zemignan. "Francesco Casetti and Italian Film Semiotics." Cinema Journal 30, no. 2 (1991): 23. http://dx.doi.org/10.2307/1224977.
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Turvey, Malcolm. "Introduction: A Return to Classical Film Theory?" October 148 (May 2014): 3–4. http://dx.doi.org/10.1162/octo_e_00180.
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When cinema studies was institutionalized in the Anglo-American academy starting in the late 1960s, film scholars for the most part turned away from preexisting traditions of film theorizing in favor of new theories then becoming fashionable in the humanities, principally semiotics and psychoanalysis. Earlier, so-called “classical” film theories—by which I mean, very broadly, film theories produced before the advent of psychoanalytic-semiotic film theorizing in the late ′60s—were either ignored or rejected as naive and outmoded. Due to the influence of the Left on the first generation of film academics, some were even dismissed as “idealist” or in other ways politically compromised. There were, of course, some exceptions. The work of pre-WWII left-wing thinkers and filmmakers such as Benjamin, Kracauer, the Russian Formalists, Bakhtin, Vertov, and Eisenstein continued to be translated and debated, and, due principally to the efforts of Dudley Andrew, André Bazin's film theory remained central to the discipline, if only, for many, as something to be overcome rather than built upon. Translations of texts by Jean Epstein appeared in October and elsewhere in the late 1970s and early 1980s, and Richard Abel's two-volume anthology, French Film Theory and Criticism 1907–1939 (1988), generated interest in French film theory before Bazin. But on the whole, classical film theory was rejected as a foundation for contemporary film theorizing, even by film theorists like Noël Carroll with no allegiance to semiotics and psychoanalysis.
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Muna, Nalal. "Indonesia dalam Film Balibo Five." Jurnal Penelitian Pers dan Komunikasi Pembangunan 21, no. 1 (2017): 1–19. http://dx.doi.org/10.46426/jp2kp.v21i1.52.
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Indonesia is described as cold-blooded, brutal, sadistic, cruel and inhumanity like a monster in Australian film, Balibo Five. This research aims to describe the representation of Indonesian in cinematography package and to find the dominant ideology. Semiotic is used to answer these objectives by observing three level of signs e.g. reality, representations and ideology. The result shows that there are some forms of violation which committed by Indonesian special forces troops such as assassination, torture, persecution and other cruel and human degrading treatment that violate human rights and accused them as war criminal. In addition, dominant ideology which operates is in form of demonization, dehumanization and sentiment towards Indonesia. Based on the result, this film become propaganda which potentially influence its viewer the spirit of anti-Indonesia especially amongst Australian to sympathize and uphold justice for the victims.Keywords: indonesia, balibo five, film, representation, semiotics
 ABSTRAKIndonesia dalam film Balibo Five digambarkan sebagai yang kejam, brutal dan tidak manusiawi seperti sosok monster. Penelitian ini mengungkap penggambaran Indonesia dan makna di balik penggambaran sinematografi film. Analisis semiotika digunakan untuk membaca tanda-tanda sinematografi yang menyusun film tersebut dengan melihat pada tigal level tanda yakni level reality, representations dan ideology. Hasil penelitian ini menunjukkan bahwa dalam Balibo Five banyak sekali menonjolkan tindak kekerasan yang dilakukan oleh tentara Indonesia seperti pembunuhan, penyiksaan, penganiayaan dan lain sebagainya yang merujuk pada pelanggaran HAM dan kejahatan perang. Dominan ditampilkan dalam bentuk penyerupaan terhadap setan, merendahkan martabat manusia dan penyebaran kebencian. Ini merupakan media propaganda anti-Indonesia yang menyulut sentimen terhadap Indonesia serta mempengaruhi warga Australia agar bersimpati dan berpartisipasi untuk menegakkan keadilan terhadap para korban tersebut.Kata kunci : indonesia, balibo five, film, representasi, semiotika
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Feng, Dezheng, and Yujie QI. "Emotion prosody and viewer engagement in film narrative." Narrative Inquiry 24, no. 2 (2014): 347–67. http://dx.doi.org/10.1075/ni.24.2.09fen.
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This study adopts a social semiotic approach to model the dynamics of character emotion and the discursive mechanisms of viewer engagement in film narrative. Drawing upon the systemic functional semiotics (Halliday and Matthiessen, 2004), this paper proposes a metafunctional framework to elucidate how film characters’ emotions are ideationally construed, interpersonally enacted, and textually organized as a “prosody”. The explication of emotion prosody provides an explicit framework to explain the multi-dimensional, dynamic construction of narrative discourse. With the metafunctional model of emotion prosody, the fundamental mechanisms of viewer engagement, namely, allegiance, empathy and expectancy, are elucidated in a coherent discourse-based framework. Compared to schema-based cognitive film studies that focus on viewers’ emotional reactions, the social semiotic discourse analysis provides a more explicit and analytically reliable framework to explain the multi-dimensional construction of film narrative and the discursive mechanisms of viewer engagement.
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Portis-Winner, Irene. "Jean Rouch: The semiotics of ethnographic film." Sign Systems Studies 41, no. 2/3 (2013): 230–40. http://dx.doi.org/10.12697/sss.2013.41.2-3.06.
