Publisher

169169

Journal PANTUN: Jurnal Ilmiah Seni BudayaPANTUN: Jurnal Ilmiah Seni Budaya Abstract

The horror film Queen of Black Magic, which is a remake of the film with the same title, was released in 1981 and 2019. This film was released with the same title, but with different characters. The 1981 version features Suzzanna as the horror queen as the main character, while the 2019 version does not feature Suzzanna and the main character is not famous. This film with the title black magic has become an iconic film, because it emphasizes the word science for horror stories. The word black, which is synonymous with magic, is juxtaposed with the word science, thus forming a paradoxical word relationship. The queen is a figure and incarnation of a ghost, which directly places the ghost in a noble and respected position. The posters for the two films have different designs because of the strength of the ideas, social and cultural atmosphere that exist in the two posters with the large distance between the years of release. This research aims to determine the differences in design concepts between two film poster designs. This analysis is based on Levi Strausss version of structuralism theory which reveals that the 1981 version of the Queen of Black Magic poster emphasizes the importance of Suzzanna as a figure or queen of horror who attracts public attention, while the 2019 version of the Queen of Black Magic poster emphasizes the exploration of the formation of visual elements that lead to the meaning of black magic.

Conclusion

The film posters for the 1981 and 2019 versions of Ratu Ilmu Hitam visualize the horror offered by emphasizing a game tool with a mythical background.The 1981 poster shifts the role of ghosts by placing young actors as the main focus, while the 2019 poster positions Suzzanna as the central figure and source of horror.Both posters utilize the same concept but differ in their visual structure, reflecting the exploitation of ghost figures and distinct stories.This research provides insight into design ambiguity and the application of Levi Strausss structuralism to analyze film posters, revealing relationships, oppositions, and unconscious systems that shape their meaning.

Future Research

Penelitian lebih lanjut dapat dilakukan dengan mengeksplorasi bagaimana representasi visual black magic dalam poster film memengaruhi persepsi publik terhadap praktik spiritual tersebut, serta bagaimana representasi ini berkontribusi pada pembentukan citra horor Indonesia di mata internasional. Selain itu, studi komparatif yang lebih mendalam dapat dilakukan dengan membandingkan poster film horor dari berbagai negara untuk mengidentifikasi tren global dan perbedaan budaya dalam representasi visual horor. Terakhir, penelitian dapat difokuskan pada analisis semiotika yang lebih rinci terhadap elemen-elemen visual dalam poster film horor, seperti penggunaan warna, tipografi, dan komposisi, untuk mengungkap makna tersembunyi dan pesan ideologis yang terkandung di dalamnya. Penelitian-penelitian ini diharapkan dapat memberikan pemahaman yang lebih komprehensif tentang peran poster film horor sebagai media komunikasi visual yang kuat dan kompleks, serta kontribusinya terhadap perkembangan budaya populer dan industri film.

Metadata

File size	825.67 KB
Pages	15
DMCA	Report