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This study intends to examine wayang kulit purwa performances [from Central Java] of the plays Réyog Ponorogo and Sang Batara Sambo “Prahara Suralaya,” created by Purbo Asmoro (2022). Both of these works are fascinating to study because in addition to the fact that they are allusions to topical conflicts [in Indonesia] presented in the form of social commentary, the structure and texture of these performances differ from the treatment of wayang purwa performances in general. This problem is studied based on the ethnoart paradigm, using the Interpretation (Sanggit) and Treatment (Garap) Theories and critical analysis. Research data was collected through literature studies, documentation studies, and interviews. The results of the study show that the social criticism revealed in lakon Réyog Ponorogo is blatant, while the social criticism in lakon Sang Batara Sambo “Prahara Suralaya” as a whole is equivocal, but in the closing scene it is blatant. In creating a ‘new’ lakon, the dalang must master various references—both written and spoken—which will later be used as hipogram texts, interpret various hypogram texts into a story, and translate them into lakon wayang. The artistic ability of the dalang greatly influences the quality of wayang performances, the ability of the dalang to choose the elements of pakeliran treatment to be highlighted in each scene, the dalang’s ability to organize the performance supporting team, and the ability of the dalang to read the situation of the audience.

This study intends to explore the aesthetics of East Javanese Shadow Puppet (Wayang Kulit Jawa Timuran) show as one of the people’s style puppet show model. The problems discussed are related to how East Javanese Shadow Puppeteers respond to the existence of The Surakarta-style shadow puppet shows that are not only flourished in the Central Java region but also in most parts of East Java. This study uses qualitative methods with descriptive analytical analysis. Research data are collected through literature studies, documentation studies, interviews, and field observations. The results of the study show that East Javanese shadow puppet show, both performance elements, the structure, and some elements of “garap pakeliran” have currently been colored by the idioms of Surakarta-style shadow puppet show.

Film Ada Apa dengan Cinta? 2 is a romance drama genre fi lm that was released in 2016. This study will identify the characteristics of the genre of the fi lm Ada Apa Dengan Cinta? 2 as drama romance. Dilakuakan identifi cation process using the basic scheme of the genre. The analysis aims to look at the depth of a movie as a genre film drama romance. The theory used is a genre theory drama by Jane Stokes as the main genre and romance as a sub-genre. The results of the research will be found pieces of pictures depicting scenes drama become romance film characteristics are becoming a common convention in the fi lm Ada Apa Dengan Cinta? 2. Characteristics of the setting and location diantanya is commonly used in everyday life, using the iconography in the form of specifi c causal fashion, narrative events culinary journey, locations and adventurous vacation, the whole character is the protagonist, and the structure of the plot told a farewell and an encounter back in love triangle. As a sequel, the film has differences with its predecessor

Tujuan dari penelitian ini adalah untuk menganalisis pendidikan karakter dalam film Sang Kiai sebagai pembangunan karakter untuk media pembelajaran yang relevan. Sumber data diperoleh dengan mengamati cerita dari film Sang Kiai secara langsung. Teknik untuk mengumpulkan data menggunakan ulasan dokumen atau mendengarkan dan mempelajari literatur. Analisis data menggunakan teori sinematografi dengan mengamati adegan dan dialog dalam film Kiai. Hasil penelitian menunjukkan bahwa ada nilai-nilai pendidikan karakter yang disampaikan melalui adegan dalam film. Nilai-nilai pendidikan karakter dalam film Sang Kiai dapat dipahami dari dialog dan adegan yang dimainkan oleh para pemain. Film Sang Kiai berisi 8 nilai pendidikan karakter yang terkandung dalam film ini termasuk agama, disiplin, kerja keras, demokratis, rasa ingin tahu, semangat nasional, penghargaan terhadap prestasi, persahabatan / komunikatif yang tercermin dalam setiap adegan dalam film “The Kiaiâ€. Film Kiai berisi nilai-nilai pendidikan karakter yang relevan sebagai pembangunan karakter. Film ini dapat digunakan sebagai media pembelajaran yang bertujuan pembentukan karakter.