Analisis Isi Pada Film Soegija Karya Garin Nugroho)

Total Page:16

File Type:pdf, Size:1020Kb

Analisis Isi Pada Film Soegija Karya Garin Nugroho) PESAN MORAL SOSIAL DALAM FILM SOEGIJA (Analisis Isi Pada Film Soegija Karya Garin Nugroho) SKRIPSI Oleh : ANDY FIRLANI 06220071 JURUSAN ILMU KOMUNIKASI FAKULTAS ILMU SOSIAL DAN ILMU POLITIK UNIVERSITAS MUHAMMADIYAH MALANG 2013 LEMBAR PENGESAHAN Nama : ANDY FIRLANI NIM : 06220071 Jurusan : Ilmu Komunikasi Fakultas : Ilmu Sosial Dan Ilmu Politik Judul Skripsi : PESAN MORAL SOSIAL DALAM FILM SOEGIJA (Analisis isi pada film Soegija Karya Garin Nugroho) Telah diuji dihadapan Dewan Penguji Skripsi Fakultas Ilmu Sosial dan Ilmu Politik Universitas Muhammadiyah Malang Jurusan Ilmu Komunikasi Dan Dinyatakan LULUS Pada hari : Sabtu Tanggal : 13 April 2013 Tempat : Ruang 609 DAFTAR ISI COVER LEMBAR ORISINALITAS LEMBAR PERSETUJUAN SKRIPSI BERITA ACARA SKRIPSI DAFTAR ISI ABSTRAKSI BAB I PENDAHULUAN A. Latar Belakang ......................................................................................... 1 B. Rumusan Masalah ................................................................................... 3 C. Tujuan Penelitian .................................................................................... 4 D. Manfaat Penelitian .................................................................................. 4 E. Tinjauan Pustaka ..................................................................................... 4 1. Film .................................................................................................... 4 2. Film Sebagai Medium Komunikasi Massa ......................................... 8 3. Pesan Moral ...................................................................................... 12 F. Kategorisasi ............................................................................................. 21 G. Metode Penelitian ................................................................................... 22 BAB II DESKRIPSI OBYEK PENELITIAN A. Sinopsis Film Soegija ............................................................................... 29 B. Profil Pemain dalam Film Soegija ............................................................ 31 C. Profil Soegija ............................................................................................ 36 D. Profil Sutradara ....................................................................................... 38 BAB III SAJIAN DAN ANALISIS DATA A. Sajian Data............................................................................................... 42 1. Kategori Pesan Moral Sosial Berdasarkan Hubungan antara Manusia dengan Manusia ..................................................... 42 2. Kategori Pesan Moral Sosial Berdasarkan Hubungan antara Manusia dengan Tuhannya ................................................... 58 3. Kategori Pesan Moral Sosial Berdasarkan Hubungan antara Manusia dengan Alam ........................................................... 68 BAB IV PENUTUP A. Kesimpulan .............................................................................................. 74 B. Saran ........................................................................................................ 75 DAFTAR PUSTAKA LAMPIRAN DAFTAR PUSTAKA Baksin, Askurifai, 2003. Membuat Film Indie Itu Gampang. Bandung: Katarsis. Bertens, K. 1993. Etika. Jakarta: Gramedia Pustaka Utama. Effendy, Heru, 2002. Mari Membuat Film. Yayasan Konfiden: Jakarta Effendy, Onong Uchjana. 2003, Ilmu, Teori dan Filsafat Komunikasi. Bandung: Citra Aditya Bakti Cangara, Hafied, 2003. Pengantar Ilmu Komunikasi. PT. Raja Grafindo Persada, Jakarta Hadiwardoyo, Purwa. 1990. Moral dan Masalahnya. Yogyakarta: Kanisius Pusataka Pelajar. Irawanto, Budi. 1999. Film, Ideologi dan Militer, Hegemoni Militer dalam Sinema Indonesia. Media Presindo: Yogyakarta. Krippendorff, Klaus. 1991. Analisis Isi – Pengantar Teori dan Metodologi. Jakarta : Rajawali Pers. Mc Quail, Denis. 