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This study aims to analyze the structure, meaning, and values ​​of Malay culture in the animated film Upin & Ipin episode "Pesta Pantun", and its implications in learning for junior high school students in Riau. The method used is qualitative with a content analysis approach. The research data in the form of 19 pantuns were collected through listening and note-taking techniques, then analyzed based on the structure (sampiran and content), meaning, and cultural values. The results show that advice pantuns have a complete structure and function to convey moral values, humorous pantuns are flexible as a medium of entertainment, and riddle pantuns are relatively consistent and function to develop critical thinking skills. In terms of meaning, pantuns contain explicit and implicit messages that reflect the values ​​of politeness, togetherness, intelligence, and respect for Malay traditions. The implications of this study indicate that the use of animation media in pantun learning can increase student engagement and understanding contextually, so it is relevant to be applied to junior high school students in Riau.

This study analyzes how Abuela Alma Madrigal's behaviors toward her family in Disney's Encanto (2021) are influenced by Jungian archetypes. The psychological analysis of matriarchal characters in animated films has received little attention, despite the widespread usage of Jungian theory in film analysis. The aim of this study is to identify the Jungian archetypes that Abuela embodies and analyze how they influence her relationships with the Madrigal family. Data was gathered by repeatedly watching the movie using a qualitative, descriptive approach. Jung's archetypal theory (1959) served as the main framework for the analysis of a selection of dialogues that were transcribed and classified based on specific archetypes. The results show that Abuela's behavior is greatly influenced by five archetypes. She is motivated by the persona archetype to maintain a public persona of magical perfection, valuing each family member according to how they contribute to this image. The trauma of losing her husband Pedro is the source of the Shadow archetype, which takes the form of denial and blame projection until Mirabel confronts it. The Great Mother archetype illustrates how her parental love turned into conditional acceptance and overprotection. The Wise Old Woman archetype highlights the difference between her appearance of authority and the personal doubt she carries. Finally, the Self archetype signifies her psychological transformation as she completely accepts the value of each family member and integrates her suppressed fears, completing Jung's individuation process. These results validate that Jungian theory provides a useful framework for analyzing matriarchal characters in animated films and show how universal psychological patterns associated with trauma, authority, and family dynamics can be meaningfully reflected in modern animated films.

. 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.

The animated film KPop Demon Hunters quickly became a worldwide hit, reaching the top of Netflix's global charts with over 33 million views in just two weeks. The highly acclaimed film KPop Demon Hunters has been the subject of some research due to its notable accomplishment. Yet, none of the research above discusses the symbolism that is richly put in the movie. Thus, the research attempts to elaborate on the representation of symbolism in order to provide an alternative viewpoint of the Kpop Demon Hunters, particularly the well-known villain, the Saja Boys. In order to study the underlying meaning of the Saja Boys, the author employs the qualitative method and applies Vrabel's study of deadly sin in relation to the religious symbol. This study concludes that the members of the Saja Boys represent symbolism of the deadly sins, which are anger, envy, greed, lust, pride, gluttony, and sloth. These vices are shown from the behavior of the Saja Boys, such as barking towards fans aggressively, being envious of one’s freedom and happiness, stocking food as much as possible, giving sexual gratification through physical appearance, and being overly proud of it. Not only that, the members of Saja Boys also portrayed the action of overconsumption and laziness.

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.

This study explores the representation of hegemonic masculinity in The Super Mario Bros (2023), focusing on the character Bowser as a central figure of dominance and authority. Using Connell’s (2005) theory of hegemonic masculinity, this research identifies the masculine traits manifested through Bowser’s verbal and non-verbal expressions. The study employed a qualitative descriptive method with textual analysis on thirty selected scenes from the film. The findings reveal that Bowser exhibits all seven traits of hegemonic masculinity, including aggression and competition, dominance and control, physical strength, emotional restraint, risk-taking, sexual conquest, and self-confidence. Among these, aggression and competition (23.3%) and dominance and control (20%) are the most prominent. Bowser’s masculinity reflects how patriarchal ideals are embedded within modern animated cinema, emphasizing control, strength, and emotional suppression. This study contributes to the understanding of how traditional masculinity continues to be reproduced in contemporary media, influencing audience perceptions of male identity and power.

