Semiotics as a Tool in the Vehicle for Adaptation (Extranization) of

Poetry into the Form of Film

Cut Nuraini

, and Een Nurhasanah

Indonesian Language and Literature Education FKIP UNSIKA

Keywords: Ecranization, film, poetry, semiotics,

Abstract: The writing of this scientific paper aims to describe an alternative study of literary works which is a

requirement for meaning that is poetry which is then converted into film form. This semiotic analysis is

carried out in two steps, and heuristic. From the semiotic analysis, the results of the disclosure and

formulation of the meaning of the poems were analyzed. The meaning that has been obtained and

formulated is used as a reference for adaptation into film form. The results of the semiotic analysis are used

as material for composing story texts or film scripts or scripts. So the results of this study are a description

of the story transcripts that are used as film scripts as a form of ecranization from poetry into film form. So

the research method that is carried out is with a semiotic study approach structurally. From the study of

semiotic analysis the poem produced a descriptive story or script of the film.

1 INTRODUCTION

Poetry is a form of literary work that is full of

meaning. Not a little meaning from poetry that has

been obtained from the results of the analysis can be

a developer to form other literary works and one of

them is film. Poetry and film are the types of literary

works that are always related and related to one

another. In a movie there is always a song (poetry

that is sung) and in poetry there are always stories

that are not a few always filmed.

For this reason, the relationship between poetry and

film is very interesting to study so as to produce a

new method or alternative that can later be used as a

benefit for both (poetry and film).

There are many ways that can be used as

alternatives, one of which is a semiotic study or

analysis, where the poem is analyzed heurusti by

giving meaning and/or conjunctions in parentheses.

Then heurmeuntic analysis is carried out, which is

an analysis by continuing the symbols of meaning of

the poems analyzed and then given an explanation or

continuation of the story with its original

morphological composition. Thus, a whole meaning

is produced which can be developed into a film

script (script) film.

Building up from these arguments, this paper

seeks to investigate the application of semiotic

analysis in ecranization film scripts. Therefore, this

study was designed to express the meaning of poetry

from the results of semiotic poetry analysis with

heuristic reading and techniques. Besides, this work

aims to apply the results of the semiotic analysis of

poetry in the film scripts.

2 LITERATURE REVIEW

2.1 Semiotics

Semiotics comes from the Greek word, semeion,

which means sign. This examines the symbolic

system or sign system in life, human. So the

formation of the term semiotic, namely the study of

scientific literature that examines the symbolic

system related to responses in literary works. In the

Handbook of Semiotics (in Nyoman, 2009), states

that semiotics is a direct result of formalism and

structuralism. Semiotics comes from the word seme

(Greek) which means the interpreter of the sign

(Ratna, 2007 & 2009; Schleifer, 2018; Culler, 2015).

So that semiotics is a discipline of general science

that studies symbolic systems in every area of life.

Semiotics focuses on studying and searching for

signs in discourse and explaining the intentions of

these signs and looking for relationships with the

characteristics of the sign to get its significance.

Nuraini, C. and Nurhasanah, E.

Semiotics as a Tool in the Vehicle for Adaptation (Extranization) of Poetry into the Form of Film.

DOI: 10.5220/0009913506290633

In Proceedings of the 1st International Conference on Recent Innovations (ICRI 2018), pages 629-633

ISBN: 978-989-758-458-9

629

These signs can be in the form of limb movements,

eye movements, object shapes, harti images and

other images related to the life around us.

Markers are located at the level of expression or

level of expression and have wujd or are physical

parts such as sounds, letters, words, and so on.

While markers are located at the level of content or

level of content or ideas. The relationship between

the two elements gives birth to meaning. The sign

will always refer to (represent) something (object)

which is called referent.

According to Pierce, the sign (representamen) is

something that can represent something else within

certain limits. A new sign can function if interpreted

in the mind of the recipient of the sign through the

interpretant. So, interpretant is the understanding of

the meaning that appears in the recipient of the sign.

