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Semiotika: Jurnal Komunikasi
Published by Universitas Bunda Mulia
ISSN : -     EISSN : 25798146     DOI : -
Core Subject : Education, Art, Social,
Arts Languange, Linguistic, Communication & Media Social Sciences
Jurnal Ilmiah “SEMIOTIKA” diterbitkan oleh Program Studi Ilmu Komunikasi – Fakultas Ilmu Sosial dan Humaniora (FISH), Universitas Bunda Mulia secara rutin dan berkala sesuai dengan periode terbit per semester (6 bulan), yaitu bulan Juni dan Desember. Redaksi jurnal “SEMIOTIKA” membuka peluang seluas-luasnya kepada para dosen pengajar maupun peneliti pada 19 bidang yang dapat dikategorikan sebagai bahan kajian ilmiah SEMIOTIKA menurut Eco (1979:9-14), antara lain: Semiotika binatang (zoomsemiotic) Tanda – tanda bauan (olfactory signs) Komunikasi rabaan (tactile communication) Kode – kode cecapan (code of taste) Paralinguistik (paralinguistics) Semiotika medis (medical semiotics) Kinesik dan proksemik (kinesics and proxemics) Kode – kode musik (musical codes) Bahasa – bahasa yang diformalkan (formalized languages) Bahasa tertulis, alfabet tidak dikenal, kode rahasia (written languages, unknown alphabets, secret codes) Bahasa alam (natural languages) Komunikasi visual (visual communication) Sistem objek (system of objects) Struktur alur (plot structure) Teori teks (text theory)1 Kode – kode budaya (culture codes) Teks estetik (aesthetic texts) Komunikasi Massa (mass comunication) Retorika (rhetoric) Di luar bidang-bidang yang dijabarkan oleh Umberto Eco di atas, perkembangan kajian semiotika menunjukkan kemajuan yang menggembirakan. Berbagai kajian membuka kesempatan pada istilah lain yang mengacu pada diseminasi bidang dalam jurnal ini, antara lain: Semiotika Komunikasi, Semiotika Media, Semiotika Tanda, Semiotika Produk, Semiotika Desain Kemasan, Semiotika Desain Visual, Semiotika Arsitektur, Semiotika Pemasaran, Semiologi Linguistik, Hermeunetika, dan Biosemiotika.
Arjuna Subject : Ilmu Sosial - Komunikasi
Articles 172 Documents
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REPRESENTASI GENDER TOKOH DIANA DALAM FILM WONDER WOMAN Retno Indriyani; Yuliana Rakhmawati
SEMIOTIKA: Jurnal Komunikasi Vol 12, No 2 (2018): Semiotika : Jurnal Komunikasi
Publisher : Universitas Bunda Mulia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30813/s:jk.v12i2.1717

