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Konstruksi Simbolik Mubaligh Pop pada Film Sang Pencerah

Anida (Aktualisasi Nuansa Ilmu Dakwah) · Vol. 22 No. 1 (2022) · pp. 22–44

DOI
10.15575/anida.v22i1.18474
ISSN
2550-1097
Published
2022-06-16
Publisher
Fakultas Dakwah dan Komunikasi UIN Sunan Gunung Djati Bandung
Language
ind

Abstract

The purpose of this study is to analyze the symbolic construction of the popular preacher in the film Sang Enlightenment. The research was conducted with a qualitative approach through media text analysis. Referring to Roland Barthes' semiotic analysis method, two stages are used to examine the symbolic identity of the preacher in this film. Namely, the significance of the first stage (denotation), which takes place through various scenes and dialogues of the actors, and the significance of the second stage (connotation), which reveals a particular meaning from the highlighted symbol or sign. Data were collected through observation and documentation. The results show two symbolic identities of the preacher in the film, namely the role identity as a modernist, critical, and wise preacher, and the social identity as a religious preacher who is faqih, mujadid, and progressive. This research has implications for strengthening digital da'wah studies, especially in strengthening the identity of popular preachers.

Keywords

Collaboration network of the authors

40 authors · 75 co-authorship links · showing the 40 most connected

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  • Universitas Negeri Surabaya
  • Affiliation unknown
  • Different organisations
  • Same organisation
  • Affiliation unknown
  • Thicker line = more joint articles · bigger circle = more articles
Show as table
Co-authorOrganisationJoint articles
Aang RidwanAffiliation unknown4
Mukhlis AliyudinAffiliation unknown2
Haifa HanifahAffiliation unknown2
Yuliani YulianiUniversitas Negeri Surabaya2
Irfan SanusiAffiliation unknown2
Siti Eva FatimahAffiliation unknown1
Anwarudin AnwarudinAffiliation unknown1
Kinkin SyamsudinAffiliation unknown1
Jajang HidayatullohAffiliation unknown1
Jeje ZaenudinAffiliation unknown1
Pepen Irpan FauzanAffiliation unknown1
Yuyun YuningsihAffiliation unknown1
Burhanudin AuliaAffiliation unknown1
Hasna Hasnatul FuadahAffiliation unknown1
Saiful Islam RamdaniAffiliation unknown1
Nase NaseAffiliation unknown1
Fauzidan Wildanul FauAffiliation unknown1
Prita Priantini Nur ChidayahAffiliation unknown1
Salmah Muhdi BamatrafAffiliation unknown1
Asep Saeful MuhtadiAffiliation unknown1
Fiet FebriyantiAffiliation unknown1
Abdul MujibAffiliation unknown1
Al-Lahla Zikri MufadilAffiliation unknown1
Zahra Amalia PutriAffiliation unknown1
Atjep MuhlisAffiliation unknown1
Resiana DinataAffiliation unknown1
Rojudin RojudinAffiliation unknown1
Neng Ayu LestariAffiliation unknown1
Zuhal Ahsan AuliyaAffiliation unknown1
M. Athallah Ariq MuzakkiAffiliation unknown1
Haibah Aisah NursolihahAffiliation unknown1
HerawatiAffiliation unknown1
Uwes FatoniAffiliation unknown1
Iva FadilahAffiliation unknown1
Daris Iqbal ChysaraAffiliation unknown1
Ridwan MaulanaAffiliation unknown1
Asep Iwan SetiawanAffiliation unknown1
Muhammad Marse AlfianaAffiliation unknown1

Affiliations come from OpenAlex; journal OAI-PMH metadata carries none. Authors without an OpenAlex ID are matched by name, which can merge or split people.

Metadata source: OAI-PMH (metadata jurnal) https://journal.uinsgd.ac.id/index.php/anida/oai, first harvested 7 Nov 2026, last seen 8 Nov 2026.
Original metadata (oai_dc) 
<oai_dc:dc xmlns="http://www.openarchives.org/OAI/2.0/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/  http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
	<dc:title xml:lang="id-ID">Konstruksi Simbolik Mubaligh Pop pada Film Sang Pencerah</dc:title>
	<dc:creator>Rustandi, Ridwan</dc:creator>
	<dc:creator>Hendrawan, Andri</dc:creator>
	<dc:subject xml:lang="id-ID">film</dc:subject>
	<dc:subject xml:lang="id-ID">identitas sosial</dc:subject>
	<dc:subject xml:lang="id-ID">semiotika</dc:subject>
	<dc:subject xml:lang="id-ID">Sang Pencerah.</dc:subject>
	<dc:description xml:lang="id-ID">The purpose of this study is to analyze the symbolic construction of the popular preacher in the film Sang Enlightenment. The research was conducted with a qualitative approach through media text analysis. Referring to Roland Barthes' semiotic analysis method, two stages are used to examine the symbolic identity of the preacher in this film. Namely, the significance of the first stage (denotation), which takes place through various scenes and dialogues of the actors, and the significance of the second stage (connotation), which reveals a particular meaning from the highlighted symbol or sign. Data were collected through observation and documentation. The results show two symbolic identities of the preacher in the film, namely the role identity as a modernist, critical, and wise preacher, and the social identity as a religious preacher who is faqih, mujadid, and progressive. This research has implications for strengthening digital da'wah studies, especially in strengthening the identity of popular preachers.</dc:description>
	<dc:publisher xml:lang="en-US">Fakultas Dakwah dan Komunikasi UIN Sunan Gunung Djati Bandung</dc:publisher>
	<dc:date>2022-06-16</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en-US">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://journal.uinsgd.ac.id/index.php/anida/article/view/18474</dc:identifier>
	<dc:identifier>10.15575/anida.v22i1.18474</dc:identifier>
	<dc:source xml:lang="en-US">Anida (Aktualisasi Nuansa Ilmu Dakwah); Vol. 22 No. 1 (2022): Anida (Aktualisasi Nuansa Ilmu Dakwah); 22-44</dc:source>
	<dc:source>2550-1097</dc:source>
	<dc:source>10.15575/anida.v22i1</dc:source>
	<dc:language>ind</dc:language>
	<dc:relation>https://journal.uinsgd.ac.id/index.php/anida/article/view/18474/7279</dc:relation>
	<dc:rights xml:lang="en-US">Copyright (c) 2022 Ridwan Rustandi</dc:rights>
</oai_dc:dc>