EKRANISASI NOVEL 《悲伤逆流成河》BĒISHĀNG NÌLIÚ CHÉNGHÉ (CRY ME A SAD RIVER) KARYA 郭敬明 GUO JINGMING KE BENTUK FILM 《悲伤逆流成河》 BĒISHĀNG NÌLIÚ CHÉNGHÉ (CRY ME A SAD RIVER) KARYA 落落 LUOLUO

Abstract

Abstrak Ekranisasi adalah pengangkatan novel ke sebuah film. Film hasil ekranisasi novel akan mengalami beberapa perubahan. Penelitian ini bertujuan untuk menganalisis perubahan dalam proses ekranisasi. Rumusan masalah dalam penelitian meliputi: (1) Bagaimana proses ekranisasi penokohan novel 《悲伤逆 流成河》 (Cry Me A Sad River) karya 郭敬明 Guō Jìngmíng ke film 《悲伤逆流成河》 (Cry Me A Sad River) karya 落落 Luòluò? dan (2) Bagaimana proses ekranisasi latar novel 《悲伤逆流成河》 (Cry Me A Sad River) karya 郭敬 Guō Jìngmíng ke film 《悲伤逆流成河》 (Cry Me A Sad River) karya 落落 Luòluò?. Fokus penelitian berupa penciutan, penambahan, serta perubahan bervariasi penokohan dan latar pada ekranisasi novel ke film. Metode penelitian yang digunakan adalah deskriptif kualitatif. Sumber data penelitian ini adalah novel 《悲伤逆流成河》Bēishāng Nìliú Chénghé (Cry Me A Sad River) karya 郭敬明 Guō Jìngmíng dan film 《悲伤逆流成河》Bēishāng Nìliú Chénghé (Cry Me A Sad River) karya 落落 Luòluò. Teknik pengumpulan data dilakukan dengan teknik simak-catat dan dokumentasi. Teknik analisis menggunakan teknik analisis deskriptif. Hasil penelitian ini menunjukkan bahwa dalam ekranisasi penokohan dan latar terdapat 12 penciutan, 10 penambaham, dan 3 perubahan bervariasi. Menurut analisis, perubahan-perubahan pada ekranisasi penokohan dan latar dilakukan dalam tahap wajar dan masih relevan sehingga tidak menghalangi inti cerita atau amanat novel dalam film. Perubahan terjadi karena novel dan film memiliki keterbatasannya masing- masing. Penciutan terjadi karena kepentingan filmis dan perubahan media yang digunakan dalam pembuatan novel dan film. Penambahan dilakukan agar pemvisualisasian dalam film lebih efektif. Perubahan bervariasi dilakukan tidak jauh dari penggambaran yang ada pada novel. Kata kunci: Ekranisasi, Novel, Film, Cry Me A Sad River. Abstract Ecranisation is a transformation from novel to movie. Film from ecranisation will have some differences from the novel. This study aims to analyze changes in the ecranisation process. The formulation of the research problems includes: (1) How is the process of ecranizing the characters of the《悲伤逆流成 河》 (Cry Me A Sad River) novel by 郭敬明 Guō Jìngmíng into the《悲伤逆流成河》 (Cry Me A Sad River) film by 落落 Luòluò? and (2) How is the process of ecranizing the settings of the《悲伤逆流成河 》 (Cry Me A Sad River) novel by 郭敬明 Guō Jìngmíng to the《悲伤逆流成河》 (Cry Me A Sad River) film by 落落 Luòluò?. The focus of the research is in the reduction, addition, and variation of change of the characters and settings in the ecranisation of the novel into film. The research method used is descriptive qualitative. The data sources for this research are the《悲伤 逆流成河》Bēishāng Nìliú Chénghé (Cry Me A Sad River) novel by 郭敬明 Guō Jìngmíng and the《悲 伤逆流成河》Bēishāng Nìliú Chénghé (Cry Me A Sad River) film by 落落 Luòluò. Data collection techniques were carried out using note-taking and documentation techniques. The analysis technique uses descriptive analysis techniques. The results of this analysis indicate that in character and setting ecranisation, there are 12 reductions, 10 additions, and 3 varied changes. From the analysis, changes to characters and setting in ecranisation are made in reasonable level and are still relevant so that they do not hinder the main story or the novel's message in the film. Changes occur because novel and film have their own limitations. The reductions happened because of filmic interests and changes in the media used in making novel and film. Additions were made to make the visualization in the film more effective. Various changes were made not far from the depiction in the novel. Keywords: Ecranisation, Novel, Film, Cry Me A Sad River.