Jurnal Mahasiswa Komunikasi Cantrik https://journal.uii.ac.id/cantrik <div> <h2>Jurnal Mahasiswa Komunikasi Cantrik</h2> <p> </p> <table class="data" width="100%" bgcolor="#f0f0f0"> <tbody> <tr valign="top"> <td width="20%">Journal title</td> <td width="80%">:<strong> Jurnal Mahasiswa Komunikasi Cantrik</strong></td> </tr> <tr valign="top"> <td width="20%">Frequency</td> <td width="80%">: <strong>2 issues per year | May &amp; November<br /></strong></td> </tr> <tr valign="top"> <td width="20%">DOI</td> <td width="80%"><strong>: Prefix 10.20885/cantrik</strong></td> </tr> <tr valign="top"> <td width="20%">ISSN</td> <td width="80%">: <strong><a href="https://portal.issn.org/resource/ISSN/2807-2499">2807-2499 (Portal ISSN)</a> (Online)/ <a href="https://issn.brin.go.id/terbit/detail/20210811362376923" target="_blank" rel="noopener">2807-2499 (ISSN BRIN)</a> </strong></td> </tr> <tr valign="top"> <td width="20%">Publisher</td> <td width="80%">: <strong>Department of Communications</strong>, <strong>Universitas Islam Indonesia (Prodi Ilmu Komunikasi, Fakultas Psikologi Ilmu Sosial Budaya, Universitas Islam Indonesia)</strong></td> </tr> <tr valign="top"> <td width="20%">Citation Analysis</td> <td width="80%">: <strong><a href="https://scholar.google.com/citations?user=B0UgshUAAAAJ&amp;hl=id&amp;authuser=1" target="_blank" rel="noopener">Google Scholar</a> | <a href="https://app.dimensions.ai/discover/publication?search_mode=content&amp;search_text=jurnal%20mahasiswa%20komunikasi%20CANTRIK&amp;search_type=kws&amp;search_field=full_search&amp;and_facet_source_title=jour.1423064" target="_blank" rel="noopener">Dimension</a> | <a href="https://garuda.kemdikbud.go.id/journal/view/31941" target="_blank" rel="noopener">Garuda</a></strong></td> </tr> </tbody> </table> </div> Program Studi Ilmu Komunikasi UII en-US Jurnal Mahasiswa Komunikasi Cantrik 2807-2499 <p>Authors who publish with this journal agree to the following terms:</p> <ol type="a"> <li>Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a <a href="https://creativecommons.org/licenses/by-sa/4.0/">Creative Commons Attribution License</a> that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this journal.</li> <li>Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this journal.</li> <li>Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See <a href="http://opcit.eprints.org/oacitation-biblio.html" target="_new">The Effect of Open Access</a>).</li> </ol> Patriarki birokratik: Identitas perempuan dalam praktik penyebutan nama dan jabatan suami di organisasi militer https://journal.uii.ac.id/cantrik/article/view/46888 <p><span style="font-weight: 400;">This study aims to explore how communication practices, particularly the mention of husbands' names and titles, shape women's identities within military wives' organizations in Indonesia. Within this organizational structure, women's personal identities are often reduced to secondary identities related to their husbands' positions. Using Sara Mills' critical discourse analysis, this study examines the roles of subject and object, as well as the representation of women in organizational discourse. Data were collected through in-depth interviews with soldiers' wives across ranks and through observations of symbolic interactions on social media. The results show that the practice of mentioning husbands' names and titles functions as a form of symbolic violence that fragments women's authentic identities. This phenomenon creates a condition in which women become "integrated wives," with their personal agency absorbed by the institution's image. In the digital era, this construction is further reinforced through the disciplining of women's bodies and behaviors on social media to maintain the authority of their husbands' positions. This study concludes that military wives' organizations remain spaces that maintain bureaucratic patriarchy, which positions women as mirrors of male power.