Uswatun Khasanah, Sri Prastiti Kusuma Anggraeni

Fungsi Variasi Bahasa Jawa Pada Film Pendek 'Klalenan' Dalam YouTube Mugi Ketrock

Introduction

Fungsi variasi bahasa jawa pada film pendek 'klalenan' dalam youtube mugi ketrock. Analisis fungsi variasi bahasa Jawa Ngoko lugu dalam film pendek YouTube 'Klalenan' oleh Mugi Ketrock. Menjelaskan penggunaan dan 7 fungsi bahasa Halliday pada percakapan.

Abstract

The film entitled, Klalenan by Mugi Ketrock with a duration of 12'.40" is a film in plain Ngoko language . This film was chosen by researchers because each conversation episode uses a variety of Ngoko innocent language and contains various language functions. The problems raised in this study are (1) How is the use of Ngoko innocent language in the conversation in The Short Film Klalenan?; (2) How does the Javanese language function in The Short Film Klalenan?. In line with the problem, the aim of the research is to describe the use of various ngoko lugu language in The Short Film Klalenan, as well as to describe the use refers to the theory developed by Michael Halliday, regarding the 7 functions of language in the life if Javanese society. The results obtained in the research are (1) Exposure to the use of Ngoko innocent language in evey conversation in every episode, and (2) the use of language functions in conversation including (1) Instrumental, (2) Regulatory, (3) Interactional, (4) Personal, (5) Heuristics, (6) Imagination, and repeesentational function.

Review

This study presents an intriguing exploration into the sociolinguistic landscape of Javanese language, specifically focusing on the Ngoko lugu variation as employed in the YouTube short film 'Klalenan'. The choice of a contemporary digital medium like YouTube for linguistic analysis is commendable, reflecting a relevant and accessible data source for examining language use in modern contexts. The research clearly outlines its objectives: to describe the use of Ngoko lugu in conversations and to analyze its functions based on Michael Halliday's established framework. This focused approach promises to contribute valuable insights into the dynamic interplay between language variation, media, and communicative intent within Javanese culture. A significant strength of this research lies in its specific focus on 'Ngoko lugu' and its "plain" or "innocent" characteristics, which provides a nuanced linguistic detail. The explicit application of Halliday's seven functions of language (Instrumental, Regulatory, Interactional, Personal, Heuristic, Imaginative, and Representational) offers a robust and well-recognized theoretical lens through which to analyze the film's dialogues. The research questions are direct and well-aligned with the stated aims, leading to clearly articulated findings regarding the prevalence of Ngoko lugu and the manifestation of each language function. This structured approach suggests a methodical analysis of the chosen linguistic phenomena. While the abstract effectively outlines the study's scope and initial findings, a deeper elaboration on the *nature* and *context* of these findings would strengthen the overall paper. For instance, explaining *how* each of Halliday's functions specifically manifests within the film's dialogues, beyond just listing them, would be invaluable. Furthermore, exploring the reasons behind the filmmakers' choice of Ngoko lugu for 'Klalenan' and discussing the broader implications of these functional uses for Javanese communication in digital media would enhance the study's impact. Clarifying the consistent use of terminology for 'Ngoko lugu' throughout the paper would also be beneficial for reader comprehension.

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