1989. Teori Komunikasi Massa. Suatu Pengantar. Jakarta: Erlangga. M. Bayu Widagdo,Winastwan Gora S, 2004. Bikin Sendiri Film Kamu, Panduan Produksi Film Indonesia. PD Anindya: Yogyakarta Poespoprodjo. W. 1986. Filsafat Moral. Bandung: Remadja Karya Sobur, Alex, 2003. Analisis Teks Media. PT. Remaja Rosda Karya, Bandung _________, 2004. Analisis Teks Media. PT. Remaja Rosda Karya, Bandung Sumarno, Marselli.1996. Dasar-dasar Apresiasi Film. Grasinndo.Jakarta. Suseno, Franz Magnis. 1997. Model Pendekatan Etika: Bunga Rampai Teks-Teks Etika dari Plato sampai dengan Nietzsche. Kanisius, Yogyakarta Winarni. 2003, Komunikasi Massa. Malang: UMM Press Wimmer, Roger D. & Joseph R. Dominick. 2000. Mass Media Research. An Introduction. London.: Wadsworth Publishing Company Posted in Komunikasi Terapan - http://danankseta.blog.uns.ac.id/2010/06 /01/karakteris/ http://alfarabi1984.wordpress.com/ http://masturmudi.files.wordpress.com/2010/08/kekuasaandanpolitik.pdf http://www.peterlim-mba.com/article/298/makna-kepemimpinan.html http://mgtabersaudara.blogspot.com/2010/07/pengertian-kepemimpinan-atau- leadership.html .
Recommended publications
  • Thesis Introduction
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by espace@Curtin School of Media, Culture and Creative Arts Faculty of Humanities The Representation of Children in Garin Nugroho’s Films I Gusti Agung Ketut Satrya Wibawa This thesis is presented for the Degree of Master of Creative Arts of Curtin University of Technology November 2008 1 Abstract The image of the child has always been used for ideological purposes in national cinemas around the world. For instance, in Iranian cinema representations of children are often utilized to minimise the political risk involved in making radical statements, while in Brazilian and Italian cinemas children‟s portrayal has disputed the idealized concept of childhood‟s innocence. In Indonesian cinema, internationally acclaimed director Garin Nugroho is the only filmmaker who has presented children as the main focus of narratives that are oppositional to mainstream and state-sponsored ideologies. Yet, even though his films have been critically identified as key, breakthrough works in Indonesian cinema, no research so far has specifically focused on the representation of children in his films. Consequently, because Garin Nugroho has consistently placed child characters in central roles in his films, the discussion in this thesis focuses on the ideological and discursive implications of his cinematic depiction of children. With the central question regarding the construction of children‟s identities in Garin‟s films, the thesis analyzes in detail four of these films, dedicating an entire chapter to each one of them, and with the last one being specifically addressed in cinematic essay form.
    [Show full text]
  • The Cultural Traffic of Classic Indonesian Exploitation Cinema
    The Cultural Traffic of Classic Indonesian Exploitation Cinema Ekky Imanjaya Thesis submitted for the degree of Doctor of Philosophy University of East Anglia School of Art, Media and American Studies December 2016 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 1 Abstract Classic Indonesian exploitation films (originally produced, distributed, and exhibited in the New Order’s Indonesia from 1979 to 1995) are commonly negligible in both national and transnational cinema contexts, in the discourses of film criticism, journalism, and studies. Nonetheless, in the 2000s, there has been a global interest in re-circulating and consuming this kind of films. The films are internationally considered as “cult movies” and celebrated by global fans. This thesis will focus on the cultural traffic of the films, from late 1970s to early 2010s, from Indonesia to other countries. By analyzing the global flows of the films I will argue that despite the marginal status of the films, classic Indonesian exploitation films become the center of a taste battle among a variety of interest groups and agencies. The process will include challenging the official history of Indonesian cinema by investigating the framework of cultural traffic as well as politics of taste, and highlighting the significance of exploitation and B-films, paving the way into some findings that recommend accommodating the movies in serious discourses on cinema, nationally and globally.
