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This research is motivated by the view that literary works, including children's films, serve not only as entertainment but also as a means of moral learning that plays an essential role in shaping children's character. The film Paddington (2014) was chosen because it features an innocent main character who can represent moral values ​​through simple actions and dialogue. The purpose of this study is to describe how the main character's innocence is depicted in the film and how these moral values can serve as a learning medium for children. This study uses a qualitative descriptive approach with content analysis. Data were obtained through observations of scenes, dialogues, and the main character's actions that demonstrate innocence and the moral values ​​contained therein. The results show that Paddington's innocence manifests in honesty, politeness, trust, and a high level of curiosity, though this often leads to misunderstandings or chaos. This innocence serves as a medium for conveying moral values ​​such as responsibility, empathy, and learning from mistakes. The implications of this study indicate that children's films can be an effective means of character education if studied and accompanied by an understanding of the moral values ​​contained therein.

This study examines how children and their relationship with nature are represented through the character of Antonio in the film Encanto (2021). Antonio is portrayed as a child who can communicate with animals, reflecting innocence, empathy, and a spiritual closeness to nature. This study aims to describe how children's relationship with nature is depicted in the film and to interpret the symbolic meaning behind these interactions. The method used in this study is a descriptive, qualitative approach that draws on theories of child development, symbolism, and children's imagination. The results of this study show that among children, Antonio reflects a harmonious, loving, and open attitude towards other life forms. Animals in the film serve as moral and emotional symbols that reflect the nature of children: the jaguar symbolizes courage, the toucan symbolizes honesty and cheerfulness. In contrast, the capybara symbolizes peace of mind. This study shows that children's films can be a tool for building ecological awareness and social empathy through imagination. The implications of this study underscore the importance of strengthening empathy and environmental balance in children's education through literature and film.

This study analyzes the process of construction and resistance to the double burden experienced by the character Kaluna in the film Home Sweet Loan (2024) through the perspective of Judith Butler's gender performativity. Using qualitative content analysis on 13 key scenes, it was found that Kaluna's double burden of office work and bearing the economic and domestic responsibilities of an extended family was constructed through stylized repetition of acts. The results show that Kaluna experiences a double burden of professional and domestic work shaped by social norms and family expectations. However, the film also depicts Kaluna's resistance to this construction through verbal and emotional actions and personal decisions that challenge the patriarchal structure. This study concludes that Home Sweet Loan not only represents the double burden of modern women, but also shows women's agency in resisting and negotiating their gender identity. These actions deconstruct oppressive gender identities and form a new, independent subjectivity. The film emphasizes that the double burden of women is not a natural law, but rather a social performance that can be resisted.

This study was motivated by the low level of internalisation of religious values in Islamic Religious Education, especially at the madrasah level, where the process of instilling valuesoften stops at the cognitive level. This study aims todescribe the process of internalising religious values through the film Laut Tengahand assess its effectiveness in improving students' understanding andappreciation of religious values at MTs Manbail Futuh 2 Bancar. The approach used was qualitative with a case study design, because the phenomenon under reviewwas contextual and required in-depth understanding. Datawere collected through direct observation during learning, interviews with teachers andstudents, as well as documentation of learning tools and film clips. Data analysiswas carried out through data condensation, data presentation, and drawingconclusions using the Miles, Huberman, and Saldaña model. The results showedthat the film Laut Tengahwas effective in facilitating the internalisation of religious values through the visual,emotional, and cognitive engagement of students. Students were able to identify values such ashonesty, patience, discipline, gratitude, and social awareness, anddemonstrated appreciation reflected in their self-reflections. With teacher guidance, films became a medium capable of connecting values with the real experiences ofstudents.

