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Modernism in Sang Pencerah Film Directed by Hanung Bramantyo

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As a product of Modernism, film has an ideological power in constructing mentality and intellectuality of society. On the other hand, modernity is more focused on ratio as the core of civilisation and stressed on emotive aspect as subordinate point. Hanung Bramantyo’s film Sang Pencerah is an ideological reflection of developing civilisation, which based on the classification of binary opposition between emotive aspect as darkness and ratio as enlightenment. Through the structural semiotics of Ferdinand de Saussure as a method, Sang Pencerah film will be studied in order to signify the classification of two opposite eras and their ideological contexts. From the analysis results, researchers found out that Sang Pencerah film was not just presenting a story of K. H. Ahmad Dahlan as a significant character of Islamic history in Indonesia, but far-reaching into a topic of modernism versus tradition in many aspects of life. Definition of the advancement in the film is a linear contrast compares to the Western modernism that emphasises more to ratio. Therefore, Sang Pencerah film is obviously a product of modernism. Hopefully, the outcomes of this research will be useful to enhance social studies in general society, especially in film.
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Keywords: Film; Ideology; Modernism; Structuralism; Tradition

Document Type: Research Article

Affiliations: 1: Program Studi Doktor, Fakultas Seni Rupa dan Desain, Institut Teknologi Bandung, Indonesia 2: Fakultas Seni Rupa dan Desain, Institut Teknologi Bandung, Indonesia 3: Visual Communication Design Department, School of Design, Bina Nusantara University, Jakarta, Indonesia

Publication date: April 1, 2017

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