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"Prancis merupakan salah satu negara multikultural atau negara dengan identitas nasional yang berasal dari keragaman dan kemajemukan. Salah satu film yang mengangkat multikulturalisme Prancis adalah film Samba (2014) karya Olivier Nakache dan Éric Toledano. Film ini menggambarkan perjuangan hidup imigran yang telah menetap selama 10 tahun di Prancis secara tiba-tiba mendapatkan status imigran ilegal. Permasalahan imigran yang pada saat itu menjadi permasalahan genting menimbulkan sebuah bentuk kekuasaan secara sepihak oleh kelompok kulit putih. Berdasarkan pemaparan tersebut, penelitian ini bertujuan untuk memperlihatkan rasionalisasi hegemoni kulit putih terhadap imigran di Prancis dimunculkan dalam film. Penelitian ini akan menggunakan metode kualitatif, dengan bantuan teori Boggs dan Petrie (2008) untuk memahami unsur dramatik dan sinematografis film, dan teori hegemoni Gramsci (2013) beserta konsep white hegemony Edwards (2008). Hasil penelitian menunjukkan bahwa hegemoni kulit putih muncul pada tokoh Samba melalui penyebaran ideologi yang telah diinternalisasi oleh pihak penguasa. Tokoh Samba sebagai pihak yang berhasil dikuasai memercayai dan meyakini bahwa ide-ide tersebut merupakan suatu hal yang benar dan wajar. Hegemoni yang dialami tokoh Samba membuatnya mengalami konformitas atau perubahan sikap dan tingkah laku untuk menyesuaikan diri dengan nilai, aturan dan norma kelompok kulit putih.

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France is one of a multicultural country or a country with a national identity that comes from diversity and pluralism. One of the films that elevates France multiculturalism is the film Samba (2014) by Olivier Nakache and Éric Toledano. This film depicts the life struggle of immigrants who have lived for 10 years in France suddenly get illegal immigrant status. At that time, the problem of immigrants became a critical problem that inflict a form of unilateral power by the white group. Based on this explanation this study aims to show the rationalization of white hegemony against immigrants in France that appears in the film. This research will use a qualitative method, with the help of Boggs and Petrie (2008) theory to understand the dramatic and cinematographic elements of the film, and Gramsci's (2013) hegemony theory along with the concept of white hegemony by Edwards (2008). The results show that white hegemony appears in the character of Samba through the spread of ideology that has been internalized by the white group. Samba as the party who was successfully mastered believed and assured that these ideas were something that was right and rational. The hegemony experienced by Samba makes him experience conformity or changes in attitudes and behavior to adjust to the values, rules and norms of the white group."

"Tugas akhir ini membahas mengenai identitas serta pemaknaan ruang di dalam sebuah cerpen karya seorang penulis Turki yang tinggal di Jerman. Penelitian ini dilakukan dengan metode penelitian kualitatif dan analisis deskriptif. Hasil analisis menyatakan bahwa tokoh utama dalam cerita tersebut dapat menjadi salah satu cerminan keadaan migran di dalam sebuah negara baru. Sang tokoh mengalami apa yang disebut dengan displacement dan tidak dapat merasa kerasan di tempat tinggalnya yang baru, namun tidak dapat kembali ke kampung halamannya. Ia juga kemudian menjadikan kebiasaan mengintip dan memperhatikan tetangganya sebagai cara untuk menjadi kerasan. Terdapat kemungkinan bahwa individu yang bermigrasi mengalami hal serupa dengan tokoh tersebut.

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This study focuses on the identity and contextual space meaning for migrant in the new surroundings based on the short story der Hof im Spiegel by Emine Sevgi Özdamar, who was a migrant herself. The research was conducted with qualitative research and analytical descriptive methods, and it shows that the ‘ich’ character was experiencing something that can be called as displacement. This displacement leads to the confusion of identity of the aforementioned character, and thus the character feels like she can not belong to the place she is currently in, but also have no choice but to stay there, as her ‘home’ that she had known of has disappeared. This research show the possibility of a migrant experiencing a displacement and how they deal with it.