This study examines the video content production process at Digital Hub Sinar Mas Land as a visual communication strategy to support branding for a digital innovation area. The background of this research stems from the increasing need for organizations to produce creative and informative content as social media becomes a primary channel for information distribution. The study aims to describe the stages of pre-production, production, and post-production, and to identify challenges that affect the effectiveness of video content creation. A qualitative descriptive method was used through active participation, observation, interviews, and literature review. The findings show that concept planning, scriptwriting, and storyboard development form the foundation of successful production. The production stage emphasizes camera techniques, talent coordination, and visual consistency aligned with communication goals. The post-production stage focuses on technical editing to strengthen the audiovisual message structure and prepare content for publication. Key challenges were found in storyboard development, talent performance during filming, and audio processing that required detailed adjustments. The results highlight the importance of thorough planning and coordinated teamwork to ensure that video content effectively supports branding strategies.

The cigarette industry in Dawe District, Kudus, has been the backbone of the local economy for decades. However, this heavy dependence on a single industrial sector creates economic vulnerability, especially when production fluctuations or policy changes affect the tobacco industry. An economic empowerment program through agricultural entrepreneurship skills is highly relevant in this context. Modern agriculture using wick hydroponic technology and mini Nutrient Film Technique (NFT) offers an appropriate solution because it has characteristics that are suited to the geographic and socioeconomic conditions of the Dawe community. This PKM program has proven that economic empowerment through technology and skills transfer can be an effective strategy for increasing community income. Based on the results achieved, it is recommended to replicate similar programs in other areas with similar characteristics. Furthermore, ongoing monitoring and evaluation are necessary to ensure the sustainability of the businesses pioneered by participants. Collaboration with relevant agencies and microfinance institutions can strengthen participants' access to capital for broader business development.

The rapid development of digital streaming platforms such as Netflix has generated a large volume of content data with diverse characteristics, thereby requiring effective analytical methods to understand emerging patterns and trends. This study aims to classify Netflix content into two main categories, namely movies and television shows, and to analyze genre trends and content characteristics using a data mining approach with the Naive Bayes algorithm. The dataset used in this study is the Netflix Shows dataset, consisting of 8,809 content entries, with the primary features analyzed including genre, rating, and country of production. The research process begins with data exploration and preprocessing stages, including data cleaning, handling missing values, and transforming categorical features to enable effective model construction. Subsequently, the dataset is divided into training and testing sets to objectively and systematically build and evaluate the Naive Bayes classification model. Model performance is evaluated using accuracy, precision, recall, and F1-score metrics to assess the model’s ability to accurately distinguish between Netflix content types. The experimental results demonstrate that the Naive Bayes algorithm is able to classify Netflix content into Movie and TV Show categories with accuracy, precision, recall, and F1-score values of 100%, respectively. The confusion matrix indicates that no misclassification occurred, suggesting that genre, rating, and country of production features provide a very clear separation between content classes. These findings indicate that the Naive Bayes algorithm can achieve exceptionally high classification performance with optimal evaluation results. The results further reveal distinct differences in characteristics between movies and television shows based on genre and production attributes. Therefore, this study is expected to contribute to the development of content recommendation systems and strategic content management within the streaming industry.

This study aims to describe the forms and social functions of code-switching and code-mixing in the film Hujan Bulan Juni and to explain how language choice represents identity and social differences among the characters. The film was chosen because it portrays interactions between characters from different cultural backgrounds Javanese and Manadonese which allows for complex patterns of language contact. The study employed a descriptive qualitative method using observation and note-taking techniques on dialogues containing Indonesian, Javanese, and Manadonese linguistic elements. The data were analyzed using the sociolinguistic frameworks of Gumperz (1982) and Wardhaugh (2015) to uncover the social functions and identity meanings reflected in the speakers’ language choices.The findings reveal that code-switching from Indonesian to Manadonese serves to reinforce ethnic solidarity, emotional closeness, and cultural pride, while switching from Indonesian to Javanese reflects politeness, intimacy, and social hierarchy. Meanwhile, code-mixing between Indonesian and Manadonese marks distinctive speech styles and expresses regional identity, whereas code-mixing between Indonesian and Javanese functions to soften utterances and portray the speakers’ courteous demeanor. Overall, language choice in Hujan Bulan Juni is not merely a communicative tool but also a representation of identity and social differentiation within Indonesia’s multilingual society.

