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"ABSTRAKJumlah produksi film Indonesia telah mengalami peningkatan setiap tahunnya Namun hal ini tidak berbanding lurus dengan jumlah penonton film Indonesia dimana hanya 13 dari total populasi penduduk Indonesia yang memiliki akses ke bioskop Sementara itu sejak film masuk sebagai salah satu subsektor industri kreatif maka triple helix pemerintah pebisnis dan cendekiawan memegang peranan yang penting dalam mengembangkan industri kreatif perfilman Industri perfilman juga diharapkan mampu menghasilkan produk produk komersialisasi yang mengandalkan pemasaran penjualan dan promosi Pada kenyataannya kondisi industri kreatif perfilman saat ini masih belum kondusif dan ideal Permasalahan itu terutama berada dalam rantai penggerak roda industri film rantai produksi distribusi dan eksibisi Pemerintah masih belum bisa menegakkan sejumlah aturan yang telah dirancang Investasi di bidang perfilman masih terbilang minim Apresiasi penonton film Indonesia masih rendah Promosi perfilman masih terkendala kreativitas dan sumber dana Salah satu hal yang harus dilakukan dalam rangka mendorong peningkatan investasi adalah dengan penyediaan data riset penonton Meskipun demikian untuk membenahi kondisi ini semua pihak memiliki perannya masing masing yang pada akhirnya bermuara pada satu tujuan yaitu peningkatan kualitas dan kuantitas film Indonesia serta penonton.

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ABSTRACT

Number of Indonesian film production has been increasing year by year However this is not followed by the growth of Indonesian moviegoers where merely 13 of the population have access to the cinema Meanwhile since film has been included as one of creative industry subsectors so there are parties known as triple helix government business people and intellectual who hold the role that is significant in developing creative industry of film This industry is also expected to be capable in producing commercialization products which has to rely on marketing sales and promotion In fact this industry is not in a conducive and ideal condition yet The main problem is in the chains that drive the industry wheel production distribution and exhibition The government is still poor in upholding to the law that have been well designed The investment in the film industry is still considered as a low rate and the appreciation from moviegoers as well The promotion which is essential is obstructed by the people rsquo s creativity and funding sources Availability of the audience research data is believed as the way that will increase the investment rate Nevertheless all the parties have their own role to be done that will lead to the ultimate goals increasing the quality and quantity of Indonesian films and the moviegoers as well."

"This paper examines the unsettling stories of poverty from rural Indonesia in two films, Siti (2014) and Turah (2016). The concept of structural poverty enables a thorough analysis of these films’ depictions of poverty and the main characters’ reactions to the poverty they experience. This paper also employs the concept of gendered poverty to highlight how gender injustice perpetuates the poverty of women, as depicted in the films. Both structural and gendered poverty are propagated by the interpellation of ideological state apparatuses. This paper argues that the poverty of the rural people depicted in both films results from structural engineering by the elite, not from natural or inevitable conditions. This poverty is further intensified by the patriarchal culture of rural communities, which perpetuates gender inequality and results in deeper poverty for women. Every woman in these two films seems to have accepted, or at least resigned herself to, the patriarchal system and the gendered poverty it produces. The sole exception is Siti, who struggles against the double burden of being both housewife and breadwinner, resisting the naturalization of poverty and thereby revealing the role that ideological state apparatuses play in perpetuating oppression in society writ large as well as in individuals’ minds and souls."

"Industri film Indonesia mengalami penurunan perolehan jumlah penonton yang cukup signifikan pada tahun 2011. Akibatnya film Indonesia mengalami kesulitan untuk bersaing dengan film impor. Untuk mengatasinya diperlukan suatu strategi industri yang tepat. Analisis SWOT merupakan metoda untuk mendapatkan strategi bedasarkan kekuatan, kelemahan, peluang dan ancaman yang ada pada suatu industri. Kemudian dilakukan pembobotan terhadap strategi yang dihasilkan dengan analisis SWOT menggunakan Proses Analisis Hirarki (AHP). Hasilnya, strategi diprioritaskan untuk dapat mengatasi permasalahan industri film Indonesia adalah alternatif strategi Strength-Opportunities.

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Indonesian film industry has decreased the acquisition of a significant number of moviegoers in 2011. As a result, the film Indonesia has struggled to compete against imported films. The purpose this study is to solve the problem by a proper industrial strategy. SWOT analysis is a method to get the strategy based on the strengths, weaknesses, opportunities and threats that exist in the industry. Then, we do the weighting of the strategy produced by the SWOT analysis using the Analysis Hierarchy Process (AHP). The results, strategies that is prioritized to address the problems of the Indonesian film industry is an alternative strategy of Strength-Opportunities."