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Jean Rouch (1917–2004) is considered to be the greatest ethnographic filmmaker in the world. His films, which focus primarily on the Songhay of the Upper Niger in Africa, have fundamentally changed the spirit, goals, and methods of ethnographic filmmaking. I ask how Rouch established contact with those he filmed, how his invented semio-ethnic terms and his understanding of twoness and the other informed his practice, and in what sense his films were “shared anthropology” (his term).
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Leliana, Intan, Mirza Ronda, and Hayu Lusianawati. "REPRESENTASI PESAN MORAL DALAM FILM TILIK (ANALISIS SEMIOTIK ROLAND BARTHES)." Cakrawala - Jurnal Humaniora 21, no. 2 (2021): 142–56. http://dx.doi.org/10.31294/jc.v21i2.11302.
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Recent films have attracted a lot of audiences, because many films have appeared with moral messages. This is evidenced by the number of films circulating by instilling the value of positive messages that are packaged in a concise, straightforward and interesting manner. So that many film makers have emerged to produce their works so that they can be watched by the public and can have a positive impact. Of the many films that are presented on the big screen, they have offered various colors in such a way, of course, adapted to the phenomena that are happening in society. Among them are the variety of films that are presented on the big screen, some are moral messages that are so constructive and in accordance with actual events in society, one of which is the short film “Tilik”. The research method used is qualitative in the form of semiotic analysis of Tilik Film Representations, this approach also allows researchers to use data as well as possible to be able to develop components of analytical, conceptual, categorical and flexible information. There are many signs in Tilik Film which have implied meanings. Director Tilik is very good at wrapping moral messages through the daily life of the village community through a film that only lasts 32 minutes, 34 seconds. These signs are displayed through several aspects such as the setting and setting of the film, shooting techniques, characters and dialogue between characters, scenes made by players, to the selection of the wardrobe of the characters in the film Tilik. These aspects then help build the film's storyline that produces moral messages. Keywords: representation, roland barthes semiotics, film
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Афанасов, Н. Б. "К визуальной семиотике фашистской утопии: «Звездный десант» Пола Верховена". Гуманитарные исследования в Восточной Сибири и на Дальнем Востоке 53, № 3 (2020): 165–73. http://dx.doi.org/10.24866/1997-2857/2020-3/165-173.
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Статья предлагает анализ идеологических нарративов в культовом фильме Пола Верховена «Звездный десант» (1997). Нидерландско-американский автор известен своим особенным и провокационным подходом к режиссуре, который объединяет низкое и высокое. Помимо прочего, Пол Верховен предлагает в своих фильмах высказывания о таких философских категориях, как власть, насилие, утопия, сексуальность и др. «Звездный десант» является одним из самых противоречивых произведений режиссера, представляя собой экзотерическую критику фашистской утопии. Автор статьи указывает, что разночтения в интерпретациях, которые можно обнаружить в исследовательской литературе, заслуживают отдельного анализа. Прибегая к методологической рамке визуальной семиотики, а также обращаясь к литературному прототипу фильма, одноименному роману Роберта Хайнлайна, статья показывает, что в плане критического высказывания фильм вышел за границы замысла режиссера. В конечном итоге прямая интерпретация фильма как апологетики насилия и шовинизма имеет свою реальную основу, что порождает ряд вопросов о нейтральности роли первоисточника, сценаристов и самой избранной Верховеном визуальности. Ключевые слова: утопия, социальная философия, анализ фильма, философия кино, фашизм, национал-социализм, Пол Верховен, «Звездный десант» The article offers an analysis of ideological narratives in Paul Verhoeven’s cult film «Starship troopers» (1997). The Dutch-American author is known for his special and provocative approach to directing, which combines the low-brow with the high-brow. Among other things, in his films Paul Verhoeven offers statements about such philosophical categories as power, violence, utopia, sexuality, etc. «Starship troopers» is one of his most controversial works, representing an exoteric criticism of the fascist utopia. The author of the article points out that discrepancies in interpretations of the film, which can be found in the research literature, are worth analyzing. Using the methodological framework of visual semiotics and referring to the literary prototype of the film, Robert Heinlein’s novel of the same name, the article shows that in terms of critical expression the film went beyond the boundaries of the director’s plan. In the end, the direct interpretation of the film as apologetics for violence and chauvinism has its own real basis, which raises a number of questions about the neutrality of the role of the original source, the screenwriters’ work, and the visual style chosen by Verhoeven. Keywords: utopia, social philosophy, film analyses, philosophy of cinema, fascism, national socialism, Paul Verhoeven, «Starship troopers»
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Афанасов, Н. Б. "К визуальной семиотике фашистской утопии: «Звездный десант» Пола Верховена". Гуманитарные исследования в Восточной Сибири и на Дальнем Востоке 53, № 3 (2020): 165–73. http://dx.doi.org/10.24866/1997-2857/2020-3/165-173.