Globalization and the development of science and technology have the potential to shift the nationalism and patriotic spirit of students. The integration of the MKWK course learning implemented at Universitas Muhammadiyah Semarang aims to enhance students’ nationalism and patriotic spirit. Through project-based learning with the theme “Indonesia’s Diversity”, students are invited to identify existing potentials and then present them un the form of short film video work. This study shows an increase in students’ understanding of citizenship regarding Indonesia’s diversity, with significant improvements observed between the pre-test and post-test. There was an increase of 23% in students understanding of diversity in Indonesia from the pre-test results. Integrated learning from citizenship, Pancasila education, and Indonesia language course based on project themes of diversity serves as an alternative option to enhance students’ nationalism and patriotic spirit.

Sona Yudha Utama. K6420073. Supervisor I: Dr. Machmud Al Rasyid, SH., M.Sc. THE INFLUENCE OF THE FILM DIRTY VOTE ON THE RESISTANCE OF UNS PPKN STUDENTS (CASE STUDY FOR THE FORCE OF 2020). Thesis: Faculty of Teacher Training and Education, Sebelas Maret University, Surakarta, January 2025. This research aims to determine the influence of the film Dirty Vote on the resistance of PPKn students at Sebelas Maret University (UNS) and identify the forms of resistance that emerge after watching the film. A quantitative approach is used with data analysis including validity, reliability, descriptive analysis, prerequisite tests, t tests, and coefficient of determination tests. The research results show the significant influence of the film Dirty Vote on the resistance of UNS PPKn students, although there are other factors that also influence it. The forms of resistance that emerge include intellectual, participatory, collective, normative, direct and symbolic resistance. This research shows the important role of the media in forming students' critical awareness of political issues.   Keywords: Dirty Vote Film, Student Resistance

This study examines the presentation of trauma in the character of River in the film “The Architecture Of Love” through Roland Barthes' semiotic analysis, which includes three levels of meaning: denotative, connotative, and mythological. The focus of this study is on scenes that reflect trauma, categorized according to Cavanagh.M. (1982) theory as situational, developmental, intrapsychic, and existential trauma. The methodology used is descriptive-qualitative with documentation and observation techniques, where all trauma scenes are identified and analyzed in depth. The results of the study show that intrapsychic trauma is the dominant category, followed by existential, situational, and developmental trauma. The representation of trauma in the character River is conveyed through visual symbols such as dark colors, a closed language system, dim lighting, and a quiet urban atmosphere, which create emotional meaning without verbal expression. This finding confirms that films can convey complex psychological experiences through visually rich language, while also revealing new insights into non-verbal communication in film media.

This study examines the representation of patriarchal hegemony and the forms of women’s resistance in Kartini (2017), a film directed by Hanung Bramantyo, using Antonio Gramsci’s theory of hegemony as the analytical framework. The research is grounded in the persistence of patriarchal culture that places women in subordinate positions within society, including in media and film representations. The purpose of this study is to identify the forms of patriarchal domination depicted in the film and to analyze the main character’s strategies of resistance against such hegemony. The study employs a descriptive qualitative method, with data collected through observation of scenes and dialogues that reveal social domination and acts of resistance. The analysis process involves data reduction, presentation, and conclusion drawing by connecting findings with Gramsci’s theoretical concepts. The results indicate that social domination in the film is represented through restrictions on women’s education, social control, and the reinforcement of traditional values that constrain women’s roles. Patriarchy operates not through physical coercion but through social consent internalized as cultural truth. Meanwhile, Kartini’s resistance is expressed through critical awareness, education, and the dissemination of emancipatory ideas as forms of counter-hegemony. The film portrays women’s struggle to challenge patriarchal structures through intellectual strength and ideological consciousness. The findings suggest that social change begins with shifts in cultural consciousness rather than merely structural transformation.

