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"https://lib.ui.ac.id/unggah/skripsi/127258#:~:text=Diaspora%20Tionghoa%20merupakan,dalam%20Politik%20Global.

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The Chinese diaspora is one of the oldest and largest diaspora communities that are dispersed all over the globe. The Chinese Diaspora is widely perceived as a transnational actor who contributes significantly to the advancement of China's national interests. However, in reality China's approach to these communities is often different and seems inconsistent, both in policy and in the definition of the Chinese Diaspora itself. Therefore, this paper attempts to map out China's approach and view of the Chinese Diaspora from time to time, in particular region of Southeast Asia. This literature review uses a taxonomic method by reviewing 42 academic works that is categorized into three main themes: 1) global migration, 2) identity construction, and 3) China's foreign policy towards the Chinese Diaspora. The author then finds that not all existing literature views and portrays the Chinese Diaspora as an agent or instrument for China's foreign interests. In this case, the Chinese Diaspora is also seen as a multidimentional and diverse subject, and has its own experiences. The Chinese diaspora is then not always viewed as an actor, agent, or instrument for the interests of China or its host-society state in Global Politics."

"Penelitian ini tentang representasi identitas diaspora Tionghoa dalam dua film, yaitu The Journey (Malaysia) dan Ngenest (Indonesia). Peran diaspora Tionghoa sejak awal kehadiran film di kedua negara (akhir 1920-an) sangat signifikan. Akan tetapi, sejak periode akhir 1960-an hingga tahun 2000, peran itu dan tema ketionghoaan berkurang sangat drastis akibat dari kebijakan politik kedua negara terhadap diaspora Tionghoa. Baru setelah tahun 2000-an, seiring perubahan politik di Indonesia dan ketersediaan teknologi dalam pembuatan film di Malaysia, film bertema ketionghoaan kembali hadir di kedua negara. The Journey (2014) dan Ngenest (2015) diproduksi pada era setelah tahun 2010-an, dan disutradarai oleh diaspora Tionghoa. Menggunakan metode kualitatif, penelitian ini melakukan analisis mendalam terhadap unsur-unsur pembentuk kedua film, yaitu unsur naratif dan unsur sinematik. Konsep representasi dan identitas dari Stuart Hall digunakan sebagai kerangka teoritis dalam penelitian ini untuk memahami representasi identitas diaspora Tionghoa dalam kedua film dari dua negara ini.Temuan dari penelitian ini adalah bahwa kedua film sama-sama merepsentasikan hal- hal berikut, namun dengan cara yang berbeda, yaitu: 1) tradisi adalah bagian dari penanda identitas diaspora Tionghoa; 2) dinamika identitas yaitu berupa tegangan antara tradisi dengan modernitas (The Journey) dan antara ketionghoaan dengan pandangan diskriminatif terhadapnya (Ngenest); 3) ketidakadaan relasi dengan Tiongkok sebagai negara secara politis. Representasi identitas diaspora Tionghoa di dalam kedua film sangat berbeda karena tidak terlepas dari perbedaan sosial, budaya, dan politik identitas terhadap diaspora Tionghoa di kedua negara tersebut. Masing-masing tokoh utama dalam kedua film merepresentasikan bagaimana identitas diaspora Tionghoa berada dalam kondisi “being” dan “becoming” dalam konteks konsep identitas dari Stuart Hall, yaitu identitas adalah a matter of “becoming” as well as of “being”.

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This research is about the representation of the Chinese diaspora‟s identity in two different films, The Journey (Malaysia) and Ngenest (Indonesia). Since the late 1920s, when the cinema has just started to be introduced in both countries, the contributions of the Chinese diaspora has been very significant. However, from the late 1960s to 2000, there has been a decline in the participation of the Chinese diaspora in the cinema which results in the decline of Chinese-themed films. This phenomenon was a result of the two countries' political policies towards the Chinese diaspora. It was only after the 2000s, along with political changes in Indonesia and the availability of technology in filmmaking in Malaysia, that Chinese-themed films returned to both countries. The Journey (2014) and Ngenest (2015) were produced in the post-2010s era, and were directed by the Chinese diaspora. Using qualitative methods, this research conducts an in-depth analysis of the elements of the two films, which are the narrative elements and cinematic elements. Stuart Hall's concept of representation and identity was used as a theoretical framework to understand the representation of Chinese diaspora identity in the two films from these two countries.