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Статья предлагает анализ идеологических нарративов в культовом фильме Пола Верховена «Звездный десант» (1997). Нидерландско-американский автор известен своим особенным и провокационным подходом к режиссуре, который объединяет низкое и высокое. Помимо прочего, Пол Верховен предлагает в своих фильмах высказывания о таких философских категориях, как власть, насилие, утопия, сексуальность и др. «Звездный десант» является одним из самых противоречивых произведений режиссера, представляя собой экзотерическую критику фашистской утопии. Автор статьи указывает, что разночтения в интерпретациях, которые можно обнаружить в исследовательской литературе, заслуживают отдельного анализа. Прибегая к методологической рамке визуальной семиотики, а также обращаясь к литературному прототипу фильма, одноименному роману Роберта Хайнлайна, статья показывает, что в плане критического высказывания фильм вышел за границы замысла режиссера. В конечном итоге прямая интерпретация фильма как апологетики насилия и шовинизма имеет свою реальную основу, что порождает ряд вопросов о нейтральности роли первоисточника, сценаристов и самой избранной Верховеном визуальности. Ключевые слова: утопия, социальная философия, анализ фильма, философия кино, фашизм, национал-социализм, Пол Верховен, «Звездный десант» The article offers an analysis of ideological narratives in Paul Verhoeven’s cult film «Starship troopers» (1997). The Dutch-American author is known for his special and provocative approach to directing, which combines the low-brow with the high-brow. Among other things, in his films Paul Verhoeven offers statements about such philosophical categories as power, violence, utopia, sexuality, etc. «Starship troopers» is one of his most controversial works, representing an exoteric criticism of the fascist utopia. The author of the article points out that discrepancies in interpretations of the film, which can be found in the research literature, are worth analyzing. Using the methodological framework of visual semiotics and referring to the literary prototype of the film, Robert Heinlein’s novel of the same name, the article shows that in terms of critical expression the film went beyond the boundaries of the director’s plan. In the end, the direct interpretation of the film as apologetics for violence and chauvinism has its own real basis, which raises a number of questions about the neutrality of the role of the original source, the screenwriters’ work, and the visual style chosen by Verhoeven. Keywords: utopia, social philosophy, film analyses, philosophy of cinema, fascism, national socialism, Paul Verhoeven, «Starship troopers»
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Irawati, Irawati, and Irawati Irawati. "Representasi Elemen-elemen Jurnalisme dalam Film Spotlight." Annaba: Jurnal Ilmu Jurnalistik 2, no. 3 (2021): 29–50. http://dx.doi.org/10.15575/annaba.v2i3.683.
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ABSTRAK
 Kejurnalistikan bisasanya identik dengan media-media mainstream seperti halnya televisi, radio, koran atau majalah. Film merupakan salah satu media massa yang mampu memuat unsur- unsur jurnalisme, sama halnya seperti media mainstream lainnya. Salah satu film yang bertemakan jurnalisme adalah film Spotlight.
 Tujuan dari penelitian ini yaitu untuk mengetahui apakah film Spotlight mampu merepresentasikan elemen-elemen jurnalisme. Seperti halnya merepresentasikan tentang kewajiban utama jurnalisme adalah kebenaran, loyalitas pertama jurnalisme kepada warga masyarakat dan lain sebagainya.
 Pemilihan analisis dalam penelitian ini menggunakan analisis semiotika Charles Sanders Pierce. Analisis Pierce dikenal dengan Triangel meaning yang terdiri dari Sign, objek dan interpretant.
 Hasil penelitian menunjukan bahwa film spotlight mampu merepresentasikan elemen-elemen jurnalisme, hampir setiap adegan mengandung elemen jurnalisme, seperti adegan dimana salah satu tokoh mengusulkan untuk menuliskan nomor telepon surat kabar mereka, agar warga dapat menelpon langsung ke kantor mereka. Selain itu dalam penelitian ini menenukan pengembangan baru berdasarkan pemikiran Pierce, teori Pierce itu untuk menganalisis suatu tanda menggunakan tiga unsur yaitu Sign objek dan interpretant sedang hasil yang dikembangkan dari teorinya pierce menjadi empat unsur yaitu sign, objek, konteks dan interpretant.
 Kata Kunci : Semiotika; Elemen Jurnalisme; spotlight
 
 Abstract
 The journalist is usually synonymous with mainstream media such as television, radio, newspapers or magazines. Film is one of the mass media that is able to contain elements of journalism, as well as other mainstream media. One of the films with the theme of journalism is the Spotlight film.
 The purpose of this study is to find out whether the Spotlight film is able to represent elements of journalism. Just as representing the main obligations of journalism is truth, journalism's first loyalty to citizens and so on.
 The choice of analysis in this study used Charles Sanders Pierce's semiotic analysis. Pierce's analysis is known as Triangel meaning which consists of Signs, objects and interpreters.
 The results showed that spotlight films were able to represent elements of journalism, almost every scene contained an element of journalism, such as a scene where one of the figures suggested writing their telephone number so that citizens could call directly to their office. In addition, in this study, a new development was based on Pierce's thinking, Pierce's theory to analyze a sign using three elements, namely the Sign object and interpretant while the results developed from Pierce's theory became four elements namely sign, object, context and interpretant.
 
 Keywords: Semiotics; Elements of Journalism; spotlight
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Mulachela, Husen, Aurelius RL Teluma, and Eka Putri Paramita. "Gender Equality Messages in Film Marlina The Murderer In Four Acts." JCommsci - Journal of Media and Communication Science 2, no. 3 (2019): 136. http://dx.doi.org/10.29303/jcommsci.v2i3.57.