    [Show full text]
  • Ideologi Film Garin Nugroho
    Ideologi Film Garin Nugroho Ahmad Toni Prodi S3 Pascasarjana Fikom Universitas Padjajaran Jalan Raya Bandung-Sumedang KM 21 Jatinangor 45363 Fikom Universitas Budi Luhur Jalan Raya Ciledug Petukangan Utara Kebayoran Lama Jakarta Selatan 12260 ABSTRACT This study is based on qualitative research with critical discourse analysis approach. The study presents the text of the fi lm as micro level of semiotic analysis. The purpose of the study is to uncover the ideology of Garin Nugroho fi lms which apply high aesthetic and anthropology construction of an exotic Indonesian culture. The result shows that the ideology resistance manifested in the fi lm of “Daun di Atas Bantal” is the philosophy reconstruction of art democratization as the power to sup- press the regime of Suharto and the new order. “Opera jawa” fi lm is the reconstruction of gender philosophy and Java femininity as well as the philosophy of the nature cosmology in the perspective of moderate Hindu Islam in presenting the greediness of human in the system of the nature ecology. The fi lm of ‘Mata tertutup’ is the philosophy reconstruction of moderate Islam to counter the power of radicalism and terrorism as the concept developed and related to the tenacity of nationalism system of the young generation in Indonesia. “Soegija” fi lm is the reconstruction of Christology philosophy and the values of minority leadership in the nationhood and statehood. The fi lm of “Tjokroaminoto Guru Bangsa” is the reconstruction of Islam philosophy to view the humanism values in the estab- lishment of the foundation of the nation as a moderate view.
    [Show full text]
  • Marlina Si Pembunuh Dalam Empat Babak 93
    TITRE ORIGINAL : Marlina si Pembunuh dalam Empat Babak ORIGINAL TITLE: Marlina si Pembunuh dalam Empat Babak 93 MIN/ Indonésie – France – Malaisie – Thailande / 2017/ FICTION/ COULEUR/ Indonésien, dialecte de Sumba/ DCP/ 24 FPS/ 2.39:1/ 5.1 93 MIN/ Indonesia – France – Malaysia – Thailand / 2017/ FICTION/ COLOR/ Indonesian, dialect from Sumba/ DCP/ 24 FPS/ 2.39:1/ 5.1 Attachées de presse /Press releases Vanessa Jerrom- 06 14 83 88 82 Claire Vorger- 06 20 10 40 56 [email protected] Synopsis Au cœur des collines reculées d’une île indonésienne, Marlina, une jeune veuve, vit seule. Un jour, surgit un gang venu pour l’attaquer, la violer et la dépouiller de son bétail. Pour se défendre, elle tue plusieurs de ces hommes, dont leur chef. Décidée à obtenir justice, elle s’engage dans un voyage vers sa propre émancipation. Mais le chemin est long, surtout quand un fantôme sans tête vous poursuit. In the deserted hills of an Indonesian island, Marlina, a young widow, is attacked and robbed for her cattle. To defend herself, she kills several men of the gang. Seeking justice, she goes on a journey for empowerment and redemption. But the road is long especially when the ghost of her headless victim begins to haunt her. www.asian-shadows.com | [email protected] 3 Sales & Festivals moi : je ne lui ai pas demandé de jouer le texte, mais juste de me montrer à quel point elle voulait le rôle. Pour le rôle de Markus, j’ai travaillé avec le comédien Egi Fedly sur mon premier film, et il était une évidence depuis le début.
