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Ronggeng: Cultural Artifact and Its Representation in Indonesian Film

机译:荣格:文化艺术品及其在印尼电影中的代表

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Ronggeng is a cultural artifact that is very popular in the life of Indonesian people, especially in Java. In a historical context, ronggeng which is on the concept was originally viewed as a sacred culture in its development into a profane culture. The reception of ronggeng is not only uttered orally, but also in literature and film. This study aims to describe ronggeng as a cultural artifact and its representation in the film Nyi Ronggeng (1969), Darah dan Mahkota Ronggeng (1983), and Sang Penari (2011). The method used in this research is descriptive analysis method representation theory of Stuart Hall, to see how the image of ronggeng is represented in three films. Although there are similarities, but the three films proved different levels of reception about ronggeng. It illustrates the development of people's thoughts on ronggeng that live within them. Ronggeng as a tradition changes according to the development of community thinking. Ronggeng as a cultural artifact is the manifestation of the ability of local communities to respond and adapt to the environment actively. Similarly, what is represented in the three films about ronggeng is a mirror of the society where the work was born.
机译:荣格是一种文化艺术品,在印度尼西亚人民的生活中非常受欢迎,特别是在Java。在一个历史背景下,荣戈在概念上最初被视为发展亵渎文化的神圣文化。 Ronggeng的接待不仅是口头的口头,而且在文学和薄膜中。本研究旨在将Ronggeng描述为文化艺术品及其在电影中的文化艺术品及其代表在Mover Nyi Ronggeng(1969),Darah Dan Mahkota Ronggeng(1983)和Sang Penari(2011)。本研究中使用的方法是斯图尔特大厅的描述性分析方法表示理论,了解如何在三部电影中代表荣格的形象。虽然有相似之处,但这三部电影证明了荣格的招待会不同。它说明了人们在荣格中生活的人们思考。荣格作为传统的传统,根据社区思维的发展。荣格作为文化艺术品是当地社区积极应对和适应环境的能力的表现。同样,关于荣格的三部电影中所代表的是这项工作诞生的社会的镜子。

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