That is, a new sign can function as a sign if it can be

captured and understanding of the occurrence of a

ground, namely knowledge of the sign system in a

society.

2.2 Hermeneutics

The beginning of the word Hermeneutics comes

from the Greek term for the verb hermeneuein,

which means "to interpret", and the noun hermeneia,

which means: interpretation ". In the field of

literature, according to Ricoeur (2006), the first

place inhabited by hermeneutics is language and

more specifically written language (Ratna, 2007;

Istadiyantha, 2017; Gorbani & Gali, 2011 ).

Hermeneutics is actually a paradigm that

attempts to interpret texts between the bases of

linguistic logic (Endraswara, 2012; Bleicher, 2017;

Schmidt, 2016). Linguistic logic will make

explanations of literary texts and understanding

meaning by using "word meaning" and the semantic

concept of astra text and the meaning of language is

more cultural.

2.3 Ecranization

Ecranization or Ekranisasi is a change from one type

of literary or artistic work to another which has

different forms. aKarya satsra is not only able to be

translated, but can also be transferred to the schedule

or ekranisasi (changing the form without changing

the contents or meaning). This ecranization will

provide additional knowledge about literature, and

provide insight into the new paradigm of literature

that literature can move and change its elements in

order to be in accordance with the new time

(Sanders, 2015; Marsden, 2015; Damono, 2005).

Adaptation or alteration of literary works into

different types of types such as poetry into prose or

vice versa, and then without changing or

overhauling some elements such as background,

characterization, and interpretation. In Modern

Javanese literature this type of activity is the most

widely practiced (Damono, 2005).

In the process of formulating or cultivating the

transfer of vehicles or changes, there will be

changes. However, the process of change from

something that is produced individually becomes

something that is produced together or mutual

cooperation. Therefore, in the process of transferring

vehicles or keranisasi, there will be a reduction, the

addition or change varies in terms of its form, but

not for the contents or the true meaning or origin.

Whereas in the process of ecranization,

especially for ekranisasi into film form, there are

special things that are different from other forms of

literary work. The difference is centered in terms of

time allocation in one form (film).

Film has limitations in technical terms, and films

also have very limited playtime. Therefore, it is

impossible to move the lines of the novel as a whole

into film form. Inevitably, filmmakers are forced to

make a reduction or deduction on certain parts of the

original story in the contents or in the body of the

film (Nugrahani, 2017; Goel & Thareja, 2017;

Newell, 2017). Because of these things, filmmakers

are often forced to understand certain parts of the

film, though, these parts are not found in the novel

(Eneste, 1991).

3 RESEARCH METHOD

The research method in this study is a qualitative

method and uses a semiotic analysis approach. In

this approach there are two levels of reading literary

works, namely heuristic and hermeneutic that must

be passed to be able to interpret a literary work. In

this study, researchers analyzed poetry contained in

the book Student Anthology of Poetry. However,

before the researchers had put the poems into several

groups according to the theme analysis in each poem

in the Student's Poetry Anthology. Whereas in this

study the chosen sample is the research poem with

the theme of feeling or state of heart in accordance

with the results of the theme analysis carried out.

ICRI 2018 - International Conference Recent Innovation

630

4 DISCUSSION

The process of vocabulary change from poetic

language from the results of semiotic analysis

(Heuristic reading and Hermeneutic reading)

becomes the language of film scripts in the form of

narrative language, shown in the following table.

Information:

People: 1. Patchouli: High school kids who are new

to their first love with Erik

2. Erik: Patchouli classmates in high

school who are also Patchouli lovers

CLOSED

(Aji Raga Pamungkas)

I paused, stunned at the point of light

Inginku moved toward him

But I can't reach it

As hope is wasted just like that

The wind whispered in the ears

Blowing words without meaning

Keep trying and business

That I always can

Heuristic

Readings

Hermeneutic

Readings

The Results of

the Film

Ecranization

Script (Script)

I was silent

(motionless), stunned at

the point of light (the

pressure of the silence

could not move).

