Papers by Rubiyanto Rubiyanto
ProTVF: Jurnal Kajian Televisi dan Film, 2022
Banyak strategi yang dilakukan oleh stasiun televisi untuk memikat pemirsa dan pengiklan lewat ta... more Banyak strategi yang dilakukan oleh stasiun televisi untuk memikat pemirsa dan pengiklan lewat tayangan program. Misalnya, strategi SCTV menayangkan sinetron Buku Harian Seorang Istri dan dilanjutkan dengan Love Story The Series pada saat prime time, sejak 12 Januari 2021. Menariknya sebagai sinetron baru kedua program ini berhasil masuk dalam sepuluh besar program televisi di Indonesia pada Januari 2021 dengan meraih rating dan share yang baik. Kajian ini bertujuan untuk menganalisis strategi pemrograman dan alur cerita di kedua sinetron, hingga disukai pemirsa dan pengiklan. Metode yang digunakan adalah analisis isi untuk mengidentifikasi hal-hal spesifik terkait pemrograman dan alur cerita pada masing-masing sinetron sebanyak dua puluh episode. Hasil kajian menunjukkan bahwa pemrogram berhasil mempertahankan sebagian besar pemirsa untuk tetap menyaksikan Love Story The Series setelah melihat tayangan Buku Harian Seorang Istri. Hal spesifik yang dapat mengikat pemirsa untuk terus menyaksikan adalah tema pada alur cerita yang akrab dengan kehidupan mereka, tentang dendam kesumat dan percintaan. Juga didukung dengan promosi program sinetron tersebut. Ditemukan beberapa kemiripan pada dua sinetron tersebut, yaitu: (1) Pada saat awal alur cerita salah satu tokoh dipenjara karena kasus pembunuhan, (2) konflik pada alur cerita saling terkait di antara para tokoh seperti jaring laba-laba yang membentuk sebuah sirkuit cerita, dan (3) pengiklan dapat memasukkan pesan iklan produk mereka dalam alur cerita. Kata-kata Kunci: Sinetron prime time; strategi pemrograman; alur cerita; pemirsa; pengiklan The strategy of SCTV to attract viewers and advertisers towards prime time soap opera ABSTRACT Many strategies are carried out by television programmers to allure viewers and advertisers through program shows. For example, the strategy of SCTV programmer to schedule the soap opera Diary of a Wife and continue with Love Story The Series at prime time, since January 12, 2021. Interestingly, as new soap operas, these two programs managed to make it into the top ten television programs in Indonesia in January 2021 by achieving good rating and share. This study aims to analyze programming strategy and storylines in both soap operas, so that they are liked by viewers and advertisers. The method used is content analysis to identify specific things related to programming and storylines in each of the twenty-episode soap operas. The results of the study show that the programmer managed to keep most of the viewers watching Love Story The Series after watching the Diary of a Wife. The specific thing that can bind viewers to continue watching is the theme in the storyline that is familiar with their lives, about revenge and love. Also supported by the promotion of the soap opera program. Several similarities were found in the two soap operas that captivated viewers and advertisers, namely: (1) at the beginning of the storyline one of the characters is imprisoned for a murder case, (2) the conflict in the storyline is intertwined between the characters like a spider web that forms a story circuits, and (3) advertisers can insert their product advertising messages into storylines.
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PROMEDIA (PUBLIC RELATION DAN MEDIA KOMUNIKASI), 2020
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ProTVF
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Bricolage : Jurnal Magister Ilmu Komunikasi, 2018
ABSTRACTThe success of ANTV captured the attention of the audience through the Indian Movie show ... more ABSTRACTThe success of ANTV captured the attention of the audience through the Indian Movie show influenced ANTV's position to television in the first rank. The television, which used to be in the last number among rival televisions, tried the first time to broadcast an Indian movie called Mahabharata, which had been successfully aired by TPI in the 1990s. The latest version of the Indian movie gets a great reception from the audience. This article aims to describe ANTV's strategy in the television industry through Indian movie to win the competition. According to Pringle and Starr (2006: 123-125), when planning a program to be aired, the television managers should pay attention to the nine factors, namely (1) Strength or Weakness of Competing Stations, (2) Building Audience Flow, (3) Building Audience Habit, (4) Available Audience, (5) Audience Interest, (6) Advertiser Interest, (7) Budget, (8) Inventory Program, and (9) Local Production Capabilities. The authors limit this...