Abstract

ABSTRACTThe purpose of this study is to describe feminism in the female film Superhero entitled'Wonder Woman' which was released in 2017 and to find out the implicit meaning of feminism.This research uses qualitative and descriptive methods and semiotic analysis of Roland Barthes.Roland Barthes's semiotic analysis includes denotation (true meaning) and connotation (doublemeaning, born from cultural and personal experiences). And if the connotation is inherent insociety, it will become a myth. The analysis of this research is based on the elements ofnarrative films, such as space and time, character, conflict, and purpose. The results obtainedfrom this study are from 14 selected scenes in this Wonder Woman film containing 4 points offeminism. The feminism point was taken based on a book called Feminist Thought by RosemariePutnam Tong. Feminism consists of feminism in struggle, feminism in making decision,feminism in the power of determination, and feminism in love. Wonder Woman is amonoandrogynous woman, where she shows feminine and masculine character at the sametime. Beautiful, innocent, compassionate, eager for the opposite sex, can fall in love like womenin general. But at the same time also aggressive, can lead, can compete, can make their owndecisions and can carry responsibility for the interests of many people like men.Keywords: Feminism, Movie, Wonder Woman, Gender Communication, Roland Barthes’sSemioticsABSTRAKTujuan dari penelitian ini adalah untuk mendeskripsikan feminisme yang ada dalam FilmSuperhero wanita berjudul „Wonder Woman‟ yang dirilis pada tahun 2017 serta untuk mengetahui maknayang tersirat dari feminisme tersebut. Penelitan ini menggunakan metode kualitatif dan deskriptif sertaanalisis semiotika Roland Barthes. Analisis semiotika Roland Barthes mencakup denotasi (maknasebenarnya) dan konotasi (makna ganda, yang lahir dari pengalaman kultural dan pribadi). Dan jikakonotasi sudah melekat dalam masyarakat, maka akan menjadi mitos. Analisis penelitian ini berpokokpada elemen-elemen film naratif, seperti ruang dan waktu, tokoh, konflik, dan tujuan. Hasil yang didapatdari penelitian ini adalah dari 14 adegan terpilih yang ada di film Wonder Woman ini mengandung 4 poinfeminisme. Poin feminisme tersebut diambil berdasarkan buku berjudul Feminist Thought oleh Tong.Feminisme tersebut terdiri dari feminisme dalam perjuangan, feminisme dalam pengambilan keputusan,feminisme dalam kekuatan tekad, dan feminisme dalam kasih sayang. Wonder Woman adalah perempuanyang monoandrogini, yaitu di mana ia menunjukkan karakter feminin dan maskulin pada saat yangbersamaan. Cantik, polos, penyayang, berhasrat untuk lawan jenis, dapat jatuh cinta seperti perempuanpada umumnya. Namun di waktu yang sama juga agresif, dapat memimpin, dapat bersaing, dapatmengambil keputusannya sendiri dan dapat mengemban tanggung jawab untuk kepentingan orang banyaklayaknya laki-laki.Kata Kunci: Feminisme, Film, Wonder Woman, Komunikasi Gender, Semiotika Roland Barthes
KONSTRUKTIVISME ESTETIKA KALIGARAFI BATIK MOTIF LAR (Analisis Semiotika dengan Perspektif Charles Sanders Peirce) Michael Jibrael Rorong; Dery Rovino; Mike Noviani Prasqillia
SEMIOTIKA: Jurnal Komunikasi Vol 14, No 1 (2020): SEMIOTIKA: Jurnal Komunikasi
Publisher : Universitas Bunda Mulia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30813/s:jk.v14i1.2196