The rapid growth of digital technology has significantly transformed the way children access entertainment, particularly through streaming platforms such as Netflix. One popular animated series, Masha and The Bear, especially the episode “Tracks of Unknown Animals,” presents rich visual symbolism suitable for analysis through a semiotic approach. This study applies Sigmund Freud’s psychoanalytic theory, focusing on the concept of the superego, to examine the character of the Bear, who demonstrates patience, protectiveness, and tolerance toward Masha’s curiosity-driven behavior. The main objective of this research is to reveal how the representation of the superego is embodied through the Bear’s actions and responses in various challenging situations. The semiotic analysis interprets visual signs, expressions, and character interactions within the narrative. The findings indicate that the Bear serves as a moral figure representing the function of the superego in controlling Masha’s impulses and behavior. Therefore, this animated film not only provides entertainment but also conveys moral messages that reflect psychological and educational values for its audience.

Animated films are not only a medium of entertainment but also an effective tool for delivering moral, social, and educational values through innovative storytelling and engaging visual styles. In Indonesia, although many animated films are broadcast on national television, only a limited number originate from domestic creators. This condition highlights the need to strengthen local creative content that reflects Indonesia’s cultural and environmental identity. The present design project aims to develop an alternative television program in the form of a 2D animated film that emphasizes the preservation of Mentilin, an endemic animal of Bangka Island, while simultaneously serving as an educational medium for the local community. The research and design process employed a qualitative approach, focusing on data collection through observation, interviews, and literature review to identify effective strategies for socialization and education. The animation production of Mentilin, The Tiny Tarsier was carried out in three main stages: pre-production, including concept development and storyboarding; production, involving character design, background creation, and animation; and post-production, which covered editing, sound design, and final rendering. The preliminary evaluation indicated that the animation successfully captured local cultural elements and delivered messages about environmental awareness in an engaging manner. This design is expected not only to provide a creative educational platform for the community but also to contribute to the broader efforts of environmental preservation and the development of Indonesia’s animation industry. Furthermore, the program has the potential to be expanded as a replicable model for other regions in promoting endemic species conservation through creative media.

This study investigates the use of lexical hedges by male and female characters in the animated film “Tinker Bell” (2008), focusing on differences in variation and communicative functions based on gender. The analysis employs Lakoff’s theory of women’s language and Holmes' framework of language functions. A qualitative descriptive method was used, with data collected through documentation and audio-visual observation from the film’s transcript. The results also indicate that although both genders employ lexical hedges, female characters tend to demonstrate a broader range of forms and functions. The findings highlight how hedges not only reflect gendered communication styles but also contribute to character development and narrative flow within the film. This study contributes to understanding gendered communication patterns in animated media and how they reflect broader sociolinguistic dynamics.

Clean and Healthy Living Behavior (PHBS) is an important component in creating healthy living habits, especially in elementary school children. Education about PHBS needs to be instilled from an early age to form a sustainable healthy lifestyle. This study aims to determine the effect of interactive education on improving the understanding of second-grade students at Dharma Loka Elementary School Pekanbaru regarding PHBS. In this study, 50 students were involved using a pre-experimental design through the One Group Pretest-Posttest Design method. The educational intervention was carried out using interactive instructional games such as snakes and ladders, animated films, and PowerPoint presentations. The results showed an increase in students' understanding of PHBS after the intervention. The average score of students in the initial test was 93.2, while after the intervention, the average score increased to 100, with an increase of 6.8 points. This indicates that interactive learning has a positive impact on students' understanding of PHBS. Learning that involves teaching aids and games is proven to be more interesting for elementary school students, making them more active in the learning process. Interactive education not only improves students' understanding but also encourages them to apply PHBS more in their daily lives. The use of media such as games, animated films, and PowerPoint presentations facilitates a more comprehensive and enjoyable understanding. Therefore, this approach can be an effective strategy for teaching children healthy lifestyles, while providing a fun and rewarding learning experience. This interactive education also provides students with the opportunity to learn in a more enjoyable and less boring way. Through the snakes and ladders game, students can learn the concept of healthy living (PHBS) directly in a lighter and more entertaining way. Animated films and PowerPoint presentations add variety to the learning method, making the information conveyed more easily by students.

This research aims to analyze the translation procedures applied in the English-Indonesian subtitles of the animated film Back to the Outback, with a particular focus on how these procedures contribute to conveying meaning appropriately across languages and cultures. Using a descriptive qualitative approach, the study examines utterances and sentences from both the English and Indonesian subtitle versions, which were sourced from the Subscene platform, a site where users collaboratively translate films into various languages. Data collection involved watching the film while observing the subtitles in both languages, followed by identifying and categorizing the translation procedures based on Peter Newmark’s theoretical framework. The findings reveal that the subtitles employ ten out of Newmark's nineteen translation procedures: couplet, modulation, paraphrase, reduction, literal translation, cultural equivalent, transfer, functional equivalent, naturalization, and transposition (shift). These procedures reflect the translator’s efforts to retain meaning, tone, and cultural nuance, making the film accessible and relatable to Indonesian audiences. Furthermore, the study concludes that the target audience of Back to the Outback includes viewers of all age groups, supported by the universal and comprehensible nature of the subtitle translation.

