Nilai-Nilai Religius dalam Film Animasi Nussa dan Rara sebagai Alternatif Media Pembelajaran Sastra di SD

The problem with this research is the lack of application of religious values ​​among elementary school children. Purpose of this study is to describe religious values in the animated film Nussa and Rara as an alternative learning media in elementary schools. Method used in this research is content analysis. Data collection techniques were carried out by observation and documentation. This study uses the theory of Glock and Strak in analyzing the religious values contained in the animated film Nussa and Rara. The findings of this study contained five aspects in the animated film Nussa and Rara, namely aspects of belief in the existence of God, aspects of worship practices by praying and making sacrifices, aspects of experience and appreciation by feeling peaceful when praying, being afraid to sin, and being grateful to God, aspects of knowledge. by knowing the procedures for worship such as etiquette into the bathroom and neighbour's manners, behavioral aspects by doing things that Allah likes in accordance with religious rules and norms that apply in society such as maintaining cleanliness, helping, giving charity, saying sorry, being forgiving, maintaining friendship with loyal friends and togetherness. Based on the religious values contained in the animated film Nussa and Rara, it can be used as an alternative as a medium for learning literature in elementary schools to be applied in everyday life.

Semiotik Roland Barthes dalam Film Animasi Entong Sebagai Implikasi Penerapan Bahan Ajar Sastra di Sekolah Dasar

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.

TINDAK TUTUR EKSPRESIF DALAM FILM ANIMASI UPIN DAN IPIN SIARAN TELEVISI SWASTA MNCTV (KAJIAN PRAGMATIK)

The problem to be discussed in this research is how the expressive speech acts in the animated film Upin and Ipin are broadcast on MNCTV private television. Pragmatics is the study of all aspects of meaning that have been covered in semantic theory, or in other words: discussing all aspects of the meaning of speech that cannot be explained completely by direct reference to the conditions of truth of the sentence spoken. Speech acts are actions that are displayed through utterances to convey one's intentions and goals to others in life situations. Expressive is a type of speech act that states something the speaker feels. Animated films are films that are the result of processing hand drawings, so that they become moving images. Animated films are basically based on fantasy stories. While the source of data in the research is the animated film Upin and Ipin. This type of research is a qualitative research with descriptive method. After the researchers conducted research and grouped the results of the research data based on expressive speech acts, the researchers obtained 27 data. The speech act of thanking found 5 data, apologizing found 4 data, congratulating found 3 data, praising found 5 data, complaining found 6 data, and blaming found 4 data. The conclusion in this study is that expressive speech acts in the form of complaining are the most commonly found in the animated film Upin and Ipin.

Editorial - Animated Space

Since early days, the moving images of animated film have suggested a spatial freedom that challenges the limits of the photographic and traditional filmic space. When, in 1914, Winsor McCay drew himself onto the landscape to interact with Gertie, he was initiating a practice of expanding the space(s) we live in through the use of the animated image that lasts until today. Animation’s wide aesthetic and technical malleability, and its innate ability to suggest metamorphosis and unrest, has led its practice to cross boundaries and engage with the space beyond the limits of the traditional screen.

PSYCHOLINGUISTIC IMAGE OF JOY (IN THE COMPUTER-ANIMATED FILM INSIDE OUT)

The paper is focused on the correlation between the psychological archetype of a film character and the linguistic elements composing their speech. The Nurturer archetype is represented in the film Inside Out by the personalized emotion Joy. Joy is depicted as an antropomorphous female character, whose purpose is to keep her host, a young girl Riley, happy. As the Nurturer, Joy is completely focused on Riley’s happiness, which is expressed by lexico-semantic group ‘happy’, positive evaluative tokens, exclamatory sentences, promissive speech acts, and repetitions. She needs the feeling of connectedness with other members of her family, which is revealed by lexico-semantic groups ‘support’ and ‘help’. She is ready to sacrifice everything to save the girl in her care, which is demonstrated by modal verbs, frequent word-combination ‘for Riley’, and directives.

The Meaning of Bali Aesthetic Code in the Animated Film Si Uma

This study aims to analyze the meaning of aesthetic code in the animated film "Si Uma." The animated film "Si Uma" needs to be investigated because the reanimated film shows Balinese culture's beauty and has a unique character shape. Visualization of Balinese culture in this animated film contains a meaningful message for the life of the universe hitch conveyed through the form of code. The problem is what is the meaning of the Balinese aesthetic code represented in the animated film "Si Uma." The method used in this research is qualitative with data collection techniques through observation, interviews, and documentation. The technique of determining the source of data in this study is the Snowball sampling technique. Data sources were collected through interviews with Ida Bagus Surya Manuba, I Nyoman Suci Rasika, and Gede Pasek Putra Adnyana Yasa. Data analysis was carried out through data reduction, presentation, and conclusion drawing based on Ferdinand de Saussure's semiotic theory and Roland Barthes' postmodern aesthetic code. The results of this study indicate that the aesthetic code in the animated film "Si Uma" in the form of a semantic code is associated with a black and white patterned fabric sign (poleng) which contains the meaning of life balance in the universe; the cultural code is associated with a headband (udeng) containing meaning to concentrate thoughts or views (concentration) in every activity in Bali. In conclusion, the meaning of the aesthetic code in the animated film "Si Uma" is seen from two perspectives such as the semantic code in the form of Poleng Cloth is ideological containing the meaning of balance in life in the universe; cultural code in the form of a headband (udeng)is connotative which means to focus attention/thought, aesthetic, and cultural identity in worship and daily activities

