MUSLIM PAKISTAN DALAM REPRESENTASI SUPERHERO HOLLYWOOD, SEMIOTIKA TAYANGAN MISS MARVEL
Keywords:
Miss Marvel, Superhero, Asian, Semiotics, Representation
Abstract
The representation of Asian people in western-produced films is sometimes the subject of discussion, there is a strong allegation that these films contain western discourses on Asians. A handful of researchers who examined the representation of Asians in past films argued that there was an allegation of strengthening the principles of western orientalism through the pananda system in films, some found that this orientalism led to exaggerated stereotypes against Asians, which even showed western superiority. With various racial problems that continue to occur in various parts of the world, the problem of stereotypes by favoring one ethnicity, race, and other nations compared to other groups, has implications for harmonious social relations between these different cultural groups. With John Fiske's semiotic approach (2003, 2010) which looks at the marking system of films, television shows, and moving images. The three sign levels, namely the Reality Sign Level, the Representation Sign Level, and the Ideology Sign Level, are expected to be used to read the sign system in recent shows that contain representations of Asian people, such as in the film Miss Marvel. The Miss Marvel film itself was chosen because it was considered capable of showing the dynamics of Asian culture in it. Whether there is an orientalism value in the film marking system, how it is used to build a perspective of representation will all be answered in the results of this study.
References
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Vera, N. (2014). Semiotika dalam Riset Komunikasi. Bogor, Indonesia: Ghalia Indonesia.
Yoon, J. pil. (2017). Reconfiguring Orientalism: Japan and Korea as Depicted by Early Twentieth-Century French Orientalist Literature. Interventions, 19(8), 1132–1152. https://doi.org/10.1080/1369801X.2017.1348245
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Ayu, I., Dara, P., Pidada, S., Ayu, I. D., Joni, S., & Pradipta, A. D. (2021). Representasi Feminisme Dalam Film Perempuan Tanah Jahanam. Medium Jurnal Ilmu Komunikasi, 1(1), 1–13.
Bennett, T., & Woollacott, J. (1987). Bond and beyond : the political career of a popular hero. In Communications and culture.
Dewi, R. S., Abdullah, A., Maryani, E., & Suganda, D. (2017). Internet Memes : Representation of Indonesian Political Culture in Jakarta Gubernatorial Election 2017. (February 2019). https://doi.org/10.2991/icas-17.2017.45
Fiske, J. (2010). Introduct ion to Communication Studies (3rd ed.). New York: Routledge.
Fiske, J., & Hartley, J. (2003). Reading Television (2nd ed.). New York, USA: Routledge.
Hall, S. (1997). REPRESENTATION: CULTURAL REPRESENTATIONS AND SIGNIFYING PRACTICES (S. HALL, ed.). SAGE Publications.
Herlina, E. (2018). Representasi Ideologi Gender di Korea Selatan dalam Drama Korea “ Because This Is My First Life .” Pantun Jurnal Ilmiah Seni Budaya, 3(1), 13–27.
Holliday, C. (2020). Contemporary Hollywood Terrorism and ‘London has Fallen’ Cinema. London Journal, 45(1), 146–168. https://doi.org/10.1080/03058034.2019.1649515
Hosein, S. (2018). Muslim superheroes : comics , islam , and representation edited by A . David Lewis and Marin Lund , Cambridge , MA , Harvard University. Journal of Graphic Novels and Comics, 00(00), 1–3. https://doi.org/10.1080/21504857.2018.1480504
Jennings, R., & Gardner, A. (2012). ‘Rock On’: Women, Ageing and Popular Music. Farnham, England: Ashgate Publishing Limited.
Kaklamanidou, B. (2011). The Mythos of Patriarchy in the X-Men Films. In R. J. Gray & B. Kaklamanidou (Eds.), The 21st Century Superhero Essays on Gender, Genre and Globalization in Film (1th ed., pp. 61–74). McFarland & Company, Inc.