</span></p> Yudhy Widya Kusumo Eka Anisa Sari Siti Chotijah Copyright (c) 2026 Yudhy Widya Kusumo, Eka Anisa Sari, Siti Chotijah https://creativecommons.org/licenses/by-sa/4.0 2026-05-31 2026-05-31 6 1 10.20885/cantrik.vol6.iss1.art1 Kampanye Digital, FoMO, dan Kesadaran Politik di Kalangan Generasi Z: Bukti dari Gerakan Viral “Brave Pink” https://journal.uii.ac.id/cantrik/article/view/46269 <p><span style="font-weight: 400;">The wave of national demonstrations in August 2025 prompted the emergence of the symbolic digital campaign Brave Pink which spread widely on social media and gained widespread engagement among Generation Z. This study is based on the Uses and Effects theory which explains the relationship between digital media exposure, psychological responses, and the formation of political awareness. This study aims to analyze the influence of the Brave Pink campaign on the political awareness of Generation Z with Fear of Missing Out (</span><span style="font-weight: 400;">FoMO</span><span style="font-weight: 400;">) as a mediating variable. The study used a quantitative approach with a survey design of 396 followers of the Instagram account @barengwarga. Data analysis was carried out using Structural Equation Modeling with the Partial Least Squares (SEM-PLS) approach. The results showed that the Brave Pink campaign had a significant effect on Fear of Missing Out (β = 0.910; p &lt; 0.001) and a direct effect on political awareness (β = 0.622; p &lt; 0.001). Fear of Missing Out also had a significant effect on political awareness (β = 0.370; p &lt; 0.001) and acted as a partial mediator. The research model has very strong predictive power with an R² value of 0.943. This study provides a theoretical contribution by developing the Uses and Effects framework in the context of digital political communication, specifically through the integration of Fear of Missing Out (</span><span style="font-weight: 400;">FoMO</span><span style="font-weight: 400;">) as a psychological mechanism that bridges the relationship between exposure to symbolic digital campaigns and the formation of political awareness. These findings broaden the understanding of the role of emotional factors in strengthening media effects on Generation Z audiences.</span></p> Ahmad Fuad Habib David Rino Pratama Yani Tri Wijayanti Copyright (c) 2026 Fuad, David Rino Pratama, Yani Tri Wijayanti https://creativecommons.org/licenses/by-sa/4.0 2026-05-31 2026-05-31 6 1 10.20885/cantrik.vol6.iss1.art2 Praktik jurnalisme data di era konvergensi media: Analisis pada akun TikTok @riaupos https://journal.uii.ac.id/cantrik/article/view/45414 <p><span style="font-weight: 400;">The purpose of this study is to describe data journalism practices on the TikTok account @riaupos and to identify the challenges encountered in implementing it as a form of data journalism. This study employs a descriptive qualitative approach using a case study method. Research data were collected through observation, documentation of several short video posts on the TikTok account @riaupos, and interviews. The data were analyzed using Paul Bradshaw’s data journalism model and Henry Jenkins’ theory of media convergence. The results indicate that data journalism practices on the TikTok account @riaupos involve processing data into short videos that combine visualization and narrative. Analysis of several pieces of content demonstrates the application of data journalism elements as defined by Paul Bradshaw. The primary challenges include difficulty obtaining data, a lengthy verification process, and a high workload. Additionally, Henry Jenkins’ media convergence theory is evident in multimedia integration, team collaboration, and cross-platform distribution.</span></p> Nilam Ayu Lestari Chelsy Yesicha Copyright (c) 2026 nilam ayulestari, chelsy yesicha https://creativecommons.org/licenses/by-sa/4.0 2026-05-31 2026-05-31 6 1 10.20885/cantrik.vol6.iss1.art3 TikTok Activism: Analisis Aktivisme Digital #TolakRUUTNI di Platform TikTok https://journal.uii.ac.id/cantrik/article/view/47244 <p><span style="font-weight: 400;">The revision of the Indonesian National Armed Forces Act (TNI Bill) has triggered strong public opposition, especially digital activism on TikTok under the hashtag #TolakRUUTNI. This study investigates how people use the #TolakRUUTNI hashtag on TikTok for digital activism, employing netnography. Data come from observations of 23 TikTok videos and user comments. Findings show digital activism focuses on three main areas: criticizing the substance and legislative process; framing the context, actors, and history; and calling out public apathy while urging solidarity. Users express criticism through strategies like citizen journalism, sarcasm, fear appeals, emotion, playful activism, and calls to action. This study shows how TikTok helps people spread messages on social and political issues.