Abstract

ABSTRACTBatik is an aesthetic description that cannot be measured in terms of its beauty, the development of batik shows the uniqueness and characteristics of each motif displayed, some countries in the world have high calligraphic aesthetics, one of which is Indonesia, a country with diverse levels of culture, language and community structure, one of which one form of uniqueness of Indonesia is batik calligraphy which is the hallmark of the Indonesian nation and is even known throughout the world. One of the uniqueness of batik calligraphy lies in Lar batik, the use of batik Lar has become an inseparable characteristic of Indonesia, even the meaning contained in it is one of Lar's motives that stretches to show might, this certainly has unique characteristics. The most fundamental problem is the meaning that tends to keliaru in understanding batik Lar, because of the culture and traditions that shape it, this study wants to see the deep meaning contained in Lar batik motifs so as to be able to lift the characteristics of Lar batik in shaping the uniqueness and understanding of someone about the aesthetic nuances of a batik calligraphy. This study uses the perspective of Charles Sanders Peirce in the process of analysis by looking at the viewpoints of objects, signs and interpretations by placing semiotics as theories and methods.Keywords: Batik, Semiotics, Charles Saunders Peirce Theory, Representation, Meaning, Aesthetics. ABSTRAKBatik merupakan gambaran estetika yang tidak bisa diukur makna keindahannya, perkembangan batik mempertunjukan keunikan dan karakteristik dari setiap motif yang ditampilkan, beberapa negara di dunia memiliki esetika kaligrafi yang tinggi, salah satunya adalah Indonesia negara dengan tingkat budaya, bahasa dan struktur masayarakat yang beragam, salah satu bentuk keunikan dari Indoensia adalah kaligrafi batik yang menjadi ciri khas bangsa Indonesia dan bahkan dikenal di seluruh dunia. Salah satu keunikan dari kaligrafi batik terletak pada batik Lar, penggunaan batik Lar tersebut telah menjadi karakteristik yang tidak terpisahkan dari Indoensia, bahkan makna yang terkandung di dalamnya salah satunya adalah motif Lar yang terbentang mempertunjukan keperkasaan, hal ini tentunya memiliki karakteristik yang unik. Permasalahan yang paling mendasar yaitu pemaknaan yang cenderung keliaru dalam memahami batik Lar, karena budaya dan tradisi yang membentuknya, kajian ini ingin melihat makna mendalam yang terdapat pada motif batik Lar sehingga mampu mengangkat karakteristik dari batik Lar dalam membentuk keunikan dan pemahaman seseorang tentang nuansa estetika suatu kaligrafi batik. Kajian ini menggunakan perspektif Charles Sanders Peirce dalam proses analisis dengan melihat dari subut pandang objek, tanda dan interpretasi dengan menempatkan semiotika sebagai teori dan metode.Kata Kunci : Batik, Semiotika, Teori Charles Saunders Peirce, Representasi, Makna,Estetika.
REPRESENTASI PREMANISME DALAM FILM JAGAL (Studi Semiotika Roland Barthes) Ralvin Januar Wijaya
SEMIOTIKA: Jurnal Komunikasi Vol 9, No 2 (2015): Jurnal Semiotika
Publisher : Universitas Bunda Mulia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30813/s:jk.v9i2.23

Abstract

The movie titled “Jagal” (Slaughter) is interesting to be studied because it is built with signs and the field of study is very relevant for semiotic analysis. The film also tells about the history of Indonesia 60 years ago when Soeharto’s rezim execute millions people who were accused as pro-Indonesian Communist Party. The purpose of this study was to determine the thugs representation contained in the signs of communication on the film.“Jagal” raises attitudes, behavior or actions of thuggery. The act of thuggery is seen emerging among other crimes such as unlawful extortion, corruption, abuse of power, even doing by top government officials. From the analysis has been done, we can conclude the meaning of the message is the thugs emerged from someone who wants a freedom. This is a nature that emerges from within every human being. Values or meanings of thugs become familiar in people's behavior daily. Keywords: Thuggery, Semiotic, Freedom, ‘Jagal’
REFLEKSI KONTROVERSI PADA MASYARAKAT DEMOKRATIF DALAM MEDIA TWITTER (Studi Fenomenologi Tentang Pengalaman Followers Akun Twitter @farhatabbaslaw Dalam Memandang Kepemimpinan Joko Widodo) Allice Chitra Yapardi; Anastasia Monica Tjahyadi; Herlika Fransisca Wijaya; Nur Desilawati
SEMIOTIKA: Jurnal Komunikasi Vol 7, No 2 (2013): Jurnal Semiotika
Publisher : Universitas Bunda Mulia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30813/s:jk.v7i2.962

Abstract

Twitter is a social media based from text, with some of “kicauan” consists of 140 characters for a content. Twitter used as a medium to knows or gives an informations to all Twitter members. Twitter is a forum for their members to gives their opinions about any themes, including politics, law, culture and social problem. One of many famous twitter members, who actived to give his opinions and expressions his things about their politicsidea is @Farhatabaslaw. Farhat Abbas, as a political and as a candidate of Indonesian president who have that twitter account. He always gives an opinion about the goverment of Jakarta’s governer, Joko Widodo and Basuki Tjahaja Purnama. The followers of @Farhatabaslaw gives their opinions. The followers of Farhat Abas’s Tweet give pro and contra opinions.In this research, the pro and contra opinion says they have an experience about they participate to gives their opinion, consists of give a support to Farhat Abas’s opinion, underestimate the opinions from Farhat Abas, and give a neutral opinions. The follower’s motive about their participate because they wan’t to know about Farhat Abas who a phenomenal figure, they wan’t to expression their opinions, and they want to answercuriosity of the tweet from @farhatabaslaw.Keywords: Social Media, Followers @farhatabbaslaw, Phenomenology, Controversy
HEGEMONI BUDAYA PATRIARKI PADA FILM (Analisis Naratif Tzvetan Todorov Terhadap Film Kartini 2017) Karen Wulan Sari; Cosmas Gatot Haryono
SEMIOTIKA: Jurnal Komunikasi Vol 12, No 1 (2018): Semiotika : Jurnal Komunikasi
Publisher : Universitas Bunda Mulia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30813/s:jk.v12i1.1542