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This research trying to analyze the meaning of symbols in the film Marlina The Murderer in Four Acts based on the indicators of gender equality namely, access, participation, control, and benefits. The unit of analysis in this study includes the audio and visual elements that exist in a selected scene for later analysis using the Roland Barthes semiotic method known as the "two order of signification" to find the meaning of denotation and connotation meanings and myths contained in both order systems. The whole series in this study refers to the framework of thinking with the aim of answering the formulation of the problem in research. From the results of the study, researchers found as many as 17 scenes containing the message of gender equality by including indicators of gender equality both in audio and visual elements. After going through the scene analysis process using the Roland Barthes semiotics method, control indicators in gender equality are found more prominently in films, then followed by indicators of access, participation, and benefits. This shows how the important role of control indicators in gender equality is applied so that other indicators can work.Keywords: Semiotic; film; gender equality; Marlina the Murderer in Four Acts
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Tsang, Hing. "Documentary and ecosemiotics: Frames and faces in the work of Johan van der Keuken." Sign Systems Studies 44, no. 1/2 (2016): 186–208. http://dx.doi.org/10.12697/sss.2016.44.1-2.11.
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This article argues that the work of the late Johan van der Keuken offers a contribution to ecological semiotics, and that it also defines the relationship between the semiotic animal and nature in ways that avoid glottocentricism. Taking from the recent work of Kalevi Kull, Jesper Hoffmeyer, and John Deely amongst others, I will argue that van der Keuken’s documentaries offer a view of ecology that is broader than a study of bio-physical processes that might reduce ecology to a narrow political issue.In order to support this argument, I will be looking at two contrasting films from van der Keuken – Flat Jungle (1978) and Face Value (1991). The first film examines natural habitats within a confined coastal area in Western Europe, while the second film looks at human beings in the different urban environments of late-20th-century Europe. I will then argue that van der Keuken does not collapse the vital distinctions between umwelt and Lebenswelt, yet his films also succeed at reminding us of their constant interdependence.
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Dandekar, Dr Niteen Vasant. "The Semiotics of the Visuals, Songs, Dances and Music: Analysing Aesthetics of Indian Cinema with Reference to 3 Idiots, An Adaptation of Chetan Bhagat’s Fiction Five Point Someone." Psychology and Education Journal 58, no. 2 (2021): 5579–90. http://dx.doi.org/10.17762/pae.v58i2.2977.
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The present paper is in the form of a humble attempt, on the part of the researcher, to explore the possibility of analyzing the Aesthetics of Bollywood Cinema by looking at the selected film adaptation with Semiotic perspective. After defining the terms ‘Semiotics’, and ‘Mise-en-Scene Analysis’, he aims at deciphering Aesthetics of Indian Cinema. Here the terms ‘visual design’, ‘signs and codes’, ‘symbols’, ‘metaphors’, ‘discourse-words and phrases’ and other compositional elements in the film are discussed elaborately. Great care has been taken, here, to avoid the film jargon. He refers to the established conventions as socio-cultural norms prevalent in the film industry in India. This is followed by the in-depth analysis of the selected film. Here the researcher takes into consideration the use of images, video intake of the song, the linguistic connotations of the song, melody element, the get up of the character, dresses and costumes, musical scores, and their linkage with the narration in the film
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Sarah Fitriany and Muhammad Hildan Azizi. "Semiotika Pesan Akhlak dalam Film Pendek Kaya Tanpa Harta." Jurnal Komunikasi Islam 11, no. 01 (2021): 125–58. http://dx.doi.org/10.15642/jki.2021.11.01.125-158.
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This study attempts to examine the meaning of the moral message embedded within the signs of semiotics in the short film Kaya Tanpa Harta. Through the qualitative method and the semiotic approach of Roland Barthes, this study has found that the moral messages contained in this film texts are requiring muslims to be patient when experiencing economic problems and to do halal job even though in the low-wage workforce as well. In addition, the film texts also have conveyed message related to caring for and help one another as well as repent when one makes a mistake. Such moral messages are conveyed through depcition of the characters in a binary opposition with other characters, such as a strong young man who despairs and robs compared to an old mother who is passionate about work and continues to give alms.
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Kim, Minhyoung, and Sung-do Kim. "Anthropological-semiotics of rhythm and animating modernity in China: A rhythmanalysis of Princess Iron Fan." Semiotica 2016, no. 210 (2016): 1–34. http://dx.doi.org/10.1515/sem-2016-0023.
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AbstractThis article explores the contribution made by anthropological-semiotics of rhythm when it comes to comprehending visual modernity of East Asia, with a particular focus on China’s experience. From the humanistic foundations of rhythm including cultural anthropological perspectives, traditions of rhythmanalysis, and semiotic thinking of rhythm, this paper demonstrates the construction of a semiotic square of rhythm along with a topology of rhythmia; then provides a case study of rhythmanalysis surrounding the emergence of the first Chinese feature animated film entitled Princess Iron Fan; and ultimately presents the potential of establishing the multiplicity of modernities based on the transdisciplinary examination of rhythm in visual cultures of East Asia.
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Denisa, Nia, Dadan Rusmana, and R. Myrna Nur Sakinah. "SATIRE ANALYSIS IN FOUR LIONS FILM THROUGH SAUSSUREAN SEMIOTICS." BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 21, no. 1 (2022): 1–16. http://dx.doi.org/10.21009/bahtera.211.01.
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This study intends to reveal the satire about Jihad concept misunderstanding which causes negative image for Islam that caused by irresponsible British Moslems. They act without sufficient religious understanding and only out of lust to get rid of the unjust infidels towards minority Moslems. So, with the analysis of the signifier-signified of Saussure's semiotic theory, it’s hoped that satire can be conveyed, understood and aware by the parties who become the targets of satire. This study has a significance for eliminating misunderstandings about Islam which are always associated with terrorism, namely stupid acts that only harm fellow Moslems. This study will use a qualitative method because it related to phenomena in society. In this study, film as the object where the data are collected and supported by literature studies. The results from 20 data contain signifier and signified of radical Moslem’s act who misunderstanding about Jihad then satire that is intended to prove those who deviate are not acting in the name of Islam, terrorism is a stupid act and British government must be more fair to minorities. It’s recommended for further studies to examine Islamophobia in Asia with poster as the object the uses qualitative method and Peircean semiotics.
