Representasi Kulit Hitam dalam One Punch Man, The Promised Neverland, dan Shaman King
DOI:
https://doi.org/10.22219/satwika.v8i1.32414Keywords:
Cultural Representation, Representasi, racism, SemiotikaAbstract
Blackface di Jepang diperkenalkan oleh orang kulit putih pada tahun 1854 dan mulai diadaptasi sejak tahun 1920-an dalam pertunjukan, layar perak, buku anak, dan mainan di Jepang. Meskipun ditolak oleh aktivis anti-rasisme, blackface kembali muncul beberapa tahun kemudian, diperkuat dengan kurang tegasnya regulasi anti-ujaran kebencian yang mempersulit definisi rasisme di Jepang. Dalam perkembangannya, blackface banyak ditemukan dalam anime produksi tahun 90-an, bahkan setelah tahun 2010, seperti Superalloy Darkshine (One Punch Man, 2015 & 2019), Sister Krone (The Promised Neverland, 2019), dan Chocolove McDonell (Shaman King, 2021) yang menjadi fokus penelitian ini. Penelitian ini bertujuan untuk menganalisis representasi rasial orang kulit hitam dari ketiga anime tersebut yang juga menunjukkan keterkaitan pandangan orang Jepang terhadap orang kulit hitam yang memengaruhi bagaimana mereka menggambarkan orang kulit hitam dalam proses produksi anime tersebut. Metode penelitian yang digunakan adalah dokumentasi dan studi pustaka dengan pendekatan kualitatif menggunakan teori semiotika John Fiske. Teori ini terdiri dari level realitas, representasi, dan ideologi yang menyertakan unsur dari produksi tayangan televisi seperti dialog, pencahayaan, penampilan yang dapat dikaitkan dengan nilai sosial masyarakat. Hasil dari penelitian ini adalah ketiga karakter kulit hitam tersebut serupa dengan karakter kulit hitam budaya populer Barat yang bersifat stereotipikal, yaitu bodoh dan pemarah. Hal ini berkaitan dengan orang Jepang yang mengikuti cara pandang orang kulit putih yang merendahkan orang kulit hitam. Rendahnya pengetahuan orang Jepang tentang dampak rasisme membuat kurang dilibatkannya orang kulit hitam dalam produksi konten anime yang didominasi orang Jepang sehingga representasi tersebut bersifat stereotipikal.
Blackface in Japan was introduced by white people in 1854 and began to be adapted in the 1920s and 1930s in Japanese performances, silver screens, children's books, and toys. Although blackface was considered offensive due to the resistance from anti-racism activists, it reemerged again because of the lack of strict anti-hate speech regulations that complicate the definition of racism in Japan. In its development, blackface is found in many 90s anime, even after 2010, such as Superalloy Darkshine (One Punch Man, 2015 & 2019), Sister Krone (The Promised Neverland, 2019), and Chocolove McDonell (Shaman King, 2021). The research aims to analyze the elements of racial representation of black people from those three anime, which also shows how the Japanese views of black people affect how they portray black people in the anime production process. This study applies a literature study with a qualitative approach using John Fiske's semiotic theory which is suitable for analyzing television products including anime. This theory consists of levels of reality, representation, and ideology that include elements from the production of television shows such as dialog, lighting, and appearance that can be associated with the social values of society. The result of this study is that the three black characters are similar to the stereotypical black characters portrayed in Western popular culture, namely stupid and angry. The Japanese were imitating white racists mocking black people and demeaning black people. The lack of knowledge in addressing and challenging concerns about racism among the Japanese makes black people less involved in the production of Japanese-dominated anime content so that the representation is stereotypical.
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