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"ABSTRAK

Film animasi kontemporer Prancis banyak mengangkat tema yang berkaitan dengan masalah keberagaman. Tulisan ini membahas mengenai identitas liyan dalam film animasi Prancis Ernest et Célestine. Tujuan penelitian ini adalah memperlihatkan pembentukan identitas liyan melalui wacana prasangka tentang perbedaan antara dunia beruang dan dunia tikus. Wacana prasangka dan perbedaan menegaskan Ernest, seekor beruang dan Célestine, seekor tikus, sebagai liyan yang tidak hanya berasal dari golongan yang berbeda, tetapi juga identitas liyan mereka di tengah kelompoknya sendiri. Menggunakan metode kajian sinema yang diperkuat dengan konsep liyan menurut Jean-François Staszak, penelitian ini mengungkap bahwa film Ernest et Célestine menawarkan wacana mulikultural yang realistis, sejalan dengan sulitnya mengubah wacana prasangka terhadap liyan dan sulitnya menerima perbedaan yang sudah menjadi bagian dari tradisi sebuah kelompok.

ABSTRACT

Many contemporary French animated films raise themes related to the issue of diversity. This paper discusses the identities of other in the French animated film Ernest et Célestine. The purpose of this study is to show the formation of other identity through prejudice discourse about the differences between the world of bears and the world of rats. The discourse of prejudice and difference affirms Ernest, a bear and Célestine, a mouse, as others who not only come from different group, but also their other identities in the middle of their own group. Using the method of studying cinema that is reinforced by the concept of otherness according to Jean-François Staszak, this study reveals that the film Ernest et Célestine offers realistic multicultural discourse, in line with the difficulty of changing prejudice discourse against others and the difficulty of accepting differences that have become part of a group's tradition."

"[ABSTRAKTesis ini menyelidiki proses berlangsungnya kontestasi dan negosiasi antar-aktorkampanye pariwisata Wonderful Indonesia dan Pesona Indonesia (WIPI) di mediasosial Instagram dalam dinamika konstruksi dan pemaknaan identitaskeindonesiaan. Data yang dikumpulkan dikategorisasi menjadi tiga narasi, yaitu?resmi,? ?pemicu,? dan ?akar rumput?. Ada tiga aktor di Instagram yangdiidentifikasi melalui peran dan keterlibatan, serta relasi kuasa di antara mereka,yaitu @indtravel, akun Instagram duta media sosial dan pengguna lima tagar.Untuk melihat dinamika konstruksi dan pemaknaan identitas keindonesiaan lebihlanjut digunakan konsep dan teori identitas nasional, country branding, aparatusideologis negara dan interpelasi, Instagram sebagai media sosial, budayapartisipatoris dan heteroglosia dalam media sosial, serta cultural intermediaries.Penelitian ini menemukan bahwa WIPI sebagai perwujudan country brandingmerefleksikan upaya Kementerian Pariwisata untuk mengkonstruksi danmenarasikan keindonesiaan sebagai identitas kompetitif. Pada level akar rumput,duta media sosial mengkontestasi Narasi Resmi tersebut dengan menyorotidentitas-identitas keindonesiaan lain yang berada di periferi. Namun, kontestasitersebut berubah menjadi negosiasi ketika Kementerian Pariwisatamemprioritaskan penggunaan media sosial dalam kampanye WIPI. Hal inimengubah peran duta media sosial dari perantara budaya yang memproduksinarasi akar rumput menjadi aktor yang memproduksi narasi pemicu. Tesis inimenemukan para aktor memanfaatkan karakteristik dan fitur Instagram untukmemproduksi teks heteroglosik, baik sengaja maupun tidak, yang mengkontestasidan menegosiasi satu sama lain. Instagram, yang menitikberatkan postingan visual,juga berkontribusi dalam proses visualisasi imajinasi keindonesiaan. Media sosial,dalam hal ini Instagram, memainkan peranan penting dalam proses konstruksi danpemaknaan keindonesiaan karena menyediakan ruang bagi para aktor untukberkolaborasi dalam proyek sinambung yang merumuskan keindonesiaan.