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Zauderer, Elizabeth. "Is a rose is a rose is a rose? Appropriating polysemy in film: The case of rose imagery in American Beauty." Semiotica 2015, no. 205 (2015): 191–205. http://dx.doi.org/10.1515/sem-2015-0009.
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AbstractThe issue of cultural appropriation is at the crux of adaptation studies with emphasis on what constitute cultural junctures in cinematic renditions of textual sources, rather than how formal processes facilitate contextual and intertextual overlap. This paper explores processes for the appropriation of textual polysemy in visual terms in film. Drawing on classical semiotics and film semiotics, I propose a theoretical model for reconstructing the effect of contextual complexity and overlap manifest in textual polysemy in terms of visual signification in film. The proposed model is applied in an analysis the recurrent rose imagery in American Beauty (Sam Mendes 1999).
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Griffith, Frank, and David Machin. "Communicating the ideas and attitudes of spying in film music: A social semiotic approach." Sign Systems Studies 42, no. 1 (2014): 72–97. http://dx.doi.org/10.12697/sss.2014.42.1.04.
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Taking the example of two 1960s popular spy films this paper explores how social semiotics can make a contribution to the analysis of film music. Following other scholars who have sought to create inventories of sound meanings to help us break down the way that music communicates, this paper explores how we can draw on the principles of Hallidayan functional grammar to present an inventory of meaning potentials in sound. This provides one useful way to describe the semiotic resources available to composers to allow them to communicate quite specific ideas, attitudes and identities through combinations of different sounds and sound qualities, by presenting them as systems of meaning rather than as lists of connotations. Here we apply this to the different uses of music and sound in Dr No and The Ipcress Files which allows us to show how we can reveal different ideologies of spying.
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Hwan, Kim Soo. "Photogénie as “the Other” of the semiotics of cinema: On Yuri Lotman’s concept of “the mythological”." Semiotica 2015, no. 207 (2015): 395–409. http://dx.doi.org/10.1515/sem-2015-0050.
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AbstractOne of the most problematic concepts in film theory, photogénie, refers to the dimension of “the Other,” which is not fully covered by the process of cultural signification, and obviously verges on a zone “beyond” the semiotics. Exactly in this site Epstein, Balazs, and Barthes ought to affirm the existence of the problematic “the Other” level of signification – an autonomous entity as a potential semiotic threat. Yuri Lotman’s view on cinema, in particular, his thought on “the mythological” essence of cinema, can provide productive insight into the question: how can the semiotics of cinema deal with this elusive and ineffable phenomenon, which is extremely difficult to manipulate? His thoughts on “the mythological” as another (asemiotic) level of semiosis, and his concepts of close-up as “proper name” can give us a chance to admit positively this essential “alterity” of cinematic signification, not just denying or transcendentalizing it as some mysterious “thing-in-itself.”
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Bimantoro, Anggana Aletta, Marisa Puspita Sary, and Rizki Anindia Putri. "INDUSTRI MEDIA BUDAYA POPULER ANALISIS SEMIOTIKA PEIRCE PADA DRAMA KOREA START UP." SOURCE : Jurnal Ilmu Komunikasi 7, no. 1 (2021): 64. http://dx.doi.org/10.35308/source.v7i1.3013.
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The focus of this studied lies in understanding the meaning behind the 'start up' Korean drama scene. The purpose of this study was to learned about the popular Korean culture. Available representations may help an interpretation of the performer starting the Korean drama. The approach used was a qualitative approach with a semiotic studied from peirce. There were 3 points of interest in peirce semiotics. Which were icon, index and symbol. The icon portrayed in drakor startup, the shooting site was at the sandbox and the hangang river. Both were known as an iconic sites in South Korea. Then the index seen in the startup film is when seo dal mi was having a religious service as she goes to her car test. Finally, the signed of drakor startup is the festival of chuseok. Further research is recommended for closer analysis so as to provide an even better representation of peirce semiotics analysis.
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Rossolatos, George. "Rhetorical Transformations in Multimodal Advertising Texts: From General to Local Degree Zero." HERMES - Journal of Language and Communication in Business 26, no. 50 (2017): 97. http://dx.doi.org/10.7146/hjlcb.v26i50.97821.
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The use of rhetoric in advertising research has been steadily gaining momentum since the 1980’s. Coupled with an increased interest in multimodality and the multiple interactions among verbal, pictorial and auditory registers, as structural components of an ad filmic text, the hermeneutic tools furnished by traditional rhetoric have been expanded and elaborated. This paper addresses the fundamental question of how ad filmic texts assume signification from a multimodal rhetorical point of view, by engaging in a fruitful dialogue with various research streams within the wider semiotic discipline and consumer research. By critically addressing the context of analysis of a multimodal ad text in the course of the argumentation deployed by different approaches, such as Social Semiotics (Kress/Leeuwen 2001), Film Semiotics (i.e. Metz 1982, Carroll 1980, Branigan 1982), Visual Semiotics (i.e. Sonesson 2008; 2010, Eco 1972;1976;1986, Groupe " 1992), Consumer Research (i.e. Mick/McQuarrie 1999; 2004, Philips 2003, Scott 1994), the relative merits of a structuralist approach that prioritizes the distinction between local and general degree zero, as put forward by Groupe " (1992), are highlighted. Furthermore, the modes whereby rhetorical transformations are enacted are outlined, with view to deepening the conceptual tackling of degree zero of signification, while addressing its applicability to branding discourse and multimodal ad texts.
