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"Maraknya komunitas televisi swasta membawa banyak dampak dalam kehidupan masyarakat, baik positif atau negatif. Kehadiran mereka pun sering menimbulkan pro dan kontra dalam masyarakat. Pada satu sisi masyarakat dipuaskan oleh kehadiran mereka yang menayangkan hiburan dan memberikan informasi, namun di sisi lain mereka pun tidak jarang menuai kecaman dari masyarakat karena tayangan-tayangan mereka yang kurang bisa diterima oleh masyarakat ataupun individu-individu tertentu. Selain itu, dunia televisi (TV) sekarang ini berkembang menjadi industri budaya, alhasil televisi harus menghadapi pangsa pasar yang tercipta. Dalam era kapitalis, pasar menuntut adanya komoditi yang bisa dipertukarkan, alias diperjualbelikan. Menjamurnya program favorit pemirsa, yaitu infotainment, menjadi suatu hegemoni di pertelevisian Indonesia. Stasiun TV mengikuti selera pasar agar mampu meraup keuntungan yang berlipat, sehingga terkadang media TV tidak memikirkan apakah adanya manfaat dari konten program yang ditayangkan. Entertainment adalah kata dasar dari infotainment, namun apakah berita sensasi seperti misalnya kawin cerai seorang artis, perselingkuhan, dll, merupakan suatu hiburan bagi masyarakat? Informasi atau gosip dikemas sedemikian rupa untuk meningkatkan atau mempertahankan peringkat rating.

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The number of community private television carry much impact on people lives either positive or negative. Their presence is often give rise to the pros and cons in the community .On one side of the community slaked by the presence of those who showed entertainment and give information , but in the other hand they are not uncommon reaped criticism from the community because of their program that is less acceptable by the community or particular individuals. The televisi (TV) industry right now it develops into cultural industries, as a result of market share have to face television created.

In the era of capitalist, market demand a commodity that can be exchanged. Wide spread of viewers favorite program, namely infotainment, eventually become a television hegemony in indonesia. Following a tv station market in order to gain the advantage that strong, and sometimes it does not consider the tv the benefit of the program aired. Entertainment is the word the basis of infotainment, but whether the news the sensation of an artist such as divorce, affair, is an entertainment for the community? Information or gossip packed in such a way to improve or maintain the ratings rank."

"ABSTRAKProduk jurnalistik sudah seharusnya menaati kaidah dan Kode Etik Jurnalisme yang berlaku. Akan tetapi, pada praktiknya, jurnalisme infotainment seringkali melanggar aturan ini sehingga terjadi perdebatan di kalangan masyarakat dan akademisi. Tujuan penelitian ini adalah untuk kadar jurnalistik pada program televisi jurnalisme infotainment, Insert dan Entertainment News. Penelitian ini dilakukan dengan metode analisis konten pada kedua tayangan dalam jangka waktu satu minggu. Penelitian ini menunjukkan bahwa terdapat kadar jurnalistik dan kualitas pengerjaan yang berbeda pada kedua program jurnalistik ini.

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ABSTRACTJournalistic product should follow journalism principal and code of ethics in its works. However, on its practice, infotainment journalism often violates the rules, so that it become a controversial and debatable issue among audience and scholars. The research objective is to determine journalistic value on two infotainment journalism television program such as Insert and Entertainment News. Content analysis method is used to determine journalistic value in those two programs in one week duration. The research finds that there are different set of journalism value and standards among those programs."

