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nopita@widyakartika.ac.id
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How to Cite
Trihastutie, N. (2022). DOCUDRAMA GENRE TO REPRESENT RELIGIOUS EXPERIENCE IN OBAT MALAM AND SOLUSI TV PROGRAM: A CASE STUDY. Lire Journal (Journal of Linguistics and Literature), 6(1), 71-87. https://doi.org/10.33019/lire.v6i1.143
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Abstract
Genre is an important thing in planning film or TV program. This paper focuses on exploring two national TV programs that use docudrama genre to deliver people’s real past to represent their religious experience. By conducting interview with the producer of Obat Malam and Solusi TV program, the aim of this paper is to examine why docudrama genre used to represent religious experience in Obat Malam and Solusi TV program. The interview was conducted online via zoom meeting and involved the producer manager as the single participant. The open ended questions were used in the interview. A mix coding technique was applied in the interview data collection analysis. The findings show that producer’s perspective puts emphasis on docudrama genre as a configuration of particular elements, highlights visual narrative aspects, and accentuates qualities of docudrama modes of documentary. It can be concluded that docudrama genre meets the need of creative and contextual way to present religious experience to the viewers.
References
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[2] Ali, M.N.S. (2021). Dari Text ke Visual. National Seminar in Faculty of Cultural Studies, Airlangga University. Surabaya, 23 September 2021.
[3] Bawarshi, A. (2000). The Genre Function. College English, 62(3), pp. 335-360.
[4] Blumenberg, R.M. (1977). Documentary Films and the Problem of “Truth”. Journal of the University Film Association, 29(4), 19-22.
[5] Brougere, G. (2014). Toys or the Rhetoric of Children’s Goods. In David Machin (Ed), Visual Communication (pp. 243-260). Berlin: Walter de Gruyter.
[6] Coffey, A., & Atkinson, P. (1996). Making Sense of Qualitative Data: Complementary Research Strategies. Thousand Oaks: Sage.
[7] De Fossard, E. (2015). Communication for Behavior Change: Writing and Producing Radio Dramas. Vol. 1. India: Sage Publication.
[8] Dunne, P. Afary, K., Paulson, P. (2021). Narradrama. In David Read Johnson & Renée Emunah (Eds), Current Approaches in Drama Therapy (pp. 206-249). Illinois: Charles C Thomas Publisher, Ltd.
[9] Ivin, Jr., W.M. (1969). Print and Visual Communication. NY: MIT Press.
[10] Jacobs, S. (2011). Framing Pictures: Film and the Visual Arts. Edinburg: Edinburg University Press.
[11] Jawaban. (2016, December 16). An Easy Way to Introduce God to People Close to Us. Retrieved September, 21, 2020 from https://cbn.jawaban.com/read/article/en/12/16/2016/470/170216112625/An-Easy-Way-to-Introduce-God-to-People-Close-to-Us.html
[12] Jones, S. (2013). Memory on Film: Testimony and Constructions of Authenticity in Documentaries about the German Democratic Republic, European Journal of Cultural Studies, 16(2), 194-210.
[13] Lowenthal, D. (Ed). (2015). Replacing the Past: Restoration and Re-enactment. In the Past is a Foreign Country, pp. 464–496. Cambridge: Cambridge University Press.
[14] Natusch, B., & Hawkins, B. (2014). Mapping Nichols’ Modes in Documentary Film: Ai Weiwei: Never Sorry and Helvetica. The IAFOR Journal of Media, Communication and Film, 2(1), 103-127.
[15] Nichols, B (2001). Introduction to Documentary. Indiana: Indiana University Press.
[16] Manopo, V.A. (2013). Analisa Tahapan Produksi Kisah Nyata pada reka Ulang dalam Program Televisi (Studi Kasus Program Televise Solusi episode 123 tanggal 17 September 2012). Tesis, Universitas Mercu Buana.Mayring, P. (2000). Qualitative content analysis. Forum: Qualitative Social Research, 1(2).
[17] Miles, M. B., & Huberman, A. M. (1994). Qualitative Data Analysis: An Expanded Sourcebook. Thousand Oaks, CA: Sage.
[18] Postman, N. (1990). The Re-enchantment of Learning. Youth Theatre Journal, 5(2), 3-6.
[19] Potter,W. J., & Levine-Donnerstein, D. (1999). Rethinking Validity and Reliability in Content Analysis. Journal of Applied Communication Research, 27, 258-284.
[20] Tesch, R. (1990). Qualitative Research: Analysis Types and Software Tools. Bristol, PA: Falmer.
[21] Topolska, A. (2021). Reflection on the Visual Truth and War Photography: A Historian Perspective. In Alex Grech (ed), Media, Technology, and Education in Post-Truth Society: From Fake News, Datafication, and Mass Surveillance to the Death of Trust (pp. 189-202). U.K: Emerald Publishing Limited.
[22] Roderick, I. (2014). Military Hardware as Affective Objects: Toward A Social Semiotics of Militainment Television. In David Machin (Ed), Visual communication (pp. 71-90). Berlin: Walter de Gruyter GmbH.
[23] Renov, M. (1993). Introduction: The Truth about Non-Fiction. In Michael Renov (Ed), Theorizing Documentary (pp. 1-11). London: Taylor & Francis Ltd.
