'MONUMEN KREWENG' 3D ANIMATION VIDEO AS A VISUAL BRANDING STRATEGY FOR JURON TOURIST VILLAGE

The development of tourist destinations in this digital era focuses on using technology to develop successful tourism recovery during the pandemic era. We use this principle to develop a tourism strategy using 3D animated videos to introduce Juron Village as a tourist village. Specifically, this study analyzes the visual strategy of a 3D animation video entitled "Monumen Kreweng" using Marty Neumeier's visual branding analysis. The findings provide insight into the animated video's visual branding strategies, including differentiation, collaboration, innovation, validation, and cultivation. The differentiation is found in the work of the Kreweng monument as the focal point of attention and local wisdom, followed by validation through the use of social media platforms to solicit consumer feedback on visual branding. Finally, the cultivation concept encourages various stakeholders to participate in realizing Juron Village's tourism branding.

SOCIAL CRITICISM IN THE MISTER FRIMEN ANIMATED SERIES

Social criticism is generally comprised of individuals' ideas and opinions of societal problems that bring changes. Individuals can express their opinions through various media, including animated films. The animated series Mister Frimen created by Pavel Muntyan, Vladimir Ponomarev, Anatoly Dobrozan, and Vadim Demchog are notoriously sarcastic. The sarcastic remarks given by the main character are always about current problems in Russian society. This study focuses on the way the animated series Mister Frimen expresses social problems. This article uses intertextual theory and discourse analysis to analyze every message and symbol and how the messages are generated. The results show that each scene in Mister Frimen contains symbols illustrating social criticism messages about the situation of Russian society. Nonetheless, satire/social criticism offers suggestions for establishing societal peace and prosperity

THE POWER OF BU TEJO AND DIAN? THE ANALYSIS OF FEMINIST POWER RELATION IN THE FILM TILIK

Tilik is a short film directed by Wahyu Agung Prasetyo. Given that the film's plot is primarily focused on the relationships of its female characters, the problem of female representation cannot be ignored. This article focuses on the power dynamic between the film's two central female characters, Bu Tejo and Dian, through the lens of Amy Allen's feminist perspective on power. The analysis identifies four dimensions of representation that contribute significantly to the development of their power relationship: physical appearance, marital status, gender role depiction, and socioeconomic status. The underlying significance of the power relationship between Bu Tejo and Dian in the film is analyzed through qualitative Content Analysis and Contextual Analysis approaches. This study reveals that the film portrays both women ambiguously, how patriarchal society creates an ecosystem that pits women against one another for power, and how the minor male characters in the film continue to exert signifficant influence over Bu Tejo and Dian in acquiring, maintaining, and exercising their power in a patriarchal society.

METAPHOR IN THE FILM SETAN JAWA

The Setan Jawa film depicts the two main characters' fascinating and expressive body language and motions (Setio and Asih). Accordingly, we formulate the research problem of the Setan Jawa film’s metaphor values. This study uses the metaphorical approach to search for the meanings of the film by analyzing the source and target domains. Our findings indicate that Setan Jawa encompasses both the romance source domain and the tragedy target domain. In sum, Setan Jawa is a film about perseverance, courage, intention, self-sacrifice, and ambition.

ACTANTIAL MODEL IN THE NELYUBOV MOVIE

Through the characters of Zhenya and Boris, the film Nelyubov (2017) explores the issue of a toxic marriage. The story's theme reflects the complexities of the characters' relationships and the resulting problems. This theme adds intrigue to the film's problem articulation, particularly how the film's conflict can be constructed. Accordingly, this study seeks to identify the actant schemes created in the Nelyubov film. This study examines the location of individuals in the film using Algirdas Julien Greimas' Actantial Model theory. Further, this article employs Mills' Discourse Analysis and Smith's Interpretative Phenomenological Analysis (IPA). The results indicate representations for the subject, object, helper, opposer, sender, and receiver in the Nelyubov film, allowing for the fulfillment of the three kinds of axis: the axis of desire, the axis of power, and the axis of transmission/knowledge. The film's subject is Zhenya, and the object is the happiness he seeks.

