The repository administrator has not yet configured an RDF license.
REPRESENTASI SEKSUALITAS DI RUANG PUBLIK DALAM FILM IPAR ADALAH MAUT
This research aims to analyze the construction of sexuality representation in the public sphere within the film Ipar Adalah Maut (In-Law is Death). Film, as mass media, is considered a symbolic public sphere that actively shapes discourse and societal perceptions of sexual morality. The study employs a qualitative descriptive approach using the Roland Barthes semiotic analysis method, focusing on interpreting three layers of meaning: denotation, conotation, and myth, and relating them to stuart Hall’s theory of representation. The finding indicate that the film presents a complex representation of sexuality: some scenes (such as Nisa’s self-restraint, Aris helps Rani from sexual harrassment incident, and the sanctity of marriage) are consistent with Islamic sexual ethic (self control, manners when looking at the opposite sex, covering aurat, and marriage). However, the film also explicitly and repeatedly features scenes that deviate from these ethics, suxh as the kiss and forbidden relationship between Aris and Rani. These representations potentially construct the myth of the romanticization of infidelity and human weekness in the face of lust, which risks blurring moral boundaries and normalizing deviant behavior, despite the film’s tilte being derived from a hadith as a moral warning. Overall, the film “Ipar Adalah Maut” creates a problematic public discourse, highlighting the tension between its educational/da’wah goal and its ecplicit visual representations.
FAKULTAS DAKWAH DAN KOMUNIKASI, UIN SUNAN KALIJAGA YOGYAKARTA
REPRESENTASI SEKSUALITAS DI RUANG PUBLIK DALAM FILM IPAR ADALAH MAUT (Text)
REPRESENTASI SEKSUALITAS DI RUANG PUBLIK DALAM FILM IPAR ADALAH MAUT (Other)
HTML Summary of #75026 REPRESENTASI SEKSUALITAS DI RUANG PUBLIK DALAM FILM IPAR ADALAH MAUT