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This study aims to analyze the transformation of Don’s character in the film Jumbo using K.M. Weiland’s character arc framework. The research employs a qualitative method with a descriptive-interpretative approach. Data were collected through repeated viewing of selected scenes that represent character development, and analyzed based on narrative structure, including exposition, inciting incident, rising conflict, climax, and resolution, as well as supported by visual elements such as facial expressions, gestures, and cinematic composition. The findings reveal that Don’s character undergoes a dynamic and gradual transformation. Initially, he is driven by a strong need for social validation, which develops into a negative change arc as he reinforces false beliefs and exhibits increasingly egoistic behavior. At the climax, Don reaches a critical turning point that triggers self-reflection. Ultimately, he transitions into a positive change arc, demonstrated through empathy, responsibility, and concern for others. This study highlights that character development in film is constructed through the interplay of conflict, social relationships, and a structured narrative process.

This study examines the application of continuity editing in the film Kucumbu Tubuh Indahku and its role in building the film's narrative structure. The primary objective of this study is to analyze the editing techniques used and identify the editor's contribution to shaping the visual storytelling. The method used is descriptive qualitative, with primary data collected through interviews with the film editor and observations of the film itself. The results of the study indicate that continuity editing functions to maintain narrative continuity and the emotional flow that develops throughout the story. The editing techniques used in this film include cut-in, match on action, and eyeline match, all of which work to create smooth transitions between different scenes. The cutting points in the film become key elements in regulating the rhythm, visual emphasis, and dramatic intensity within the storyline. Each decision regarding the cutting point made by the editor can produce different emotional effects, which directly influence the pacing and dynamics of the story. This study emphasizes that careful editing decisions are crucial in strengthening the visual and dramatic aspects of the film and help build a strong narrative experience for the audience.

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.

Film as a cultural text never exists independently but is always connected to previous texts that form a network of meanings. The phenomenon of film remakes demonstrates a strong intertextual relationship, as seen in My Annoying Brother in its South Korean and Indonesian versions. This study examines the intertextual relationship between the two films and analyzes the ways the story is reworked within different social and cultural contexts. The purpose of this research is to investigate the intertextual relations between the South Korean version as the source text and the Indonesian version as the transformed text by applying the concepts of opposition, transposition, and transformation. This study employs a qualitative descriptive approach using an observation method through careful and repeated film viewing, accompanied by note-taking of important dialogues and significant scenes. The research data consist of narrative elements of the films, including plot, characters, conflict, setting, and cultural values. The findings reveal that although both films share similar narrative structures and central conflicts, the Indonesian version incorporates local cultural adaptations that generate new meanings within the context of cross-cultural film remakes.

The objective of this study was to identify the forms of bullying sentences in the film "Die Welle" and to analyze the meaning of these sentences based on the theory of critical discourse analysis by Teun A. van Dijk. A descriptive qualitative method was employed in this study, with data consisting of 18 sentences containing elements of bullying found in the film "Die Welle." The analysis was carried out by identifying themes, narrative structures, as well as semantic, syntactic, stylistic, and rhetorical elements in each sentence. As a result of the analysis, three main forms of bullying sentences were identified: (1) direct verbal insults in 12 sentences or 66.7%; (2) physical threats in 5 sentences or 27.8%; and (3) emotional outbursts in 1 sentence or 5.5%. Based on van Dijk's theory, it was found that the bullying sentences in this film not only represent verbal aggression but also reflect the use of language as a tool of power and dominance within group dynamics. Thus, the film "Die Welle" demonstrates that bullying is not merely an individual act but also part of a social structure that is formed and sustained through discursive practices.