"This study is focused on the working process of power in television program with special emphasis on Infotainment program, subjectively is marked by knowledge and action of involved actors. This study is qualitatively aimed at explaining production and reproduction of actors? social practices who involve in knowledge production processes for delivering television program. More over, this study will be able to describe the actors? power contestation based on positions and relationship among subjects in developing interaction based on their interest on mentioned television program presentation. It uses qualitative approach emphasis on the process rather than result, and tends to involve trust between researchers and informant.This analytic descriptive study is carried out since the beginning of January to August 2007. The work of power is basically moves to a series of relation, so that poser is understood as a description of plural network, not homogeny, and incomplete. It is a complicated network in a series of interactions and events in social practices of actors in a disperse position. Power can not be reduced in the form of central decision. It means that the works of power is not only determined by domination or authority of an actor to the other. In account to that, among actors are marked by regulation technology that work productively in controlling, depending, competing, and fighting one and other. Such process also marked by construction, deconstruction and reconstruction of actors? knowledge and is expressed in a series of actions that produce discourse.Based on data analysis supported by an existing concept, so that the work ad contestation of power in television program especially infotainment can be described as follows: Firstly, the process of delivering infotainment program in television creates a series of social practices of subject that has strategic relationship. The power works through social practices with dispersed positions through relations, or in other words the relationship construct power.Secondly, the process of delivering television program is marked by the works of control technology in the form of control system among actors. The control system extends over actors? relationship continually and drive to develop interdependency among them.Thirdly, the social interactions of actors who involved in infotainment program broadcast are basically a construction, deconstruction, as well as reconstruction of knowledge in which the power works. These become strategy of actors in interaction with others. Consequently there is a never ending contestation.Fourthly, besides power is a process of formulating knowledge, it also produces a discourse. Continually deconstructed discourse becomes a form of news media politics that create competition among actors that colored by the existence of power contestation. Based on the above notions there are two critical aspects that should be noted in this study:Firstly, infotainment broadcasting program is a television (private) program in Indonesia has contribute of knowledge formation marked by the work of power through social practices of contestation actors. Power contestation in this television program is a description of the existence of power relation that support, strive, compete and destruct in the process of build knowledge and discourse.Secondly, the issue of power basically has valuable contribution to anthropology, especially when experts that the anthropology has lost its job in lines with new social supremacy in this contemporary modern world. Issue of power also gives solution for anthropology to response related issue with recent development. Besides, issue of power gives a valuable contribution for anthropology has social network concept and empirical reality strength that can be carried out through field study."

"This study is focused on the working process of power in television program with special emphasis on Infotainment program, subjectively is marked by knowledge and action of involved actors. This study is qualitatively aimed at explaining production and reproduction of actors? social practices who involve in knowledge production processes for delivering television program. More over, this study will be able to describe the actors? power contestation based on positions and relationship among subjects in developing interaction based on their interest on mentioned television program presentation. It uses qualitative approach emphasis on the process rather than result, and tends to involve trust between researchers and informant. This analytic descriptive study is carried out since the beginning of January to August 2007. The work of power is basically moves to a series of relation, so that poser is understood as a description of plural network, not homogeny, and incomplete. It is a complicated network in a series of interactions and events in social practices of actors in a disperse position. Power can not be reduced in the form of central decision. It means that the works of power is not only determined by domination or authority of an actor to the other. In account to that, among actors are marked by regulation technology that work productively in controlling, depending, competing, and fighting one and other. Such process also marked by construction, deconstruction and reconstruction of actors? knowledge and is expressed in a series of actions that produce discourse. Based on data analysis supported by an existing concept, so that the work ad contestation of power in television program especially infotainment can be described as follows: Firstly, the process of delivering infotainment program in television creates a series of social practices of subject that has strategic relationship. The power works through social practices with dispersed positions through relations, or in other words the relationship construct power. Secondly, the process of delivering television program is marked by the works of control technology in the form of control system among actors. The control system extends over actors? relationship continually and drive to develop interdependency among them. Thirdly, the social interactions of actors who involved in infotainment program broadcast are basically a construction, deconstruction, as well as reconstruction of knowledge in which the power works. These become strategy of actors in interaction with others. Consequently there is a never ending contestation. Fourthly, besides power is a process of formulating knowledge, it also produces a discourse. Continually deconstructed discourse becomes a form of news media politics that create competition among actors that colored by the existence of power contestation. Based on the above notions there are two critical aspects that should be noted in this study: Firstly, infotainment broadcasting program is a television (private) program in Indonesia has contribute of knowledge formation marked by the work of power through social practices of contestation actors. Power contestation in this television program is a description of the existence of power relation that support, strive, compete and destruct in the process of build knowledge and discourse. Secondly, the issue of power basically has valuable contribution to anthropology, especially when experts that the anthropology has lost its job in lines with new social supremacy in this contemporary modern world. Issue of power also gives solution for anthropology to response related issue with recent development. Besides, issue of power gives a valuable contribution for anthropology has social network concept and empirical reality strength that can be carried out through field study."

