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"ABSTRACTFinancial technology or FinTech refers to technology-enabled financial transaction solutions while financial inclusion refers to wider financial access to as-yet-unreached people. Some agencies such as the World Bank state that Fintech and Financial Inclusion have synergistic roles in developing a better economy. Based on Global Findex data of more than 140 countries, this research shows that FinTech and Financial Inclusion are positively correlated and have a causality effect on each other. I used a cross-section regression model adopted from Wang & Guan (2017) using regional Dummy variables   distinguishing OECD, Developing World, and ASEAN countries with 2014 and 2017 data. The findings suggest that the role of Fintech in increasing financial inclusion is the strongest in OECD countries in the examined period. To develop financial inclusion in the countries, the use of Fintech should be pushed up, especially in developing countries like Indonesia.

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ABSTRAKTeknologi keuangan atau FinTech mengacu pada solusi transaksi keuangan yang didukung teknologi, sedangkan inklusi keuangan mengacu kepada akses keuangan yang lebih luas untuk orang-orang yang belum terjangkau. Beberapa lembaga seperti Bank Dunia menyatakan bahwa Fintech dan Inklusi Keuangan memiliki peran sinergis dalam mengembangkan ekonomi yang lebih baik. Berdasarkan data Global Findex di lebih dari 140 negara, penelitian ini menunjukkan bahwa FinTech dan Inklusi Keuangan berkorelasi positif dan memiliki efek kausalitas satu sama lain. Saya menggunakan model regresi cross-section yang diadopsi dari Wang & Guan (2017) menggunakan variabel Dummy regional yang membedakan negara-negara OECD, Dunia Berkembang, dan ASEAN dengan data 2014 dan 2017. Temuan menunjukkan bahwa peran Fintech dalam meningkatkan inklusi keuangan adalah yang terkuat di negara-negara OECD pada periode yang diperiksa. Untuk mengembangkan inklusi keuangan di negara-negara, penggunaan Fintech harus didorong, terutama di negara-negara berkembang seperti Indonesia."

"ABSTRAKFilm Mother Dao The Turtlelike(fMD) merupakan sebuah film yang disusun dari penggalan-penggalan film dokumenter Hindia-Belanda (1912-1933). Penggalan film dari masa kolonial tersebut disusun dalam bentuk kolase dan dibubuhi sonor berupa bunyi-bunyian, tembang dalam bahasa Jawa dan Sunda, puisi dalam bahasa Indonesia serta sebuah mitos penciptaan Nias. Disertasi ini berusaha mengungkap cara sineas memanfaatkan unsur-unsur sinematografis dan naratif untuk menawarkan suatu memori kolektif poskolonial yang lebih kritis.Dengan memperlakukannya sebagai teks, analisis struktur film dilakukan dengan menggunakan teori naratologi film. Hasil analisis memperlihatkan perbedaan pandangan tentang kolonialisme antara para kinematograf film Hindia-Belanda(fHB) dan sineas fMD. Bagi para kinematograf dan pemesannya kolonialisme diyakini sebagai upaya pengentasan penduduk dan pengembangan wilayah koloni. Pandangan sineas fMD sebagaimana tercermin dalam sonor memperlihatkan hal yang bertentangan: kolonialisme adalah eksploitasi manusia atas manusia dan alam.Susunan berbentuk kolase dan pengimbuhan sonor mengubah gambaran kolonial dalam fHB. Dengan cara itu sineas menjadikan filmnya sebagai langkah awal pembentukan memori poskolonial yang lebih kritis.

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ABSTRACT

The documentary film Mother Dao the Turtlelike (MDT) is not a remake but composed from footages of the Ducth East Indies (DEI) films made between 1912 and 1933. A sound-over is then added on this collage composition which consist of Javanese and Sundanese songs, Indonesian poems, and the mythology of creation of Batu Islands, Nias. This dissertation tried to find out the way the filmmaker uses the cinematographic and narrative elements in an attempt to construct a new postcolonial collective memory.