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ABSTRACTThis thesis investigates the contestation and negotiation in Wonderful Indonesiaand Pesona Indonesia tourism campaign (WIPI), which happen between actors insocial media, Instagram, in a way to construct their Indonesianess. The collecteddata is categorised into 3 narratives: ?official,? ?triggering,? and ?grassroots?.There are 3 actors in Instagram, @indtravel, Instagram accounts of social mediaambassadors and of those five hashtags users, which are identified by their roles,engagements and power relations. To look further into the dynamics ofconstructing and signifying Indonesianess concepts and theories of nationalidentity, country branding, ideological state apparatuses and interpellation,Instagram as social media, participatory culture and heteroglossia in social media,and cultural intermediaries are used. Research findings reveal that WIPI is a formof country branding reflecting Tourism Ministry?s efforts to construct and narrateIndonesianess as a competitive identity. At a grassroots level, social mediaambassadors contest that narrative by highlighting other identities that lie in theperiphery. Later, the contestation turns into negotiation once the Tourism Ministryprioritises the use of social media in their campaign. This changes social mediaambassadors? role as cultural intermediaries producing grassroots narrative intoones who produce the triggering narrative. This thesis finds all actors utilizeInstagram characteristics and features to produce intended or unintendedheteroglossic texts that contest against-, interpellate and negotiate with each other.Instagram, whose strong feature lies in visual posts, also contributes in visualizingthe imagination of Indonesianess. Social media, in this case Instagram, playsimportant roles in the process of constructing and signifying Indonesianess,because it provides space for actors to collaborate in a continuous project offormulating Indonesianess.;This thesis investigates the contestation and negotiation in Wonderful Indonesiaand Pesona Indonesia tourism campaign (WIPI), which happen between actors insocial media, Instagram, in a way to construct their Indonesianess. The collecteddata is categorised into 3 narratives: ?official,? ?triggering,? and ?grassroots?.There are 3 actors in Instagram, @indtravel, Instagram accounts of social mediaambassadors and of those five hashtags users, which are identified by their roles,engagements and power relations. To look further into the dynamics ofconstructing and signifying Indonesianess concepts and theories of nationalidentity, country branding, ideological state apparatuses and interpellation,Instagram as social media, participatory culture and heteroglossia in social media,and cultural intermediaries are used. Research findings reveal that WIPI is a formof country branding reflecting Tourism Ministry?s efforts to construct and narrateIndonesianess as a competitive identity. At a grassroots level, social mediaambassadors contest that narrative by highlighting other identities that lie in theperiphery. Later, the contestation turns into negotiation once the Tourism Ministryprioritises the use of social media in their campaign. This changes social mediaambassadors? role as cultural intermediaries producing grassroots narrative intoones who produce the triggering narrative. This thesis finds all actors utilizeInstagram characteristics and features to produce intended or unintendedheteroglossic texts that contest against-, interpellate and negotiate with each other.Instagram, whose strong feature lies in visual posts, also contributes in visualizingthe imagination of Indonesianess. Social media, in this case Instagram, playsimportant roles in the process of constructing and signifying Indonesianess,because it provides space for actors to collaborate in a continuous project offormulating Indonesianess., This thesis investigates the contestation and negotiation in Wonderful Indonesiaand Pesona Indonesia tourism campaign (WIPI), which happen between actors insocial media, Instagram, in a way to construct their Indonesianess. The collecteddata is categorised into 3 narratives: “official,” “triggering,” and “grassroots”.There are 3 actors in Instagram, @indtravel, Instagram accounts of social mediaambassadors and of those five hashtags users, which are identified by their roles,engagements and power relations. To look further into the dynamics ofconstructing and signifying Indonesianess concepts and theories of nationalidentity, country branding, ideological state apparatuses and interpellation,Instagram as social media, participatory culture and heteroglossia in social media,and cultural intermediaries are used. Research findings reveal that WIPI is a formof country branding reflecting Tourism Ministry’s efforts to construct and narrateIndonesianess as a competitive identity. At a grassroots level, social mediaambassadors contest that narrative by highlighting other identities that lie in theperiphery. Later, the contestation turns into negotiation once the Tourism Ministryprioritises the use of social media in their campaign. This changes social mediaambassadors’ role as cultural intermediaries producing grassroots narrative intoones who produce the triggering narrative. This thesis finds all actors utilizeInstagram characteristics and features to produce intended or unintendedheteroglossic texts that contest against-, interpellate and negotiate with each other.Instagram, whose strong feature lies in visual posts, also contributes in visualizingthe imagination of Indonesianess. Social media, in this case Instagram, playsimportant roles in the process of constructing and signifying Indonesianess,because it provides space for actors to collaborate in a continuous project offormulating Indonesianess.]"

