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Abstract: One of the most common harmful bacteria, particularly in hospitals, is Pseudomonasaeruginosa, which is also the most frequent cause of wound infections. Because it leads to antibioticresistance and persistent infections, one of the most significant virulence factors it produces isbiofilm. The goal of the current study is to prevent P. aeruginosa isolates from wound patients fromforming biofilms by using plantaricin, which is a peptide with broad-spectrum antibiotic generated byLactobacillus plantarum. In order to produce plantaricin, so that Lactobacillus plantarum isolates from rawbuffalo milk were screened. The plantaricin was then purified using ammonium salts and a gelfiltration column, with a final 40% recovery. The isolates of P. aeruginosa with more production tobiofilm from wound infections were tested for the inhibitory impact of pure plantaricin. The resultsshowed that the plantaricin reduced the development of biofilms in a dose-dependent manner, with alarger percentage of biofilm inhibition reaching 46–68% at 150 µg/ml.

Film is a communication medium capable of conveying moral messages to the public through a series of moving images, usually accompanied by sound. One such medium is the short film. "The waiting room" by Galih Firdaus, a production of PT Kereta Api Indonesia (KAI) released in April 2024 and received positive acclaim for its engaging plot and relevance to the audience's reality. This study aims to analyze the moral message in the film using Charles Sanders Pierce's semiotic theory, which emphasizes three main elements: Representation, Object, and Interpretant. The study used a descriptive qualitative approach with a content analysis method to uncover the moral meanings behind the film's scenes. The results found 15 scenes that explicitly convey moral values, including the importance of open communication within the family, the meaning of simple kindness, valuing togetherness, the commitment of true love, a mother's fortitude, loyalty in waiting, and sincere care. The moral message is constructed through Representation (physical signs such as a bowl of soto), Object (the reality conveyed, such as an apology), and Interpretant (the audience's understanding that the soto symbolizes improving relationships). In conclusion, the film "The waiting room" successfully conveys a strong moral message through a neatly structured narrative.

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.

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.

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 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.

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 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 development of technology and digital platforms such as Netflix has influenced the representation of career women in films, including how career women are depicted in the competitive world of work. This study examines the representation of career women in the film The Most Beautiful Girl In The World, especially through the character of Kiara, a smart, ambitious, and assertive television producer. The purpose of this study is to find out how career women are represented in the film, the values they uphold, and the messages they convey regarding women in the world of work. This study uses a descriptive qualitative approach with Roland Barthes' semiotic analysis method to analyze the denotative, connotative, and mythical meanings in the film. The results of the study show that the character of Kiara represents a modern woman who is independent, professional, and able to compete on an equal footing with men without eliminating her emotional side. This film not only presents women as story sweeteners, but as central figures who bring change to the narrative flow. This representation provides inspiration and motivation for the audience, especially women, in facing stereotypes and challenges in the world of work. This film also conveys an important message about and empowering women in the professional realm.

This research examines the effectiveness of using a repertoire class as a learning strategy in the Media Music course of the Film and Television Production Study Program at the Indonesian Institute of the Arts, Yogyakarta. The course, offered in the fourth semester, focuses on film music creation, mood development, and instrumental understanding. The study applies the Classroom Action Research method with the primary goal of improving students’ comprehension of film scoring components. Pre-cycle findings showed that students’ understanding was relatively low under previous teaching approaches. To address this, the repertoire class method was introduced. This strategy emphasises active learning through sound samples from various instruments, allowing students to directly experience and analyse how musical elements shape the mood of a film. The interactive design of this method provides not only theoretical insights but also practical, auditory experiences that deepen learning. The research was carried out in three CAR cycles, each evaluating student progress and adjusting strategies as needed. Results demonstrate a notable improvement in learning outcomes. The percentage of students achieving Excellent and Very Good categories increased significantly, while the number in the Poor category decreased. These findings confirm that repertoire classes, especially those incorporating instrumental sound samples, are highly effective in enhancing students’ understanding of the emotional dimension of film music. In conclusion, this approach enriches the learning experience and equips students with both technical knowledge and emotional sensitivity in film scoring. By integrating practice-based methods, the repertoire class proves to be a valuable strategy in media music education.

