电影《普朗》中惯犯 "回归(Kembali)"的现实偏见(约翰-费斯克的符号学分析)

Patricia Robin, Stefany Giancinta
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引用次数: 0

摘要

电影是传达思想的有效艺术媒介,但它离不开观众的主观解读。本研究讨论的是印尼 PT Kereta Api 公司出品的电影《Pulang》,该片重点探讨了作为中心人物的惯犯对 "Return (kembali) "一词含义的偏差因素。研究小组使用约翰-费斯克的符号学来帮助探索这部影片中复杂的意义层次。研究小组采用了定性研究方法和批判范式方法,从背景上理解研究对象,避免作出对错判断。批判性分析强调了意义的产生和再现所涉及的社会动态。就影片本身而言,"回家 "这一概念并不仅仅意味着返回原籍地,还包括主人公重新获得家人接纳的过程。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Reality Bias of "Return (Kembali)" for Recidivists in the Film "Pulang" (Semiotic Analysis of John Fiske)
Film is an effective art medium in conveying ideas, but it cannot be separated from the subjective interpretation of the audience. This research discusses the film "Pulang" by PT Kereta Api Indonesia, which focuses on the element of bias over the meaning of the word "Return (kembali)" for the recidivist as the central character. The research team used John Fiske's Semiotics to help explore the complex layers of meaning in this film. Qualitative research methods and a critical paradigm approach were used to understand the subject contextually and avoid right or wrong judgements. Critical analysis highlights the social dynamics involved in the production and reproduction of meaning. In the film itself, the concept of "going home" does not simply mean returning to one's place of origin, but also includes the process in which the character regains acceptance from his family
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