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Bambang Sukma Wijaya
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INDONESIA
I-Pop: International Journal of Indonesian Popular Culture and Communication
Published by Universitas Bakrie
ISSN : 27150925     EISSN : 2745469X     DOI : https://doi.org/10.36782/i-pop
Core Subject : Humanities, Education, Art, Social,
Arts Humanities Languange, Linguistic, Communication & Media Social Sciences
I-Pop: International Journal of Indonesian Popular Culture and Communication, published by Program Studi Ilmu Komunikasi Universitas Bakrie, is an interdisciplinary journal of popular culture and communication in (the context of) Indonesia, about Indonesia (or related to Indonesia), and the pop work created by or involves Indonesians. Published biannually, the I-Pop Journal follows a rigorous double-blind review process in which reviewers and authors do not know each other, to ensure the objectivity of the assessment.
Arjuna Subject : Ilmu Sosial - Komunikasi
Articles 10 Documents
 1 
The Paradox About the Body in the Film 'Imperfect' Muria Endah Sokowati
I-Pop: International Journal of Indonesian Popular Culture and Communication Vol. 1 No. 1 (2020): Vol 1 No 1 January-June 2020
Publisher : Program Studi Ilmu Komunikasi Universitas Bakrie

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36782/i-pop.v1i1.1

Abstract

Imperfect: Karir, Cinta dan Timbangan (2019), a film directed by Ernest Prakasa, is successful in reaching the box office, with an attracting audience of more than 2 million. This film is an adaptation of a novel with the same title written by Meira Anastasia and Ernest Prakasa. This film has the potential to educate the audience about the body and the dangers of body shaming, but eventually, it just gets back to mere commercialization. Instead of changing the mindset, what is happening is precisely upholding today’s beauty standards.
Spornosexual Capital: The Economic Crisis of Indonesian Urban Masculinity Dian Arymami
I-Pop: International Journal of Indonesian Popular Culture and Communication Vol. 1 No. 1 (2020): Vol 1 No 1 January-June 2020
Publisher : Program Studi Ilmu Komunikasi Universitas Bakrie

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36782/i-pop.v1i1.27

Abstract

The emergence of new digitally mediated body practices among the young, middle class, and male is evidence of a recent shift in the modern power hierarchy. An increasing number of men go to the gym and share pictures of their bodies that had begun globally around 2008. This coincides with the intensification of neoliberalism that cannot be separated from the massive development of digital communication. This phenomenon is also evident in developing in Indonesia, giving birth to new forms of male body mediation. This research explores how spornosexual men mediate their bodies publicly with the shift in digital neoliberal culture. By using the reception analysis through interviews, this study takes five spornosexual people in deciphering neoliberal interconnection through the use of the body as capital. The results show spornosexual has become a new capital amidst our daily lives today.
Iwan Fals, Music, and the Voice of Resistance Muhammad Yusran Darmawan
I-Pop: International Journal of Indonesian Popular Culture and Communication Vol. 1 No. 1 (2020): Vol 1 No 1 January-June 2020
Publisher : Program Studi Ilmu Komunikasi Universitas Bakrie

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36782/i-pop.v1i1.28

Abstract

This article is based on the assumption of a connection between popular music and the political situation in Indonesia. A singer has a function as a political actor, especially in the way these performers use music as a social weapon or tool –and even sometimes as a call to change, challenge, or overthrow the existing government or socio-economic conditions that they consider to be unjust systems. The purpose of this paper is to explain the life of Iwan Fals as a contemporary hero who inspires many people to be critical of authority. He has always been the voice of Indonesia's grassroots movement since the New Order era, but until now, he has preferred not to be its formal leader. He just keeps doing what he does best - singing and cheering - and maintaining the qualities of his song and conviction that keeps his fans loyal to him. Under the New Order, control of the arts and media by the government was mixed and inconsistent, but generally, Indonesia enjoyed a thriving and vibrant artistic scene, including music. Between the mid-1960s and 1990s, Indonesia developed a wide variety of popular music styles, some of which proved to be conducive and supportive to socio-political comments and critiques. Popular music became a major component of the background for daily life. In Indonesia, popular music became a tool of resistance to the government. Iwan Fals played an important role in this resistance.
Self-Styling, Popular Culture, and the Construction of Global-Local Identity among Japanese Food Lovers in Purwokerto Yusida Lusiana; P. M. Laksono; Tatang Hariri
I-Pop: International Journal of Indonesian Popular Culture and Communication Vol. 1 No. 1 (2020): Vol 1 No 1 January-June 2020
Publisher : Program Studi Ilmu Komunikasi Universitas Bakrie