"Diskriminasi ras sudah menjadi permasalahan yang mendarah daging terhadap antara imigran Maghribi dan lingkungan sosial di Prancis. Permasalahan ini menimbulkan kesenjangan sosial di antara hubungan keduanya. Imigran Maghribi atau imigran yang berasal dari Afrika Utara merupakan salah satu kelompok imigran terbesar di Prancis. Melalui perbedaan budaya serta nilai dengan Prancis, hal ini menyebabkan diskriminasi dan segregasi sosial dari masyarakat Prancis terhadap mereka. Dalam proses beradaptasi dengan lingkungan baru, para imigran Maghribi mengalami sering kali mengalami krisis identitas. Kehadiran permasalahan krisis identitas kultural ini hadir dalam salah satu karya penulis Maroko terkenal, yakni Tahar Ben Jelloun dengan judul novel Au Pays (2009). Au Pays mengungkap kesenjangan sosial yang terjadi terhadap para imigran Maghribi di Prancis. Artikel ini berfokus pada permasalahan krisis identitas kultural yang dialami oleh para imigran Maghribi dalam novel Au Pays dengan menekankan pada kesenjangan sosial lingkungan Prancis serta ambivalensi identitas kultural para imigran. Artikel ini bertujuan untuk mengungkap kesenjangan sosial di Prancis yang dipicu secara signifikan oleh permasalahan krisis identitas kultural yang dialami oleh dua generasi imigran Maghribi. Artikel ini menganalisis bagaimana keberpihakan penulis di dalam cerita menunjukkan adanya realita kesenjangan sosial bagi para imigran Maghribi. Artikel ini menggunakan teori analisis teks naratif Roland Barthes (1966), konsep pascakolonialisme Homi K. Bhabha (1994), dan konsep identitas kultural Stuart Hall (1996). Artikel ini menyimpulkan bahwa permasalahan identitas kultural yang dialami dua generasi imigran Maghribi diungkap melalui kesenjangan sosial di lingkungan sosial Prancis serta sudut pandang penulis dalam menghasilkan karyanya