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Pratiwi, Novita Diyah Ayu. "Islamophobia dalam Film Ayat-ayat Cinta 2." Panangkaran: Jurnal Penelitian Agama dan Masyarakat 4, no. 2 (2021): 29–47. http://dx.doi.org/10.14421/panangkaran.2020.0402-03.
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Semiotics of Roland Barthes is one of the critical theories of language studies which introduces a two-stage system of meaning which is then followed by the meaning of mythology. This semiotic model is able to capture the implied meanings of each scene shown in the film. Every scene that appears is not only interpreted denotatively, but also interpreted connotatively. The various connotative meanings will in turn be reduced to a myth that contains certain interests or ideologies that the perpetrators intend to convey. By using Roland Barthes' semiotic theory, this study aims to parse the meanings of the research subject, namely the symptoms of Islamophobia that the director wants to convey to his audience, and to find out how the existence of Muslims who are minorities in their daily lives that tend to be frequently viewed. one eye by the non-Muslim community. The method used is library research, which is a research method that makes library sources such as books, journals, theses and other literature related to research subjects. The results of this study indicate that someone who is indicated to be affected by the symptoms of Islamophobia does not only attack personally, but also extends to several aspects such as alluding to femininity, Islamic culture, and scholarship in Islam. The Islamophobia shown in this film is visualized in various unpleasant acts such as ridicule, vandalism, cultural discrimination, and physical assault.[Semiotika Roland Barthes merupakan salah satu teori kritis dari kajian bahasa yang memperkenalkan sistem dua tahap pemaknaan yang kemudian dilanjutkan dengan pemaknaan mitologi. Model semiotika ini mampu menangkap makna-makna yang tersirat dari setiap adegan yang ditampilkan pada film. Setiap scene yang muncul tidak hanya dimaknai secara denotatif, melainkan juga dimaknai secara konotatif. Makna konotatif yang beragam pada gilirannya akan direduksi menjadi suatu mitos yang bermuatan kepentingan atau ideologi tertentu yang hendak disampaikan oleh para pelakunya. Dengan menggunakan teori semiotika Roland Barthes, penelitian ini bertujuan untuk mengurai makna dan realitas dari subjek penelitian yaitu gejala-gejala Islamophobia yang ingin disampaikan oleh sutradara kepada para penonton melalui film Ayat-Ayat Cinta 2 serta untuk mengetahui bagaimana eksistensi umat Islam yang menjadi minoritas dalam kesehariannya khusunya di negara Barat yang sering kali dipandang sebelah mata oleh komunitas non-Muslim. Metode yang digunakan adalah studi pustaka, yaitu metode penelitian yang menjadikan sumber pustaka berupa buku, jurnal, skripsi dan literatur lain yang berkaitan dengan subjek penelitian. Hasil penelitian ini menunjukkan bahwa seseorang yang terindikasi terkena gejala Islamofobia tidak hanya menyerang secara personal, tetapi meluas ke beberapa aspek seperti menyinggung feminitas, budaya Islam, dan keilmuan dalam Islam. Islamofobia yang ditampilkan dalam film ini divisualisasikan dalam berbagai tindakan tidak menyenangkan seperti ejekan, vandalisme, diskriminasi budaya, dan penyerangan fisik.]
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Muwaffaq, Thafhan, Nurul Komar, and Rio Armandaru. "APOCALYPTIC NARRATIVE SCHEMAS IN DYSTOPIAN FILMS." International Journal of Humanity Studies (IJHS) 3, no. 2 (2020): 211–27. http://dx.doi.org/10.24071/ijhs.v3i2.2168.
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This research investigates the way dystopia as film genre is attributed with catastrophe or, what will be regarded here as apocalyptic events. We question the way in which the genre represents state of affairs of humanity in the face of catastrophe, in catastrophe, and after catastrophe. We conducted a narrative analysis under the account of semiotic cognitive approach, by identifying narrated events, and actions of the protagonist as constituting parts of event. We argue that narrative in dystopian films represent three types of apocalyptic schema (i.e. pre-apocalyptic, apocalyptic, and post-apocalyptic). Each schema seems to have distinct model of storyline, regardless of the predefined genre of the film (e.g. adventure, sci-fi, fantasy, etc.). Despite the distinct schemas, the analyzed films illustrate typical tone of hopefulness wherein humanity prevails over catastrophe and dystopian state of affairs. Another typical representation in dystopian films analyzed here is portrayal of collective fear among the protagonist. Our study leads to a point that humanity is portrayed adaptive to catastrophic situations, therefore it is able somehow to survive. Here we offer narrative standard in dystopia genre with the light of cognitive semiotics perspective, which differs to a great degree with theories offered by classical literary studies.
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Claydon, E. Anna. "Film Music, Musicology and Semiotics: Analysing The Draughtsman's Contract." Journal of British Cinema and Television 8, no. 1 (2011): 62–80. http://dx.doi.org/10.3366/jbctv.2011.0006.
