Citra Bagong sebagai Suara Wong Cilik pada Kanal YouTube Dalang Seno

Along with the emergence of new media, wayang kulit play have also undergone changes and adjustments to the format. Through media such as YouTube, wayang kulit shows are no longer shown as 8-9 hour long shows. This media change does not cause a paradigmatic change to the role of Punakawan, but also provides a fresher interpretation space for Punakawan (clowns) as today’s social communicators. This paper aims to examine how Bagong, one of character of Punakawan, underwent a transformation in the wayang kulit play that was broadcasted on the Dalang Seno YouTube channel, which was initiated by Ki Seno Nugroho. In this channel, Bagong is no longer shown as a side character, but as the main character in the wayang kulit narrative. In addition, this paper wants to explore the extent to which Bagong seeks as a social communicator in the context of postcolonial society as shown on the Dalang Seno channel in the midst of a pandemic.

Signifikansi Unsur Budaya Lokal dalam Film Horor Mangkujiwo (2020)

The background of this research is that elements of local culture that are sociologically manifested in symbols, language, beliefs, values, and cultural artifacts are often used as settings in the narrative structure of films. In contemporary Indonesian horror films, local cultural elements have begun to be considered, but are often not seen as an important part of a complete narrative. Therefore, this research wants to explore the importance of local cultural elements in an Indonesian horror film entitled Mangkujiwo (2020). The type of research used is qualitative research by utilizing John Fiske's semiotic method which is used as a means to understand conceptual relationships that produce explicit meanings that are objective. The results show that the significance of local cultural elements presented in the horror film forms 5 patterns that are closely related to belief in myths and magi and the Kejawen mystical system, the role of shamans in the mystical practices of Javanese society, property and throne as markers of power, revenge as the achievement of just conditions, and family as the site of traged