"Tugas Karya Akhir ini berpandangan bahwa produk jurnalistik berupa reality show terkait pemolisian selalu membangun citra yang positif terhadap kepolisian itu sendiri. Program reality show yang diteliti dalam tulisan ini cenderung lebih menonjolkan fungsi jurnalisme sebagai media hiburan saja. Padahal, jurnalisme memiliki fungsi lain seperti informasi, pendidikan, dan kontrol sosial, yang dapat ditunjukkan melalui penjelasan mengenai penyebab dan proses penyelesaian dari sebuah kasus kejahatan. Dengan menggunakan teknik analisis naratif, penulis menganalisis episode terpilih yang diperoleh dari masing-masing akun resmi YouTube program tersebut. Tulisan ini menggunakan konsep Media and The Social Construction of Crime dan mengaitkannya dengan perspektif infotainment criminology dalam mengkaji konstruksi yang dibangun oleh media massa pada program reality show terkait pemolisian. Hasil dari kajian pada tulisan ini menunjukkan bahwa aktor utama pada setiap episodenya selalu dari otoritas penegak hukum, yaitu polisi yang digambarkan sebagai pihak berwenang. Sedangkan masyarakat hanya dijadikan sebagai objek liputan. Selain itu, kajian ini membuktikan bahwa program reality show tersebut cenderung lebih menekankan pada tujuan menghibur daripada memberikan informasi berupa edukasi kepada masyarakat. Dengan begitu, media massa mampu mengkonstruksi bahwa polisi sudah menjalankan tugasnya dengan baik. Maka, program reality show ini dapat menjadi wadah pencitraan bagi kepolisian untuk menunjukkan produktivitasnya sehingga memperoleh citra positif.

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This thesis discuses that journalistic products in the form of policing-themed reality show program always build a positive image of the police themselves. The reality show program studied in this paper tends to emphasize the function of journalism as an entertainment medium only. In fact, journalism has other functions such as information, education, and social control, which can be demonstrated through an explanation of the causes and the process of solving a crime case. By using narrative analysis technique, the writer analyses selected episodes obtained from each of the program's official YouTube accounts. This paper uses the concept of Media and The Social Construction of Crime and relates it to the perspective of infotainment criminology in examining the constructions built by the mass media on policing-themed reality show program. The results of the study in this paper show that the main actor in each episode is always from the law enforcement authorities, namely the police who are described as the authorities. While the citizen is only used as the object of coverage. In addition, this study proves that the reality show program tends to emphasize more on entertaining purposes than providing information in the form of education to the public. In this way, the mass media are able to construct that the police have carried out their duties properly. So, this reality show program can be an public relations platform for the police to show their productivity so as to obtain a positive image."

"Militer dan politik tidak dapat dipisahkan. Reformasi tidak menghilangkan dwi fungsi militer walaupun ada perubahan paradigma yang dilakukan militer untuk mengubah gambaran represif yang sudah tertanam. Dwi fungsi membuat militer memiliki kesempatan yang lebih besar dibanding sipil dalam perpolitikan Indonesia. Hegemoni merupakan jalan yang ditempuh militer untuk melakukan dominasi terhadap sipil. Hegemoni memerlukan konsensus aktif dari sipil. Dengan adanya hegemoni dan ditambah dengan kurangnya kesadaran kritis sipil, popular consciousness akan mengatakan bahwa pemimpin yang baik adalah pemimpin dari kalangan militer.

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Military and politics are inseparable. Reform does not eliminate the dual function even though the military made their paradigm shift to transform the image of repressive military that has been embedded. Dual function made the military has a greater chance than civil in Indonesian politics. Hegemony is the path for military to dominate civilian. Hegemony requires an active consensus of civilians. With the hegemony, coupled with the lack of critical awareness of civil, popular consciousness would say that a good leader is the leader from the military."