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36782/i-pop.v1i1.33

Abstract

People are currently faced with the kaleidoscopic flux of dishes, that almost everyone encounters various foods from around the world, one of which is Japanese Food. The presence of Japanese food in Purwokerto City, Central Java is the consequence of the global power with its capability to produce thoughts and ideas, real or illusory, related to their products and all of which influence local values and cultures. This research studies the impacts of globalization as reflected in the formation of identity and lifestyle in connection with Japanese food consumption. The research’s objective is to study some powers the decision to consume Japanese food is based on from the perspective of popular culture’s influence. The research result shows that according to the participants, media and popular culture products contribute to the formation of layered identities. The globalization of Japanese food consumption culture does not produce cultural homogenization process, as one of many powers in the participants’ life, and media has encouraged heterogenization. Through the concept and practice of appropriation processes, Japanese food consumption has become part to communicate their cultural identity. The presence of Japanese food is one factor of the emergence of a new lifestyle, namely “Japanese lifestyling”, which is one lifestyle practiced by some people of Purwokerto which serves to enrich its consumers’ identity to be individuals who attempt to embrace the world through eating experience.
Perpetuating Stigma: Representation of Widows and Divorcees (Janda) in Indonesian Popular Media Iwan Awaluddin Yusuf
I-Pop: International Journal of Indonesian Popular Culture and Communication Vol. 1 No. 1 (2020): Vol 1 No 1 January-June 2020
Publisher : Program Studi Ilmu Komunikasi Universitas Bakrie

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36782/i-pop.v1i1.34

Abstract

The image of widows or divorcees (janda) has been negatively portrayed in the various forms of Indonesian popular media. Media critics have shown that media representation contributes to the spread of inaccurate and misleading ideas about janda in societies. This paper discusses the representation of widows and divorcees in mainstream Indonesian films, songs, and news coverage. Through qualitative content analysis of selected Indonesian films, dangdut songs, and news coverage using the word “janda” in the title, this study revealed that stigmatisation continues to occur. It found that janda are often depicted stereotypically across film genres. The appearance of janda in Indonesian film is accompanied by its typical attributes, such as “beautiful”, “rich”, “young”, and “seductive”. The negative representation of janda also found in dangdut songs. Through the title and lyrics, those songs often associate janda as inferior, powerless, or conversely, predatory and sexually seductive. News coverage depicting widows and divorcees, which should be based on facts was found to be excessively biased due to the addition of the journalist’s personal opinion.
Representation of Christianity in 'Farcry 5' Jusuf Ariz Wahyuono
I-Pop: International Journal of Indonesian Popular Culture and Communication Vol. 1 No. 2 (2020): Vol. 1 No. 2 July-December 2020
Publisher : Program Studi Ilmu Komunikasi Universitas Bakrie

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36782/i-pop.v1i2.58

Abstract

Farcry 5 is a popular game in Indonesia and a 2018 first-person shooter game developed and published by Ubisoft. This game uses many symbols in the Christianity religion. Reading this game is crucial knowing that Indonesia has one of the largest concentrations of Christianity in the Muslim world. Using semiotic text-based analysis, we observed how this game represents religion using the structure of religious teachings in the Christianity tradition through symbols in the depiction of characters and narrative plots. The study focuses on Joseph Seed’s character and its environment. Joseph Seed is described as a Father, has a Bible, is part of a militia group, and a figure who has the qualities of a prophet. In the Storyline, Joseph Seed was shown as the one who receives the revelation, has Prophecy, and makes sacrifices. As Indonesia is a multicultural country, understanding religious representation in media is important. There are also fewer studies and concerns in popular media, especially in video games, despite its widely accessible content across Indonesia. This game received commercial success and became the fastest-selling title in the franchise, grossing over $310 million in its first week of sales.
Mute Meaning and Unspoken Struggle Discourse in '27 Steps of May' Adek Risma Dedees; Raihanah Permata
I-Pop: International Journal of Indonesian Popular Culture and Communication Vol. 1 No. 2 (2020): Vol. 1 No. 2 July-December 2020
Publisher : Program Studi Ilmu Komunikasi Universitas Bakrie

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36782/i-pop.v1i2.67

Abstract

A film has a distinctive language in voicing protest. This article discusses how the film '27 Steps of May' speaks in silent scenes and unspoken discourses through a visual narrative covered in meaningful symbols. Using Barthesian semiotic analysis, we capture hidden messages of pain, trauma, suffering, struggle, rebellion, and speechless protests from a victim of sexual violence against patriarchal culture and an unjust social environment. Silence represents sadness as well as futile anger. The emptiness in the victim's expression signifies despair at the stigma and unchanging blame. The gloomy nuance that dominates the narrative in almost every scene is a form of endless bitterness. The minimalist sound effects not only reflect the emptiness of the victim's life, but also the cinematic effort to invite the audience (and society at large, of course) to contemplate together. Victims of sexual violence in Indonesia always experience multiple and lasting repressions: physical, psychological, social, cultural, structural, and even political. This film, with its empathetic spirit towards victims, uses a 'minimalist' visual narrative weapon to fatally shoot our human conscience.
The Commoditized Self: Interpersonal Communication in Tinder Online Dating Apps Mashita Phitaloka Fandia Purwaningtyas; Syakira N. Maharani; Dian Arymami
I-Pop: International Journal of Indonesian Popular Culture and Communication Vol. 1 No. 2 (2020): Vol. 1 No. 2 July-December 2020
Publisher : Program Studi Ilmu Komunikasi Universitas Bakrie