    [Show full text]
  • Bab I Pendahuluan
    BAB I PENDAHULUAN 1.1 LATAR BELAKANG Industri perfilman Indonesia telah berkembang sejak tahun 1900 hingga saat ini. Ratusan bahkan ribuan judul film telah diproduksi para sineas film Indonesia dengan berbagai genre. Berbagai pelosok negeri telah dijelajahi para sineas bangsa untuk dijadikan sebagai latar cerita film, tidak terkecuali Yogyakarta. Yogyakarta merupakan salah satu kota yang sangat berperan penting bagi perkembangan dunia perfilman di Indonesia. Dimulai pada zaman revolusi terdapat tiga sekolah film yang berada di Yogyakarta, yakni Kino Drama Atelier (KDA) yang didirikan oleh Dr. Huyung, D. Djajakusuma, D. Suraji, dan Kusbini. Selanjutnya Stichting Hiburan Mataram (STM) didirikan oleh pejabat Kementrian Penerangan, yaitu R.M. Daryono, R.M. Haryoto, dan R. Margono Djojohadikusumo. Pada tahun 1948, Kementrian Penerangan mendirikan sekolah yang ketiga yaitu, Cine Drama Atelier (CDI).1 Keberadaan sekolah film di Yogyakarta tidak berhenti pada zaman revolusi saja. Pada saat ini, jumlah sekolah film semakin berkembang akibat dari semakin meningkatnya minat kaum muda terhadap dunia perfilman. Beberapa sekolah tersebut antara lain, Institut Seni Indonesia (ISI), Sekolah Tinggi Multi Media Yogyakarta, dan Art Film School. Adanya sekolah-sekolah film tersebut di Yogyakarta dapat membantu menggali potensi para sineas muda yang berasal dari Yogyakarta agar dapat berkiprah dalam dunia perfilman nasional bahkan internasional. Berbicara mengenai dunia perfilman pasti tidak lepas dengan peran penting sutradara untuk mengarahkan jalannya cerita dalam suatu film. Dalam hal ini, Yogyakarta juga telah menyumbangkan anak daerah terbaiknya untuk berkarya dalam dunia perfilman nasional. Sebut saja Garin Nugroho dan Hanung Bramantyo. Keduanya merupakan sutradara populer di dunia perfilman Indonesia yang berasal dari Yogyakarta. Garin Nugroho merupakan salah satu sutradara dan produser yang terkenal di Indonesia.
    [Show full text]
  • Reconfiguring Ideal Masculinity: Gender Politics in Indonesian Cinema
    Reconfiguring Ideal Masculinity: Gender Politics in Indonesian Cinema Evi Eliyanah A thesis submitted for the degree of Doctor of Philosophy Australian National University February 2019 © Copyright Evi Eliyanah All Rights Reserved I declare that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Signed: 12 February 2019 Word Count: 77,081 Two roads diverged in a wood, and I— I took the one less travelled by, And that has made all the difference. Robert Frost, The Road Not Taken For Fadli. Thanks for being with me in travelling the less trodden path. Acknowledgements Praise to Allah, the Lord Almighty that I can finally get to the end of the tunnel. This thesis will never be in its final version without the constant support, confidence, and intellectually rigorous feedback and inspiration from my supervisor: Prof Ariel Heryanto. He was the one who convinced me that I could do a PhD, something previously unthinkable. He was also the one who convinced me to work in an area which I had never trodden before: masculinities. But, Robert Frost said that the road less travelled has ‘made all the difference’. It did and will always do so. My most sincere appreciation also goes to my two other highly supportive supervisors: Dr Ross Tapsell and Dr Roald Maliangkaij. Their confidence in me, intellectual insights and support have helped me build my self-confidence. They are just exceptionally kind and supportive. I would also like to thank Prof Kathryn Robinson for countless hours of fruitful discussion on masculinities in Indonesia and theories of masculinities.