"Ramadhan merupakan saat ibadah yang istimewa bagi umat Islam. Keistimewaan ini lantas dirayakan oleh stasiun-stasiun televisi di Indonesia, dengan menghadirkan program-program bemuansa Ramadhan, ketika bulan Ramadhan berlangsung kurang Iebih selama 30 hari. Pertanyaan yang kerap dilontarkan adalah apakah kehadiran program-program tersebut menandakan kesalehan ritual dalam industri televisi kita ketika Ramadhan tiba? Ada 2 wacana yang bertemu ketika Ramadhan tiba disambut gegap gempita oleh televisi. Media massa, sebagai industri yang bergerak dalam pasar bisnis, membawa wacana yang berasal dari wilayah yang relatif sekuler. Sedangkan Ramadhan memiliki esensi nilai yang bersumber dari wacana religius-sebuah domain yang disakralkan. Lantas, bagaimana wacana religius tersebut ditransfer dalam media massa dengan wacana sekuler-nya? Hasilnya adalah program religius yang maknanya dikonstruksi bersama bukan oleh kalangan agamawan sendiri, tetapi Iebih banyak oleh pelaku produksi dan kalangan media.Mengambil paradigma konstruktivisme, dengan pendekatan kognisi sosial Van Dijk, penelitian ini dilakukan menggunakan metode kualitatif. Penelusuran data maupun analisis dilakukan pada tiga level: level teks dengan mencermati teks-teks program Sahur Ramadhan, level organisasi dengan meneliti mode produksi serta kognisi sosial pembuat program, level societal dengan menganalisis posisi wacana religius di tengah ruang sosial masyarakat dewasa ini, seperti tercermin dari temuan penelitian.Wawancara untuk mengetahui mode produksi dan skema kognisi sosial dilakukan pada para informan di stasiun televisi yang diteliti (RCTI, TPI, Indosiar, SCTV, Trans TV dan Metro 1V), terdiri dari para produser dan kru yang terlibat secara langsung dalam proses produksi program Sahur Ramadhan. Selain itu, wawancara juga dilakukan terhadap para pengamat media, Amir Siregar dan Ade Armando, untuk mengetahui konteks pemlasalahan dan aspek industri media, dilengkapi dengan wawancara terhadap sejumlah narasumber yang mewakili wacana religius, mulai dari anggota MUI hingga ustadz atau da'i yang terlibat dalam acara-acara tersebut.Penelitian ini menyimpulkan hasil-hasil sbb. (1) Pada level teks, terlihat kuatnya gejala infotainmentization program-program sahur Ramadhan tayangan entertainment/komedi situasi, yang berujung pada inkonsistensi penyampaian makna substansial Ramadhan; (2) Pada level organisasional, terlihat bahwa gejala infotainmentization ini terlihat pada program dengan mode produksi yang menggunakan tolok ukur sukses program berdasarkan rating dan audience share. Program sahur Ramadhan didominasi oleh komedi dan infotainment karena pendekatan inilah yang disukai masyarakat di saat Ramadhan maupun bukan Ramadhan; (3) Masih di level organisasional, pemetaan skema kognisi sosial memperlihatkan adanya perbedaan memaknai Ramadhan dan fungsi-fungsi media, di antara pihak-pihak yang terlibat secara langsung maupun tak langsung dalam produksi wacana religius di televisi. Makna Ramadhan yang dominan bagi stasiun televisi adalah sebuah momen produksi yang bisa digunakan untuk meraih pemasukan sebesar-besamya. Makna ini didukung oleh sebagian kalangan agamawan yang -apapun dalihnya-bersedia tampil di televisi tanpa mengritisi peran, porsi, maupun substansi wacana religius yang dibawakannya; (4) Pada level societal, gejala infotainmentization program sahur Ramadhan menampakkan kuatnya 'ideologi hiburan' yang dicekokkan kepada pemirsa, bahkan ketika muatan yang akan ditransfer adalah wacana-wacana religius. Dalam konteks sosiokultural yang lebih luas, terlihat bahwa mediasi antara wacana religius dalam raang media komunikasi massa dalam industri budaya saat ini telah memosisikan agama sebagai pihak yang dimarjinalisasikan saat berhadapan dengan stasiun televisi.Penelitian ini memperlihatkan bahwa perpindahan wacana religius (maupun wacana lainnya) ke dalam raang media, bukan sekadar persoalan mentransfer pesan. Perpindahan medium pada dasamya adalah sebuah proses mediasi-yaitu transformasi mode komunikasi yang mengandung implikasi-implikasi sosiokultural. Perubahan-perubahan ini berpangkal dari konstruksi dan rekonstruksi makna yang menjadi fokus penelitian ini.Apa yang diperlihatkan dalam kesimpulan penelitian ini, yaitu konstruksi seputar makna religius (khususnya makna Ramadhan) dalam program-program televisi, memperlihatkan berlakunya paradigma konstruktivisme yang mengasumsikan bahwa realitas tidaklah muncul begitu saja, melainkan dibentuk melalui interaksi di antara para pelaku produksi dalam sebuah konteks tertentu. Interaksi tersebut dapat menghasilkan negosiasi, negasi, bahkan seleksi atas makna-makna-yang -disepakati bersama-dan ini terlihat dari `kerjasama' pekerja media dan sebagian kalangan agamawan selaku para pelaku produksi dalam memproduksi tayangan sahur Ramadhan.Interaksi yang berlangsung dalam level (konsensus) pemaknaan ini, dalam sejumlah aspek krusial seperti hubungan antar para pelaku produksi, temyata kuat dipengaruhi oleh struktur. Pada banyak situasi, struktur lembaga sangat mempengaruhi dan mengerangka pemaknaan individu selaku agent. Namun, yang menarik, agent juga bisa mempengaruhi struktur ketika kedua entitas ini dapat mencapai konsensus mengenai makna bersama. Lagi-lagi, ini memperlihatkan bahwa realitas merupakan produk konstruksi sosial, dan bukan semata-mata pemaksaan realitas secara sepihak."