Landis, W. (2019). Ms Marvel, Qahera, and superheroism in the Muslim diaspora. Continuum, 33(2), 185–200. https://doi.org/10.1080/10304312.2019.1569385
Modarres, A. (2022). ‘Aamir’s just a dork’: Ms. Marvel’s re-vision of Islam in America. Journal of Graphic Novels and Comics, 13(2), 211–224. https://doi.org/10.1080/21504857.2021.1901757
Oktavianus, P. J. (2018). Analisis Semiotika Ketidakadilan Gender Terhadap Perempuan Dalam Film Marlina Si Pembunuh Empat Babal. JISIP : Jurnal Ilmu Sosial Dan Ilmu Politik, 7(2), 136–147. Retrieved from https://publikasi.unitri.ac.id/index.php/fisip/article/view/1591
Paramita, S., & Chaniago, A. (2018). Representasi Identitas Tomboy Dalam Film Inside Out. SEMIOTIKA: Jurnal Komunikasi, 11(2), 473–502. https://doi.org/10.30813/S:JK.V11I2.1169
Portwood-stacer, L., & Berridge, S. (2015). COMMENTARY AND CRITICISM Feminism and Comics UNVEILING MARVELS : MS . MARVEL AND THE RECEPTION OF THE NEW MUSLIM. 15(3), 522–527.
Powell, K. A. (2011). Framing islam: An analysis of U.S. media coverage of terrorism since 9/11. Communication Studies, 62(1), 90–112. https://doi.org/10.1080/10510974.2011.533599
Primada Qurrota, A. (2015). Sensualitas dan Tubuh Perempuan dalam Film-film Horor di Indonesia ( Kajian Ekonomi Politik Media ). Simbolika, 1(1), 16–23.
Proch, C., & Kleu, M. (2013). Models of Masculinities in Troy: Achilles, Hector and Their Female Partners. In A.-B. Renger & J. Solomon (Eds.), Ancient Worlds in Film and Television : Gender and Politics (1th ed., pp. 175–194). Koninklijke Brill NV, Netherland.
Renger, A.-B., & Solomon, J. (2013). Ancient Worlds in Film and Television: Gender and Politics (Vol. 4). Boston: Koninklijke Brill NV. Retrieved from http://gen.lib.rus.ec/book/index.php?md5=a0868756d875eefe8ce39060fb783447
Sabila, N., Rensi, G. C., Albertine, M., Xaixintya, M., & Azzahra, A. N. (2020). Potret Budaya Patriarki Dalam Film Horor Indonesia Abstrak. (November). https://doi.org/10.13140/RG.2.2.31103.23201
Sari, K. W., & Haryono, C. G. (2018). Hegemoni Budaya Patriarki Pada Film ( Analisis Naratif Tzvetan Todorov Terhadap Film Kartini 2017 ). Semiotika, 12(1), 36. Retrieved from http://dx.doi.org/10.30813/s:jk.v12i1.1542
Sinha, B. (2017). Managing orientalism: biography, performance, and the films of Sabu and Merle Oberon. South Asian Diaspora, 9(1), 83–98. https://doi.org/10.1080/19438192.2016.1236467
Sunardi, J. A., & Mustofa, A. (2021). Stereotypical Image of Chinese People in Hollywood’s The Karate Kid 2010 Movie. Wanastra: Jurnal Bahasa Dan Sastra, 13(2), 131–138. https://doi.org/10.31294/w.v13i2.10929
Surahman, S. (2015). Representasi Feminisme Dalam Film Indonesia (Analisis Semiotika Terkait Feminisme Pada Film 7 Hati 7 Cinta 7 Wanita). Jurnal Liski, 1(2), 119–145. Retrieved from http://journals.telkomuniversity.ac.id/liski/article/view/818/608
Sutorini, M. P., Alif, M., & Sarwani, S. (2019). Semiotika Gender dalam Film Brave. ProTVF, 3(1), 101. https://doi.org/10.24198/ptvf.v3i1.21246
Vera, N. (2014). Semiotika dalam Riset Komunikasi. Bogor, Indonesia: Ghalia Indonesia.
Yoon, J. pil. (2017). Reconfiguring Orientalism: Japan and Korea as Depicted by Early Twentieth-Century French Orientalist Literature. Interventions, 19(8), 1132–1152. https://doi.org/10.1080/1369801X.2017.1348245
Zayyana, S. H. (2021). Analisis Semiotika Ketimpangan Gender Dalam Film “Uang Panai Maha(R)L.” Jurnal Komunikasi Dan Kajian Media, 5(2), 173–186. Retrieved from https://jurnal.untidar.ac.id/index.php/komunikasi/article/view/3980
Published
2025-03-26
How to Cite
Chandra, C. (2025). MUSLIM PAKISTAN DALAM REPRESENTASI SUPERHERO HOLLYWOOD, SEMIOTIKA TAYANGAN MISS MARVEL . NIVEDANA : Jurnal Komunikasi Dan Bahasa, 6(1), 76-97. https://doi.org/10.53565/nivedana.v6i1.1646
Section
Articles
DOI :
https://doi.org/10.53565/nivedana.v6i1.1646