Assuming film as a text, the film?s structure is then analysed using the theory of film narratology. Despite the highly complicated structure, sinds there is no commentary added to the collage composition, a comprehensive analyses have to be conducted. The analysis showed the different perspectives of the cinematographers of DEI films and of MDT. Colonialism is still believed as an effort to develop the colony and its people. On the contrary the composition of collages and sonores in MDT clearly show the missery and extreme sufferings of the indigenous people. As well as the exploitation of their nature for the sake of the welfare of the colonialist.

The composition of colages and sonores in MDT change the colonial image of DEI films. The colage and the sonores in MDT give the chance to the viewer to see what colonialism really meant. MDT will enhance spectators critical thinking as well as their an humanistic postcolonial collective memory;The documentary film Mother Dao the Turtlelike (MDT) is not a remake but composed from footages of the Ducth East Indies (DEI) films made between 1912 and 1933. A sound-over is then added on this collage composition which consist of Javanese and Sundanese songs, Indonesian poems, and the mythology of creation of Batu Islands, Nias. This dissertation tried to find out the way the filmmaker uses the cinematographic and narrative elements in an attempt to construct a new postcolonial collective memory.

Assuming film as a text, the film?s structure is then analysed using the theory of film narratology. Despite the highly complicated structure, sinds there is no commentary added to the collage composition, a comprehensive analyses have to be conducted. The analysis showed the different perspectives of the cinematographers of DEI films and of MDT. Colonialism is still believed as an effort to develop the colony and its people. On the contrary the composition of collages and sonores in MDT clearly show the missery and extreme sufferings of the indigenous people. As well as the exploitation of their nature for the sake of the welfare of the colonialist.

The composition of colages and sonores in MDT change the colonial image of DEI films. The colage and the sonores in MDT give the chance to the viewer to see what colonialism really meant. MDT will enhance spectators critical thinking as well as their an humanistic postcolonial collective memory."

"Revolusi industri kreatif telah mendorong perubahan komik ke dalam bentuk baru dengan menggunakan teknologi komunikasi, yakni komik digital atau webcomics. Salah satu kreator komik lokal, Studio Kolam Susu, meluncurkan komik digitalnya di Webtoon berjudul Lara(s)hati dan Zona Maya sebagai bagian dari webcomic Cergaroma. Untuk berinteraksi dengan target khalayak, komunikasi pemasaran Lara(s)hati dan Zona Maya dilakukan dengan merilis akun karakter di media sosial. Hal ini dimaksudkan agar para tokoh dapat berinteraksi langsung dengan penonton tanpa perantara. Strategi inti yang diterapkan pada akun karakter adalah brand storytelling. Oleh karena itu, jurnal ini ingin melihat dan menganalisis lebih dalam bagaimana brand storytelling Cergaroma melalui akun karakternya di Instagram dan Twitter berdampak pada audience engagement. Teknik analisis isi dan wawancara singkat dengan dua informan digunakan bersama dengan data sekunder yang diperoleh dari studi pustaka. Hasil yang didapatkan dari analisis adalah brand storytelling mampu membuat khalayak terlibat dan menciptakan brand associations terhadap elemen brand characters. Informasi lain yang didapat adalah adanya interaksi parasosial antara khalayak dengan karakter webcomic Cergaroma.

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The revolution of the creative industry has pushed comics into a new form using communication technology, resulting in digital comics or webcomics. One of the local comic creators, Studio Kolam Susu, launched its digital comic on Webtoon titled Lara(s)hati and Zona Maya as part of the Cergaroma webcomic. To interact with the target audience, Lara(s)hati and Zona Maya's marketing communications were carried out by releasing character accounts on social media. It is so that the characters can interact directly with the audience without intermediaries. The core strategy implemented on the character's account is brand storytelling. Therefore, this journal wants to take a deeper look and analyze how Cergaroma's brand storytelling through its character accounts on Instagram and Twitter has an impact on audience engagement. Content analysis techniques and brief interviews with two informants were used along with secondary data obtained from the literature study. The results of the analysis are that brand storytelling is able to get the audience engaged and create brand associations towards brand character elements. Other information obtained is the existence of parasocial interactions between audiences and the character of the Cergaroma webcomic."