Digital animation technology is increasingly advancing, as evidenced by the proliferation of animated films worldwide. This is also true in Indonesia, where the production of animated films has increased significantly due to the improvement and ease of digital animation technology. One of the most important parts of the animation process is the rigging process, which involves creating a skeleton for the character or object so that it can move and appear lifelike. The rigging process in the short animated film "The Relativity Of Reality" tells the story of Rei, a young boy who discovers advanced technology from a secret organization. However, the owner of the technology comes to take it back, leading to a struggle and chase. Rei decides to escape but is cornered and a battle ensues. The characters in the film are animated using rigging techniques, utilizing the Bendy Bone feature in the Blender application. This feature is useful in creating a rigged system for characters and objects. The result of applying rigging with the Bendy Bone feature is that characters move more fluidly, not only in the legs, body, and arms but also in the face. Therefore, the use of bendy bone and facial rigging in characters will make it easier to produce animations. In addition, rigging can also be applied to other moving objects such as cars, skateboards, doors, and cabinets.

.This study explores the strategies and challenges involved in translating English idioms into Indonesian, using the animated film Up (2009) as a case study. Idioms often carry cultural meanings that are difficult to render directly, especially in audiovisual media such as subtitles, which face spatial and temporal constraints. This research analyzes ten idioms from the film along with their Indonesian translations, identifying three main strategies applied by the translator: paraphrasing, literal translation, and substitution with equivalent idioms. The findings indicate that paraphrasing is the most frequently employed technique, effectively retaining meaning and ensuring clarity for the target audience. However, some idioms lose their original nuance or emotional impact when translated literally. This research emphasizes the crucial role of cultural sensitivity and contextual awareness in translating idioms, especially in subtitling, where clarity and naturalness of language are essential due to space and time limitations.

This study investigates conversational implicature in the 2024 animated film Inside Out 2 by analyzing characters’ utterances through the lens of Grice’s theory of implicature and cooperative principles. Conversational implicature refers to the implied meanings not directly expressed but inferred through contextual understanding. Employing a qualitative descriptive method, this study examines both particularized and generalized implicatures, drawing data from selected dialogues in the film and its official transcript. The emotional complexity of the movie—highlighted by the presence of characters such as Anxiety, Envy, and Embarrassment—provides rich ground for analyzing indirect communication. Findings show that from 28 data items, 25 are particularized implicatures and 3 are generalized. This distribution emphasizes a strong reliance on context-sensitive communication, where meaning emerges from emotional, psychological, and situational cues. Particularized implicatures often occur in emotionally charged interactions, reflecting the characters’ internal struggles and development, particularly Riley’s journey through adolescence. Generalized implicatures, though less frequent, serve to convey socially shared assumptions, enhancing audience understanding in broader, often humorous contexts. The analysis also highlights how the characters’ utterances align with Grice’s maxims. The maxim of relevance is maintained through contextually appropriate responses; the maxim of quantity appears when speakers provide adequate information; the maxim of quality surfaces through honest and sincere exchanges; and the maxim of manner is evident in clear, concise communication. Together, these implicatures and maxims enrich the film’s emotional depth and narrative subtlety.

This research analyzes the translation strategies applied in the Indonesian version of the song "What Else Can I Do?" from Disney's animated film Encanto (2021). Using Peter Newmark’s translation theory, the study compares 26 selected lines from the original English lyrics with their Indonesian translations, focusing on four methods: literal, faithful, free, and communicative translation. The analysis, conducted through a qualitative descriptive approach, reveals that each method was strategically applied depending on the content and context of each line, aiming to maintain meaning, rhythm, and emotional impact. The results highlight the complexity of song translation, particularly the balance between linguistic accuracy and cultural adaptation in audiovisual media.