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Flinn, Anthony. "Jean Mitry, Semiotics and the Analysis of Film (2000)." American Journal of Semiotics 17, no. 3 (2001): 267–69. http://dx.doi.org/10.5840/ajs200117344.
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Trujillo, Mónica Santillán, Kruzkaya Ordóñez, and Abel Suing. "The Documentary Film as an Educational Tool Through Semiotics." Advanced Science Letters 23, no. 8 (2017): 7795–99. http://dx.doi.org/10.1166/asl.2017.9579.
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Soukup, Charles. "Techno-Scopophilia: The Semiotics of Technological Pleasure in Film." Critical Studies in Media Communication 26, no. 1 (2009): 19–35. http://dx.doi.org/10.1080/15295030802684026.
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Liu, Liying. "Analysis of the Film “Manslaughter” by Using Semiotic Paradox." Education Reform and Development 3, no. 2 (2022): 19–22. http://dx.doi.org/10.26689/erd.v3i2.3599.
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“Manslaughter” is a crime film released in mainland China on December 13, 2019. Once released, the film has attracted much attention from the audience, surpassing many works released during the same period. The setting of the film and the use of screen language are the magic weapons for the success of the film by gaining favor from the public. This film will be elaborated on based on the field of semiotics.
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Kharisma, Rikha Ayu Minda, and Rahmawati Zulfiningrum. "REPRESENTASI CYBER SOCIETY DALAM FILM “SEARCHING”." Jurnal Audience 3, no. 2 (2020): 250–72. http://dx.doi.org/10.33633/ja.v3i2.4066.
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AbstrakMasyarakat cyber merupakan salah satu bentuk penciptaan budaya baru yang disebabkan oleh perkembangan teknologi informasi dan komunikasi. Teknologi saat ini memiliki banyak manfaat untuk membantu masyarakat dalam menyelesaikan aktivitas rutinnya, dimana digitalisasi telah terjadi di berbagai bidang dan menjadi kebiasaan baru masyarakat. Searching, salah satu film yang diproduksi tahun 2018 ini mengisahkan fenomena teknologi. Film tersebut menggambarkan bahwa menemukan orang hilang dengan rekam jejak digital adalah mungkin dan bisa menjadi jalan keluarnya. Lebih jauh, film ini tidak hanya menampilkan dampak positif dari teknologi tetapi juga menyuguhkan sisi negatifnya. Penelitian ini bertujuan untuk mengetahui representasi masyarakat cyber dalam film Searching. Peneliti menggunakan metode penelitian deskriptif kualitatif dengan model analisis semiotika Roland Barthes. Teori dalam penelitian ini menggunakan Teori Representasi Stuart Hall. Hasil penelitian menunjukkan bahwa terdapat lima representasi dari masyarakat cyber. Pertama, komunikasi yang menggunakan media aplikasi. Kedua, menciptakan identitas baru di dunia maya. Ketiga, menggunakan website untuk mencari informasi. Keempat, kebebasan berpendapat di dunia maya, dan yang terakhir adalah kecanduan internet. Masyarakat perlu meningkatkan kesadaran akan dampak penggunaan teknologi agar bisa hidup bijak di era digital. Kata kunci: Film searching, Masyarakat cyber, Representasi, Semiotika, Teknologi AbstractThe cyber society is a form of creating a new culture caused by the development of information and communication technology. Nowadays, technology bring the advantages to help people accomplished their routine activities, where digitalization has occurred in various fields and has become a new habit for society. Searching, one of the movies that produce in 2018 is portray the phenomenon of technology. The film described that finding the missing people with a digital track record is possible and could be the way out. Furthermore, this film not only show the positive impact of technology but also state the negative side. This study aims to determine the representations of cyber society in film title Searching. The researcher uses qualitative descriptive method research with semiotics of Roland Barthes analysis model. The theory in this study uses the theory representation of Stuart Hall. The results showed that there are five representations of cyber society. First, communication using media applications. Second, creating a new identity in cyberspace. Third, use the website to find information. Fourth, freedom of speech in cyberspace, and the last is internet addiction. The public needs to increase the awareness for the impacts of technology uses in order to live wisely in the digital era.Keywords: Cyber society, Representation, Searching movie, Semiotic, Technology
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Salsabila, Nada, and Diah Ayu Candraningrum. "Representasi Kearifan Lokal Budaya Timur Tengah dalam Film “Aladdin (2019)” Produksi Walt Disney Pictures." Koneksi 4, no. 1 (2020): 7. http://dx.doi.org/10.24912/kn.v4i1.6494.
