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This study explores the translation shifts found in the soundtrack of the film Rapunzel – Tangled, specifically in the German-to-Indonesian translation. The objective is to identify the types of translation shifts and analyze their distribution and tendencies during the translation process. The research data were taken from three songs: "Wann fängt mein Leben an?", "Mutter weiß mehr", and "Endlich sehe ich das Licht". A qualitative descriptive method was employed, focusing on lines containing translation shifts. Data were collected through documentation and analyzed based on Catford’s (1965) theory of translation shifts. A total of 74 translation shifts were identified, with the highest distribution in "Mutter weiß mehr" (32 shifts), followed by "Wann fängt mein Leben an?" and "Endlich sehe ich das Licht" (21 shifts each). In "Wann fängt mein Leben an?", structural shifts dominated, making up 38.9% of the shifts, followed by class and unit shifts (27.8% each), and intrasystem shifts at 5.5%. In "Mutter weiß mehr", structural shifts accounted for 35.4%, class shifts 34.1%, unit shifts 28%, and intrasystem shifts 2.4%. In "Endlich sehe ich das Licht", class shifts were the most prevalent (33.3%), followed by unit shifts (31.7%), structural shifts (30%), and intrasystem shifts (5%). The study concludes that structural and class shifts are the dominant strategies used in translating the soundtrack, helping to manage linguistic differences while maintaining meaning, musicality, and emotional impact in the target language.

. Public understanding of discourse embedded in children’s animated film scripts and their underlying purposes remains limited, resulting in low audience awareness of the implicit messages conveyed in meaning-laden children’s animations. The Loud House, broadcast by the children’s television network Nickelodeon, presents a relatively controversial theme by incorporating homosexual discourse, which is perceived as deviant behavior by certain segments of society. Based on this premise, this study examines the process through which homosexual behavior discourse is conveyed in The Loud House, addressing the research question: How is the discourse of homosexual behavior in The Loud House constructed in terms of textual messages, social cognition, and social context based on Teun A. Van Dijk’s discourse analysis framework?* This research adopts a qualitative approach using Van Dijk’s critical discourse analysis, which encompasses three analytical dimensions: text, social cognition, and social context. The findings indicate that homosexual discourse is represented through two supporting characters, Harold and Howard, depicted as a same-sex couple who adopt a young boy. These homosexual characters are deliberately framed with a positive image as caring and affectionate parents, comparable to the portrayal of heterosexual parents.

Currently, the skills needed to advance a tourist area are influenced by the availability of human resources who can speak English and understand local culture well. Unfortunately, improving English proficiency remains a challenge. Additionally, another issue appears as the Alpha generation is exposed to a great deal of English-language social media content; however, this does not appear to be directly correlated with an improvement in their English proficiency. It appears that the English Club instructors at SMA Fons Vitae 1 Jakarta were also aware of these two problems. Therefore, on September 11, 2025, an ABDIMAS activity entitled "Giving and Asking for Direction" training was held with the production of a short film. This activity was attended by 15 participants, 10 boys and 5 girls, a combination of students from grades 10 and 11. The results of the training showed that the pre-production process of making a short film provided a space for participants to recognize and explore Indonesian cultural heritage. Furthermore, the production process of making a short film made participants not afraid of speaking English. In the post-production process, participants can also edit parts of the video that are less than satisfactory because they can re-record if there are errors in pronunciation and grammar.