This study aims to analyze the representation of hegemony in the film Kupu-Kupu Kertas using Antonio Gramsci’s hegemony theory and a literary sociology approach. As a medium of mass communication, film not only conveys stories but also produces and reproduces cultural values, ideologies, and power structures that operate subtly within society. Set against the historical backdrop of 1965, the film portrays ideological clashes between NU/Ansor and the PKI, which affect not only political spheres but also everyday culture, social relations, and moral dynamics that shape the collective consciousness of Javanese society. This research employs a qualitative method with a descriptive approach. Data were collected through content analysis of the film using an observation–note technique to identify scenes, dialogues, and visual symbols related to culture, hegemony, and ideology. The analysis focuses on revealing how dominant values are constructed and negotiated through the representation of characters, narratives, and social traditions portrayed in the film. In conclusion, Kupu-Kupu Kertas not only documents the political tragedy of 1965 but also demonstrates that hegemony operates through subtle mechanisms embedded in culture, morality, and patterns of thought. This study affirms the relevance of Gramsci’s theory in examining literary works and films as social texts that practice power while also opening space for understanding individual resistance to ideological domination.

Language processing disorders are disorders that arise when someone is under mental stress or experiencing deep emotional trauma. This study aims to analyze the various types of language processing disorders experienced by the character Tari in the film "Bolehkah Sekali Saja Aku Menangis" (May I Cry Once) and to determine the relationship between the character's emotional state and the linguistic symptoms that appear. This study uses a qualitative approach with a naturalistic approach and analytical descriptive methods, where data are collected through observation and recording of dialogues in the film that show signs of language disorders. Samples were taken purposively based on statements that indicate irregularities in sentence structure, long pauses, repetitions, or inappropriate word choices. This analysis compares the results of the study with existing psycholinguistic theories regarding how language processing works and the influence of trauma on speech production. The findings of this study indicate four main types of language processing disorders experienced by the character Tari: unfinished sentences, long pauses, repetitions of words or phrases, and inaccuracies in word choice. These types of disorders are more apparent when the character experiences high emotional stress and when interacting with family members related to her trauma.  The results of this study support the theory that emotional trauma can disrupt verbal working memory function and speech planning processes, ultimately impeding communication skills.

This research aims to describe the forms and functions of expressive speech acts found in the film “Perayaan Mati Rasa” by Umay Shahab. This film was chosen because it showcases various forms of emotional expression that reflect the reality of everyday communication. The method used is descriptive qualitative. The data, consisting of the characters' utterances in the film, were collected thru observation and note-taking techniques, then analyzed using Chaer's theory of speech acts. The research results indicate that there are six types of expressive speech acts in this film: expressing gratitude, apologizing, praising, showing sympathy, expressing anger/disappointment, and praying/hoping. Each type of speech act has a different social function, such as building emotional closeness, improving social relationships, expressing empathy, and affirming moral values in interactions between characters. This finding suggests that the film “Perayaan Mati Rasa” not only represents emotional conflict but also depicts the dynamics of human communication laden with social and psychological values. The results of this research are expected to serve as a reference in pragmatic studies and discourse analysis, particularly in the analysis of expressive speech acts in literary works or film media.

This research is inspired by the extraordinary success of the domestic animated film titled Jumbo, which managed to set a new record and trigger a wave of overwhelmingly positive sentiment responses on the Instagram social media platform. Its main focus is to provide a deep qualitative interpretation of audience sentiment data that was previously collected and quantitatively evaluated by Prasetia (2025) from 764 original comments, which were then filtered down to 221 samples. The approach applied involves secondary data analysis by reviewing the frequency of Prasetia's data through the lens of social identity theory and collective efficacy theory. The results of the analysis reveal that the prevalence of positive sentiment at 68.7% does not merely reflect a simple evaluation of the film but also serves as a fundamental expression of shared pride and in-group preference. Expressions of support that emphasize appreciation for the achievement and national pride over the work of local creators act as a tool for strengthening social bonds, reinforcing the national identity linked to achievements in the film sector while also demonstrating the audience's collective belief in the potential of the domestic animation industry (mastery experience). Practically, the recommendation for local film promotion strategies is to highlight narratives about shared accomplishment and national pride to build audience loyalty and continuous interaction in the digital environment.