    [Show full text]
  • Solo Rites: Seven Breaths Program Information and Translations
    Jen Shyu’s solo performance — that of a woman living simultaneously in multiple cultures and "projecting her ancestry" through contemporary monologue — reveals a personal journey of loss and redemption made universal through the exploration of losses that plagues our modern world: loss of tradition, habitat, and public spaces. Sonic, visual, and visceral rites and reflections are discovered by pilgrimage through Taiwan, East Timor, Indonesia, Vietnam, and South Korea. Renowned Indonesian film and stage director Garin Nugroho (Opera Jawa, Under the Tree, Daun di Atas Bantal) directs Solo Rites: Seven Breaths, infusing his distinctive vision for celebrating the exhilarating and sacred into the work. This document complements the live performance of Solo Rites: Seven Breaths at Asia Society Texas Center on Friday, September 26, 2014. It includes artistic information, production credits, text translations, and biographies. ARTIST STATEMENT Thank you for embarking on this journey with me. Although some of these sounds and languages may be unfamiliar to you, I hope they take you on a voyage to discovering the many sources of inspiration for Solo Rites: Seven Breaths. As I traveled to the “cornerest of corners” as I like to say—from the remote mountains of East Timor to the river communities of East Kalimantan, Indonesia—I had the privilege of meeting the most beautiful and sincere people. They claimed to be simple farmers, but they truly were master singers. My first reaction was humility. Next was wanting to lead others to experience the power of the human voice through these masters and to see tradition in a new light. Seven Breaths’ director Garin Nugroho often mused that the lines between tradition and modernity are so blurry that we’d do best if we did not define ancient versus modern, but rather, unite them.
    [Show full text]
  • Download Download
    Jurnal Ekonomi dan Bisnis, Volume 24 No. 1 April 2021, 27 - 46 Jurnal Ekonomi dan Bisnis Journal homepage: www.ejournal.uksw.edu/jeb ISSN 1979-6471 E-ISSN 2528-0147 Creativity and its paradoxes: How the Indonesia movie industry can survive Elvy Maria Manurunga*, Daniel Daud Kameob a Faculty of Economics, Parahyangan Catholic University, Bandung, Indonesia; [email protected]* b Faculty of Economics and Business, Satya Wacana Christian University, Salatiga, Indonesia; [email protected] ARTICLE INFO ABSTRA K Article History: Kreativitas adalah motor penggerak ekonomi dunia saat ini. Received 03-02-2020 Bisnis yang tidak bisa mengejar ketinggalannya dalam kreativitas Revised 28-03-2020 yang mewujud pada teknologi dan inovasi, sangat mungkin Accepted 19-01-2021 terhempas dan tidak mampu bersaing lagi. Industri film yang Kata Kunci: sarat dengan kreativitas memperlihatkan tegangan-tegangan dan kreativitas, paradoks, situasi dilematis dari masa ke masa. Di satu sisi kreativitas sangat mengelola kreativitas, proses diperlukan untuk menghasilkan produk budaya yang berkualitas bisnis, industry film tinggi, namun di sisi lain komersialitas dan bisa diterima pasar menjadi kebutuhan dan syarat untuk tetap eksis. Penelitian ini Keywords: ingin mengeksplorasi industri film di Indonesia dari sisi creativity, paradoxes, kreativitas sekaligus komersialitas dan hubungannya dengan managing creativity, business process, movie industry paradoks kreativitas, sesuatu yang belum dilakukan oleh penelitian-penelitian sejenis sebelumnya. Penelitian dilangsungkan pada tahun 2015-2017 dengan menggunakan metode grounded. Industri film Indonesia dipilih sebagai studi kasus. Sejumlah wawancara dengan pembuat film (produser) dan penonton, serta focus group discussion dengan para ahli di bidang film dan budaya, telah dilakukan. Hasilnya menunjukkan bahwa pembuat film harus mengenal situasi paradoksal ini dan mengelola kreativitasnya pada proses bisnis yang ia tekuni dengan lebih baik.