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Lontar: Jurnal Ilmu Komunikasi, 2020
The aim of this study is to provide readers insight into the practice of capitalism ... more The aim of this study is to provide readers insight into the practice of capitalism in the television industry, as their efforts seek profits through the expansion of the media market. Especiallythe practice of capitalism, which is represented by television content creators, in commodifying dangdut through program that are aired. To facilitate analysis, the author divides the study into four generations, namely monopoly, oligopoly, monopolistic competition, and perfect competition, which is related to the audience market and the advertiser's market. The approach used is qualitative with a critical paradigm, and historiography method. Data from interviews result of informants involved in the dangdut industry on television, participation observation, personal source documentation and the internet, the authors of the analysis to answer the purpose of this study. The result was found that in different ways in each generation, dangdut as a culture of societywas made commodity by television capitalists. The way through various genres of programs that are aired, they are looking for profits to expand the audience market and advertisers. Not only that, they also use television to spread their influence in society, to maintain their dominant position in the social order.
Keywords:Commodification, Dangdut, Television, Culture, Media market
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WACANA: Jurnal Ilmiah Ilmu Komunikasi, 2021
Kumalasari's personal branding efforts through instagram @barbiekumalasari often get harsh commen... more Kumalasari's personal branding efforts through instagram @barbiekumalasari often get harsh comment, bullying, and negative stigma from followers. In fact, it made her known and gained popularity. The purpose of this study was to analyze the Kumalasari personal brand through content on Instagram account @barbiekumalasari, as a form of personal branding to gain popularity. The author uses qualitative methods with an interpretive paradigm, and an intrinsic case study approach. The results showed that the uploaded content has met the ten guidelines for forming a personal brand, as a form of personal branding put forward by Keller, Parameswaran, and Jacob. Even though the content received positive and negative comments from followers, Kumalasari was able to gain popularity. In fact, she was given the title “Ratu Halu” because she identified herself with a Barbie doll as a form of strong personal brand. The personal brand that is attached to Kumalasari is a unique and different identity in the minds of followers, society, and media, which leads to the creation of popularity. In this study, the authors interpreted the new concept of Kumalasari as a 'Halu Barbie'.
Keywords: Personal Branding, Instagram, Barbie Kumalasari, Followers, Celebrities
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PT Garuda Maintenance Facility, AeroAsia, Tbk (GMF) is a state-owned company engaged in the aircr... more PT Garuda Maintenance Facility, AeroAsia, Tbk (GMF) is a state-owned company engaged in the aircraft maintenance and repair service industry in Indonesia, or Maintenance, Repair, and Overhaul abbreviated as MRO. One of the activities carried out is Corporate Social Responsibility / CSR, which is named ‘edu visit’. Since 2002, edu visits have provided opportunities for the public, especially students and university students to visit GMF, who want to know about aerospace. The purpose of this study is to provide an overview to readers about the activity of edu visits, the constraints and solutions undertaken. The method used is qualitative with a descriptive approach. The data were obtained through interviews, observation, and documentation. Researchers use Legitimacy Theory and the concept of CSR to answer the research objectives. The results can be illustrated that the edu visit activity has been carried out by the company implementing the legitimacy effectiveness and the right CSR c...
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Nyimak (Journal of Communication)
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Lontar Jurnal Ilmu Komunikasi, 2020
ABSTRAK Tujuan kajian ini yaitu untuk memberikan wawasan kepada pembaca tentang praktik kapitalis... more ABSTRAK Tujuan kajian ini yaitu untuk memberikan wawasan kepada pembaca tentang praktik kapitalisme dalam industri televisi, sebagai upaya mereka mencari keuntungan melalui perluasan pasar media. Terutama praktik kapitalisme, yang diwakili oleh para pembuat konten televisi, dalam mengomodifikasi dangdut melalui program yang ditayangkan. Untuk memudahkan analisis, penulis membagi kajian menjadi empat generasi, yaitu monopoli, oligopoli, persaingan monopolistik, dan persaingan sempurna, yang terkait dengan pasar audiens dan pasar pengiklan. Pendekatan yang digunakan yaitu kualitatif dengan paradigma kritis, dan metode historiografi. Data dari hasil wawancara informan yang terlibat dalam industri dangdut di televisi, observasi partisipasi, dokumentasi sumber pribadi dan internet, penulis analisis untuk menjawab tujuan penelitian ini. Hasilnya ditemukan bahwa dengan cara yang berbeda di setiap generasi, dangdut sebagai budaya masyarakat dijadikan komoditas oleh para kapitalis televisi. Caranya melalui berbagai genre program yang ditayangkan, mereka mencari keuntungan untuk memperluas pasar audiens dan pengiklan. Tidak hanya itu, mereka juga menggunakan televisi untuk menyebarkan pengaruhnya di masyarakat, untuk mempertahankan posisi dominan mereka dalam tatanan sosial.