[24] Saunders, D (2010). Documentary. London: Routledge.
[25] Scarafile, G. (2016). Representation, Objectivity, and the Ethic of Images. In Giovanni Scarafile & Leah G. Gold, Paradoxes of Conflict: Logic, Argumentation, and Reasoning (pp. 171-206). Switzerland: Springer International Publishing.
[26] Schafer, L., Pankoke-Babatz, U., Prinz, W., Fatah, S. A., & Oldroyd, A. (2003). Docudrama. Virtual Reality, 7, 43-53.
[2] Ali, M.N.S. (2021). Dari Text ke Visual. National Seminar in Faculty of Cultural Studies, Airlangga University. Surabaya, 23 September 2021.
[3] Bawarshi, A. (2000). The Genre Function. College English, 62(3), pp. 335-360.
[4] Blumenberg, R.M. (1977). Documentary Films and the Problem of “Truth”. Journal of the University Film Association, 29(4), 19-22.
[5] Brougere, G. (2014). Toys or the Rhetoric of Children’s Goods. In David Machin (Ed), Visual Communication (pp. 243-260). Berlin: Walter de Gruyter.
[6] Coffey, A., & Atkinson, P. (1996). Making Sense of Qualitative Data: Complementary Research Strategies. Thousand Oaks: Sage.
[7] De Fossard, E. (2015). Communication for Behavior Change: Writing and Producing Radio Dramas. Vol. 1. India: Sage Publication.
[8] Dunne, P. Afary, K., Paulson, P. (2021). Narradrama. In David Read Johnson & Renée Emunah (Eds), Current Approaches in Drama Therapy (pp. 206-249). Illinois: Charles C Thomas Publisher, Ltd.
[9] Ivin, Jr., W.M. (1969). Print and Visual Communication. NY: MIT Press.
[10] Jacobs, S. (2011). Framing Pictures: Film and the Visual Arts. Edinburg: Edinburg University Press.
[11] Jawaban. (2016, December 16). An Easy Way to Introduce God to People Close to Us. Retrieved September, 21, 2020 from https://cbn.jawaban.com/read/article/en/12/16/2016/470/170216112625/An-Easy-Way-to-Introduce-God-to-People-Close-to-Us.html
[12] Jones, S. (2013). Memory on Film: Testimony and Constructions of Authenticity in Documentaries about the German Democratic Republic, European Journal of Cultural Studies, 16(2), 194-210.
[13] Lowenthal, D. (Ed). (2015). Replacing the Past: Restoration and Re-enactment. In the Past is a Foreign Country, pp. 464–496. Cambridge: Cambridge University Press.
[14] Natusch, B., & Hawkins, B. (2014). Mapping Nichols’ Modes in Documentary Film: Ai Weiwei: Never Sorry and Helvetica. The IAFOR Journal of Media, Communication and Film, 2(1), 103-127.
[15] Nichols, B (2001). Introduction to Documentary. Indiana: Indiana University Press.
[16] Manopo, V.A. (2013). Analisa Tahapan Produksi Kisah Nyata pada reka Ulang dalam Program Televisi (Studi Kasus Program Televise Solusi episode 123 tanggal 17 September 2012). Tesis, Universitas Mercu Buana.Mayring, P. (2000). Qualitative content analysis. Forum: Qualitative Social Research, 1(2).
[17] Miles, M. B., & Huberman, A. M. (1994). Qualitative Data Analysis: An Expanded Sourcebook. Thousand Oaks, CA: Sage.
[18] Postman, N. (1990). The Re-enchantment of Learning. Youth Theatre Journal, 5(2), 3-6.
[19] Potter,W. J., & Levine-Donnerstein, D. (1999). Rethinking Validity and Reliability in Content Analysis. Journal of Applied Communication Research, 27, 258-284.
[20] Tesch, R. (1990). Qualitative Research: Analysis Types and Software Tools. Bristol, PA: Falmer.
[21] Topolska, A. (2021). Reflection on the Visual Truth and War Photography: A Historian Perspective. In Alex Grech (ed), Media, Technology, and Education in Post-Truth Society: From Fake News, Datafication, and Mass Surveillance to the Death of Trust (pp. 189-202). U.K: Emerald Publishing Limited.
[22] Roderick, I. (2014). Military Hardware as Affective Objects: Toward A Social Semiotics of Militainment Television. In David Machin (Ed), Visual communication (pp. 71-90). Berlin: Walter de Gruyter GmbH.
[23] Renov, M. (1993). Introduction: The Truth about Non-Fiction. In Michael Renov (Ed), Theorizing Documentary (pp. 1-11). London: Taylor & Francis Ltd.
[24] Saunders, D (2010). Documentary. London: Routledge.
[25] Scarafile, G. (2016). Representation, Objectivity, and the Ethic of Images. In Giovanni Scarafile & Leah G. Gold, Paradoxes of Conflict: Logic, Argumentation, and Reasoning (pp. 171-206). Switzerland: Springer International Publishing.
[26] Schafer, L., Pankoke-Babatz, U., Prinz, W., Fatah, S. A., & Oldroyd, A. (2003). Docudrama. Virtual Reality, 7, 43-53.
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