约翰·菲斯克对《回家》中父母和孩子情感上的亲密关系的分析

Rio Rizky Rizaldy, Kusnarto Kusnarto
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引用次数: 0

摘要

情感亲密是和谐家庭的基础,和谐家庭往往通过父母和孩子之间的互动来实现,但互动并不总是主要的,行为、习惯、触摸或身体接触也会极大地影响情感亲密。本研究旨在探讨电影“Pulang”中父母与子女之间形成的情感亲密形式,电影的主题是家庭冲突,主要集中在Pras (Ringgo Agus饰)和Rindu (Ziva Magnolya饰)在雅加达旅行期间。通过运用John Fiske的符号学分析的三个层次,研究结果可以在现实层面上以情感亲密的表现形式呈现出来,并通过动态互动、表达自由和作为关怀和情感形式的手势来证实。在镜头技术(镜头)中突出的关卡表现已经在现实层面上显示了迹象,这可以通过角色之间的互动来证明。意识形态层面为自由主义,父母在养育子女、教育和儿童早期发展中运用自由主义影响情感亲密度。然后形成的情感亲密形式是一种安全的依恋模式,这种模式构建了与角色Pras和Rindu的高度情感现实亲密关系。 关键词:情感亲近;相互作用;符号;自由主义
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Analisis Semiotika John Fiske terhadap Representasi Kedekatan Emosional Orang Tua dan Anak Dalam Film “Pulang”
Emotional closeness is fundamental in a harmonious family which is often implemented with interaction between parents and children, but interaction is not always the main thing but behavior, habits, touch or physical contact also greatly affect emotional closeness. This study aims to explore the form of emotional closeness that is formed between parents and children in the film ‘Pulang’, the theme of the film is family conflict which focuses on Pras (Ringgo Agus) and Rindu (Ziva Magnolya) during their trip to Jogjakarta. By using John Fiske's semiotic analysis with its three levels, the research results can be presented in the form of a representation of emotional closeness at the level of reality which is confirmed through dynamic interactions, freedom of expression and gestures as a form of care and affection. The level representation highlighted in the camera technique (shots) has shown signs at the level of reality as evidenced by the interactions between the characters. The ideological level found is Liberalism which is applied in parenting, education and early child development by parents in influencing emotional closeness. Then the form of emotional closeness that is formed is a secure attachment pattern that constructs a high emotional reality closeness to the characters Pras and Rindu. Keywords: Emotional Closeness; Interaction; Semiotic; Liberalism
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