Inginku moved toward

him (walked closer), but

I was unable to reach it

(failed and gave up).

Sekosong hope that just

wasted (not excited and

gave up). The wind

whispers in the ear

(voices echo), exhaling

the word (saying)

without meaning

(pleasantries). Keep

trying and effort (hard

work) That I can always

be (optimistic).

The poem

entitled

"Teraku" as a

sign shows a

state of one's

heart for what

he has

experienced.

"Hollow" as a

sign of showing

a state or

condition of a

heart without

feeling without

enthusiasm "in

my life" in that

person.

His

"emptiness that

shackles" lives

in a heart

without feeling

without

enthusiasm

filled with

disappointment,

so that "Making

a doubt"

hesitates in

every step he

will take in his

life.

(The atmosphere

shows Patchouli

feeling very

happy with Erik.

Erik always

gives what

Patchouli does

not have from

other people and

even now

patchouli is very

happy because

he was invited

by Erik to a very

beautiful place

he has never

visited).

Erik: "Patchouli,

do you like this

place?"

Patchouli:

"Yeah, I like it!

Thank you, Sis,

for taking me

here! "

(Erik and Nilam

look very happy)

Erik: "Nilam,

anyone wants

brother

(Erik's tone starts

to show a

sadness and

hesitation to say)

Heuristic

Readings

Hermeneutic

Readings

The Results of

the Film

Ecranization

Script (Script)

The feeling of

lack of

enthusiasm and

disappointment

blends with

anger and

emotion that

forms a sense

of resentment is

reflected in

"The mind

haunted by

anger" to foster

a sense of

resentment and

anger, "Anger

that binds,

heightens the

lust of the soul,

strengthens

pride".

Patchouli: "What

are you talking

about? Just talk!

It's usually the

same right!

"(While emitting

excitement

without any

worries)

Erik: "Alright!

Actually this has

long been a wish

for you to tell

you. But brother

isn't ready yet "

(Erik is

increasingly m,

showing sad

expression and

his words

increasingly

illustrate doubts

to say)

Patchouli:

"What's wrong,

Sis? I think it's

really serious? "

(Patchouli looks

begin to squeal

curiously)

Erik: "This

morning, Kaka's

parents told me

that all of

Brother's needs

to continue

studying were

ready"

Patchouli:

"Good!"

(Directly

drawing Erik's

words).

Patchouli:

"Then?"

(Patchouli looks

back cheerfully

with a little

curious)

Erik: "But ... But

... But this is a

sign that you

have to leave

you. Because

you have to go to

study abroad and

everything is

ready! And that

means, we will

separate! "

(Erik's eyes

began to glaze

up and hold

tightly into

Patchouli's

fingers. Instantly

Patchouli did not

say, did not

move, was still,

stiff, and quiet.

Only a faint

sound of faint

sound came from

Semiotics as a Tool in the Vehicle for Adaptation (Extranization) of Poetry into the Form of Film

631

Heuristic

Readings

Hermeneutic

Readings

The Results of

the Film

Ecranization

Script (Script)

the patches of

Patchouli lips

accompanied by

tears that began

to wet the

cheeks.

Patchouli,

Patchouli was

transfixed, his

face radiating

disappointment

and destruction,

only the silent

voice of his

scream came

from the center

of the face and

the body was

very frozen stiff,

only the fingers

that were

increasingly

hardened

showed a deep

sense of

destruction).

Erik: "Patchouli,

brother must

go!"

(while standing

and starting to

step away from

Nilam. While

Patchouli was

still silent

colorless. There

was only a slight

smile to make it

appear that

Nilam was fine.

Together Erik

stepped away,

wanting

Patchouli to run

after him. But

his heart said no

to show strong

and sure that

everything will

be fine).

