@phdthesis{digilib70664,
           month = {January},
           title = {ANALISIS RESEPSI VIDEO MUSIK JKT48 BERJUDUL ?BENANG SARI, PUTIK, DAN KUPU-KUPU MALAM? PADA MAHASISWA UIN SUNAN KALIJAGA},
          school = {UIN SUNAN KALIJAGA YOGYAKARTA},
          author = {NIM.: 20107030044 Fathurrachman Zuhdi},
            year = {2025},
            note = {Fajar Iqbal, S.Sos., M.Si.},
        keywords = {reception analysis; JKT48; Music Video},
             url = {https://digilib.uin-suka.ac.id/id/eprint/70664/},
        abstract = {The music video "Benang Sari, Putik, dan Kupu-Kupu Malam" by JKT48 became a viral phenomenon, sparking widespread discussion and diverse audience responses in social media. While some viewers praised its artistic approach, others criticized its visual elements and themes, which were considered controversial in the context of Indonesia?s cultural and religious norms. This controversy raises the question of how audiences interpret and negotiate meaning from the video, particularly within a society where media reception is heavily influenced by social and religious values. This study aims to analyze audience reception of the music video by employing Stuart Hall?s reception analysis theory and Rabiger?s framework on music video elements. Using a qualitative approach, the research was conducted through in-depth interviews with five informants from UIN Sunan Kalijaga Yogyakarta, a university with strong religious foundations. Through this method, the study seeks to uncover how these audiences interpret and respond to the various elements presented in the video. The findings reveal that no audience member is strictly positioned within a single reception category. Instead, each informant exhibited a tendency to combine two overlapping positions, depending on the specific elements of the music video being discussed. This reflects the dynamic nature of audience interpretation, as meaning is always negotiated rather than passively received. As Hall (1973) asserts, media texts do not carry fixed meanings; instead, they are decoded by audiences who bring their own contexts, experiences, and ideologies into the interpretative process. Consequently, audience reception should be understood as a spectrum rather than a rigid classification.}
}