Distribusi dan Artikulasi Pengetahuan dalam Film Inang (2022) dan Exhuma (2024)
DOI: https://doi.org/10.30605/x5zzjy60
akses, pembatasan, pengetahuan, ritual, artikulasi
Abstract
Penelitian ini bertujuan menganalisis bagaimana akses dan pembatasan pengetahuan ritual membentuk pemosisian Wulan dalam Inang (2022) dan Hwa-rim dalam Exhuma (2024), serta bagaimana keduanya mengartikulasikan agensi dalam kondisi pengetahuan yang berbeda. Penelitian menggunakan pendekatan deskriptif-kualitatif dengan analisis tekstual film secara komparatif terhadap dua film dan delapan rangkaian adegan terpilih dari 29 rangkaian adegan kandidat. Hasil penelitian menunjukkan bahwa keterbatasan pengetahuan tidak selalu menghasilkan posisi subordinat yang kaku. Dalam Inang, pembatasan informasi dan keterlambatan akses berkaitan dengan pemosisian Wulan sebagai objek ritual serta mempersempit kemungkinan tindakannya sebelum tujuan ritual diketahui. Sebaliknya, dalam Exhuma, batas pengetahuan Hwa-rim terutama berupa batas keahlian dalam pembagian praktik ritual dan tetap memungkinkan dirinya menafsirkan gangguan, menentukan strategi, serta mengorganisasi keterlibatan pihak lain. Perbandingan ini menunjukkan bahwa pemosisian dan agensi tidak ditentukan oleh banyak atau sedikitnya pengetahuan, melainkan oleh cara pengetahuan diperoleh, waktu akses, fungsi pengetahuan, dan kewenangan untuk menggunakannya dalam relasi kuasa tertentu.
Downloads
References
Affifah, S. T., & Yudha, R. P. (2024). Mitos budaya dalam ritual Rebo Wekasan: Analisis semiotika Roland Barthes dalam film Inang. KALBISOCIO Jurnal Bisnis dan Komunikasi, 11(1), 67–80. doi:10.53008/kalbisocio.v11i1.3283 Sinta
Barth, F. (1975). Ritual and knowledge among the Baktaman of New Guinea. Yale University Press. Open Library
Bell, C. (1992). Ritual theory, ritual practice. Oxford University Press. Google Books
Brady, M. J. (2023). “I think the men are behind it”: Reproductive labour and the horror of second wave feminism. Feminist Media Studies, 23(2), 606–620. doi:10.1080/14680777.2021.1986093 Taylor & Francis Online
Creed, B. (1993). The monstrous-feminine: Film, feminism, psychoanalysis. Routledge. Google Books
Foucault, M. (1980). Power/knowledge: Selected interviews and other writings, 1972–1977 (C. Gordon, Ed.). Pantheon Books. Google Books
Harrington, E. (2017). Women, monstrosity and horror film: Gynaehorror. Routledge. doi:10.4324/9781315546568 Google Books
Himam, M. M., & Dina, D. (2025). Beyond the kitchen: The socio-religious authority of women in Javanese slametan. Islamic Review: Jurnal Riset dan Kajian Keislaman, 14(1), 27–48. doi:10.35878/islamicreview.v14i1.1578 IPMAFA Journals
Kendall, L. (1985). Shamans, housewives, and other restless spirits: Women in Korean ritual life. University of Hawai‘i Press. doi:10.1515/9780824844837 De Gruyter Brill
Lindstrom, L. (1990). Knowledge and power in a South Pacific society. Smithsonian Institution Press. Google Books
Mahmood, S. (2005). Politics of piety: The Islamic revival and the feminist subject. Princeton University Press. JSTOR
Marcella, S., & Azeharie, S. (2024). Analisis semiotika Roland Barthes pada budaya Jawa dalam film Inang. Kiwari, 3(3), 545–552. doi:10.24912/ki.v3i3.32028 ResearchGate
Mukminin, M. S. (2024). Representation of violence and resistance of female characters in the Perempuan Tanah Jahanam. Jurnal Penelitian Ilmu-Ilmu Sosial, 5(2), 81–98. doi:10.23917/sosial.v5i2.4641 UMS Journals
Mulvey, L. (1975). Visual pleasure and narrative cinema. Screen, 16(3), 6–18. doi:10.1093/screen/16.3.6 DOI
Pitaloka, D. D. A., Setiyono, B., & Setiawan, A. (2026). The Exhuma: Spiritual semiosis and ritual logic in the final sequence. International Journal of Culture and Art Studies, 10(1), 40–55. doi:10.32734/ijcas.v10i1.24219 TALENTA Publisher
Saputra, D. D., & Dwiningtyas Sulistyani, H. (2019). Representasi motherhood pada karakter hantu perempuan dalam film Pengabdi Setan. Interaksi Online, 7(4), 39–53. UNDIP Publisher
Sarfati, L. (2016). Shifting agencies through new media: New social statuses for female South Korean shamans. Journal of Korean Studies, 21(1), 179–211. doi:10.1353/jks.2016.0009 Tel Aviv University
Sulistiawati, D., Mujani, S., & Mashuri, M. (2024). Characterization and cultural insight in ‘Exhuma 2024’ movie by Jang Jae-hyun. Jurnal Pendidikan Tambusai, 8(2), 28510–28517. Jurnal Pendidikan Tambusai
Tirta, E., & Paramita, S. (2025). Komunikasi spiritual dalam ritual pemakaman Korea pada film Exhuma (2024). Kiwari, 4(4), 751–760. doi:10.24912/ki.v4i4.36810 ResearchGate
van Heeren, K. (2007). Return of the Kyai: Representations of horror, commerce, and censorship in post-Suharto Indonesian film and television. Inter-Asia Cultural Studies, 8(2), 211–226. doi:10.1080/13583880701238688 Taylor & Francis Online
Varlina, V., Mandonsa, A. R., & Al-faraby, D. R. (2024). Membedah patriarki dibalik simbol film Inang (The Womb). Jurnal Nawala Visual, 6(1), 93–103. doi:10.35886/nawalavisual.v6i1.599 Scribd
Williams, L. (1991). Film bodies: Gender, genre, and excess. Film Quarterly, 44(4), 2–13. doi:10.2307/1212758
Downloads
Published
License
Copyright (c) 2026 Prapto Waluyo, Yuyus Rustandi, Zen Wisa Sartre, Prih Suharto, Arbi Maulana
This work is licensed under a Creative Commons Attribution 4.0 International License.
In submitting the manuscript to the journal, the authors certify that:
- They are authorized by their co-authors to enter into these arrangements.
- The work described has not been formally published before, except in the form of an abstract or as part of a published lecture, review, thesis, or overlay journal.
- That it is not under consideration for publication elsewhere,
- That its publication has been approved by all the author(s) and by the responsible authorities – tacitly or explicitly – of the institutes where the work has been carried out.
- They secure the right to reproduce any material that has already been published or copyrighted elsewhere.
- They agree to the following license and copyright agreement.
License and Copyright Agreement
Authors who publish with Onoma Journal: Education, Languages??, and Literature agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under Creative Commons Attribution License (CC BY 4.0) that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.