This study analyzes the representation of the meaning of strong women in the main character, Tari, in the film Bolehkah Sekali Saja Ku Menangis using Roland Barthes' semiotic theory. The film emotionally depicts Tari’s life journey, from psychological pressure and harsh treatment within the family to the long process of rediscovering her true identity. Despite emotional wounds, Tari shows resilience and strength to rise. This study aims to identify how the meaning of a strong woman is constructed through cinematic elements such as visuals, dialogues, body expressions, and symbols in the film. Using a qualitative approach with Barthes' semiotic theory, the analysis focuses on the relationship between signs, denotative meaning, and connotative meaning in key scenes. Data was collected through in-depth observation and sign analysis of scenes that portray Tari's struggle, perseverance, and emotional transformation. The findings show that Tari represents a strong woman not only through physical endurance but also emotional resilience, self-empowerment, mental health awareness, and the courage to seek support. The film delivers a message about the importance of mental strength and women's courage in fighting for their rights and freedom. This study is expected to enrich the study of the representation of strong women in the media.

Pragmatics is a subdiscipline of linguistics that studies the application of language in social communication by considering situational factors, the purpose of the conversation, and the status of the interlocutor. The main focus of this research is on directive speech acts. A directive speech act is a type of speech act aimed at prompting action from the speech partners by the speaker's direction. This research analyzes the directive speech acts in the movie Home Sweet Loan. A theoretical approach with pragmatic analysis and a methodological approach using a qualitative descriptive method are applied in this research. Data collection employs listening and recording techniques, utilizing the advanced technique of unparticipatory listening. The presentation of the data uses informal techniques. The results indicate a diversity of types of directive speech acts used in the dialogues of this film, including asking, ordering, suggesting, pleading, urging, commanding, advising, charging, and inviting. This finding highlights the importance of directive speech acts in sustaining communication between speakers and partners, clarifying the meaning of each interaction in the social dynamics portrayed in the film. This research contributes to a broader and deeper understanding of speech closely related to social context.  

This study is based on the urgency of understanding assertive speech acts as part of pragmatic studies in speech acts in the movie Sweet 20 by Ody C. Harap. Sweet 20 was chosen because of its richness in dialogue and cross-generational representation, thus allowing in-depth analysis of speech acts. This research aims to identify, classify, and analyze the form and function of assertive speech acts used by the characters in the film. The method used in this research is descriptive qualitative with a pragmatic approach. The data were obtained through listening and note-taking techniques on the characters' speech in the movie. Data analysis refers to Searle and Galassi's speech act theory, which emphasizes assertive speech acts. The results show various forms of assertive speech acts, such as stating, telling, suggesting, boasting, complaining, reporting, expressing positive emotions, self-affirmation, and expressing negative emotions, which are influenced by the social and cultural context in the movie. This research contributes to the development of pragmatics studies in linguistics, can be used as a reference in learning Indonesian, especially speaking skills, and provides further insight into the use of speech acts in audio-visual media.

This study is driven by the researcher’s interest in exploring the various forms of expressive speech acts that appear in the movie “Budi Pekerti.” The primary objective of this research is to identify the types of expressive speech acts performed by the characters in the film. Data were collected using observation and note-taking methods, specifically the free listening approach (simak bebas libat cakap, SBLC) and recording techniques. The analysis was conducted using a pragmatic framework, focusing on dialogue excerpts from the film’s characters. The findings reveal that the characters utilize seven types of expressive speech acts: expressing gratitude, giving praise, apologizing, criticizing, complaining, insinuating, and blaming. This study demonstrates that the expressive speech acts in “Budi Pekerti” are closely tied to the social and cultural context of the story. Each type of expressive speech act conveys functions and meanings that reflect the characters’ emotions and attitudes in specific situations. Overall, this research contributes to a better understanding of how expressive speech acts are used in film media and serves as a reference for future studies related to language use in diverse social and cultural contexts.

Illocutionary speech are one of the key concepts in pragmatics, referring to actions performed by the speaker through utterances with specific intentions and functions. Illocutionary acts are a central aspect of speech act theory and are categorized into five types, namely expressive, declarative, representative, directive, and commissive acts. This study examines illocutionary acts in the film Sekawan Limo by Bayu Skak. The aim of this research is to analyze how illocutionary acts create additional meaning in communication between characters, as well as to understand how these acts influence the development of the storyline and character progression within the film. The data collection techniques used in this research include a descriptive qualitative approach, along with matching methods, observation and note-taking, as well as formal and informal methods.Based on the findings, we identified inaccuracies or misuses in illocutionary acts, including expressive, declarative, representative, directive, and commissive types. The benefit of this research lies in the development of scientific knowledge and understanding regarding illocutionary acts. For the general public, this study can provide insight into the various types of illocutionary acts. Through this research, we hope to deepen the understanding of illocutionary acts and provide useful information that can serve as a valuable reference for future researchers conducting similar studies. 