    [Show full text]
  • Film Tourism Indonesian Style: the Cases of Laskar Pelangi and Eat Pray Love
    Film Tourism Indonesian Style: The Cases of Laskar Pelangi and Eat Pray Love Ekky Imanjaya and Indra Kusumawardhana. BINUS International, Bina Nusantara University Jakarta-Indonesia E-mail: [email protected] and [email protected] ABstraCt Film-induced tourism becomes a new emerging issue in tourism and scholarly research for the last 10 years. London’s “Harry Potter” series and New Zealand’s “Lord of the Rings” are among the best practices of the trend. On the other hand, Indonesia is a country with many beautiful places to visit by both local and international tourists. The number of visitors increases significantly every year. However, there is no contribution from film industry, both from local or international production, related to this increasing numbers of tourists, not before national movie production “Laskar Pelangi, 2008” (Rainbow Troops, 2008) by Riri Riza, and international box office movie production “Eat, Pray Love, 2010”. The study research will discuss about film induced tourism issues in Indonesia, particularly on why and how the two films--so far, until recently, only those two films--became phenomenon in film tourism--and why other films did not. Keywords: Film, Tourism, Tourist Primary Destination, film tourism 9 Film Tourism Indonesian Style: The Cases of Laskar Pelangi and Eat Pray Love Ekky Imanjaya and Indra Kusumawardhana I. BaCkground As a topic of research, the term “Film tourism”, sometimes called movie-induced or film- induced, is relatively new and gets more attention from scholars, especially from Hospitality and Tourism department. (Hudson & Ritchie, 2006). Additionally, Roesch (2009), the prolific professor who undertakes many researches on the topic, argued that visitors to film locations want an on-site experience which engages their emotions and tells them a story.
    [Show full text]
  • KAJIAN KARAKTER MGR. SOEGIJAPRANATA DALAM FILM SOEGIJA Untuk Mendukung Workshop Penulisan Skenario Film Mata Kuliah Videografi
    LAPORAN AKHIR PENELITIAN DAN PENGABDIAN KAJIAN KARAKTER MGR. SOEGIJAPRANATA DALAM FILM SOEGIJA Untuk Mendukung Workshop Penulisan Skenario Film Mata Kuliah Videografi Ag. Dicky Prastomo, SIP., MA Ir. Robert Rianto Widjaya, MT., IAI. PROGRAM STUDI DESAIN KOMUNIKASI VISUAL FAKULTAS ARSITEKTUR DAN DESAIN UNIVERSITAS KATOLIK SOEGIJAPRANATA SEMARANG TAHUN AKADEMIK 2014-2015 RINGKASAN PENELITIAN Mengapresiasi karya desain yang kompleks seperti film memerlukan ragam pendekatan. Film Soegija karya sineas Garin Nugroho menampilkan kehidupan salah satu tokoh besar Indonesia yakni Mgr. Soegijapranata. Dalam penelitian ini karakter Mgr. Soegijapranata direpresentasikan ke dalam Tokoh bernama Soegija. Persoalan yang muncul dalam pilihan penelitian ini adalah “Bagaimana karakter Mgr. Soegijapranata dikonstruksi melalui film Soegija? Sebagai sebuah karya desain yang menafsirkan ulang sisi kehidupan tokoh tentunya tidak lepas dari bias dan narasi seperti apa yang harus ditampilkan. Metode pilihan yang digunakan peneliti kemudian mengarah pada fokus karakterisasi tokoh Soegija yang dapat diamati melalui apa yang dikatakan, apa yang dipikirkan, apa yang dirasakan, apa yang dilakukan, dan seperti apa penampilan visual tokoh Soegija dalam film. Beberapa temuan penelitian terungkap bias karakter karena dilakukan penilaian dan pembandingan dengan informasi dokumentasi literatur dan media massa lainnya tentang Soegija. Ada ketidaksesuaian karakter yang dikonstruksi dalam film Soegija. termasuk di dalamnya bagaimana karakter Soegija ditempatkan dan berinteraksi
    [Show full text]
  • The Anomalous Islamic Movies and Other Recent Issues As Representation of Muslim World in Post-New Order Indonesian Cinema