Abstract

ABSTRAK Penelitian ini merupakan penelitian yang mencoba mengungkap  hegemoni patriarki yang ada dibalik alur cerita dari film Kartini 2017. Peneliti mencoba menganalisis adegan-adegan yang menggambarkan, bagaimana budaya patriarki mengekang kehidupan perempuan pada waktu itu dengan menggunakan metode kualitatif dan analisis naratif Tzvetan Todorov. Hasilnya menunjukkan bahwa  kekuasaan masih sangat dominasi oleh kaum laki-laki yang digambarkan melalui fakta bahwa pengambilan keputusan, “panggung sosial”, kekuasan (jabatan) dan pendidikan yang tinggi selalu didominasi oleh kaum laki-laki. Sedangkan perempuan menggambarkan representasi ketertindasannya dengan adegan yang selalu berada didapur, mendengarkan pembicaraan hanya dari balik tembok, dan tunduk terhadap laki-laki. Penelitian ini juga menunjukkan bahwa narasi dalam film Kartini ini masih mencoba tetap setia pada budaya yang ada, dengan melanggengkan cerita serta mengkaitkan unsur budaya patriarki pada jaman itu dengan citra perempuan yang pada masa itu.Kata Kunci : Film, Analisis Naratif, Hegemoni, Patriarki
“Politik Tanpa Mahar”: Semiotika Jargon Komunikasi Partai Nasional Demokrat di Era Demokrasi Biaya Tinggi Sahroni, Ahmad; Prisanto, Guntur Freddy; Ernungtyas, Niken Febrina; Irwansyah, Irwansyah; Afriani, Anindita Lintangdesi
SEMIOTIKA: Jurnal Komunikasi Vol 13, No 2 (2019): Semiotika : Jurnal Komunikasi
Publisher : Universitas Bunda Mulia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30813/s:jk.v13i2.1818

