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London: Rontledge, 1984
791.45 Tel
Buku Teks  Universitas Indonesia Library
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London: Comedia Pub Group Press, 1984
791.45 TEL
Buku Teks SO  Universitas Indonesia Library
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Agus Maladi Irianto
"This study is focused on the working process of power in television program with special emphasis on Infotainment program, subjectively is marked by knowledge and action of involved actors. This study is qualitatively aimed at explaining production and reproduction of actors? social practices who involve in knowledge production processes for delivering television program. More over, this study will be able to describe the actors? power contestation based on positions and relationship among subjects in developing interaction based on their interest on mentioned television program presentation. It uses qualitative approach emphasis on the process rather than result, and tends to involve trust between researchers and informant.
This analytic descriptive study is carried out since the beginning of January to August 2007. The work of power is basically moves to a series of relation, so that poser is understood as a description of plural network, not homogeny, and incomplete. It is a complicated network in a series of interactions and events in social practices of actors in a disperse position. Power can not be reduced in the form of central decision. It means that the works of power is not only determined by domination or authority of an actor to the other. In account to that, among actors are marked by regulation technology that work productively in controlling, depending, competing, and fighting one and other. Such process also marked by construction, deconstruction and reconstruction of actors? knowledge and is expressed in a series of actions that produce discourse.
Based on data analysis supported by an existing concept, so that the work ad contestation of power in television program especially infotainment can be described as follows: Firstly, the process of delivering infotainment program in television creates a series of social practices of subject that has strategic relationship. The power works through social practices with dispersed positions through relations, or in other words the relationship construct power.
Secondly, the process of delivering television program is marked by the works of control technology in the form of control system among actors. The control system extends over actors? relationship continually and drive to develop interdependency among them.
Thirdly, the social interactions of actors who involved in infotainment program broadcast are basically a construction, deconstruction, as well as reconstruction of knowledge in which the power works. These become strategy of actors in interaction with others. Consequently there is a never ending contestation.
Fourthly, besides power is a process of formulating knowledge, it also produces a discourse. Continually deconstructed discourse becomes a form of news media politics that create competition among actors that colored by the existence of power contestation.
Based on the above notions there are two critical aspects that should be noted in this study:
Firstly, infotainment broadcasting program is a television (private) program in Indonesia has contribute of knowledge formation marked by the work of power through social practices of contestation actors. Power contestation in this television program is a description of the existence of power relation that support, strive, compete and destruct in the process of build knowledge and discourse.
Secondly, the issue of power basically has valuable contribution to anthropology, especially when experts that the anthropology has lost its job in lines with new social supremacy in this contemporary modern world. Issue of power also gives solution for anthropology to response related issue with recent development. Besides, issue of power gives a valuable contribution for anthropology has social network concept and empirical reality strength that can be carried out through field study."
Depok: Fakultas Ilmu Sosial dan Ilmu Politik Universitas Indonesia, 2007
D836
UI - Disertasi Membership  Universitas Indonesia Library
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Nurul Parameswari Susantono
"Salah satu fungsi penyiaran yang disebutkan dalam Pedoman Pelaksanaan Penyiaraan dan Standar Program Siaran (P3SPS) yang dikeluarkan oleh Komisi Penyiaran Indonesia (KPI) adalah fungsi edukasi. Namun melihat kondisi dan situasi penyiaran di Indonesia saat ini, rasanya fungsi edukasi pada media penyiaran khususnya televisi tidak berjalan dengan baik. Ketersediaan tayangan edukatif sangat sedikit dibandingkan dengan ketersediaan sinetron dan FTV. Ternyata data statistik menyatakan bahwa demand akan tayangan edukatif di televisi (TV) nasional sangat rendah. Melalui penelitian ilmiah ini, penulis terdorong untuk mempelajari lebih lanjut minat masyarakat Indonesia terhadap tayangan edukatif dengan harapan dapat memberikan solusi bagi pembenahan program penyiaran di Indonesia. Penelitian dilakukan dengan pengumpulan data primer melalui survey, kemudian dianalisis dengan menggunakan metode analisis deskriptif. Hasil yang ditemukan adalah bahwa banyak penonton yang mengaku minat namun kenyataannya tidak menonton tayangan edukatif. Keterbatasan pilihan dan kurang baiknya kualitas tayangan edukatif di TV nasional menjadi faktor kuat kurangnya minat masyarakat terhadap tayangan edukatif.

