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This article discusses the poem “Sajak Suara” by Wiji Thukul through a structural approach that emphasizes the analysis of intrinsic elements of the text, such as diction, imagery, figurative language, typography, and the poem’s inner structure. This poem was chosen because it contains a strong ideological message related to the struggle against oppression and the silencing of freedom of expression, particularly in the context of the New Order regime. The analysis shows that the poem’s formal structure both in form and content, actively reinforces the spirit of resistance and freedom. The use of direct diction, rhetorical language, and free typography reflects an expression of tension and determination. Thus, the structural approach is able to reveal how the poem’s form itself becomes a crucial instrument in conveying socio-political messages. This study is expected to broaden appreciation of poetry as a medium of critique and collective awareness.

The film "Cinta Pertama, Kedua, dan Ketiga" is an Indonesian romantic drama that explores themes of love, family responsibility, and sacrifice. This study aims to analyze the representation of love in the film using Roland Barthes' semiotic approach. The method applied includes analyzing signs, signifiers, and signifieds from several key scenes to uncover both denotative and connotative meanings. The analysis focuses on scenes of dancing, household duties, the giving of a ring, warm colors, a lonely road, separation, and the giving of a birthday gift. The research findings indicate that dancing symbolizes intimacy and freedom, while household scenes represent the burden of emotional responsibility. The ring signifies commitment and family unity, warm colors reflect harmony but also conceal tension, and the lonely road mirrors emotional isolation. Separation and the birthday gift reveal deep sacrifice and enduring memories. In conclusion, the film portrays love not only as a romantic relationship but also as a journey involving personal sacrifice and family responsibility, aligning with Barthes' views on symbolic meaning in visual narratives.

Film is a form of mass communication that appeals to all demographics. According to a Jakpat survey, 88% of Indonesians like Korean films. Film is one of the communication media that has recently developed very rapidly. The film Toxic 2022 tells how the character Han Young Ju presents herself as a woman. This research is entitled Representation of Women in the Film Toxic 2002. What makes it interesting to examine how women are represented in the film Toxic 2022 is that it aims to find out how the character Han Young Ju presents herself as a woman. This study uses descriptive qualitative methods for semiotic research on the concept of Roland Barthes. The research takes and selects scene cuts that depict female figures and then analyzes the meanings contained, among others, connotative meanings, denotative meanings, and myths. The data collection technique is documentation and observation. The focus of the research is on action signs (scenes) that contain connotative meanings, denotative meanings, and myths contained in the film Toxic 2022. The research took seven scenes for analysis. The results obtained by this study show that the character Han Young represents a woman who is like life, that is, in the world of work, and can become a leader. The depiction of the figure of Han Young Ju, who experienced the world of work and became a leader, is explained in gestures, dialogues, actions, expressions, storylines, and shooting.

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.