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"Film sebagai salah satu karya sinematografi yang dilindungi dalam Hak Cipta. Keterlibatan banyak pihak dalam proses pembuatannya mulai dari Produser, Sutradara, Penulis Naskah,  Pemain Film, sampai kru film lainnya memberikan kesempatan kepada insan perfilman untuk dapat memperoleh hak ekonominya. Permasalahan yang dibahas dalam penelitian ini adalah pengaturan film sebagai ciptaan karya sinematografi dalam Undang-Undang Hak Cipta dan Undang-Undang Perfilman serta kepatutan pemberian royalti sebagai hak ekonomi pelaku pertunjukan pemain film. Penelitian ini merupakan jenis penelitian hukum empiris untuk meenganalisa pemberlakuan Undang-Undang Hak Cipta dan Undang-Undang Perfilman terhadap kepatutan pemberian royalti sebagai hak ekonomi pelaku pertunjukan pemain film. Pengumpulan data dilakukan dengan studi kepustakaan yang berkaitan dengan permasalahan dan wawancara dengan narasumber yakni akademisi Institut Kesenian Jakarta, Sutradara, Produser, dan Pemain Film. Undang-Undang Hak Cipta dan Undang-Undang Perfilman telah memberikan payung hukum terhadap kemungkinan pemain film memperoleh hak ekonomi berupa royalti atas fiksasi akan karakter yang diperankannya. Namun pada prakteknya, hubungan kerja antara Produser dan Pemain Film merupakan hubungan perburuhan yang mana pekerjanya dibayar sekali atas pekerjaan yang dilakukan sehingga jarang sekali ditemui adanya pemberian royalti kepada pemain film karena dalam perjanjian hanya menyepakati pembayaran sekali saja dan hak ciptanya dipegang oleh Produser atau pemilik rumah produksi. 

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Film as one of the cinematographic works protected by copyright. The involvement of many parties in the production process, from Producers, Directors, Scriptwriters, Film Players, to other film crews, provides an opportunity for filmmakers to be able to obtain their economic rights. The problems discussed in this study are the regulation of films as cinematographic creations in the Copyright Act and the Film Act and the appropriateness of granting royalties as an economic right for actors performing film performers. This research is a type of empirical legal research to analyze the application of the Copyright Law and the Film Law on the appropriateness of granting royalties as an economic right for film performers. Data collection was carried out by means of literature studies related to problems and interviews with informants, namely academics from the Jakarta Art Institute, directors, producers, and film actors. The Copyright Law and the Film Law have provided a legal umbrella for the possibility of film actors obtaining economic rights in the form of royalties for fixations on the characters they play. However, in practice, the working relationship between Producers and Film Actors is a labor relationship in which the worker is paid once for the work performed, so that royalties are rarely found for film actors because the agreement only agrees to pay once and the copyright is held by the Producer or the owner of the house production."

"Skripsi ini membahas rincian makna pantai yang terdapat dalam film ‘Les Plages d'Agnes’ karya Agnes Varda. Penelitian ini menggunakan metode kualitatif yang ditunjang dengan teori-teori pengkajian sinema. Hasil penelitian menyatakan bahwa melalui analisis aspek naratif dan sinematografis ditemukan beberapa rincian makna pantai dalam film ‘Les Plages d’Agnès’. Berdasarkan rincian makna tersebut dapat dilihat bahwa Varda secara konsisten menggunakan pantai sebagai penyambung narasi sepanjang alur dalam film ini. Keseluruhan makna pantai dalam film ini berdasarkan analisis terhadap alur dan latar ruang membuktikan bahwa film sepenuhnya memperlihatkan diri Varda melalui latar pantai. Pantai menjadi dominan dalam film ini dan hadir dalam hampir setiap sekuen serta identik dengan laut, ombak, pasir, ikan, suara burung camar, perahu layar dan segala hal yang berada di pantai dan laut.

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The focus of this study is to find the details meaning of the beach in the film ‘Les Plages d’Agnès’. This study uses some theories on the cinema studies. The final results of this study show that the details meaning of beach are found in the film ‘Les Plages d’Agnès’ through an analysis from the narrative and cinematographic aspect. Based on the details of the meaning of the beach, Varda consistently uses the beach as a link along in the film narrative. On the whole meaning of the beach in the film based on the analysis of the narrative structure and the setting proves that the existence of Varda in the film appear through the beach. The beach has become dominant in this film and has existed in almost every sequence, it is considered as the sea, the waves, the sand, the fish, the voice of the seagulls, the yachts and everything that lies on the beach and the sea."