One of the broadcasting functions mentioned in the Guide for Broadcasting Conducts and Broadcasting Program Standards (P3SPS) - issued by the Indonesian Broadcasting Commission - is education. Observing Indonesia’s broadcasting situation nowadays, it seems like this education function is carried out poorly. There is very low availability of educative television (TV) programs compared to the number of soap operas and television dramas. Statistics suggest that the demand for educative programs on Indonesian national TV is also very low. This research is conducted to examine the Indonesian viewers’ interests towards educative television programs in the hopes to propose a solution in fixing the flaws of Indonesias broadcasting program. The research is conducted by collecting primary data through survey, which is then analyzed descriptively. The writer’s findings suggest that many Indonesian viewers claim that they are interested but the reality is they do not watch edicative programs. The lack of variation and quality of educative programs on national TV is a strong factor of the viewers’ lack of interest towrds educative programs.
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Depok: Fakultas Ilmu Sosial dan Ilmu Politik Universitas Indonesia, 2014
MK-Pdf
UI - Makalah dan Kertas Kerja  Universitas Indonesia Library
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Nurul Fadjrina
"Makalah ini berupaya memahami tren replikasi dalam industri televisi Indonesia hari ini dengan mengambil kasus "Goyang Caisar". "Goyang Caisar", yang awalnya merupakan satu segmen dalam pogram Yuk Kita Sahur Trans TV, menampilkan para penonton, kru, dan pengisi acara menari bersama mengikuti koreografi yang dipimpin oleh Caisar Putra Aditya, dengan lagu-lagu dangdut sebagai musik latar pengiring ‘goyang’ ini. Trans TV kemudian menayangkan siaran ulang Yuk Kita Sahur dalam Best Moments of YKS dan membuatnya menjadi acara tetap melalui Yuk Keep Smile dan YKS, sehingga "Goyang Caisar" pun dapat menyapa pemirsa televisi Indonesia setiap hari dalam seminggu. Dalam setiap acara tersebut, rating dan share yang diperoleh Trans TV terus tinggi. Kesuksesan "Goyang Caisar" ini lantas disusul dengan kemunculan beberapa ‘goyang’ lain di acara-acara hiburan televisi Indonesia lainnya. Makalah ini akan berusaha menjelaskan bagaimana fenomena "Goyang Caisar" merupakan salah satu bentuk industri budaya (Adorno & Horkheimer, 2002) dengan praktik imitasi, komodifikasi, serta mass-deception atau pengelabuan massa.

This paper tries to understand the replication trend in Indonesian television industry today by taking the case of "Goyang Caisar" (Caisar’s Moves). "Goyang Caisar", which was initially one of the segments in the program Yuk Kita Sahur Trans TV, shows the program’s audience, crew, and performers dancing together by following the choreography led by Caisar Putra Aditya, with dangdut songs as its background music. Trans TV then broadcasts the reruns of Yuk Kita Sahur in Best Moments of YKS, and then Yuk Keep Smile and YKS, thus making "Goyang Caisar" available in Indonesian television seven days a week. In each of those programs, Trans TV received a high and steady numbers of rating and share. This success of "Goyang Caisar" is then followed by the emergence of other ‘dances’ in Indonesian television. This paper argues that the phenomenon of "Goyang Caisar" is a manifestation of Indonesian television as a culture industry (Adorno & Horkheimer, 2002), especially on the practices of imitation, commodification, and mass-deception.
