Iklan Go-Jek Versi “Munculnya Gozali” dalam Kajian Poskolonialisme
:
https://doi.org/10.9744/nirmana.19.2.109-116
Keywords:
Iklan, GO-JEK, Munculnya Gozali, Gozali, Hibriditas, Mimikri, PoskolonialismeAbstract
Penelitian ini mengkaji penggunaan visual figur dan bahasa hibrid dalam iklan GO-JEK versi “Munculnya Gozali” yang diunggah ke sosial media GO-JEK pada April 2018. Visual figur dan bahasa hibrid yang ada di dalam iklan GO-JEK ini menggunakan campuran antara unsur budaya Jepang dan Indonesia. Akan tetapi di dalam hal ini unsur budaya Jepang yang digunakan adalah unsur dari serial televisi superhero dan kaijyuu. Hal tersebut dapat dilihat dari tokoh, setting, dialog, subtitle, alur cerita, dan lain sebagainya yang merupakan obyek penelitian. Dalam proses penelitian ini akan digunakan teori semiotika pertelevisian oleh John Fiske sebagai instrumen pertama dari proses penelitian. Kemudian, obyek penelitian yang ada akan dianalisis dengan menggunakan teori hibriditas dan mimikri dalam kajian poskolonialisme oleh Homi K. Bhabha. Di mana kedua teori tersebut bekerja secara bersamaan dan sangat kompleks di dalam iklan. Sehingga melalui bentuk visual iklan demikian dapat dimaknai sebagai penggambaran rasa kurang percaya diri masyarakat Indonesia berkaitan dengan kemampuan anak-anak bangsa. Meskipun sebenarnya apa yang dihasilkan oleh anak-anak bangsa lebih menjawab masalah yang ada dan sesuai dengan budaya masyarakat Indonesia.
References
Aguilar, E. C. 2018, Godzilla vs Mechagodzilla 2 1993. Retrieved from https://www.youtube.com/watch?v=BvPmh-EgWR8
Ashcroft, B., Griffiths, G., & Tiffin, H. 2002, Place and Displacement. In B. Ashcroft, G. Griffiths, & H. Tiffin, The Empire Writes Back (pp. 8-11), Routledge, New York.
Ashcroft, B., Griffiths, G., & Tiffin, H. 2007, Post-Colonial Studies-The Key Concepts (2nd ed.), Routledge, New York. http://staff.uny.ac.id/sites/default/files/pendidikan/else-liliani-ssmhum/postcolonialstudiesthekeyconceptsroutledgekeyguides.pdf
Bhabha, H. K. 1994, The Location of Culture, Routledge, London.
Conway, K. 2017, Encoding/Decoding as Translation. International Journal of Communication, 710-727. Retrieved from https://ijoc.org/index.php/ijoc/article/viewFile/5922/1928
Dianti, D. E. 2013, Implementasi Konsep Kreatif Pendekatan Parodi dalam Iklan Televisi AXIS, Universitas Atma Jaya Yogyakarta, Yogyakarta. Retrieved from http://e-journal.uajy.ac.id/4296/2/1KOM02853.pdf
Dise, J. 2017, Filmmaking 101: Camera Shot Types, Retrieved from https://www.bhphotovideo.com/explora/video/tips-and-solutions/filmmaking-101-camera-shot-types
Fanon, F. 1963, On Violence. In F. Fanon, Wretched of the Earth (pp. 1-62), Groove Press, New York.
Fiske, J. 1990, Introduction to Communication Studies, Routledge, London.
Fiske, J. 1997, Television Culture. Routledge, London.