Abstract

Abstrak. Saat ini, uang telah menjadi darah bagi kehidupan partai politik. Di tengah persepsi masyarakat bahwa partai politik adalah entitas yang tidak dapat dipisahkan dari uang, Partai Nasional Demokrat (Partai Nasdem) meluncurkan jargon “Politik Tanpa Mahar”. Maksudnya, seseorang yang dicalonkan menjadi kepala daerah atau anggota legislatif tidak perlu mengeluarkan biaya apapun kepada partai dalam proses pencalonannya. Penelitian ini mengkaji bagaimana proses jargon tersebut dirumuskan pada tingkat internal partai, bagaimana dampaknya terhadap para kandidat yang diajukan partai ketika mereka melakukan komunikasi politik, serta bagaimana publik mempersepsikan jargon tersebut dan relasinya dengan penilaian terhadap Partai Nasdem. Penelitian ini menggunakan pendekatan kualitatif dengan metode semiotika Roland Barthes. Hasil penelitian mengungkapkan, pertama, jargon ini sendiri terlahir atas dasar kendala dari politik di Indonesia yang menggugurkan orang-orang baik dan berintegritas. Dengan diberlakukannya jargon, yang juga diartikan sebagai kebijakan, Nasdem turut berkontribusi dalam pengentasan korupsi di pihak internal. Kedua, diusungnya jargon ini menyebabkan beberapa calon legislatif, untuk berpindah ke partai Nasdem sebagai modal untuk kepentingan menaikkan suara publik. Terakhir, masyarakat menilai bahwa jargon ini cukup realistis dan sesuai dengan visi misi partai Nasdem sehingga memberikan citra yang positif di mata masyarakat. Kata kunci: Jargon, Komunikasi politik, Partai politik, Persepsi masyarakat, Semiotika Abstract. Money has become the blood for the lives of political parties nowadays. Amid public perception that political parties are entities that cannot be separated from money, the Democratic National Party (Nasdem Party) launched the jargon "Politik Tanpa Mahar". That is, a person who is nominated to be a regional head or a member of the legislature does not need to pay any costs to the party in the nomination process. This study examines how the jargon process was formulated at the internal party level, how the impact on candidates proposed by the party when they conducted political communication, and how the public perceives the jargon and its relation to the assessment of the Nasdem Party. This study uses a qualitative approach with the Roland Barthes semiotic method. The results of the study revealed, first, this jargon itself was born based on the constraints of politics in Indonesia which abort people with good and integrity. With the enactment of jargon, which is also interpreted as a policy, Nasdem also contributed to the eradication of corruption on the internal side. Secondly, the promotion of this jargon caused several legislative candidates to move to the Nasdem party as capital in the interests of raising public votes. Finally, the community considered that this jargon was quite realistic and under the vision and mission of the Nasdem party to provide a positive image in the eyes of the community. Keywords: Jargon, Political communication, Political parties, Community perception, Semiotics
REPRESENTASI CAPRES BONEKA DALAM MEME CAPRES BONEKA DI SOSIAL MEDIA Dini Safitri
SEMIOTIKA: Jurnal Komunikasi Vol 9, No 1 (2015): Jurnal Semiotika
Publisher : Universitas Bunda Mulia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30813/s:jk.v9i1.10

Abstract

This study aims to describe the meaning of representation in the meme presidential candidate stuffed doll in social media. Political year 2014 was a year full of political "war" symbol in social media. Among the "war", which later became tranding topic is "Candidates Dolls". At first, the symbol candidate dolls, starting from Prabowo statement. In the statement, Prabowo did not mention the name of a person who is declared as a "puppet candidate". Based on the situation of "war", the revelation leads to Joko Widodo, familiarly called Jokowi. However, the political situation has always had a new discourse, amid attacks signs and symbols, also circulated photos of Abu Rizal Bakrie (ARB) was hugging a doll, with its own narrative code. Then came Meme Trending Sosmed, "Come Guess Who Candidates Dolls Yes?", Which contains photos Surya Paloh, Roma Irama, Hatta Rajasa, Megawati, ARB, Wiranto, Prabowo, Susilo Bambang Yudhoyono (SBY), Jusuf Kala (JK) and Jokowi. The results showed there were 5 in the meme candidate Code dolls, ie hermeneutic code, the code semantic, symbolic codes, codes of narrative, and cultural codes. In the hermeneutic code contained puzzles candidate whose real doll? Semantic code shows signs of femininity, that no candidate who expressly acknowledges doll. Codes are symbolic antithesis of each point is, figures and figure hugging laughing doll. Code narrative explains that meme candidate doll is a story, have a groove and figures with various character. Code cultures showed the presence of myths about presidential politics doll in the year 2014. Keywords: Representation, Five Codes Barthes, Meme Candidates Dolls
ANALISIS SEMIOTIKA TERHADAP IKLAN SPRITE EDISI MITOS VS KENYATAAN DI TELEVISI Witanti Prihatiningsih
SEMIOTIKA: Jurnal Komunikasi Vol 10, No 2 (2016): SEMIOTIKA: Jurnal Komunikasi
Publisher : Universitas Bunda Mulia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30813/s:jk.v10i2.952