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Depok: Fakultas Ilmu Pengetahuan Budaya Universitas Indonesia, 2014
MK-Pdf
UI - Makalah dan Kertas Kerja  Universitas Indonesia Library
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Hertika Yudha Pertiwi
"Dalam makalah ini akan dibahas mengenai strategi yang digunakan RCTI dan SCTV yang saling bersaing untuk meraih jumlah audien dan mengatur penjadwalan programnya serta strategi kompetisi apa yang terjadi antara RCTI dan SCTV. Tujuan penulisan makalah ini adalah untuk mengetahui strategi dan kompetisi programming antara RCTI dan SCTV. Adapun manfaat dari makalah ini, diharapkan dengan adanya makalah ini mampu membantu masyarakat dalam melihat pola programming TV dan juga menjadi pembelajaran dalam melihat kompetisi programming stasiun TV. Makalah ini menggunakan konsep programming TV sebagai dasar acuan, kemudian metode yang digunakan adalah metode deskriptif dengan mengandalkan sumber sekunder sebagai bahan referensi penelitian.
Hasil dari pembahasan makalah ini didapatkan bahwa keduanya menggunakan strategi program Head to Head yaitu strategi untuk mencoba menarik audien yang tengah menonton program televisi saingan untuk pindah ke stasiun sendiri dengan menyajikan program yang sama dengan televisi saingan itu karena terdapat banyak program dengan genre dan format yang mirip diletakkan pada slot yang sama antar kedua televisi tersebut, sedangkan strategi Counter Programming yaitu Strategi untuk merebut audien yang berada di stasiun saingan untuk pindah ke stasiun sendiri dengan cara menjadwalkan suatu program yang memiliki daya tarik berbeda untuk menarik audien yang belum terpenuhi kebutuhannya. Diharapkan stasiun televisi bisa lebih bervariasi dalam menayangkan program-programnya sehingga masyarakat Indonesia bisa menonton tayangan yang lebih beragam.

This paper examines strategies that are used by RCTI and SCTV which compete each other in reaching number of audience through scheduling and what kind of competition strategy that is happening between these two television stations by analyzing program schedule. This paper aims to discover programming strategy and competition between RCTI and SCTV. The advantage of this paper is to assist society in observing television programming pattern and also become learning material in apprehending competition at television station. This paper uses television programming as basic reference while using descriptive method which reckons secondary source as research reference material.
The result of this research is comparison of two television schedule for one week and that we can notice both are using Head to Head strategy, which is a strategy to attract audience who is watching the competitor to move their eyes on our own television station by providing a similar program. While Counter Programming is a strategy to snatch audience on the competitor to move to own television station by scheduling a program with different style to attract those who have not been satisfied. Recommendation of this paper is television stations are expected to be more various in broadcasting their programs so that citizens are able to watch more various program.
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Depok: Fakultas Ilmu Sosial dan Ilmu Politik Universitas Indonesia, 2014
MK-Pdf
UI - Makalah dan Kertas Kerja  Universitas Indonesia Library
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Putri Tamala
""White Snake Legend (白蛇传)" television series is a story based on novel that firstly published in Song Dynasty. This television series told us about love story between a husband and wife named Xu Xian and Bai Shu Zhen that was prohibited by a monk named Fa Hai,because Bai Shu Zhen is a ghost. The purpose of this research is to express various myths in this television series and to discuss its development in Chinese society?s life. The method of this research is qualitative method. This research told that myth and Chinese society?s life are inseparable, so less or more Chinese society?s life is influenced by them.

Serial televisi "Legenda Ular Putih (白蛇传)" adalah cerita yang diangkat berdasarkan novel yang muncul pertama kali pada masa dinasti Song. Serial televisi ini bercerita tentang kisah cinta sepasang suami istri yang bernama Xu Xian dan Bai Shu Zhen yang ditentang oleh seorang biksu yang bernama Fa Hai dikerenakan sang istri adalah seorang siluman. Tujuan penelitian ini adalah mengungkapkan mitos-mitos yang ada dalam serial televisi "Legenda Ular Putih (白蛇传)" dan membahas perkembangan mitos-mitos tersebut dalam kehidupan masyarakat Cina. Metode penelitian yang digunakan adalah metode kualitatif. Hasil penelitian ini mengungkapkan bahwa mitos sangat dekat dengan kehidupan masyarakat Cina, sehingga mempengaruhi kehidupan mereka."
