THE VISUAL LANGUAGE OF DA’WAH
A Cinematographic Analysis Of The Representation Of Optimism
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This article examines how cinematographic elements communicate optimism as a value within the visual language of da’wah in the film Merry Riana: Mimpi Sejuta Dolar. It addresses how abstract dimensions of optimism are translated into audiovisual representations and interpreted through Islamic communication perspectives. Adopting a qualitative interpretive approach, the study analyses shot size, camera angles, camera movement, and visual composition in relation to five dimensions of optimism: high expectations, self-motivation, goal attainment strategies, self-confidence, and the refusal to remain passive. The analysis demonstrates that variations in shot size, supported by camera movement and composition, contribute to representing perseverance and agency. The predominance of eye-level framing also suggests visual equality among characters. These findings position cinematography as more than a technical device; it functions as a visual medium through which values of ikhtiar, perseverance, and hope can be communicated within da’wah discourse.
Artikel ini mengkaji bagaimana unsur sinematografi mengomunikasikan optimisme sebagai nilai dalam bahasa visual dakwah pada film Merry Riana: Mimpi Sejuta Dolar. Kajian ini berangkat dari pertanyaan tentang bagaimana dimensi optimisme yang bersifat abstrak direpresentasikan melalui unsur audiovisual dan dimaknai dalam perspektif komunikasi Islam. Dengan pendekatan kualitatif interpretatif, penelitian menganalisis ukuran gambar, sudut kamera, pergerakan kamera, dan komposisi visual berdasarkan lima dimensi optimisme, yaitu pengharapan tinggi, motivasi diri, kemampuan menemukan cara mencapai tujuan, kepercayaan diri, dan sikap tidak pasrah. Hasil analisis menunjukkan bahwa variasi ukuran gambar yang didukung pergerakan kamera dan komposisi berkontribusi dalam merepresentasikan ketekunan dan daya bertindak tokoh. Dominasi sudut eye level juga mengisyaratkan kesetaraan visual antartokoh. Temuan ini menempatkan sinematografi bukan sekadar perangkat teknis, melainkan medium visual untuk mengomunikasikan nilai ikhtiar, ketekunan, dan harapan dalam wacana dakwah.
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