VISUAL ANALYSIS PUPPET OF “SI UNYIL” FILM AS INDONESIAN CULTURAL IDENTITY

Agus Rahmat Mulyana, Agustina Kusuma Dewi, Sulistyo Setiawan
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Abstract

"Si Unyil" is a television series for Indonesian children, created by Suyadi and in production by the National Film Production Center (PPFN).  "Si Unyil" belongs to the hand puppets category, consisting of the head, body, and hands. The attraction of the film "Si Unyil" lies in the facial expressions of the doll called Wanda, and is supported by the strength of the story contains elements of humor, joy, tension, to sadness. This study uses a semiotic approach that focuses on the analysis of Wanda "Si Unyil", as the central character in the film "Si Unyil"; and several supporting characters in the film, i.e. Pak Raden, Pak Ogah, Cuplis, and Meilani. Wanda can represent certain facial characters for certain roles in certain storylines. Therefore, Wanda can carry comprehensive meanings that indicate emotional conditions, physical conditions, and environmental conditions. Analysis of "Si Unyil" through the visual of the puppet, concluded that "Si Unyil" contains educational values, morals, and social ethics that are displayed in various daily activities, through dialogue and the behavior between "Si Unyil" and his friends. "Si Unyil" film also possible to be a representation of the Indonesian people, which is guided by the ideology of Pancasila.
视觉分析木偶“斯乌伊尔”电影作为印尼文化认同
《Si Unyil》是一部印尼儿童电视连续剧,由Suyadi创作,由国家电影制作中心(PPFN)制作。“司unyil”属于手偶类,由头、身体和手组成。电影《四Unyil》的吸引力在于娃娃万达的面部表情,并以故事的力量为支撑,故事包含幽默,欢乐,紧张,悲伤等元素。本研究采用符号学的方法,重点分析电影《斯旺伊尔》中的核心人物万达“斯旺伊尔”;以及电影中的几个配角,即Pak Raden, Pak Ogah, Cuplis和Meilani。万达可以在特定的故事情节中为特定的角色扮演特定的面部人物。因此,万达可以承载情感状态、身体状态和环境状态的综合含义。通过木偶的视觉来分析《四运一》,通过“四运一”与朋友之间的对话和行为,得出《四运一》中包含的教育价值、道德和社会伦理在各种日常活动中表现出来的结论。“Si Unyil”电影也可能是印度尼西亚人民的代表,这是由潘卡西拉的意识形态指导的。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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