Adangiyah: Philosophy of Art in Tradition and Modernization

Dewa Ruci's journal on this edition is felt so special. Since volume 15 has been eager to target a wider audience. Many scientific idiographic concepts are important and need to be known by international readers. This edition is proud to present the most widely written articles by postgraduate students and lecturers from the Indonesian Institute of the Arts Surakarta, Universities of Education from Surabaya, and Malang (East Java). What is special about this edition of this journal is the participation of the second author, who comes from various countries who are very encouraging to the first author. The participating writers from abroad are Adzrool Idzwan Ismail (Malaysia), Michiyo Yoneno Reyes (Japan), Nazima Rangwala Kalita (India), Lee Yong-Shik (South Korea), Jody Diamond (United States).We above appear to have six collaboratively written articles to publish on this occasion. The first author, Soerjo Wido Minato, wrote an article entitled “Art, Nature, and Culinary As Leverages for Village Branding at the Foot of the Mountain.” He discussed that coastal tourism and coastal villages have always been attractions, especially mountain villages that have succeeded in branding themselves as tourist villages. The Malang State University research team conducted research activities to support the preparation of Benjor Village to become a tourist village. An effective strategy for branding Benjor Village as a tourist village at the foot of the mountain is to synergize art, nature, and culinary arts in logos, songs, dances, taglines, videos, and social media.Next is Yulela Nur Imama's article entitled "Masak, Macak, Manak” at this time through challenge-based research on the creation of Nol dance," discussing 3M (cooking, preening, give birth) as cultural values for Javanese women. This study aims to determine the existence and relevance of these 3M values in dance works and how these values must be maintained. Tari Nol interprets 3M's cultural values.Hanna Medita wrote the article “Self Me: interpretation of self-injury in the context of healing,” discussing modernization that affects human needs. Self Me is a work inspired by the author's experience of self-injury which is very common among teenagers towards adulthood. Many symptoms are very likely to affect one's mental health. The work of Self Me gives a message about the importance of knowing self-injury early on and knowing what the symptoms of self-injury are.Rian Prasetya's article entitled "Color Formation of Musical Compositions of Children's Choir "Vocalista Angels" discusses the choir resulting from intensive training in various competitions in the Vocalista Angels (VA) group. The group emphasizes unique performance with sound color processing that deviates from the conventions of music theory. At the heart of quality processing at VA is building a distinctive tone of voice, trying to avoid musical tendencies based on classical vocal theory. An important element to form distinctiveness is a musical work that puts forward the method of wording, processing articulation, resonance, and intonation.Izam Ismail wrote the article "Media Adaptation of Mask Making in Malang: Study of Functional and Process for Making Fiber Masks" which discusses the adaptation made by changing the media without changing the shape and visuals that appear in Topeng Malang. The mask in the Malang Mask performance is a sacred form used by dancers by bringing the Panji character into the show. Making fiber masks begins with practice, namely making molds without changing the shape and ornaments on Malang Masks.Harmanto’s article entitled "The Concept of Tumbuk in Javanese Gamelan Tuning" discusses the phenomenon of musical mash in the Javanese karawitan tradition. Tumbuk is more than just a scale between Sléndro and Pélog. Tumbuk acts as a synchronizer in frequency and range between notes and a tone coordinator or add-on in the tuning system. Tones that have the same frequency in the tone of nêm are nêm sléndro and nêm pélog, nêm sléndro and pélog stuff, and others.The last writer is Hasbullah, with an article entitled "The Meaning Of Bali Aesthetic Code In The Animated Film Si Uma." He discusses the meaning of the Balinese aesthetic code in the animated film "Si Uma." The animated film gives a message through semantic codes such as cloth poleng, which connotes a balance of life and perfection. The meanings found from studying the Balinese aesthetic code in the animated film “Si Uma” are beauty, concentration, and cultural identity.That is the essence of the issue of Volume 16 Number 2 (December Edition), 2021. Hopefully, the knowledge that has been present in this publication can spur the growth of fine arts and performing arts in international networks, both in the arts. Creation and in the scientific research of art in general. We hope for the development of fine arts and arts.Thank you

The Makna Denotasi dan Makna Konotasi Dalam Film Animasi “Amirotur Ruum” Karya Hadi Mohammadian: Semiotika Roland Barthes

This article aims to describe the meaning of denotation and connotation in the animated film Amīrat al-Rūm by Hadi Mohammadian using the semiotic theory of Roland Barthes. Barthes explained that in the meaning of the word, there are two parts, denotation, namely the original meaning contained in the dictionary, and connotation, where this meaning involves human emotions and thoughts. This type of research is descriptive qualitative research, and the data source used is the animated film Amīrat al-Rūm by Hadi Mohammadian. The data collection technique uses watching, listening, and translating. Meanwhile, the data analysis is linguistic messages, unencoded iconic messages, and encoded iconic messages. The results of this study indicate that in the animated film Amīrat al-Rūm many dialogues contain denotative and connotative meanings.