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36782/i-pop.v1i2.68

Abstract

Online dating apps have changed the way people build interpersonal communication, particularly in the way they present and disclose themselves online in order to search for a relationship. The characteristic of online dating apps has urged users to build a rather liquid relationship; hence the transformation of intimacy and user’s view of romance, sex, and relationship. In the frame of computer-mediated communication and social informatics, socio-cultural context plays a significant role in shaping the self-presentation and self-disclosure performed by people, in the relation to the dating culture in Indonesia. In the case of Indonesia, this phenomenon is considered unique since the socio-cultural context is rather seeing the ‘liquidity’ in modern romance as banality and condemning the practice as immoral. This research aims to analyze the Indonesian socio-cultural context in shaping people’s self-presentation and self-disclosure in interpersonal communication through online dating apps, particularly Tinder. This research is conducted by a new ethnography method, involving 20 informants who are Indonesian youth active users of online dating apps. The key findings in this research include the contestation between self-agency and self-commodification in the practice of using online dating apps, as well as the shaping of contemporary dating culture among Indonesian youth. Apparently, the contemporary dating culture in Indonesia, also constructed heavily by online dating apps, allows ones to gain sexual revolution in the process of commodifying themselves.
From Distinction to Lifestyling: The Practices of Urban Women Midlife Consuming Popular Anti-Aging Skincare Radius Setiyawan; Sri Lestari
I-Pop: International Journal of Indonesian Popular Culture and Communication Vol. 1 No. 2 (2020): Vol. 1 No. 2 July-December 2020
Publisher : Program Studi Ilmu Komunikasi Universitas Bakrie

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36782/i-pop.v1i2.108

Abstract

Due to anti-aging popular products, people, especially urban women, can now delay aging. It changes the concept of aging and also influences how urban women think and act. This article examines the practices of middle-aged women, how they perceive using popular and trending anti-aging skincare, what motivated them to do so, and how women try not to grow old with specific goals. We interviewed ten women in urban areas, classified as midlife women aged 35 years and over. They comprised varied professions, classes, economic status, regional identity, age, and anti-aging products and brands. Interviews were unstructured to provide multiple opportunities and allow participants to talk flexibly about their practices and experiences using their own words. The findings indicated that there was a practice of life styling, namely behavior that merely demonstrated a particular lifestyle without being supported by economic capacity, which was the basis of actual consumption. Lower middle-class women demonstrated these practices, while the upper-class women's habits provided no less exciting insights. They consume anti-aging skin care for distinction purposes, as a practice of distinguishing oneself from others regarding appearance, social class, and identity.
Tante Lala's Comedy: Representation of Symbolic Annihilation on Women in Media Zulfatun Mahmudah
I-Pop: International Journal of Indonesian Popular Culture and Communication Vol. 2 No. 1 (2021): Vol. 2 No. 1 January-June 2021
Publisher : Program Studi Ilmu Komunikasi Universitas Bakrie

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36782/i-pop.v2i1.122

Abstract

Tante Lala's comedy is a video depicting a mother who had difficulties while accompanying her child to study during the Covid-19 pandemic. The video shows the character of a mother who is impatient, angry, and even fails to educate her child. Unfortunately, the video went viral on social media and was even made viral by an infotainment program on TV and some media. This paper aims to reveal how the symbolic annihilation of women is practiced and reproduced and how the media presents stereotypes of women as a spectacle. This paper will also explore how female viewers perceive Tante Lala's video content. The research uses a cultural studies approach and critical discourse analysis as the method. The result shows that symbolic annihilation in Tante Lala's Video was represented by various texts, visual images, and text flow. Within 10:6 minutes, various texts' connotations of a woman character are found, contributing to women's symbolic annihilation. Visually, the camera focuses on the face depicting a fierce and bitchy character. Second, symbolic annihilation is represented in the form of media affirmation of the video through news and infotainment. In addition to the form of affirmation, the media also explicitly uses language that discriminates against women's characters. Informants assessed that the content of Tante Lala's video and media reports and infotainment broadcasts related to the video gave a wrong depiction of women. They argue that the media is also considered to have contributed to stereotyping women based on emotion rather than rationality.

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