ABSTRACT The aim of this study is to provide readers insight into the practice of capitalism in the television industry, as their efforts seek profits through the expansion of the media market. Especially the practice of capitalism, which is represented by television content creators, in commodifying dangdut through program that are aired. To facilitate analysis, the author divides the study into four generations, namely monopoly, oligopoly, monopolistic competition, and perfect competition, which is related to the audience market and the advertiser's market. The approach used is qualitative with a critical paradigm, and historiography method. Data from interviews result of informants involved in the dangdut industry on television, participation observation, personal source documentation and the internet, the authors of the analysis to answer the purpose of this study. The result was found that in different ways in each generation, dangdut as a culture of society was made commodity by television capitalists. The way through various genres of programs that are aired, they are looking for profits to expand the audience market and advertisers. Not only that, they also use television to spread their influence in society, to maintain their dominant position in the social order.
Keywords: Commodification, Dangdut, Television, Culture, Media market
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The success of ANTV captured the attention of the audience through the Indian Movie show influenc... more The success of ANTV captured the attention of the audience through the Indian Movie show influenced ANTV's position to television in the first rank. The television, which used to be in the last number among rival televisions, tried the first time to broadcast an Indian movie called Mahabharata, which had been successfully aired by TPI in the 1990s. The latest version of the Indian movie gets a great reception from the audience. This article aims to describe ANTV's strategy in the television industry through Indian movie to win the competition. According to Pringle and Starr (2006: 123-125), when planning a program to be aired, the television managers should pay attention to the nine factors, namely (1) Strength or Weakness of Competing Stations, (2) Building Audience Flow, (3) Building Audience Habit, (4) Available Audience, (5) Audience Interest, (6) Advertiser Interest, (7) Budget, (8) Inventory Program, and (9) Local Production Capabilities. The authors limit this study to the available audience and the scheme programing of ANTV. The research method used qualitative descriptive with data collection technique, consist of interview, observation, and documentation. Based on the results of research and data analysis can be concluded that the Indian movie impressions in accordance with the ANTV audience target, so this show succeeded in drawing the attention of the audience, and became the top program. Scheme of ANTV programs illustrate the suitability of the broadcast time slot division and the available audience. These two conclusions refer to Pringle and Starr's thoughts. ANTV's strategy review to win the competition in the television industry opens up a new idea. In this research describe not only on-air programs but also strengthened by off-air program. ABSTRAK
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SEKOLAH PASCASARJANA UNIVERSITAS SAHID JAKARTA PROGRAM DOKTOR ILMU KOMUNIKASI KONSTRUKSI HABITUS ... more SEKOLAH PASCASARJANA UNIVERSITAS SAHID JAKARTA PROGRAM DOKTOR ILMU KOMUNIKASI KONSTRUKSI HABITUS DAN ARENA AKTOR DALAM INDUSTRI BUDAYA xv, 221 halaman, 4 tabel, 6 bagan, 8 gambar, lampiran 42 halaman, 30 buku ABSTRAK Penelitian ini bertujuan untuk mengungkap konstruksi habitus dan arena aktor dalam industri budaya di Indonesia. Pemikiran Pierre Bourdieu tentang Teori Arena Produksi Kultural, digunakan peneliti untuk menganalisis praktik sosial, habitus, arena, strategi, dan lintasan Inul Daratista sebagai aktor, yang berjuang melawan dominasi dangdut mainstream diwakili oleh Rhoma Irama sang 'Raja Dangdut'. Melalui pemikiran Pierre Bourdieu, Industri budaya lokal peneliti kelompokan menjadi arena produksi kultural skala terbatas. Sedangkan industri budaya modern termasuk dalam arena produksi kultural skala besar. Peneliti menggunakan paradigma kritis dengan metodologi intrinsic case study dengan model kasus tunggal multilevel analysis Hasil penelitian menunjukan bahwa aktor meraih posisi dan legitimasi di kedua arena produksi kultural. Praktik sosial aktor di arena terbatas untuk mendapatkan laba