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This study aims to analyze the symbolic meaning of the mangulosi tradition in Toba Batak traditional wedding ceremonies using Roland Barthes’ semiotic theory. This research employs a descriptive qualitative method, with data collected from visual media such as YouTube and TikTok, supported by informants familiar with Toba Batak culture. The findings reveal that meaning in the mangulosi tradition is constructed through three levels of signification: denotation, connotation, and myth. At the denotative level, mangulosi is understood as the act of giving ulos in a wedding ceremony. At the connotative level, ulos and the ritual process convey symbolic meanings such as blessings, protection, harmony, and the strengthening of social and kinship relationships. At the myth level, the tradition reinforces the cultural ideology that marriage is considered legitimate when it receives recognition and blessings from family and customary authorities. Quantitatively, the findings show that artifacts are dominated by visual connotative meanings (40%), while ritual actions emphasize non-verbal (30%) and verbal (20%) meanings. Therefore, the mangulosi tradition is not only a ceremonial practice but also a medium for preserving cultural identity and social values within the Toba Batak community.

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.

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.

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 study discusses how the application of media wealth by MTA TV's public relations in delivering da’wah messages through Instagram flyers on @mtatv_official in the period of 2021-2025. The research employed a descriptive qualitative approach with Roland Barthes' semiotic analysis, focusing on denotation, connotation, and myths. The findings reveal that MTA TV has effectively implemented four key elements of media wealth—signal diversity, language variations, personal sources, and regardless—through its use of Instagram flyers. These elements are designed to enhance the communication process, making the messages more engaging and accessible to the audience. The da’wah messages conveyed through the flyers are interpreted by the audience in three primary categories: invitation (76.67%), motivation (16.67%), and solidarity (6.67%). The majority of the audience interprets the messages as invitations to join or engage in religious activities, highlighting the importance of outreach and engagement in MTA TV's approach. The motivational aspect encourages positive actions and attitudes towards religious teachings, while solidarity, though less prevalent, emphasizes the sense of community and support within the Muslim audience. The use of media wealth on social media platforms like Instagram is shown to increase the effectiveness of da’wah messages by making them more visually appealing, interactive, and relatable to a wide audience. This study suggests that employing rich media content, such as Instagram flyers, can play a vital role in enhancing the reach and impact of religious communication. It also underscores the importance of understanding the semiotic elements in shaping how messages are interpreted by different segments of the audience, making it a valuable tool for religious organizations aiming to modernize their communication strategies.

This study analyzes Red Bull advertisements as a form of visual propaganda that effectively constructs a brand image associated with extreme sports, bravery, and extraordinary achievement. The background of this research lies in the phenomenon of the increasing prevalence of visual content in modern marketing strategies, which not only sell products but also embed ideologies and social identities. Red Bull was selected as the object of study due to its consistent use of visual elements rich in symbolic and connotative meaning. This research employs a qualitative approach using Roland Barthes' semiotic analysis method, along with theories of visual propaganda and social identity. The findings reveal that Red Bull communicates its message not merely through images and slogans, but also through the construction of deep connotative meanings. The slogan “Red Bull Gives You Wings” instills a sense of hope in surpassing one's limits, while the use of extreme sports figures as testimonials reinforces the product's image as a symbol of high performance. These advertisements create a modern myth in which Red Bull is associated with courage and freedom, transforming it from a mere energy drink into a lifestyle identity. In the context of social identity, consumers are not only purchasing a product but also affirming themselves as members of an adventurous, active, and daring community. Thus, Red Bull successfully builds brand loyalty through a strong and symbolic visual narrative. This research emphasizes that today’s advertisements are inseparable from ideological functions and the social constructions they visually shape.  

Films have a huge impact in changing the perception of the audience. The film "Stealing Raden Saleh" presents a storyline that contains criminology scenes. Sometimes, perpetrators of crimes are not aware of their actions, because there are many factors that support them. This research aims to reveal the meaning of criminology in films using Roland Barthes' Semiotic Analysis. The film features various crime scenes, including theft, forgery of paintings, threats of violence, and fights. A qualitative approach was used in this research, with the aim of determining, understanding, explaining and gaining an in-depth understanding of the signs manifested in images and dialogue to describe the forms of crime represented in this film. The analytical method applied is qualitative based on Roland Barthes' semiotic model. By using the theory of denotation, connotation and myth, this research found that the most dominant criminological category from the data was the role of peers.