CONCEPT OF FORM IN THE FILM DILAN 1990

The Dilan 1990 is an adaption film that chronicles the romance of high school teenagers in the 1990s. This film ranked first in terms of viewership in 2018. The allure of this film that warrants further analysis is its shape notion. This study aims to analyze the Dilan 1990 film's notion of form. This qualitative descriptive study analyzes data using the form concept methodology created by David Bordwell and Kristin Thompson. The findings indicate that the film's forms and processes are extremely complicated. The constructed elements are connected in such a way that they can excite the audience's emotions, most notably their expectations.

AN AUTEUR OF DECADENCE: SOFIA COPPOLA AND THE UNBEARABLE HEAVINESS OF COMING OF AGE

As a filmmaker, Sofia Coppola is often under critiques considering her visual excess frivolous. This article is an auteur study towards the thematic and stylistic tendencies of Sofia Coppola’s films. Through analysis of her mise-en-scene, I contend that Coppola, as a film auteur, tends to glorify the image of the lost generation. This glorification is bolstered by her signature style that echoes the spirit of the Decadent movement in the late-nineteenth-century European art scenes, which was preoccupied with the idea of fin de siècle or society in transition at the end of time. This idea is exemplified most vividly by motifs such as hedonistic behavior, visual excess, and cultural decline.

REPRESENTATION OF NOSTALGIA IN THE PROGRAM MEMORI MELODI IN TVRI NATIONAL

This study describes the representation of nostalgia in the “Memori Melodi” music program in the episode Tribute To Yon Koeswoyo. This study uses a construction approach from the representation of Stuart Hall. The sampling technique uses purposive sampling technique. Data collection used is observation without a roleplay and interviews. Data analysis used Miles and Huberman model data analysis which consisted of data reduction, data presentation, conclusion drawing and verification. The results of this study indicate there is a nostalgic representation in the music program of “Memori Melodi” episode Tribute To Yon Koeswoyo. The appearance of nostalgic is constructed through verbal and non-verbal language in each segment. The construction of social interactions between the performers (host, singer, audience) and sensory input (music, visual, narrative about Koes Plus and Yon Koeswoyo, and expressions of the performers) is a form of nostalgia in the Tribute To Yon Koeswoyo's episode. This nostalgic representation is useful knowledge about the reappearance of nostalgia in music programs on television.

IMPLEMENTATION OF THE NETWORK STATION SYSTEM ON TVRI BALI

The democratization of broadcasting in Indonesia is manifested in the implementation of the Network Station System (Sistem Stasiun Jaringan / SSJ) by striving for diversity of ownership and broadcast content in broadcasting institutions. SSJ is also an effort to decentralize broadcasting so that people in the regions get information related to their own regions through subsidiary networks or local broadcasting institutions. TVRI is the only public broadcasting institution that has network subsidiaries throughout Indonesia. This research uses a case study approach, an approach to intensively examine a case with a focus on TVRI Bali. Data collection used interview and observation methods. Data analysis using the Interactive Analysis approach. The results showed that TVRI Bali has not been able to fully implement SSJ. TVRI Bali can only meet the provisions of local broadcast content with a percentage of up to 20%, but has not been able to fulfill the spirit of diversity of ownership according to the basic concept of SSJ. In addition, the principle of diversity of ownership has not been fulfilled due to inconsistencies between the Broadcasting Law and Government Regulation Number 13/2005 and Ministerial Regulation 43/2009 which specifically regulates private television broadcasting institutions.

SEXY KILLERS : FILM AND ENVIRONMENTAL MOVEMENT

This study focuses on how a documentary film entitled Sexy Killers can be part of the campaign for change. This film with the issue of environmental damage is interesting to study about the reading of the text by the audience as an active producer of meaning. In order to understand how the audience read the text, a Sexy Killers research was conducted using a Descriptive Qualitative approach. The data collection technique used Purposive Sampling with In-Depth Interviews, then the data were processed by Content Analysis. The results of this study indicate that there are different perspectives in reading this film, which can be categorized into anthropocentrism, biocentrism and eco-centrism. This differences in reading are influenced by differences in educational backgrounds, professions, and also interests. Film as a text, is not a unit, but rather a kind of battlefield to compete to accept, reject, or negotiate certain ideas. Understanding the results of this reading can be useful for determining the right steps in encouraging the environmental conservation movement