simbolis. Sedangkan di arena skala besar, aktor mendapatkan laba ekonomi. Konstruksi habitus aktor sebagai penyanyi dangdut dipengaruhi oleh lingkungan keluarga, lingkungan pendidikan, dan lingkungan sosialnya. Habitus ini mengalami perubahan-perubahan, karena adanya kompetisi dan perjuangan dalam arena. Habitus aktor tercermin dalam penampilan, tutur kata, dan pengetahuannya, ketika melakukan praktik sosial. Sedangkan konstruksi arena dipengaruhi oleh habitus aktor dengan menggunakan modal-modal, dan strategi dalam lintasan. Kedua konsep kunci ini saling mempengaruhi sebagai bentuk dialektika internalisasi eksternalitas dan eksternalisasi internalitas. Bourdieu mengatakan modal kultural dan modal simbolik merupakan modal-modal penting dalam arena produksi kultural. Adapun, temuan peneliti terhadap modal-modal penting yang digunakan aktor, yaitu: modal kultural, modal simbolik, dan modal sosialnya. Dalam strategi reproduksi, aktor menggunakan sejumlah modal kultural, simbolik, sosial, dan ekonomi di kedua arena produksi kultural. Namun pada arena produksi kultural skala terbatas modal ekonomi sedikit digunakan oleh
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Books by Rubiyanto Rubiyanto
Indigo Media, 2022
Hak Cipta dilindungi oleh undang-undang. Dilarang memperbanyak sebagian atau seluruh isi buku tan... more Hak Cipta dilindungi oleh undang-undang. Dilarang memperbanyak sebagian atau seluruh isi buku tanpa izin tertulis dari penerbit.
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Papers by Rubiyanto Rubiyanto
Keywords:Commodification, Dangdut, Television, Culture, Media market
Keywords: Personal Branding, Instagram, Barbie Kumalasari, Followers, Celebrities
ABSTRACT The aim of this study is to provide readers insight into the practice of capitalism in the television industry, as their efforts seek profits through the expansion of the media market. Especially the practice of capitalism, which is represented by television content creators, in commodifying dangdut through program that are aired. To facilitate analysis, the author divides the study into four generations, namely monopoly, oligopoly, monopolistic competition, and perfect competition, which is related to the audience market and the advertiser's market. The approach used is qualitative with a critical paradigm, and historiography method. Data from interviews result of informants involved in the dangdut industry on television, participation observation, personal source documentation and the internet, the authors of the analysis to answer the purpose of this study. The result was found that in different ways in each generation, dangdut as a culture of society was made commodity by television capitalists. The way through various genres of programs that are aired, they are looking for profits to expand the audience market and advertisers. Not only that, they also use television to spread their influence in society, to maintain their dominant position in the social order.
Keywords: Commodification, Dangdut, Television, Culture, Media market
Books by Rubiyanto Rubiyanto
Keywords:Commodification, Dangdut, Television, Culture, Media market
Keywords: Personal Branding, Instagram, Barbie Kumalasari, Followers, Celebrities
ABSTRACT The aim of this study is to provide readers insight into the practice of capitalism in the television industry, as their efforts seek profits through the expansion of the media market. Especially the practice of capitalism, which is represented by television content creators, in commodifying dangdut through program that are aired. To facilitate analysis, the author divides the study into four generations, namely monopoly, oligopoly, monopolistic competition, and perfect competition, which is related to the audience market and the advertiser's market. The approach used is qualitative with a critical paradigm, and historiography method. Data from interviews result of informants involved in the dangdut industry on television, participation observation, personal source documentation and the internet, the authors of the analysis to answer the purpose of this study. The result was found that in different ways in each generation, dangdut as a culture of society was made commodity by television capitalists. The way through various genres of programs that are aired, they are looking for profits to expand the audience market and advertisers. Not only that, they also use television to spread their influence in society, to maintain their dominant position in the social order.
Keywords: Commodification, Dangdut, Television, Culture, Media market