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This research examines the representation of Middle Eastern culture local wisdom contained in the film "Aladdin 2019" produced by Walt Disney Pictures. This study aims to examine the cultural symbols of the Middle East. The research method used in this study is a qualitative method with Charles Sanders Peirce's semiotic analysis which divides the sign into three elements namely sign, object and interpretant. Semiotics is the science that discusses or examines the meaning of a sign. The results showed that Middle Eastern cultural symbols in the film "Aladdin 2019" were displayed through 10 scenes selected in the film. Cultural symbols of the Middle East are shown through the habits of the people kissing the right and left cheeks every time they meet relatives, riding camels to travel, livelihoods of people who trade, princess clothes Jasmine and Sultan, building architecture made of bricks and domes as decoration and art that displays traditional Middle Eastern musical instrument namely Gambus. Some interesting facts in the film one of which is the making of the city "Agrabah" as a shooting setting which is a fictitious city in England and property made of authentic jewelry. Penelitian ini mengkaji mengenai representasi kearifan lokal budaya Timur Tengah yang terdapat dalam Film “Aladdin 2019” Produksi Walt Disney Pictures. Penelitian ini bertujuan untuk mengkaji simbol-simbol budaya Timur Tengah. Metode penelitian yang digunakan dalam penelitian ini adalah metode kualitatif dengan analisis semiotika Charles Sanders Peirce yang membagi tanda menjadi tiga elemen yaitu tanda, objek dan interpretan. Semiotika adalah ilmu yang membahas atau mengkaji mengenai pemaknaan dari sebuah tanda. Hasil penelitian menunjukkan bahwa simbol-simbol budaya Timur Tengah dalam Film “Aladdin 2019” ditampilkan melalui 10 scene yang dipilih dalam film tersebut. Simbol-simbol Budaya Timur Tengah ditunjukkan melalui kebiasaan masyarakat cium pipi kanan dan kiri setiap bertemu kerabat, menunggangi unta untuk bepergian, mata pencaharian masyarakat yang berdagang, pakaian putri Jasmine dan Sultan, arsitektur bangunan berasal dari batu bata dan kubah sebagai hiasan serta kesenian yang menampilkan alat musik tradisional Timur Tengah yaitu Gambus. Beberapa fakta menarik dalam film tersebut salah satunya adalah pembuatan kota “Agrabah” sebagai latar syuting yang merupakan kota fiktif di Inggris dan properti yang terbuat dari perhiasan asli.
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Alfianto, Kurnia Dwi, and Altobeli Lobodally. "SOCIAL CRITICISM OF ASIAN CULTURE IN FILM “TO ALL THE BOYS I'VE LOVED BEFORE” WITH BARTHES’ POPULAR CULTURE THEORY." Jurnal Komunikasi dan Bisnis 8, no. 2 (2020): 1–12. http://dx.doi.org/10.46806/jkb.v8i2.642.
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Mass media often perceived Asian Culture as a powerless culture. Just like in To All the Boys I’ve Loved Before film that criticizing Asian culture. This study aimed to unveil the social criticism of Asian culture depicted on To All the Boys I’ve Loved Before. This qualitative study using Popular Culture Theory with Roland Barthes’ semiotic analysis method by three elements of analysis (denotation, connotation, and myth). This study unveiled that the social criticism of Asian culture is linked with its collectivistic culture and interdependent characteristic, also overly-controlled Asian parents. This study also found the shift and consolidation of myth of Asian culture. Other than that, social criticism of Asian culture depicted on the film is the form of low culture and used as the asset to gain profit. Therefore, Asian culture has been marginalized and wrapped as a form of commercialized culture.
 Keywords: asian culture, popular culture, film, social criticism, semiotics
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van Leeuwen, Theo. "The semiotics of movement and mobility." Multimodality & Society 1, no. 1 (2021): 97–118. http://dx.doi.org/10.1177/2634979521992733.
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The paper presents a framework for the distinctive feature analysis of movement and mobility in texts, performances and semiotic artefacts, showing its applicability to the analysis of meaning-making in dance, music, animated and live action film and video, and product design. Emphasis is placed on the role of movement and mobility in identity design. Identity design is realized by the style in which movements are performed and can be analysed in terms of the gradable distinctive features present in any movement – direction, expansiveness, velocity, force, angularity, fluidity, directedness and regularity. The paper includes a historical dimension, focusing on the development of movement and mobility as semiotic resources, and argues for the pioneering role of modernist artists in this development.
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Khrenov, Nikolai Andreyevich. "Eisenstein’s Aesthetics in Semiotic Perspective." Journal of Flm Arts and Film Studies 7, no. 2 (2015): 8–19. http://dx.doi.org/10.17816/vgik728-19.
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The article is devoted to the semiotic interpretation of the theoretic heritage of the film director Sergey Eisenstein by Vyacheslav Ivanov whose jubilee has been recently celebrated. Sergey Eisenstein foresaw the structural methodology that became so popular after the 60s. Vyacheslav Ivanov is known for his vast range of academic interests. The present article is focused on his interest in cinema, in particular - the theoretic heritage of Eisenstein. This interest may be explained by Vyacheslav Ivanovs assertion, that Eisenstein tended to see cinema as a language or, more specifically, a sign system. This fact couldnt escape Vyacheslav Ivanovs notice, since the formation of semiotic methodology in Russia is closely connected with Eisenstein. So it is quite natural that Vyacheslav Ivanov reflects on the prehistory of semiotics too. As for cinema, prehistory in question is closely connected with Sergey Eisensteins aesthetics. The author of the present article also touches upon applying semiotic methodology to cinema as a sign system in general. Due to this purpose, the author refers to the period, when Russian cinema theorists were involved in semiological analysis introduced with the influence of structuralist and post-modernist studies in humanities. Some theoreticians attacked semiotic approaches in favor of philosophical and, in particular, phenomenological one. Nevertheless though these approaches are appropriate and efficient, they do not replace the semiotic one. The author argues, that such attempts to refuse from the semiotic approach in the cinema field were ill-timed and superficial. Vyacheslav Ivanovs semiotic works on cinema, especially his book Eisensteins Aesthetics, simultaneously affirm a philosophical approach to this topic. Interpreting the meaning of the title, the author of the present article argues, that the concept of semiotics was already created at the initial stage of the development of aesthetics as a branch of philosophy.