Batman is a well-known superhero and is loved by many people from all walks of life, an interesting Batman character for not having superpowers like other superheroes. In addition to the character Batman has a striking logo and is an identity for Batman. In 1966 Batman released a series of films with decorative designated logos in which Pop Art's chests developed rapidly. Each logo is a visualized identity that has a meaning, using a qualitative method with Roland Barthes' semiotic analysis approach. The purpose of the study was to find out what values and meanings were cooped up in the 1966 Batman logo, which was influenced by the then-developed Pop Art style trend. Based on research results, it can be inferred that the use of the 1966 Batman logo influenced by Pop Art style and the visual elements of the logo suggests that the brief logo is an image and that Batman superhero has an intelligent, intellectual, optimistic nature of rooting out crime.

ABSTRACT This study aims to discuss Yura Yunita's song, "Ujar Batin". This song has a meaning about a woman's self-acceptance. Given the many problems experienced by women regarding anxiety, depression, fear, beauty standards, toxic femininity. This research includes qualitative descriptive research based on the constructivism paradigm. The method used in this study was Roland Barthes' semiotic analysis. This research shows the existence of selflove messages conveyed by songwriters, especially regarding the process of self-acceptance which is very complex according to what many women experience.       

Advertising is one of the mass communication media in the form of visual, audio, writing, or a combination of audio-visual. As with any communication in general, every advertisement must have an implicit or explicit meaning contained therein which is addressed to the public. Marajan as one of the syrup products in Indonesia, often makes advertisements that are full of meaning with attractive packaging. The purpose of this study is to find out the meaning of the dragon in Marjan 2023 advertisement "Baruna Sang Guardian of the Ocean" by using a qualitative descriptive theory approach and Roland Barthes' Semiotics theory which interprets something based on the denotative and connotative meanings of signifiers, signifieds and signs that exist in an object. The results of this study indicate that the dragon in the ad refers to a social disaster caused by humans who often throw plastic waste into the ocean.

This study aims to reveal the anomaly of female domination: the moral message in Djarum 76 advertisement version of the genie is afraid of the wife, by representing something that is not visible on the surface. This article is a qualitative descriptive research type with Roland Barthes' semiotic analysis based on Stuart Hall's representation theory. Primary data through observation of text and audio-visual images from advertisements, and secondary data from relevant literature, then analyzed based on the concept of The Codes of Television. The results of the study show: in the Djarum 76 advertisement, the version of the genie is afraid of his wife, builds the image that men are afraid of their wives, which can be seen from the activities, sounds, expressions, camera techniques, and existing ideology. This anomaly is a reality that occurs a lot in the reality of society where a household is dominated by the wife. The research implication, narrative experience brings the consumer's mood to the narrative which is carried as a moral message. More specific research is needed to reveal the atmosphere of the relationship built on the research focus.  

The film Lenyap dalam Sunyidirected by Muhammad Fajruchi K is a film produced by Fisabilillah Production which won the 2016 Bandung Islamic Film Festival at Pasundan University, Bandung. The purpose of this research is to analyze the characterization of the short film Lenyap dalam Sunyiusing Roland Barthes' semiotic analysis. The meaning of the denotation related to the depiction of the film characters Vanishing in Silence appears in scene 1 with the main characters Prana, and Bardi with the boarding house setting in the morning, then the supporting characters, namely Ziya and Sukma, appear in scenes 4 and 5, scenes meeting at the campus park. The connotative meaning that appears in the character description of the film Lenyap dalam Sunyiis that the character Bardi is a religious person, Bardi is a figure who always reminds Prana in terms of kindness. Prana is a young man who is energetic, looks fashionable, and likes poetry (a poetic person), while Ziya is a Muslim woman, marked by a syar'i dress that covers her nakedness. Ziya is a cousin of Bardi, while Sukma is a symbol of a Muslim woman who is characterized by wearing a khimar and syar'i robe that covers her genitals. Sukma's character is different from Ziya, the depiction of Sukma's character is an energetic woman who seems shy. The myth in this study is the reality that occurs in society that everyone has different characters according to the upbringing of both parents, as well as their education.

Da'wah through film is considered effective because film has advantages that other media do not have. Film media has advantages as a propaganda medium. Da'i in conveying his da'wah message can be played by a player character in a film production, it doesn't have to be a lecture like taklim. Indirectly, the audience does not feel that they are being lectured on. Da'wah messages in films are easier to convey to the public. The research used is qualitative research. This study describes how Roland Barthes's Semiotics analysis is contained in the film "Laa Tahzan" by Danial Rifki. Analysis of the film Laa Tahzan is presented in the form of image fragments using Roland Barthes' semiotic analysis. As a Muslim, you can determine a firm stance on invitations to follow the procedures for worship of other religions in a good way. That an Indonesian Muslim can survive in a foreign country (Japan) to be able to defend his faith and the level of trials in life remains the same and will apply as long as we live. It is certain that interfaith marriages will not be possible to realize the Sakinah family as the main purpose of carrying out marriages. In Islam, there are clear laws regarding marriage. Advise everyone who will marry should pay attention to the prospective bride.