    The Anomalous Islamic Movies and Other Recent Issues as Representation of Muslim World in Post-New Order Indonesian Cinema THE ANOMALOUS ISLAMIC MOVIES AND OTHER RECENT ISSUES AS REPRESENTATION OF MUSLIM WORLD IN POST-NEW ORDER INDONESIAN CINEMA Ekky Imanjaya co-founder/editor of Rumahfilm.org alan Puskesmas No. 99 Jakarta 13880 [email protected] Abstrak Pasca Orde Baru, film-film bertemakan Islam menjadi trend an laris manis. Ayat-Ayat Cinta dan Ketika Cinta Bertasbih adalah contoh dari film Islami yang ditonton jutaan orang— keduanya hasil adaptasi novel karya Habiburrahman Syairazy. Keduanya punya persamaan: melodrama nan sedih, tokoh protagonis yang saleh dan pintar hingga dapat beasiswa ke Mesir, dan ia berusaha mencari teman hidup. Epigonnya menjamur,dan rata-rata tidak ada yang menonjol dari segi sinematografi,cerita,atau bahkan kelarisan. Apakah tema “Islam” membuat mutu kebanyakan dari “genre” ini tidak gemilang?Bagaimana dengan film yang merepresentasikan umat Islam dengan ekspresi dan cara bertutur yang berbeda? Misalnya Kantata Takwa, Laskar Pelangi, dan Rindu Kami PadaMu? Paper ini akan menganalisa bagaimana film-film bertema Islam selalu dihadapkan pada situasi negosiasi 3 pihak: sang ideolog yang dai, komersialis yang pedagang, dan idealis yang seniman. Ketiganya ada dalam film itu, dan siapa yang mendominasi akan menentukan mutu dan arah sebuah film. Ketiganya membentuk bervariasi kombinasi. Kata Kunci: Film Islam, Arah Film, Genre Introduction and the recent films that fit the definition. I call Do Commercialism, Islamic Law (Sha- the selected films as anomalous movies which are riah), and Virtues become potential factors to Kantata Takwa (“Cantata of Devotion”, Erros lower the quality of so-called Indonesian “Islamic Djarot/Gatot Prakosa, 2008), Sang Murabbi (“The Cinema?” Those factors seem to be embedded Mentor”, Zul Ardhia, 2008), Laskar Pelangi , in most recent post-New Order Islamic films, Rindu Kami Pada-Mu, and 3 Doa 3 Cinta (“3 Wish, and some film critics highlight that most of the 3 Loves”, Nurman Hakim, 2008).
    [Show full text]
  • Promoting Respect for Human Rights and Fundamental Freedoms Of
    “Re-shaping cultural policies for artistic freedom” Pre-event Venue: Jakarta Convention Center, Merak Room II Tuesday 2 May 2017 Promoting respect for human rights and fundamental freedoms of expression, information and communication is a prerequisite for the creation, distribution and enjoyment of diverse cultural expressions. These are among the core guiding principles of the 2005 UNESCO Convention on the Diversity of Cultural Expressions and the 1980 Recommendation on the Status of Artists. The recognition and protection of artistic freedom are germane not only to the creative practice of artists themselves but also to the rights of all cultural producers. In the dynamics of social development, artistic freedom is an essential ingredient of the wellbeing of citizens and societies and for the stability of the cultural and creative industry sectors. The growth and flourishing of the latter are striking in countries that respect and protect the freedom of artistic expression. Freedom of expression for artists can be understood as a complex area of issues for policymakers, which includes measures aimed at protecting and promoting the economic and social rights of artists as well as their freedom of movement and of association. During the 2016 edition of World Press Freedom Day held in Helsinki (Finland), Nordic Ministers of Culture adopted a Joint Declaration reaffirming that “Artistic and creative expression, as an integral part of the human right to freedom of expression, is critical both to the development of cultures and to the functioning
    [Show full text]