Research Article
Transposition of Ambivalence towards Colonialism in Fine Arts: Intertext Analysis of the Battle of Sultan Agung against Jan Pieterzoon Coen (1974) Painting and the Sultan Agung: Throne, Struggle, Love (2018) Movie Poster
@INPROCEEDINGS{10.4108/eai.28-10-2020.2315332, author={Mochamad Fauzie and Wirawan Sukarwo and Ahmad Faiz Muntazori}, title={Transposition of Ambivalence towards Colonialism in Fine Arts: Intertext Analysis of the Battle of Sultan Agung against Jan Pieterzoon Coen (1974) Painting and the Sultan Agung: Throne, Struggle, Love (2018) Movie Poster}, proceedings={Proceedings of the 1st Konferensi Internasional Berbahasa Indonesia Universitas Indraprasta PGRI, KIBAR 2020, 28 October 2020, Jakarta, Indonesia}, publisher={EAI}, proceedings_a={KIBAR}, year={2022}, month={2}, keywords={sultan agung movie poster painting post-colonialism}, doi={10.4108/eai.28-10-2020.2315332} }- Mochamad Fauzie
Wirawan Sukarwo
Ahmad Faiz Muntazori
Year: 2022
Transposition of Ambivalence towards Colonialism in Fine Arts: Intertext Analysis of the Battle of Sultan Agung against Jan Pieterzoon Coen (1974) Painting and the Sultan Agung: Throne, Struggle, Love (2018) Movie Poster
KIBAR
EAI
DOI: 10.4108/eai.28-10-2020.2315332
Abstract
In a post-colonial society, cultural products it produced tend to contain a trauma of colonialism, indicated by an ambivalence towards its colonizer. The invasion of Sultan Agung to the VOC fort in Batavia in the 17th century continues to be narrated in various forms of art. This study aims to identify visual and ambivalence transposition from S. Sudjojono's painting, “The Battle of Sultan Agung against Jan Pieterzoon Coen” (1974), to the movie poster of Sultan Agung (2018). The semiotic method of C. W. Morris was used to compare how the two works depict Sultan Agung's resistance to colonialism. Intertext and postcolonial theories were used as a tool of analysis. The results showed that there was a transposition of appearance and ambivalence from the painting to the movie poster. The visual transposition was characterized by the comparable composition of objects, while the ambivalence transposition was characterized by different attitude in depicting Sultan Agung's resistance to colonialists: the painting depicts Sultan Agung's resistance, but at the same time is cynical (out-group) against Sultan Agung; while the poster depicts the resistance of Sultan Agung, highlighting a sense of in-group, but at the same time is being trapped in a colonialist-designed nativization