The findings of this study are that both films represent the followings: 1) tradition is part of the identity marker of the Chinese diaspora; 2) the dynamics of identity in the form of tension between tradition and modernity (The Journey) and between Chinese and discriminatory views against it (Ngenest); 3) the absence of relations with China as a country politically. However, there were differences in how those things were represented. The different representations were related with the differences in terms of social, cultural, and identity politics of the Chinese diaspora in both countries. Using Stuart Hall‟s concept of identity, it can be seen that each of the main characters in both films represents how the identity of the Chinese diaspora is in a state of "being" and "becoming"."

"Studi ini fokus pada mode hubungan diaspora Peranakan Tionghoa di Lasem dengan referent-origin-nya serta konsepsi mereka mengenai referent-origin dan Peranakan Tionghoa. Dalam banyak studi, masih berkembang anggapan bahwa etnis Tionghoa memiliki nasionalisme keindonesiaan yang rendah karena loyalitas mereka ke tanah asalnya. Ironisnya, persepsi itu masih bertahan sampai dua dekade pasca-reformasi. Tesis ini bertujuan untuk menjelaskan bagaimana Peranakan Tionghoa mendefinisikan Tiongkok sebagai rujukan asal bagi etnis Tionghoa. Studi ini menggunakan konsep diaspora karena mampu menjelaskan berbagai pola migrasi dan mode hubungan masyarakat diaspora dengan asal rujukannya. Studi ini merupakan penelitian kualitatif dengan mengangkat studi kasus masyarakat diaspora Tionghoa di Lasem, Rembang, Jawa Tengah. Metode pengumpulan data dilakukan melalui pengamatan, wawancara mendalam, dan studi dokumen. Penelitian ini berargumen bahwa mode hubungan diaspora Tionghoa dengan referent-origin menempatkan Tiongkok sebatas pada rujukan budaya Tionghoa karena pembatasan pada kebudayaan Tionghoa selama orde baru telah memutus hubungan Diaspora Tionghoa dengan Tiongkok sebagai negara atau homeland. Hasil penelitian ini menunjukkan bahwa referent-origin bekerja dalam aktivitas peranakan Tionghoa dalam melestarikan berbagai warisan kebudayaan leluhurnya. Era kemajuan teknologi informasi dan transportasi membuat mode hubungan masyarakat Tionghoa dengan referent-origin nya semakin terbuka. Diaspora Tionghoa di Lasem yang berasal dari berbagai gelombang dan pola migrasi mengembangkan berbagai mode hubungan dengan referent-origin, mulai dari mode antagonistic, centroperipheral, hingga mode enclaved, dan atopic dimana kolektivitas Peranakan Tionghoa menggunakan kepercayaan pada referent-origin yang sama sebagai pusat budaya Tionghoa untuk saling mengenal diantara Peranakan Tionghoa lainnya tanpa ada upaya yang diarahkan ke negara asal, Tiongkok

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This study focuses on the modes of relationship between the Peranakan Chinese diaspora in Lasem and their referent-origin as well as their conceptions of referent-origin and Peranakan Chinese. Previous studies show that there is still a growing assumption that ethnic Chinese have low Indonesian nationalism because of their loyalty to their homeland. Ironically, this perception still persists for two decades after the reformation. This thesis aims to explain how Peranakan Tionghoa define China as the referent-origin for Chinese. This study uses the concept of diaspora because it is able to explain various patterns of migration and modes of diaspora community relations to the referent-origin. This study is a qualitative research with a case study of the Chinese diaspora in Lasem, Rembang, Central Java. Methods of data collection are carried out through observation, in-depth interviews, and document study. This study argues that the mode of relations between the Chinese diaspora and referent-origin places China only as a reference to Chinese culture because restrictions on Chinese culture during the New Order have severed the relationship between the Chinese Diaspora and China as a country or homeland. The results of this study indicate that the referent-origin works in peranakan Chinese activities in preserving various cultural heritage of their ancestors. The era of advances in information, technology and transportation has made the mode of relations between Chinese and their referent-origin more open. The Chinese diaspora in Lasem from various waves and migration patterns, developed various modes of relationship with referent-origin, ranging from antagonistic, centroperipheral, to enclaved, and atopic modes where the Peranakan Chinese collectivity used the belief in the same referent-origin as the center of Chinese culture to get to know each other among other Chinese Peranakans without any efforts directed at their home country, China."