The objective of this study was to identify the forms of bullying sentences in the film "Die Welle" and to analyze the meaning of these sentences based on the theory of critical discourse analysis by Teun A. van Dijk. A descriptive qualitative method was employed in this study, with data consisting of 18 sentences containing elements of bullying found in the film "Die Welle." The analysis was carried out by identifying themes, narrative structures, as well as semantic, syntactic, stylistic, and rhetorical elements in each sentence. As a result of the analysis, three main forms of bullying sentences were identified: (1) direct verbal insults in 12 sentences or 66.7%; (2) physical threats in 5 sentences or 27.8%; and (3) emotional outbursts in 1 sentence or 5.5%. Based on van Dijk's theory, it was found that the bullying sentences in this film not only represent verbal aggression but also reflect the use of language as a tool of power and dominance within group dynamics. Thus, the film "Die Welle" demonstrates that bullying is not merely an individual act but also part of a social structure that is formed and sustained through discursive practices.

The problem of waste dumping on Bali coast must be regarded as an ecological crisis which proves to be unseen under many perspectives. The article is about the making of a documentary film Apocalyptic Tides as an advocacy and educational tool bringing up this issue by means of the expository documentary style with highlights of poetry and performance elements in play. The method of field observation, semi-structured interviews with activist and scholars and visual documentation are also used in the research, followed by analysis and compiling of information with the help of non-linear editing tools by using Adobe Premiere Pro software. The film is set on a thematic narrative that shows the process of the waste as it goes upstream to downstream and how it affects the ecology and thoughts on the ecological consciousness. Techniques of non-linear editing were applied to organize the footage according to emotional echo and the schemes of meaning instead of the chronological order, thus creating an intellectually stimulating and reflective storyline. Apocalyptic Tides proves the power of documentary film to bridge the gap between art, science, and advocacy in case of creating the ecology-minded population.

This study analyzes the use of symbols in the animated film Wall-E, directed by Andrew Stanton, which conveys environmental and social issues through a semiotic lens. The research applies a descriptive qualitative method, focusing on the interpretation of signs and meanings embedded within the film’s visual elements and narrative structure. The aim is to explore how symbolic representations contribute to the film’s critique of human behavior and modern lifestyles. The findings identify several key symbols used throughout the film. The barren, deserted Earth serves as a metaphor for environmental destruction caused by human greed and overconsumption. Wall-E, the main character, symbolizes resilience and hope amidst ecological collapse. A small green plant becomes a central symbol of renewal and the possibility of life returning to Earth. The spaceship Axiom represents a society dominated by extreme consumerism, where humans have become passive, dependent, and physically detached from nature. Additionally, the depiction of human interactions—or the lack thereof—illustrates the theme of social alienation driven by overreliance on technology. These symbols collectively function as a powerful critique of unsustainable living patterns, warning audiences of the consequences of neglecting environmental responsibility. Furthermore, the film emphasizes the need for balance between technological advancement and ecological awareness. In conclusion, this research highlights the effectiveness of animated films like Wall-E in delivering social and environmental messages. It suggests that cinema can be a potent medium for raising awareness, fostering critical thinking, and educating audiences about the importance of sustainability and human connection in the face of modern challenges.

This study examines the application of the three-act structure based on Aristotle's theory in the screenplay of the film “Key” to effectively build suspense. The three-act structure—comprising setup, conflict development, and resolution—is a classical narrative framework widely used in filmmaking. The research employs a descriptive-qualitative approach with a case study on the screenplay of “Key.” This study contributes to the development of screenwriting techniques, particularly for genres that prioritize suspense, and provides practical guidance for screenwriters in crafting stories capable of influencing the audience's emotions. The analysis results show that the application of Aristotle's elements in the three-act structure creates a progressive storyline, strengthens the emotional connection between the audience and the characters, and delivers a climactic emotional peak.  