"ABSTRAKPenelitian ini merupakan penelitian kualitatif mengenai Arisan, sebuah group chat di platform pesan instan WhatsApp yang diusung sebagai ruang aman online yang dibuat oleh dan untuk para perempuan pecinta film di Indonesia. Melalui metode pengumpulan data observasi partisipan online dan offline serta wawancara tatap muka, penelitian ini berupaya mencari tahu bagaimana Arisan berperan dalam kehidupan para anggotanya yang menavigasi komunitas film Indonesia yang didominasi budaya patriarki. Temuan penelitian menunjukkan bahwa Arisan memberikan para anggotanya kemampuan untuk mengekspresikan diri secara lebih bebas dibandingkan dengan ruang-ruang mayoritas laki-laki di komunitas film Indonesia. Ini disebabkan oleh rasa aman yang disediakan oleh Arisan serta adanya standpoint (seperangkat pengetahuan dan pengalaman) kolektif yaitu standpoint feminis yang dimiliki oleh para perempuan anggota Arisan. Arisan yang berperan sebagai sistem pendukung dapat mendorong para anggota perempuannya untuk lebih mampu menyirkulasi kontra wacana di dalam dan ke luar Arisan. Penelitian ini berargumentasi bahwa Arisan berpotensi untuk mendukung perkembangan counterpublic feminis di komunitas film Indonesia.

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BSTRACTThis is a qualitative study on Arisan, a WhatsApp group chat that is constructed by its initiators as an online safe space made by and for Indonesian women film lovers. Through online and offline participation observation and interview data collection methods, this study aims to know the role Arisan plays within the lives of its members who are navigating the patriarchal Indonesian film community. Research findings show that Arisan offers its members a license to express themselves more freely compared to male majority spaces in the Indonesian film community. This is possible due to the sense of security that Arisan as a safe space provides and a collective feminist standpoint (set of knowledge and experiences) that the women of Arisan possess. Furthermore, this study argues that Arisan has the potential to help develop the feminist counterpublic in the Indonesian film community by helping its members circulate counterdiscourses within and outside a space that also acts as a support system."

"Laki-laki dan perempuan adalah sistem biner pada gender yang normatif yang hadir di tengah-tengah masyarakat. Namun, terdapat pula variasi identitas gender lainnya, meliputi transgender, agender, genderqueer, androginitas, atau kombinasi dari identitas- id ent it as t ersebut . Selain it u t erd apat pula variasi orient asi seksual, sepert i heteroseksual, homoseksual, dan aseksual. Variasi identitas gender dan orientasi seksual dapat dipengaruhi oleh peran sosial dan pengalaman traumatis, yang terlihat dalam film Indonesia Kucumbu Tubuh Indahku (2018). Fokus penelitian ada pada konstruksi identitas gender tokoh utama, Juno. Film dibedah menggunakan teori film Boggs dan Petrie untuk membedah aspek naratif dan sinematografis, kajian gender Judith Butler, dan kajian queer Brett Beemyn dan Eliason untuk membedah ideologi teks. Ketertarikan terhadap laki-laki menjadi hasil dari peran pengalaman traumatis Juno d alam mengonst ruksi id ent it as gend ernya, sed angkan peran sosial menghasilkan konstruksi identitas gender Juno yang mengarah pada adanya sifat-sifat feminin di dalam tubuh Juno yang secara alami maskulin. Dilihat dari posisi film, identitas gender Juno adalah non-biner yang perlu dihargai dan boleh hadir di tengah-tengah masyarakat. Terdapat adanya kritik film terhadap kepura-puraan masyarakat identitas non-biner yang menjalani kehidupan sesuai norma heteroseksualitas.

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Men and women are binary systems on normative gender that are present in society. However, other variations of gender identity are also present in society, including transgender, agender, genderqueer, androgynous, or a combination of those identities. There are also variations of sexual identity, such as heterosexual, homosexual, and asexual. Variations in gender identity and sexual identity can be influenced by social roles and traumatic experiences of the individual which depicted in the Indonesian film Kucumbu Tubuh Indahku (2018). The research focuses on the construction of the main character's gender identity. The film is analyzed using Boggs and Petrie’s film theory to dissect the narrative and cinematographic aspects of the film, Judith Butler’s gender studies, and queer studies from Brett Beemyn and Eliason to dissect the ideology of the text. The attraction to men is the result of Juno's traumatic experience in constructing his gender identity, while social roles result in Juno's gender identity construction which leads to the presence of feminine traits in Juno's naturally masculine body. Judging from the film's position, Juno's gender identity is placed as a non-binary that needs to be respected and allowed to be present in society. There is also film criticism against the pretense of society with its non-binary identity who lives a life according to the norms of heterosexuality."