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Racial discrimination has been a deep-rooted problem among the Maghreb immigrants and the local society in France. It provokes the lack of social equality of their relations. One of the largest numbers of immigrant groups in France came from North African immigrants or commonly classified as the Maghreb immigrants. Due to the fact they have distinct values and culture with France, it led to discrimination and segregation from local people to them. For the purpose of possessing self-adaptation in the alien country, the Maghreb immigrants faced a cultural identity crisis oftenly. The existence of a cultural identity crisis issue is shown in one of the influential and active Moroccan writers, Tahar Ben Jelloun’s works, namely as Au Pays (2009). Au Pays reveals a miserably inequality society with the Maghreb immigrants in France. This article focuses on a cultural identity crisis faced by the Maghreb immigrants in Au Pays, outlining a state of inequality society in France and also the immigrants’ cultural identity ambivalence. This paper aims to highlight the inequality society in France provoked significantly a cultural identity problem experienced by two generations of the Maghreb immigrant characters. This paper analyzes how the writer’s mannerism shows the Maghreb immigrants’ unfortunate reality while surviving in the unequal French society using Roland Barthes (1966)’s narrative text analysis, the post-colonial theory by Homi K. Bhabha (1994) and the cultural identity concept by Stuart Hall (1996). The paper concludes that the cultural identity problem experienced by two generations of the Maghreb immigrants’ is disclosed on the basis of the inequality in French society and the author’s point of view in producing his work."

"Tesis ini membahas identitas nasional yang terdapat dalam naskah teks sejarah perumusan dasar negara Pancasila tentang sistem tanda dan makna yang terdapat dalam naskah tersebut. Penelitian ini adalah penelitian kualitatif dengan desain deskriptif. Dengan menggunakan analisis semiotika Peirce, dapat disimpulkan bahwa makna yang didapatkan dari perumusan naskah tersebut menunjukkan proses komunikasi menggunakan sistem tanda yang saling mendukung satu sama lain. Proses pembangkitan makna dalam persidangan yang berlangsung menghasilkan rumusan Pancasila yang disepakati sebagai dasar Indonesia Merdeka, dan menjadi simbol identitas nasional. Penelitian ini memiliki implikasi teoritis yang membedah naskah sejarah ke dalam level teks untuk kemudian dianalisis proses semiosisnya dalam beberapa tahap dan menginterpretasikan tanda tersebut ke dalam suatu pemaknaan tanda yang saling menguatkan. Penelitian ini memberi rekomendasi bagi akademisi yang tertarik untuk mengkaji naskah teks sejarah Indonesia yang menjadi konsensus nasional dengan memperhatikan proses perumusan dan penyusunannya sehingga menjadi refleksi dalam mengatasi permasalahan bangsa.

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This thesis discuss national identity contained in the manuscript of the text the history of the state basic formulation of Pancasila about system of signs and meanings that was found in the manuscript. This research is the qualitative study with the design descriptive. Using the Peirce semiotics analysis, it can be concluded that meaning obtained from the formulation of a manuscript is indicated processes of communication using system of signs of mutual support each other. The process of the generation of meaning in meetings that produce synthesis Pancasila agreed as the basis of Indonesia became independent, and become a symbol of national identity.

This research have an implication theoretical that dissected manuscript the history into the level of the text, then analyzed the process of semiosis in several stages and interpret the signs into a meanings of which corroborate. This research give recommendations for academics who are interested to study the manuscript of the text Indonesian history becomes national consensus by observing the process of formulation and its compilation becomes a reflection in solving the nation problems."

"ABSTRAKNasionalisme dapat tumbuh melalui beragam cara dan media, salah satunya melalui media olahraga. Penelitian ini bertujuan untuk menjelaskan secara rinci bahwa identitas nasional dan identitas kelompok dapat terbentuk melalui aspek olahraga, khususnya olahraga sepakbola. Unit analisis dalam penelitian ini adalah para pemerhati sepakbola di tingkat nasional dan komunitas Bobotoh serta Viking sebagai pendukung setia Persib Bandung. Penelitian ini menggunakan pendekatan kualitatif dengan observasi dan wawancara mendalam sebagai teknik pengumpulan data utama. Hasil penelitian memperlihatkan tiga hal, pertama bahwa sepakbola di tingkat lokal dapat menumbuhkan perasaan in-group yang didasari kearifan lokal seperti bahasa, ritual dan simbol-simbol yang didukung pembentukannya oleh media sosial. Kedua kehadiran tim nasional sepakbola Indonesia di sisi lain dapat membentuk komunitas imajiner serta identitas nasional dengan persepsi akan sejarah, simbol, ritual, bahasa, serta media massa dan ketiga, nasionalisme yang terbentuk cenderung bersifat banal sebagai platform utama yang menyambungkan rasa kekerabatan dan nasionalisme.