Depok: Fakultas Ilmu Pengetahuan Budaya Universitas Indonesia, 2014
MK-Pdf
UI - Makalah dan Kertas Kerja  Universitas Indonesia Library
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Noviyani Nuraeni
"Penelitian ini ingin melihat pergeseran wewenang struktur formal yang diakibatkan oleh kuatnya struktur informal dalam program Susuya MNC TV. Hasil observasi awal menunjukkan adanya pergeseran wewenang dari Produser kepada Host. Dengan menggunakan metode Soft Systems Methodology,ditemukan beberapa kondisi problematik yang terjadi yaitu Host secara tidak langsung menjadi pemimpin (leader) dalam proses produksi program Susuya terutama yang berhubungan dengan konten dan gimmick, lalu di lapangan pun terlihat seolah-olah Produser itu sejajar dengan Kreatif. Selain itu, ternyata Host lah yang mempunyai andil yang besar dalam pembuatan konsep program Susuya tersebut sedangkan Produser belum memiliki pengalaman dalam memproduksi program seperti program Susuya sehingga Host merasa memiliki kewenangan lebih dalam program tersebut. Sistem Pengembalian Wewenang dari Host Kepada Produser dengan Pengawasan dan Evaluasi yang terdiri dari delapan human activity system dan Sistem Pengembalian Wewenang ke tangan Produser dengan Peningkatan Kemampuan dan Keahlian Produser yang terdiri dari sembilan human activity systems ini dipilih oleh peneliti sebagai sistem yang akan dianalisa lebih lanjut dengan menggunakan berbagai perangkat yang ada dalam Soft Systems Methodology seperti CATWOE, PQR, dan 3E. Lalu hasil implikasi teori dalam penelitian ini adalah pada dimensi Legitimization of legitimacy, studi ini menunjukkan bahwa konsep yang dikemukakan oleh Meyer dan Rowan mengenai cara mempertahankan legitimasi dengan menggunakan cara ceremonial inspection and evaluation kurang tepat untuk menggambarkan kondisi yang terjadi pada program Susuya tersebut. Dengan menggunakan kritik mengenai kontrol dan koordinasi “lunak” dari Gordon, Kornberger, dan Clegg ini menunjukkan bahwa cara tersebut justru memunculkan struktur dominasi dari Host. Lalu pada dimensi yang kedua yaitu sensemaking and legitimacy, studi ini menunjukkan bahwa konsep dari Meyer dan Rowan yang mengatakan bahwa untuk memenuhi kendala kontekstual biasanya organisasi menggunakan strategi retoris dan teknik ini cukup sesuai untuk menggambarkan apa yang terjadi pada organisasi produksi program Susuya. Namun mengacu kepada konsep sensemaking and legitimacy yang dikemukakan oleh Gordon, Kornberger, dan Clegg ini menjelaskan bahwa mereka mengasosiasikan legitimasi menjadi sesuatu yang tidak hanya harus terlihat sah tetapi juga masuk akal. Maka dari itu, apabila Produser ingin meraih kembali kewenangannya maka Produser perlu melakukan upaya-upaya tindakan langsung yang terlihat lebih masuk akal agar dapat mengurangi dominasi Host dalam produksi program Susuya tersebut.

This study wants to see a shift in the formal structure of authority caused by strong informal structure in Susuya MNC TV programs. Results of preliminary observations indicated a shift of authority from the producer to the Host. By using the Soft Systems Methodology, found some problematic conditions that occur are hosts indirectly become the leader in the production process of the Susuya program especially relating to the content and gimmick, and the field also looks as though it is parallel between Creative and Producer. In addition The host have a significant role in drafting the program Susuya while the Producer has no experience in producing programs such as Susuya program that hosts feel has authority over the program. The process Transformation of Authority Returns Systems Authority of Host To Producer with Control and Evaluation which consisted of eight human activity system and The Transformation Process of Authority Returns Systems with Upgrades of Producer Ability and Skill which consisted of nine human activity systems have been selected by the researchers as a system to be analyzed further by using a variety of devices that exist in the Soft Systems Methodology as CATWOE, PQR, and 3E. Then the results of the theoretical implications of this research is on the dimensions of Legitimization of legitimacy, this study shows that the concept proposed by Meyer and Rowan on how to maintain the legitimacy of the use of inspection and evaluation ceremonial way less up to describe the conditions that occur in the Susuya program. By using criticism about “soft”control and coordination from Gordon, Kornberger, and Clegg have demonstrated that it actually led to the dominance of the Host structure. Then in the second dimension is sensemaking and legitimacy, this study shows that the concept of Meyer and Rowan who said that to meet the contextual constraints usually organizations use rhetorical strategies and techniques is quite appropriate to describe what is happening in the organization of production Susuya program. However, referring to the concept of sensemaking and legitimacy proposed by Gordon, Kornberger, and Clegg explained that they associate legitimacy into something that does not just have to look legitimate but also reasonable. Therefore, if the producer wants to regain its authority, the producer needs to make efforts to direct action that looks more reasonable in order to reduce the dominance of Hosts in the production of the Susuya program.