The film Upin and Ipin contains many good lessons to study, but no one has studied the characteristics of a simple life that characterizes the film. This article aims to reveal education about the simple life of the film Upin and Ipin from the perspective of the Qur'an. The author uses qualitative methods with descriptive analysis, with the main data source being the animated film Upin and Ipin, and supported by secondary sources in the form of journal articles, books, interpretations of the Al-Qur'an and web sources, which support the data to strengthen the arguments in the analysis. The animated film Upin and Ipin is an education on simple living that is in line with the conception of the Qur’an. For the Qur'an, the birth of humans, society, culture, civilization, language, race, tribe and clan as well as the fall of nations are signs that humans must ponder and learn from, so that the Qur'an. A modest life as referred to in the Qur'an includes not being excessive and not being too stingy, therefore, people who distribute their wealth to people in need are good people. Allah SWT through the Qur'an has ordered His servants to live modestly. This is because by living simply, humans can control their lives and not fall into hedonistic lifestyles that tend to lead humans into traps. In this way, the education of modest living contained in the film Upin and Ipin is in line with the conception of the Qur'an. The research implications of the importance of moderation in life create a stable and flexible life.

The animated film "Puss in Boots : the Last Wist" is one of the most successful animated films in 2022, this is thanks to the presence of the antagonist, Death, which is the main attraction in this film. The visuals displayed by the antagonist character design have a deep meaning, making it an object of research that can inspire and provide insights related to character creation. The purpose of the research is to analyze the visual meaning of attributes, character types, and gestures as well as the process of creating the main antagonist character "Death" in the animated film "Puss in Boots: the Last Wish". This research uses a descriptive method that will be described by using the manga matrix theory developed by Hiroyoshi Tsukamoto to design new characters with 3 main variables, namely matrix form, matrix costume, and matrix personality. The results of this study show that character creation requires a long process such as determining the basic role and concept of the character, then analyzing references taken from history, myths and folklore related to the character. This element is very important because it will be the beginning of the visual design of the character which is then strengthened by visual depictions through the design of clothes, attributes and weapons used, as well as the giving of personality to the character that makes it more lively. In conclusion, the creation of a character not only requires attractive character visuals, but also covers various aspects that are not few, to produce iconic characters and are liked by the audience.

This study aims to analyze children's religious and moral values during activities involving watching Islamic animated films at TK Al-Huda Kindergarten, South City District, Gorontalo City. The research employed a qualitative method. The subjects of this study were five educators and students, while the object focused on observing how children's religious and moral values were reflected during the activity. Data collection techniques included observation, interviews, and documentation.The results of the study indicated that the inculcation of religious and moral values in children through the activity of watching Islamic animated films at Al-Huda Kindergarten had been implemented effectively. This was evident in children's improved understanding of religious and moral concepts, such as in the religious aspect, where children became accustomed to greeting and responding to greetings, praying before and after activities, practicing prayer every Friday, and memorizing short surahs. Additionally, behaviors such as honesty, social care, responsibility, mutual assistance, and other positive attitudes also developed well.

Research using Charles Sanders Peirce's semiotics in animated films is based on his triadic approach, namely icons, indexes, and symbols, which are used to understand the hidden meaning in every visual and narrative sign. In the context of film analysis, semiotics functions as a tool to dismantle and understand the structure and meaning contained in visual and narrative elements. This analysis can be done using Peirce's icon, index, and symbol approach. Researchers see how these signs play a role in forming the film's main theme or message. Researchers interpret the meaning of these signs in the social, cultural, or ideological context represented by the animated film. This approach is important for understanding how animated films reflect or influence social views on the themes discussed, such as the role of mothers or families. This interpretation also involves analyzing whether these signs contain social criticism or certain moral messages. Based on the results of the analysis, the audience not only sees the mother as a character but also as a symbol of inspiring strength, which can ultimately shape the audience's perception of the importance of the role of mothers in everyday life. Indirectly, the peace that occurs because there is a strong mother figure in carrying out the rebellion, the strength that was born within her because of the sad circumstances of life, the heartbreaking loss, the circumstances full of suffering. From the film it can be seen that the strength and sacrifice of a mother is extraordinary.

This study explores the application and violation of Grice's conversational maxims in the animated films "Finding Nemo" (2003) and "Finding Dory" (2016). Grice's maximsquantity, quality, relation, and manner are key to effective communication in pragmatics. The research analyzes how these maxims are followed or flouted by the characters, affecting humor, tension, and narrative flow. Through a qualitative approach, the study identifies specific instances of adherence and violation, examining their impact on character development and audience engagement. The findings indicate that flouting the maxim of quantity often creates humor, while manipulating the maxim of relation generates suspense. This analysis demonstrates the role of conversational maxims in enhancing storytelling and character interactions in animated films, contributing to their narrative and entertainment value.