"When Norma Jeane Baker became famous as Marilyn Monroe in the 1950s, she said her mother, Gladys Baker, was either dead or not a part of her life, depending on the publicity campaign of the moment. However, neither was true. In fact, Marilyn's mentally ill mother was very much present in her world, and the complex family dynamic that unfolded behind the scenes, as the star went from actress to icon, is a story that has never before been told ... until now." "In this groundbreaking work, J. Randy Taraborrelli draws detailed and sympathetic portraits of the women so influential in the life of the actress, including her mother, her foster mother, and her legal guardian. He tells the heartbreaking story of a world-famous daughter dealing secretly with a parent's severe paranoid schizophrenia and exposes the shocking scope of Marilyn's own mental deterioration and her desperate attempts to help both herself and her mother."

"[Isi jurnal ini membahas tokoh dan penokohan Cheng Dieyi (程蝶衣) dalam novel dan film Farewell My Concubine （霸王别姬）. Tujuan penulisan adalah membandingkan kedua unsur instrinsik tersebut dalam film dan novel untuk mengetahui perubahan pada tokoh dan penokohan akibat ekranisasi. Kedua karya tersebut mengisahkan sebuah perjalanan kehidupan , karir, dan kisah cinta seorang aktor pemain opera Beijing terkenal bernama Cheng Dieyi, dengan berlatar Cina era warlord hingga Cina era pasca Revolusi Budaya. Sumber data penulisan adalah novel dan film Farewell My Concubine serta beberapa buku mengenai teori penelitian sastra dan perfilman.

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The contents of this journal discusses character and characterization Cheng Dieyi (程蝶衣) in the novel and the film Farewell My Concubine (霸王别姬). The purpose of writing is to compare both the intrinsic element in the film and novel to determine changes in the character and characterization due ecranisation. Both of these works tells a journey of life, career, and the love story of a famous Beijing opera performer actor named Cheng Dieyi, with China set up China's warlord era of post-Cultural Revolution era. The data source is the writing of the novel and the film Farewell My Concubine and several books on literary theory and film studies., The contents of this journal discusses character and characterization Cheng Dieyi (程蝶衣) in the novel and the film Farewell My Concubine (霸王别姬). The purpose of writing is to compare both the intrinsic element in the film and novel to determine changes in the character and characterization due ecranisation. Both of these works tells a journey of life, career, and the love story of a famous Beijing opera performer actor named Cheng Dieyi, with China set up China's warlord era of post-Cultural Revolution era. The data source is the writing of the novel and the film Farewell My Concubine and several books on literary theory and film studies.]"

"[ ABSTRAKShrek adalah animasi yang memparodikan Disney dan telah mendapatkan pujian dan kritik dari para feminis dan pengamat film karena telah mendekonstruksi stereotip karakter pangeran dan puteri raja dari Disney. Pangeran tidak lagi ditampilkan sebagai sosok pahlawan yang tampan dan serba bisa, dan puteri raja juga tidak ditampilkan sebagai sosok yang lemah dan pasif. Meskipun demikian, dekonstruksi dianggap gagal karena pada bagian akhir, animasi tersebut justru mempertegas stereotip karakter Disney. Menggunakan teori Greimas, korpus yang digunakan dalam penulisan ini adalah sekuel ketiga animasi tersebut berjudul Shrek the Third. Penulisan ini bertujuan untuk membandingkan karakterisasi dari sekuel yang pertama dan sekuel yang ketiga. Hasil pegamatan menujukkan bahwa dalam sekuel yang ketiga, perempuan tidak lagi direpresentasikan sebagai “gadis yang butuh diselamatkan”, melainkan perempuan direpresentasikan sebagai pahlawan.

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ABSTRACT

Shrek is a parody of Disney’s animation that has been both criticized and appraised by feminists and reviewers for breaking the stereotype of Disney’s typical damsel-in-distress

princesses and jack-of-all-trades prince. However, what seemed to be revolutionary, the characterizations in the movie are somewhat indistinct and uncertain, leading viewers to believe that in the end it’s characterization and storyline is still similar to Disney’s. Using Greimas’ theory, this research focuses on Shrek the Third and compares it’s characterizations with the first sequel. The results show that in the third sequel, women are no longer damsel-in-distress, but they are the heroines who will save the men., Shrek is a parody of Disney’s animation that has been both criticized and appraised by feminists and reviewers for breaking the stereotype of Disney’s typical damsel-in-distress

princesses and jack-of-all-trades prince. However, what seemed to be revolutionary, the characterizations in the movie are somewhat indistinct and uncertain, leading viewers to believe that in the end it’s characterization and storyline is still similar to Disney’s. Using Greimas’ theory, this research focuses on Shrek the Third and compares it’s characterizations with the first sequel. The results show that in the third sequel, women are no longer damsel-in-distress, but they are the heroines who will save the men.]"