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Depok: Fakultas Ilmu Sosial dan Ilmu Politik Universitas Indonesia, 2014
S58035
UI - Skripsi Membership  Universitas Indonesia Library
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"[Rating dan share masih menjadi tujuan utama stasiun televisi di Indonesia saat ini. Hal tersebut
membuat persaingan antar stasiun televisi semakin ketat. Oleh karena itu, stasiun televisi
menggunakan berbagai strategi yang tepat untuk menaikkan rating dan share. Net merupakan
televisi baru yang mengedepankan kualitas konten, dengan segmentasi penonton yang sempit,
namun dengan rating dan share yang rendah. Dengan menggunakan konsep strategi, segmentasi
penonton, dan rating share, tulisan ini akan membahas tentang strategi apa saja yang harus
dilakukan Net untuk meningkatkan rating dan share dari segi segmentasi penonton Net
berdasarkan demografi dan konten tayangan program televisi., Rating and share still the main purpose of television station in Indonesia today. This makes the
competition among television stations increasingly stringent. Therefore, the television station
using a variety of strategies to raise the rating and share. Netmedia is a new television with a
good quality of the content, with a narrow audience segmentation, but with a rating lower share.
By using the concept of strategy, audience segmentation, and rating share, this paper will
discuss about Net strategy to increase the rating and share in terms of audience segmentation
based on demographics and content of television programs.]"
Fakultas Ilmu Sosial dan Ilmu Politik Universitas Indonesia, 2014
MK-Pdf
UI - Makalah dan Kertas Kerja  Universitas Indonesia Library
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Yudhi Pramadiansyah
"Maraknya fenomena tindak kekerasan yang dilakukan oleh anak-anak menjadi salah satu bentuk bukti bagaimana televisi dapat membentuk perilaku khalayaknya. Fenomena ini sangat memprihatinkan karena mengakibatkan jatuhnya banyak korban, contohnya korban meninggal akibat sering menonton tayangan mengandung kekerasan. Jatuhnya korban ini juga yang termasuk dalam perilaku kejahatan oleh anak, karena telah menimbulkan korban terhadap orang lain. Oleh karena itu,dalam makalah ini akan dibahas bagaimana televisi membentuk perilaku kekerasan.
Metode yang digunakan adalah studi literatur, yakni menggunakan studi kepustakaan. Dengan menggunakan teori kultivasi, dapat diketahui bahwa semakin sering anak menghabiskan waktu untuk menonton televisi, semakin kuat pula kecenderungan untuk menyamakan realita di televisi dengan realita sosial. Sehingga dapat ditarik kesimpulan bahwa tayangan yang mengandung unsur kekerasan di televisi dapat membuat anak-anak akhirnya meniru tayangan tersebut.

The rise of violence phenomenon that committed by children is one form of evidence to see how television can shape the behavior of the audience. This phenomenon is very alarming because it led to the downfall of many victims, for example, the victim died as a result of watching violent show on television. The casualties also included in criminal behavior by children, because it has caused the victim to others. Therefore, this paper will discuss how the television form violent behavior.
The method used is the study of literature, the use of library research. By using cultivation theory, it is known that the more time children spend watching television, the stronger the tendency to equate reality in television with the social reality. So it can be concluded that the the television show which contain elements of violence can make children eventually emulate those impressions.
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Depok: Fakultas Ilmu Sosial dan Ilmu Politik Universitas Indonesia, 2014
MK-Pdf
UI - Makalah dan Kertas Kerja  Universitas Indonesia Library
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