Using an analysis of the film “The Great Hack,” this paper aims to examine the economic transformation of society from the post-Fordist era to the information society. The film reveals how data and information have become key commodities in today's digital age, impacting various aspects of social and economic life. The film “The Great Hack” serves as the main case study in this research, which uses a qualitative approach. Content analysis and critical discourse analysis are the instruments used in this study. This method involves reading literature on relevant economic and social theories, as well as conducting a critical analysis of the film's content and message. This research uses the theoretical frameworks of post-Fordism, network society, cognitive capitalism, and information society to study the forms of economic change that have occurred. The results of the study show that the film “The Great Hack” adopts the principles of post-Fordism that have developed in the digital context, resulting in a network society, the concept of cognitive capitalism, and a network society where data is the main resource. In conclusion, the film shows how the principles of post-Fordism have developed in the digital context, resulting in a network society, the concept of cognitive capitalism, and a network society in which data is the primary resource. The practices of Cambridge Analytica demonstrate cognitive capitalism, which shows that economic value comes from knowledge and information.

The film "Ranah 3 Warna" (Ranah 3 Warna) is adapted from the novel "Ranah 3 Warna" by Ahmad Fuadi. "Ranah 3 Warna" explores various aspects of human life. It depicts how differences in social class can lead to conflict. The researcher aimed to determine how social class is portrayed in the film. The purpose of this study was to determine how the film "Ranah 3 Warna" represents, displays, and conveys messages about social class. Based on this, the researcher chose this film for research and analysis using Karl Marx's class theory. This research method employed a qualitative research design with a descriptive study approach. Data collection in this study utilized library research. The approach used in this study was content analysis, with the researcher employing purposive sampling to obtain more in-depth data. The results of this analysis show scenes in the film that present social conflict through scenes and conflicts, particularly those involving the main characters. The Randai family represents the upper class and the Alif family represents the lower class, leading to several social inequalities.

This study aims to determine the representation of the father's role as a single parent in the short film "Mana Janji Ayah." The study used a qualitative method with Roland Barthes's semiotic analysis focusing on three layers of meaning: denotation, connotation, and myth. The analysis was conducted on scenes depicting the father's role, including as protector, patient, breadwinner, caretaker, and bringer of happiness to children. The results show that the representation of fathers is not limited to financial functions but also encompasses emotional and moral roles, such as affection, responsibility, and sacrifice in raising children. The film depicts a single father who works as a bajaj driver to support his children after the death of his wife, despite often facing economic constraints and environmental stigma. This representation is conveyed through visual and audio cues that reinforce the message of a father's struggle and sincerity. This study confirms that film can be a medium that reflects social reality, particularly the complexity of the role of single fathers, which is often overlooked in society.

The film Home Sweet Loan depicts the reality of the lives of young people who face economic and psychological pressures due to the double burden of family. The character of Kaluna represents the sandwich generation, a generation that must meet the needs of both generations, parents and the nuclear family. This study aims to analyze the meaning of denotation, connotation, and myth in this film, as well as how the representation of the sandwich generation is formed through narrative and visual symbols. The approach used is Roland Barthes' semiotic analysis, which divides meaning into three levels: denotative, connotative, and myth. Data were obtained through observation of the film, visual documentation and dialogue, and interviews with semiotics experts and film practitioners. The results show that the film Home Sweet Loan presents a layered meaning that reflects the dilemma of the sandwich generation, especially young women. The representation of the sandwich generation is formed through symbols and narratives that highlight the conflict between personal interests and responsibilities to the family. This film not only reflects reality but also functions as an ideological medium that shapes society's perspective on the role of the younger generation in the modern family. Through the character of Kaluna, the film depicts the pressures experienced by individuals in this position, including the challenge of maintaining a balance between personal ambition and obligations to the family. Thus, this film conveys a message about the importance of balancing personal interests and social demands within the family.