This study investigates the influence of the film Tenggelamnya Kapal Van Der Wijck on students’ perceptions of Minangkabau culture, focusing on Communication Science students at Bina Sarana Informatika University (UBSI). The research employs a quantitative approach with a survey method, applying the Uses and Effects theory to examine how media content affects audience perception. The study aims to understand how cultural values embedded in the film impact students’ knowledge, attitudes, and behavioral orientations toward Minangkabau traditions. A total of respondents were surveyed to measure their cultural perceptions before and after watching the film. Statistical analysis using correlation tests reveals a significant relationship between exposure to the film and students’ cultural perceptions, with a correlation coefficient of 0.631, indicating a moderately strong influence. The film illustrates various aspects of Minangkabau culture, including the matrilineal kinship system, social norms, and traditional values, which significantly enhance students’ awareness and understanding. Furthermore, the findings suggest that the film contributes not only to knowledge acquisition but also to shaping attitudes and potential behavioral changes toward cultural appreciation. The study concludes that film, as a powerful visual medium, plays a substantial role in shaping cultural perceptions among the younger generation. These findings underline the importance of strengthening cultural literacy through audiovisual media while encouraging critical perspectives to avoid misinterpretation of cultural messages. Future research is recommended to compare the impact of different cultural films across diverse student populations to deepen the understanding of media influence on cultural perception.

Pop-up is a visual delivery technique in the form of three dimensions that falls under paper engineering, where paper is folded in such a way that it emerges or expands when a page is opened. This technique not only provides aesthetic value but also offers a more interactive reading experience for readers. Pop-up storybooks are designed to make the narrative within them come alive through the raised effects produced by folding techniques. Thus, readers not only enjoy the text but also gain a visual experience that supports their imagination of the story’s content. A well-designed pop-up book is determined by the effectiveness of the pop-up models used in clearly conveying the story’s message. The choice of folding models must align with the narrative so that the visual elements presented are not only aesthetically appealing but also communicative. This study aims to analyze the selection of pop-up models and to assess the extent to which these models successfully depict the story adapted from the Harry Potter film. The analysis results show that five types of pop-up models are used, namely magic box, V-folds, multiple layers, floating layers, and moving discs. Among these five, multiple layers are the most frequently used model, with a percentage of 35.3%. Meanwhile, effectiveness analysis indicates that 58.8% of the pop-up models employed successfully illustrate the story, both in terms of character visualization and storyline. In conclusion, the Harry Potter pop-up book demonstrates innovative and effective paper engineering techniques in storytelling. This proves that interactive media such as pop-up books can serve as a creative medium to enhance both the appeal and comprehension of readers toward a literary work or film adaptation.

This study aims to analyze the representation of national values and friendship in the film Sekawan Limo using Roland Barthes’ semiotic approach. The film was selected because it combines horror elements with strong local cultural nuances, making it interesting to examine from the perspectives of visual communication, culture, and social values. The research employed a descriptive qualitative method, with primary data drawn from scenes, dialogues, visual symbols, and narratives within the film. The analysis was conducted through Barthes’ three levels of semiotics: denotation, connotation, and myth. At the denotative level, the film presents visual and verbal signs depicting character interactions and the cultural background of society. At the connotative level, these signs convey deeper meanings related to national values, such as respect for local culture, the importance of unity, and love for the homeland. Meanwhile, friendship values are reflected through solidarity, empathy, mutual support, and sacrifice among the main characters as they face conflicts together. At the myth level, the film illustrates how popular culture can serve as a medium for delivering moral and ideological messages, particularly the importance of preserving national identity while fostering strong bonds of friendship. The findings highlight that local films function not only as entertainment but also as an effective communication medium to convey national and social values to a broader audience. Thus, Sekawan Limo demonstrates that film plays a strategic role in strengthening cultural awareness while instilling moral values.

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.

This study aims to explore expressive illocutionary acts in the film The Perks of Being a Wallflower, focusing on the types and functions that appear in the interactions between the characters. Expressive illocutionary acts, as part of pragmatic studies, play an important role in representing emotions, attitudes, and social relationships between speakers. This study was conducted to identify in detail twelve types of expressive illocutionary acts and their four accompanying functions, thereby providing a deeper understanding of the dynamics of communication in the film. This study uses a qualitative approach with documentation and observation methods of the film's dialogue. Data analysis was carried out through three stages: data reduction, data presentation, and conclusion drawing, to obtain a systematic picture of the pattern of expressive illocutionary acts. The results show that all twelve types of expressive illocutionary acts are found in the film, with the expression "thank you" as the most dominant form. This reflects the film's main theme, which emphasizes the value of friendship, emotional support, and gratitude between characters. In contrast, the expression "regret" is the least used type.