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DUNIA BERAKHIR, TAPI TIDAK DENGAN KAPITALISME: REALISME KAPITALIS DALAM FILM 2012

https://doi.org/10.22146/balairung.v3i1.67740

Alfredo Putrawidjoyo(1*), Ardhias Nauvaly Azzuhry(2)

(1) Universitas Gadjah Mada
(2) Universitas Gadjah Mada
(*) Corresponding Author

Abstract


Abstrak

Lebih mudah membayangkan dunia berakhir (kiamat) daripada kapitalisme runtuh. Ungkapan yang menjadi dasar konsep realisme kapitalis ini dapat ditemukan bukan hanya di kenyataan sehari-hari. Namun, pada film yang notabene merupakan representasi dari ideologi populer juga mencitrakan hal serupa. Begitupula pada film 2012 yang menjadi objek kajian. Tujuan kajian adalah untuk mengupas operasionalisasi kapitalisme dalam upayanya lolos dari kiamat, kematian yang paling paripurna, di 2012. Film dianalisis sebagai industri budaya yang merepresentasikan ideologi status quo yaitu kapitalisme. Oleh sebab itu, film menjadi mungkin untuk mempengaruhi dan jelas dipengaruhi oleh konteks sosial-politik. Temuan kami menunjukkan bahwa 2012 dipengaruhi oleh konteks sosial politik berupa krisis ekologi dan krisis kapitalisme yang keduanya berakar dari kapitalisme itu sendiri. Kami juga menemukan kelindan negara dan kapital dalam bentuk ketiadaan alternatif kebijakan, permodalan kapital, dan dalam pemilihan kelompok yang perlu diselamatkan dari kiamat. Pada akhirnya kami menyimpulkan bahwa kapitalisme menjadi landasan produksi imajinasi kiamat pada 2012 ketika ia menghancurkan dunia dan menyusunnya ulang, untuk dirinya sendiri.

Abstract

It is easier to imagine the end of the world than the end of capitalism. The expression on which the concept of capitalist realism is based upon can be found not only in the everyday. But also. But also in movies, which incidentally, is a representation of the popular ideology. Likewise in 2012 the film that became the object of this study. The purpose of this study is to explore the operationalization of capitalism in its efforts to survive the apocalypse, the plenary form of death, in 2012. Film is analyzed as part of the culture industry that represents the ideology of the status quo, namely capitalism. Therefore, film becomes possible to be influenced and is clearly influenced by socio-political context. Our findings show that 2012 was influenced by the socio-political context of an ecological crisis and the crisis of capital, both of which stems from capitalism itself. We also found the interdependence of state and capital in there is no alternative policies, capitalization, and the selection of those deemed must survive the apocalypse. In the end, we conclude that capitalism became the basis to produce the apocalypse imagination in 2012 when it ended the world and rearranged it for itself.


Keywords


kiamat; realisme kapitalis; ideolog; kematian; film 2012

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DOI: https://doi.org/10.22146/balairung.v3i1.67740

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