<mets:mets OBJID="eprint_78006" LABEL="Eprints Item" xsi:schemaLocation="http://www.loc.gov/METS/ http://www.loc.gov/standards/mets/mets.xsd http://www.loc.gov/mods/v3 http://www.loc.gov/standards/mods/v3/mods-3-3.xsd" xmlns:mets="http://www.loc.gov/METS/" xmlns:mods="http://www.loc.gov/mods/v3" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"><mets:metsHdr CREATEDATE="2026-09-16T02:42:07Z"><mets:agent ROLE="CUSTODIAN" TYPE="ORGANIZATION"><mets:name>Institutional Repository UIN Sunan Kalijaga Yogyakarta</mets:name></mets:agent></mets:metsHdr><mets:dmdSec ID="DMD_eprint_78006_mods"><mets:mdWrap MDTYPE="MODS"><mets:xmlData><mods:titleInfo><mods:title>REPRESENTASI MAKNA HIJRAH PADA TOKOH ALINA DALAM FILM “PENGIN HIJRAH” TAHUN 2025</mods:title></mods:titleInfo><mods:name type="personal"><mods:namePart type="given">NIM.: 22102010073</mods:namePart><mods:namePart type="family">Mohammad Rendy Saputra</mods:namePart><mods:role><mods:roleTerm type="text">author</mods:roleTerm></mods:role></mods:name><mods:abstract>study examines the representation of the meaning of hijrah in the character of Alina in the film Pengin Hijrah (2025). From Sayyid Qutb's perspective, hijrah is understood as a multidimensional transformation process encompassing physical, psychological, and spiritual aspects, rather than merely a physical relocation. This study aims to reveal how the film represents this process of hijrah through its narrative and cinematic elements. The research employs a qualitative method using Roland Barthes' semiotic analysis approach combined with Stuart Hall's theory of representation. The primary data consist of eight scenes depicting Alina's process of hijrah, which are analyzed through Barthes' three stages of signification: denotation, connotation, and myth. Narrative and cinematic elements serve as the units of analysis used to examine the signs representing the meaning of hijrah. The findings indicate that the representation of Alina's hijrah is manifested through three interrelated dimensions. The spiritual dimension is evident in four scenes: Obedience to God's Command, Awareness and Intention to Change, Strengthening of Faith through Death, and Hijrah Based on Intention. The psychological dimension is evident in three scenes: Consequences of Action, the First Test of Hijrah, and Sincerity toward God's Decree. The physical dimension is evident in two scenes: Awareness and Intention to Change and the Realization of Hijrah. The dominance of the spiritual dimension indicates that Alina's hijrah is grounded in intention and obedience to God as its primary foundation. The film Pengin Hijrah represents the complexity of a public figure's process of hijrah, affirming that genuine transformation must be grounded in sincerity, rather than merely a change in appearance or profession.</mods:abstract><mods:classification authority="lcc">297.6 Dakwah dan Penyiaran Islam</mods:classification><mods:originInfo><mods:dateIssued encoding="iso8061">2026-08-10</mods:dateIssued></mods:originInfo><mods:originInfo><mods:publisher>UIN SUNAN KALIJAGA YOGYAKARTA;FAKULTAS DAKWAH DAN KOMUNIKASI</mods:publisher></mods:originInfo><mods:genre>Thesis</mods:genre></mets:xmlData></mets:mdWrap></mets:dmdSec><mets:amdSec ID="TMD_eprint_78006"><mets:rightsMD ID="rights_eprint_78006_mods"><mets:mdWrap MDTYPE="MODS"><mets:xmlData><mods:useAndReproduction>
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