5 CONCLUSION

The addition / expansion process occurs in the

expansion of sentences in each sentence extension in

each verse. However, the expansion is not

accompanied by a change in the contents or meaning

of the original story in the meaning of the poem. The

variation of additions here is clearly seen in the

explanatory statements in the film scripts. The

information in parentheses is the expression of each

of the verses. Each of the previous stanzas has been

analyzed in a semiotic manner which produces a

sign (both a sign of feeling and a reflection of mood

and attitude). Then it is clear that semiotic analysis

is very helpful in the literary process of literary

work, especially the Equality of poetry in the form

of story scripts, scripts) films that will later become

a whole story of film. Moreover, this study was

carried out on poetry that is in the anthology of

poetry. So, the poems in the anthology of poetry can

easily be summarized, conceived, and compiled into

a whole story of the unified plot of film.

REFERENCES

Culler, J., 2015. The Pursuit Of Signs Semiotics,

Literature, Deconstruction (Classics).

Bleicher, J., 2017. Contemporary hermeneutics:

Hermeneutics as method, philosophy and critique.

Routledge.

Goel, P. and Thareja, R., 2017. Analysis of Various Data

Mining Techniques using Novel Ratings

Prediction. IARS'International Research Journal, 7(2).

Gorbani, S. and Gali, R., 2011. W ays of Teaching

Irregular Verbs at the Lesson of English. R evist

semestrial R evist semestrial, p.38.

Istadiyantha, I., 2017. Ecranisation, From Textual

Tradition to Cinema: the Infidelity Against the Values

of Literary Writing?. Humanus: Jurnal Ilmiah Ilmu-

ilmu Humaniora, 16(1), pp.83-92.

Marsden, J.I., 2015. The Re-Imagined Text: Shakespeare,

Adaptation, and Eighteenth-Century Literary Theory.

university press of kentucky.

Newell, K., 2017. “It Wasn’t Like That in the Movie”:

Novelization and Expansion. In Expanding Adaptation

Networks (pp. 25-62). Palgrave Macmillan, London.

Nugrahani, F., 2017. The Development of Film-Based

Literary Materials Which Support Character

Education. Cakrawala Pendidikan, (3).

Palmer, Richard. 2005. Teori Penelitian sastra.

Yogyakarta: Pustaka Pelajar.

Pamusuk Eneste. 1991. Novel dan Film.Flores: Nusa

Indah.

Rachmat Djoko Pradopo. 2002. Beberapa Teori sastra,

Metode, Kritik dan Penerapannya. Yogyakarta:

Pustaka Pelajar.

Rachmat Djoko Pradopo. 2005. Pengkajian Puisi.

Yogyakarta: Gadjah Mada University Press.

Ratna,Nyoman Kutha. 2007. Estetika Sastra dan Budaya.

Yogyakarta: Pustaka Pelajar.

Ratna,Nyoman Kutha. 2009. Postkolonialisme

Indonesia;Relevansi Sastra. Yogyakarta: Pustaka

Pelajar.

Ricoeur, Paul, 2006, Teori Interpretasi: Memahami Teks,

Penafsiran dan Metodologinya, IRCiSoD, Yogyakarta.

Sanders, J., 2015. Adaptation and appropriation.

Routledge.

Sapardi Djoko Damono. 2005. Pegangan Penelitian

Sastra Bandingan. Jakarta: Pusat Bahasa.

Schleifer, R., 2018. The Aesthetics of Pain: Semiotics and

Affective Comprehension in Music, Literature, and

ICRI 2018 - International Conference Recent Innovation

632

Sensate Experience. Configurations, 26(4), pp.471-

491.

Schmidt, L.K., 2016. Understanding hermeneutics.

Routledge.

Suwardi, Endraswara. 2011. Metodologi Penelitian Sastra.

Yogyakarta: Pustaka Widyatama.

Semiotics as a Tool in the Vehicle for Adaptation (Extranization) of Poetry into the Form of Film

633