"Prasangka terhadap etnis Tionghoa sudah sering terjadi di Indonesia. Menariknya salah satu penyanyi tersukses di Indonesia adalah Chrisye, yang berasal dari etnis Tionghoa. Riset sebelumnya menunjukkan bahwa interaksi parasosial dengan persona media dan emosi positif terhadap kelompok berhubungan dengan prasangka. Penelitian ini bertujuan untuk menguji peran mediasi emosi positif terhadap kelompok etnis Tionghoa terhadap hubungan interaksi parasosial dengan Chrisye dan prasangka terhadap etnis Tionghoa. Penelitian ini dilakukan kepada 171 partisipan secara daring dengan karakteristik partisipan berusia 17-60 tahun, pernah mendengarkan lagu Chrisye, dan bukan berasal dari Etnis Tionghoa. Pengukuran pada penelitian ini menggunakan Skala Prasangka terhadap Etnis Tionghoa (Kiranti, 2017; α = .856), Celebrity-Persona Parasocial Interaction Scale (Bocarnea & Brown, 2007; dalam Saraswati, 2014; α = .844), dan Skala Emosi terhadap Kelompok (Miller, Smith, & Mackie, 2004; α = 848). Penelitian ini menemukan bahwa hubungan interaksi parasosial dan prasangka dimediasi secara penuh oleh emosi terhadap kelompok (γ = -.096, CI[-.182,-.031]. Temuan penelitian ini dapat diaplikasikan sebagai sarana penurunan prasangka.

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Prejudice against Chinese-Indonesians has often occurred in Indonesia. Interestingly, one of the most successful singers in Indonesia, Chrisye, was a Chinese-Indonesian. Previous research has shown that parasocial interaction with media personas and positive emotions toward group are associated with prejudice. This study aims to examine the mediating role of positive emotions towards Chinese-Indonesians ethnic groups on the relationship between parasocial interaction with Chrisye and prejudice against Chinese-Indonesians. This research was conducted online on 171 participants with the characteristics of participants aged 17-60 years, had heard the Chrisye‘s song, and was not a Chinese-Indonesian. Measurements in this study used Skala Prasangka terhadap Etnis Tionghoa (Kiranti, 2017; α = .856), Celebrity-Persona Parasocial Interaction Scale (CPPI; Bocarnea & Brown, 2007; in Saraswati, 2014; α = .844), and Skala Emosi terhadap Kelompok (Miller, Smith, & Mackie, 2004; α = 848). This study found that the relationship between parasocial interaction and prejudice is fully mediated by emotions towards the group (γ = -.096, CI[-.182,-.031]. The findings of this study can be applied as a prejudice reduction media."

"The book explains how multi-generational Australian-born Chinese (ABC) negotiate the balance of two cultures. It explores both the philosophical and theoretical levels, focusing on deconstructing and re-evaluating the concept of ?Chineseness.? At a social and experiential level, it concentrates on how successive generations of early migrants experience, negotiate and express their Chinese identity. This study reveals a contrasting picture of ethnic identification."

"Stereotip merupakan salah satu bentuk prasangka antar etnik/ras. Orang cenderung membuat kategori atas tampilan karakteristik perilaku orang lain berdasarkan kategori, ras, jenis kelamin, kebangsaan, dan tampilan komunikasi verbal maupun non verbal. Dalam stereotip ada pemberian sifat tertentu terhadap seseorang berdasarkan kategori yang bersifat subjektif, hanya karena dia berasal dari kelompok tersebut. Novel Ca-Bau-Kan: Hanya Sebuah Dosa adalah novel yang berisikan bantahan atau perlawanan mengenai wacana stereotip yang memojokkan dan mengeneralisir Tionghoa--bahwa semua Tionghoa adalah sama, yaitu korup, jahat, kolutif, dan tidak nasionalis. Tan Peng Liang merupakan tokoh utama di dalam novel yang menjadi alat pembantah akan stereotip-stereotip Tionghoa yang selama ini beredar di kalangan masyarakat. Perlawanan atas stereotip etnis Tionghoa di dalam Ca-Bau-Kan akan dianalisis dari sudut pandang sosio-kultural.

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Stereotyping is one form of prejudice between ethnic racial. People tend to create a category on the display characteristics of the behavior of others based on category, race, gender, nationality, and appearance of verbal an non verbal communication. In stereotypes, there is the provision of certain properties of an individual based categories are subjectives, just because he comes from the group. The novel Ca Bau Kan Hanya Sebuah Dosa is a novel that contains a denial or resistance on the discourse stereotype the Chinese cornered and generalize that all Chinese are the same, corrupt, evil, collusive, and not nationalist. Tan Peng Liang is the main character in the novel that became the tool exceptant of Chinese stereotypes that had been circulating among people. Resistance to Chinese ethnic stereotypes in the novel Ca Bau Kan will be analyzed from the socio cultural 39 s point of view."