The Dynamics of Women’s Role in Public Area : A Framing Analysis toward Women’s Character in Leading Religius TV Drama

Meskipun banyak kritik dan kontroversi, drama TV agama telah memantapkan dirinya sebagai salah satu program TV yang paling banyak ditonton di Indonesia. Seperti banyak yang lain dari jenisnya, drama TV agama menyibukkan diri dengan konflik sekitar karakter wanitanya. Tapi karena dicap sebagai drama religius, orang mungkin bertanya-tanya bagaimana prinsip-prinsip agama yang diterapkan pada program hiburan seperti ini. Pertanyaan ini ditujukkan pada bagaimana program menggambarkan peran karakter wanita di tempat umum: apakah memberdayakan perempuan melalui karakter wanita nya, atau tidak? Sebuah analisis framing dilakukan pada tiga drama TV agama yang disiarkan pada tahun 2010 telah menemukan beberapa kesimpulan. “Ketika Cinta Bertasbih” dan “Para Pencari tuhan (4 musim)” telah berhasil menggambarkan karakter wanita dalam peran penting dalam mengatasi isu-isu publik kontemporer. Sementara itu, “Safa Marwah” gagal dalam mengenai masalah tersebut. “Safa Marwah” didominasi oleh masalah domestik dan konflik yang dibingkai karakter wanita dalam stereotipe tradisional yang paling ketinggalan zaman. Kata Kunci: Program TV, Drama TV Religi

The Dynamics of Women’s Role in Public Area : A Framing Analysis toward Women’s Character in Leading Religius TV Drama

Meskipun banyak kritik dan kontroversi, drama TV agama telah memantapkan dirinya sebagai salah satu program TV yang paling banyak ditonton di Indonesia. Seperti banyak yang lain dari jenisnya, drama TV agama menyibukkan diri dengan konflik sekitar karakter wanitanya. Tapi karena dicap sebagai drama religius, orang mungkin bertanya-tanya bagaimana prinsip-prinsip agama yang diterapkan pada program hiburan seperti ini. Pertanyaan ini ditujukkan pada bagaimana program menggambarkan peran karakter wanita di tempat umum: apakah memberdayakan perempuan melalui karakter wanita nya, atau tidak? Sebuah analisis framing dilakukan pada tiga drama TV agama yang disiarkan pada tahun 2010 telah menemukan beberapa kesimpulan. “Ketika Cinta Bertasbih” dan “Para Pencari tuhan (4 musim)” telah berhasil menggambarkan karakter wanita dalam peran penting dalam mengatasi isu-isu publik kontemporer. Sementara itu, “Safa Marwah” gagal dalam mengenai masalah tersebut. “Safa Marwah” didominasi oleh masalah domestik dan konflik yang dibingkai karakter wanita dalam stereotipe tradisional yang paling ketinggalan zaman. Kata Kunci: Program TV, Drama TV Religi

The Dynamics of Women’s Role in Public Area : A Framing Analysis toward Women’s Character in Leading Religius TV Drama

Meskipun banyak kritik dan kontroversi, drama TV agama telah memantapkan dirinya sebagai salah satu program TV yang paling banyak ditonton di Indonesia. Seperti banyak yang lain dari jenisnya, drama TV agama menyibukkan diri dengan konflik sekitar karakter wanitanya. Tapi karena dicap sebagai drama religius, orang mungkin bertanya-tanya bagaimana prinsip-prinsip agama yang diterapkan pada program hiburan seperti ini. Pertanyaan ini ditujukkan pada bagaimana program menggambarkan peran karakter wanita di tempat umum: apakah memberdayakan perempuan melalui karakter wanita nya, atau tidak? Sebuah analisis framing dilakukan pada tiga drama TV agama yang disiarkan pada tahun 2010 telah menemukan beberapa kesimpulan. “Ketika Cinta Bertasbih” dan “Para Pencari tuhan (4 musim)” telah berhasil menggambarkan karakter wanita dalam peran penting dalam mengatasi isu-isu publik kontemporer. Sementara itu, “Safa Marwah” gagal dalam mengenai masalah tersebut. “Safa Marwah” didominasi oleh masalah domestik dan konflik yang dibingkai karakter wanita dalam stereotipe tradisional yang paling ketinggalan zaman. Kata Kunci: Program TV, Drama TV Religi

BRANDING THE INDONESIAN ANTI-DEFAMATION SOCIETY (MAFINDO) TO ORGANIZATION REJUVENATION IN PREVENT HOAXES: VOLUNTEERS PERCEPTION

The existence of Mafindo as an organization based on the spirit of volunteerism is needed by Indonesia. The main central aspect of Mafindo's introduction cannot be separated from the visible identity, namely the logo (brand). The Mafindo logo is considered necessary to get perception from voluto rejuvenate as an organization aimed at preventing and eradicating hoaxes. The process of collecting research data was carried out using two techniques: distributing questionnaires through google forms to respondents with specific criteria and through Focus Group Discussions (FGD). The determination of the number of samples of 30% of the population members was 144 out of 480 active volunteers. The data were analyzed descriptively and interpretively based on the components asked in the google form questionnaire and the results of the FGD. The results showed that Mafindo's branding through the logo with all its attributes is considered to be very representative of Mafindo's vision and character. Logos, symbols, slogans, characters, and socialised packaging are good because they are memorable and easy to recognize and call. In addition, there is a Meaningful value, which is descriptive and persuasive through the slogan "Turn Back Hoax", which is proven to get a positive response so that it meets the likeable elements, namely fun and attractive, rich in visual and verbal imagery. The results of this study can be used as material for evaluating the brand development of the Mafindo organization based on volunteers' perceptions

Involvement of State Officials As Cast of Characters in Folk Theater Ketoprak RRI Yogyakarta

Ketoprak is a traditional Javanese performing art that incorporates elements of karawitan, dance, comedy, song, acting, and artistic arrangements. Traditional art is divided into two types, such as folk art and classical art, or palace art. Ketoprak is a folk art that has its origins among the people who live outside the palace. As a folk art, ketoprak is also used to communicate to the authorities issues that the people are concerned about. Criticizing through the performing arts is a powerful way to express criticism without taking offense. Ketoprak is usually performed by a group of artists on stage. However, in recent years, ketoprak performances have been performed not only by community performer groups but also by state officials taking the cast of characters on stage. The involvement of state officials at all levels, from regional to ministerial, as well as guest stars and main characters. Including those carried out under the RRI Yogyakarta ketoprak program. The descriptive qualitative research method was used to figure out how the implementation of the ketoprak program at RRI can preserve ketoprak's dignity as a folk theater, despite the fact that it is represented by state officials, by conducting interviews with program producers and respected ketoprak performers from Yogyakarta. The study's findings show that in its development, ketoprak was divided into two forms, conventional ketoprak which was standard with rules or pakem that were still preserved by RRI Yogyakarta and ketoprak garapan which is open to be interpreted in various ways and is free to be casted by anyone, including officials who are performed in the live version of the RRI Ketoprak Program

Jurnalisme radio : teori dan praktik

x, 174 hlm.: 23 c

Jurnalisme radio: teori dan praktek

x,172p.: ills.; 24 c

Jurnalisme Radio : Teori dan Praktik

x.174 hal.;24 c

Simple Step to TOEFL from Grammar to the D-Day

339 hal,;ill,;29c