</span></p> Jenna Jelajah Cakrawala Subekti Wirabhuana Priyadharma Detta Rahmawan Copyright (c) 2026 Jenna Jelajah Cakrawala, Subekti Wirabhuana Priyadharma, Detta Rahmawan https://creativecommons.org/licenses/by-sa/4.0 2026-05-31 2026-05-31 6 1 10.20885/cantrik.vol6.iss1.art4 Strategi Kreatif Erigo Dalam Produksi Konten Audiovisual di TikTok https://journal.uii.ac.id/cantrik/article/view/47713 <p><span style="font-weight: 400;">The massive growth in TikTok users has made audiovisual content a key tool in building consumer trust. This study aims to analyze the creative strategies of the @erigo.store account in producing audiovisual content and to identify the factors that influence this creative process. This study employs a case study approach. Data were collected through in-depth interviews with Erigo’s creative team and participatory observation of their content production patterns. The findings reveal that Erigo’s creative strategy is implemented through four systematic phases: preparation, incubation, illumination, and evaluation. The production process is strictly executed through pre-production, production, and post-production stages to ensure consistent content quality. Theoretically, this research's implications contribute to the study of creative communication management within the new media ecosystem, particularly regarding the adaptation of traditional production workflows to dynamic short-form video formats. Practically, the results of this research provide a model for creative industry practitioners and other fashion brands to integrate structured production management with the flexibility of digital trends to optimize brand engagement.</span></p> Sumekar Tanjung Copyright (c) 2026 Sumekar Tanjung https://creativecommons.org/licenses/by-sa/4.0 2026-05-31 2026-05-31 6 1 10.20885/cantrik.vol6.iss1.art5 Female gaze dan negosiasi agensi perempuan dalam struktur patriarki: Analisis atas film Yuni (2021) https://journal.uii.ac.id/cantrik/article/view/48743 <p><span style="font-weight: 400;">This study analyzes the negotiation of female agency amid the constraints of patriarchal structures in the film Yuni (2021) through the lens of the female gaze. The method used is a descriptive qualitative one, integrating analyses by David Bordwell and Kristin Thompson, as well as Roland Barthes’s semiotics, across three levels of meaning: denotation, connotation, and myth. The results indicate that patriarchal structures operate through the normalization of early marriage, restrictions on educational opportunities, and communal mythical terror manifested in taboos, rejection of marriage proposals, and the myth of virginity. Based on the narrative causal chain, female agency is proven not to be static but rather an active agent. The process begins with symbolic negotiation to maintain autonomy—represented through an obsession with the color purple—which then accumulates into open resistance. The pinnacle of agency is manifested in the protagonist’s subversive act of consciously sabotaging the virginity myth and fleeing a forced marriage. From a female-gaze perspective, the camera rejects the male gaze and positions women as central subjects, intimately</span></p> Haura Jauza Aprillia Ni’ma Raasyidatun Nazia Munasiz Firdaus Noor Copyright (c) 2026 Ni'ma Raasyidatun Nazia Nazia, Haura Jauza Aprillia April https://creativecommons.org/licenses/by-sa/4.0 2026-05-31 2026-05-31 6 1 10.20885/cantrik.vol6.iss1.art6 Membangun citra akademik: Kerangka kerja SMART sebagai model yang efektif untuk komunikasi strategis https://journal.uii.ac.id/cantrik/article/view/42614 <p><span style="font-weight: 400;">Increasing competition among universities calls for structured, measurable communication strategies, particularly for building a strong academic identity. Although the literature on university branding continues to grow, research on the implementation of strategic frameworks within Marcomm units at private universities in Indonesia remains limited. This study analyzes the communication strategies of the Marketing Communication (Marcomm) team at the Faculty of Psychology and Social and Cultural Sciences (FPSB) of the Islamic University of Indonesia (UII) in building the institution’s academic image. The study employs a case study approach. Data were collected through in-depth interviews with FPSB Marcomm managers and analyzed using the SMART framework (Specific, Measurable, Achievable, Relevant, Time-bound). The findings indicate that FPSB’s Marcomm strategies specifically target high school students, use digital metrics as indicators of success, align programs with available resource capacity, and design activities based on the academic calendar. This study concludes that the SMART framework is an effective model for guiding strategic communication in higher education institutions with limited resources.</span></p> Nabilla Tri Rahayu Utami Copyright (c) 2026 Nabilla Tri Rahayu Utami - https://creativecommons.org/licenses/by-sa/4.0 2026-05-31 2026-05-31 6 1 10.20885/cantrik.vol6.iss1.art7