The adaptation of a novel into a film, known as ekranisasi, is a challenging process due to the differences between the two mediums, namely literature and visual storytelling. This study examines the ekranisasi process of the novel Mariposa by Luluk Hadiya Fauzia, directed by Fajar Bustomi. The purpose of this research is to analyze the extent to which the Mariposa film retains the core narrative of the novel and how cinematographic elements are used to replace the internal narration found in the literary work. Through a qualitative approach and literature study, the research reveals that, despite significant changes in character development and plot structure, the main themes of teenage love, perseverance, and self-growth are preserved. The film employs cinematographic techniques, such as lighting, color, and shot composition, to more directly depict the emotions and internal conflicts of the main characters. Additionally, symbolism, such as the butterfly representing transformation, strengthens the themes and moral messages conveyed. The findings of this study show that the Mariposa film successfully offers a new experience for the audience and demonstrates that novel-to-film adaptations can succeed, even with changes in storytelling methods, as long as the essence of the literary work is maintained.

This study examines the influence of foreign pop culture on the narrative and aesthetics of contemporary Indonesian films. In the era of globalization, Indonesian filmmakers face the challenge of adapting global elements while preserving local identity. This research employs a qualitative approach by analyzing several Indonesian films, such as Gundala, Yuni, and Impetigore, which exhibit a unique blend of global and local themes. The findings reveal that foreign pop culture plays a significant role in shaping modern and globally competitive narrative structures and visual aesthetics while maintaining Indonesian cultural values. However, the risk of cultural homogenization remains a challenge. With the right adaptation strategies, Indonesian films can strengthen their position as cultural representations that are both globally and locally relevant. This study aims to contribute to the development of the Indonesian film industry amidst the influence of cultural globalization.

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 research explores the representation of fear in the context of leaving Batak culture as depicted in the film "Ngeri-Ngeri Sedap". Through a content analysis approach, this study investigates how the fear associated with leaving cultural identity is reflected in the narrative, visuals, and characters in the film. Qualitative methods are used to analyze various film elements, including dialogue, plot, setting, and cultural symbolism. The findings indicate that the film portrays the complexity of fear experienced by individuals confronted with the conflict between tradition and modernity. These representations provide insights into the cultural dynamics within Batak society and their implications for individual identity. The study contributes to understanding how fear is associated with cultural change and how it is reflected using Roland Barthes' semiotic analysis framework. The goal of this study is to use Roland Barthes' semiotic analysis method to uncover the moral lessons that are subtly conveyed in films.  The study uses qualitative descriptive methodologies and centers on specific cinema moments.  While connotation is investigated to uncover the hidden meaning behind these indicators, denotation is used to identify signs as they seem on the surface.  Myth analysis is another method used in this research to find concepts that are implied by the movie's plot.  Through the use of Roland Barthes' semiotic approach, the study unveils "Ngeri-Ngeri Sedap"'s intricate and multilayered narrative structure. The research findings offer profound insights into the ways in which the film uses verbal and visual cues to convey moral lessons to its audience.  This study enhances our knowledge of semiotic analysis in the context of film by shedding light on symbolic representations and hidden messages in audiovisual art.

Analysis of narrative structure as an intermediary in understanding stories as well as conveying messages and meanings through moral values, religious teachings and educative culture. The problem being studied is whether the script writer is able to reflect the elements of nature in the film series Avatar The Legend of Aang: The Last Airbender in the characters. Natural elements which include water, earth, fire, air in the Avatar series The Legend of Aang: The Last Airbender, are the basis for the formation of the character's characters, these elements have a close relationship with natural elements that exist in Javanese human life and the embodiment of energy in human life. Java. The purpose of this study is to make it easy for readers to understand the symbolic character and understand the narrative structure, by using qualitative methods and as a theoretical basis that is considered appropriate to discuss it, understanding the narrative and natural elements reflected in the character of the characters is used a narrative structure approach, this approach its orientation is to study the systematic stages of script writing to get the essence of a story. In the narrative structure there are substances that relate to each other to form a series of stories including: 1. The structure of the first three acts contains set-up or introduction, the second act contains turning points and the third act describes the resolution or resolution. The interesting thing about this series is the discovery of story problems and conflicts that usually occur in the adult category but are translated into teenage figures and then packaged in a narrative structure that is easy for the audience to understand.