Abstract

This research analyzes the Myth Vs Reality edition of Sprite advertisement. The company wants to offer the freshness of the product with the advertisement. This research applies the semiotic perspective from Roland Barthes to analyze connotation, denotation, myth and ideology to find the message behind the advertisement. This research uses qualitative approach and semiotic analysis method. The primary data is Myth Vs Reality edition of Sprite advertisement record. The secondary data is literary review and other information. This researcher analyzes the advertisement with the semiotic model from Roland Barthes. This researcher analyzes all communication icons and cinematographic aspects in the advertisement. Finally, researcher concludes that the advertisement urges people to think logically. It urges people to understand that a drink cannot make them suddenly rich or get the ideal lover without doing nothings. However, a drink makes the body fresh and Sprite is a lime-flavored soda that can make the body fresh.Keywords: Advertisement, Semiotics, Roland Barthes
ANALISIS FILM TITANIC SEBAGAI MEDIA KAMPANYE MITIGASI BENCANA KAPAL TENGGELAM Fahira Novanra; Rasyifa Rusharijanto; Surya Irama Ramadan; Dini Safitri
SEMIOTIKA: Jurnal Komunikasi Vol 13, No 2 (2019): Semiotika : Jurnal Komunikasi
Publisher : Universitas Bunda Mulia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30813/s:jk.v13i2.1942

Abstract

ABSTRACTThis study aims to find out how the Titanic Ship Film portrays the scene of self-rescue so that viewers get information about good self-selection and according to procedure. This study uses the Semiotics Theory developed by Charles Sanders Pierce. This study uses a qualitative methodology with a semiotic method to analyze each rescue scene. The results of this study indicate that in the sinking film Titanic has a self-rescue scene consisting of four stages. The first stage, there is a scene of the attempt to delay the sinking ship. Second, the rescue stage when the ship will sink. Third, the third rescue stage of the ship has sunk. Fourth, the evacuation of victims carried out by officers.Keywords: Film, Self-Rescue, Sinking Titanic Ship, SemioticsABSTRAKPenelitian ini bertujuan untuk mencari tahu bagaimana Film Kapal Titanic mengambarkan adegan penyelamatan diri sehingga penonton mendapatkan informasi mengenai penyelatan diri yang baik dan sesuai prosedur. Penelitian ini menggunakan Teori Semiotika yang dikembangkan oleh Charles Sanders Pierce. Penelitian ini menggunakan metodologi kualitatif dengan metode semiotika untuk menganalisa setiap adegan penyelamatan. Hasil dari penelitian ini menunjukan bahwa dalam Film Tenggelamnya kapal Titanic memiliki adegan penyelamatan diri yang terdiri dari empat tahap. Tahap pertama, adanya adegan usaha penundaan kapal tengelam. Kedua, tahap penyelamatan ketika kapal akan tenggelam. Ketiga, tahap penyelamatan ketiga kapal telah tenggelam. Keempat, tahap evakuasi korban yang dilakukan oleh petugas.Kata Kunci : Film, Penyelamatan Diri, Tenggelamnya Kapal Titanic, Semiotika
SPASIALISASI MEDIA DAN DEMOKRATISASI PENYIARAN IMPLEMENTASI SISTEM SIARAN TELEVISI BERJARINGAN DI INDONESIA Gilang Gusti Aji
SEMIOTIKA: Jurnal Komunikasi Vol 8, No 2 (2014): Jurnal Semiotika
Publisher : Universitas Bunda Mulia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30813/s:jk.v8i2.3

Abstract

The emergence of UU 32/2002 on broadcasting has given hope to the realization of democratic broadcasting system. The new broadcasting system tries to change oligarchy broadcasting system with centralized ownership to share benefit to local society. This aims to reach diversity of content and diversity of ownership aspects. The mandate from broadcasting Constitution is implemented to networked television system. This can be seen from national television which has to own new legal entity in each region, and also can build networked local TV station or cooperate with local TV. But, this system has been delayed several times. Television industry has been adapted to that system which creates some patterns. At one side, centralized ownership is marked by media conglomerates. This phenomenon can threaten democratization process including networked broadcasting system. This research tries to capture its implementation among regions with varied patterns to democratic broadcasting. Keywords :Networked Broadcasting System, Democratization, Spatialization

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