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ABSTRACTNationalism is a concept that can be developed through any media. This study aims to explain in detail that national identity and group identity can be formed through aspects of sport, such as football. This study uses a qualitative approach with observation and in depth interviews as the main data retrieval technique with the fans of Persib Bandung Viking and Indonesia men rsquo s national football team as the unit of analysis. The results of this study show that football at the local level can establish in group feelings based on local wisdom such as language, rituals and symbols that supported by using social media as the basic. The presence of Indonesia 39 s national football team on the other hand can form an imagined community and national identity with perceptions of history, symbols, rituals, languages, and mass media and other things that tend to be banal as the main platform that connects the sense of kinship And nationalism."

"Tesis ini membahas tentang konsep double consciousness untuk melihat krisis identitas rasial yang dialami remaja kulit hitam di Amerika era post-racial, yang direpresentasikan dalam film Dear White People. Dalam tesis ini, analisis mengenai double consciousness dilakukan berdasarkan aspek krisis identitas yang dialami tokoh utama, yaitu dalam hal penampilan fisik, posisi diri di antara mahasiswa lain, hubungan romantis antar karakter, dan kesenjangan generasi.Hasil penelitian menunjukkan bahwa double consciousness masih dialami oleh kaum kulit hitam tetapi dalam konteks yang berbeda dengan konsep awal yang dikemukakan DuBois di tahun 1900-an. Selain itu, krisis identitas yang dialami oleh para remaja kulit hitam terjadi karena mereka dipaksa untuk melihat diri dari sudut pandang orang kulit putih ketika mencoba untuk mengartikulasikan identitas rasial mereka sebagai kaum kulit hitam.

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This thesis focuses on the concept of double consciousness to analyze how the racial identity crisis is experienced by African-American youth in the United States in the post-racial era, as represented in Dear White People film. In this thesis, an analysis of double consciousness is based on some identity crisis aspects experienced by the main characters, which are physical appearance, how the characters position themselves among other students, romantic relationship, and generation gap.

The findings indicate that the concept of double consciousness is still experienced by African-American but in a different context compared to the original concept proposed by DuBois in 1903s. Furthermore, the identity crisis that emerged as the effect of double consciousness experienced by African-American youth occurs because they are forced to see themselves from the white people point of view while they are trying to articulate their own racial identity as blacks"

"Satir Hurra Ich Lebe in Deutschland karya Sinasi Dikmen menggambarkan belum adanya pemahaman budaya antar dua negara (Jerman dan Turki) yang mengakibatkan munculnya konflik pada masa kedatangan imigran Turki ke Jerman pada generasi pertama. Untuk memahami permasalaha yang berkembang maka diperlukan telaahan perbandingan kebudayaan dalam kriteria sudut pandang (Blickwinkel) antara budaya masyarakat Turki dan Jerman. Perbedaan sudut pandang memperhatikan banyak faktor yang mempengaruhi permasalahan terhadap masyarakat Jerman dan Turki di masa perpindahan masyarakat Turki ke negara Jerman sebagai pekerja tamu.

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Satire Hurra Ich Lebe in Deutschland by Sinasi Dikmen illustrates the lack of cultural understanding between the two countries (Germany and Turkey) that resulted culturals conflict during the arrival of Turkish immigrants to Germany in the first generation. To understand the conflict problems is required research paper in comparative criteria (Blickwinkel) between Turkish and German culture. The diffrerences point of view mentioned considers many factors thet influences understanding problems of Germany and Turkey community in the displacement as guest workers."