GO-JEK. (n.d.). About Us. Retrieved from GO-JEK Indonesia: https://www.go-jek.com/about/
GO-JEK Indonesia. 2018, Your GO-JEK: Gozali [Video File], Retrieved from https://www.youtube.com/watch?time_continue=8&v=-6gRSEj1PkA
Hai-tao, T. (n.d.). 2019, A Theory of Ideology, 1-11. Retrieved from http://www2.nsysu.edu.tw/sis/discuss/3A-1.pdf
Halim, A. N. 2014, Pengaruh Iklan Politik di Televisi Terhadap Sikap Pemilih Pemula pada Pemilihan Umum 2014, Universitas Lampung, Lampung. Retrieved from http://digilib.unila.ac.id/2732/7/BAB%20II.pdf
Hamadi, L. 2014, Edward Said: The Postcolonial Theory and The Literature of Decolonization, European Scientific Journal, 39-45. Retrieved from https://eujournal.org/index.php/esj/article/view/3689/3488
Hartono, Y. P. 2014, Kajian Poskolonial Terhadap Iklan Televisi Semen Tiga Roda "Pemandian 1000 Pintu", Petra Christian University, Surabaya. Retrieved from https://dewey.petra.ac.id/catalog/digital/detail?id=31541
Hutcheon, L. 1978, Parody Without Ridicule: Observations on Modern Literary Parody, Canadian Review of Comparative Literature, 5(2), 201-211. Retrieved from https://tspace.library.utoronto.ca/bitstream/1807/10261/3/TSpace0172.pdf
Inverse. 2016, Political Monster: The Secret Messages in Godzilla Movies. Retrieved https://www.inverse.com/article/22023-shin-godzilla-s-japanese-politics-and-meaning-of-godzilla-films
Ivan. 2014, Representasi Gaya Hidup pada Iklan Televisi 3 Always On: Bebas Itu Nyata Versi “Sasha”, Universitas Kristen Petra, Surabaya. Retrieved from https://dewey.petra.ac.id/catalog/digital/detail?id=31287
Jannah, V. N. 2014, Penanaman Nilai-Nilai Pancasila Khususnya Nilai Persatuan Indonesia pada Etnis Tionghoa (Studi Kasus Perkumpulan Masyarakat Surakarta 2014). Universitas Muhammadiyah Surakarta, Surakarta. http://eprints.ums.ac.id/29638/2/BAB_1.pdf
Justin, C. 2017, The History and Evolution of Godzilla [Video File]. Retrieved from https://www.youtube.com/watch?v=mO0zkzaE748
Karanja, L. 2010, "Homeless" at Home: Linguistic, Cultural, and Identity Hybridity and Third Space Positioning of kenyan Urban Youth, Education Cannadienne et Internationale, 39, 1-11. https://www.edu.uwo.ca/research/rice/downloads/karanja_cie.pdf
KBBI. 2019, Iklan. Retrieved from kbbi.web.id
KBBI. 2019, Kaji, Retrieved from kbbi.web.id/kaji
Keane, W. 2018, On Semiotic Ideology, Signs and Society, 6, 64-87. Retrieved from https://www.journals.uchicago.edu/doi/pdfplus/10.1086/695387
Korkut, N. 2005, Kinds of Parody from the Medieval to the Postmodern, Middle East Technical University, Ankara. Retrieved https://etd.lib.metu.edu.tr/upload/12606707/index.pdf
Lunga, V. B. 1997, An Examination of An African Postcolonial Experience of Language, Culture, and Identity, Amakhosi Theater Ako Bulawayo, Zimbabwe, Simon Fraser University, Ottawa. Retrieved from https://www.collectionscanada.gc.ca/obj/s4/f2/dsk3/ftp04/nq24330.pdf
Downloads
Published
How to Cite
Issue
Section
License
- Jurnal Desain Komunikasi Visual Nirmana has the right of first publication while the author(s) retains copyright and the right to share and redistribute the work under a Creative Commons Attribution License. This license allows others to freely share and adapt the work, provided that they acknowledge the work's authorship and its initial publication in this journal.
- Upon publication, the author(s) agrees to the journal's terms of non-exclusive distribution, allowing the published version of the work to be used in other contexts (e.g., institutional repository or a book), with an acknowledgment of its initial publication in Jurnal Desain Komunikasi Visual Nirmana.
- The author(s) is also aware of the responsibility to obtain permission for the use of any copyrighted material from third parties as required by the journal.
