Konvergensi Media dan Memori Kolektif Masyarakat Indonesia
Keywords:
Media, Konvergensi, Masyarakat, Konten, Memori
Abstract
Penemuan internet menyebabkan perubahan besar pada media yang ditandai dengan terjadinya konvergensi media. Dari sisi teknologi, konvergensi media dapat dilihat dari maraknya penggunaan ponsel pintar untuk menikmati berbagai jenis media hanya dengan satu genggaman. Dari aspek budaya, konvergensi media dapat dilihat dari semakin banyaknya masyarakat yang menjadi “prosumer” atau pembuat konten. Menggunakan tinjauan pustaka dari berbagai sumber, seperti jurnal, buku, website, dan artikel di media online, tulisan ini membahas konvergensi media yang terjadi di Indonesia. Konvergensi media dapat dijadikan sebagai memori kolektif masyarakat Indonesia, karena konten-konten yang pernah muncul di media-media di Indonesia pada masa lalu, dapat dinikmati hingga saat ini bahkan di masa depan dengan adanya konvergensi media. Pelestarian konten atau kurasi digital diperlukan agar konten tidak hilang, terutama konten legendaris dan populer pada masanya. Individu, komunitas, organisasi, perusahaan media, atau industri media dapat terus membuat konten yang berkualitas dan terus mengunggahnya ke platform digital agar konten berkualitas tidak hilang dari masa ke masa.
References
[1] Bryan, Stephen, The Story of the Internet, 2001. UK: Pearson Education.
[2] Croteau, David, & Hoynes, William. Media/Society, 2014 UK: SAGE Publications, Inc.
[3] Jenkins, Henry. “Convergence? I Diverge,” 2001. Digit. Renaiss. Technol. Rev., p. 93.
[4] Meikle, Graham Sherman Young. Media Convergence: Networked Digital Media in Everyday Life, 2012. UK, US: PALGRAVE MACMILLAN.
[5] Fiddler, Roger. Mediamorfosis, 2003. Yogyakarta: Bentang Budaya.
[6] Jenkins, Henry, Deuze, Mark. “Convergence Culture,” 2008. Converg. Int. J. Res. into New Media Technol.
[7] Cha, Meeyoung, Kwak, Hawoon, Rodriquez, Pablo, Ahn, Yong-Yeol, & Moon, Sue. “I Tube, You TUbe, Every Day Tubes: Analyzing The World’s Largest User Generated Content Video System,” 2007. IMC’07 Proceedings of the 7th ACM SIGCOMM Conference on Internet Measurement, pp. 1–14.
[8] Dijck, Jose Van. “Users Like You? Theorizing Agency in User-Generated Content,” 2009. Media, Cult. Soc., vol. 31 (1), pp. 41–58.
[9] Long, Paul, & Wall, Tim. Media Studies: Texts, Production, Context, 2012. Second Edi. New York, USA: Pearson Education Limited.
[10] Tremblay, Gaetan. “From Marshall McLuhan to Harold Innis, or From the Global Village to the World Empire,” 2012. Can. J. Commmunication, vol. 37 (4), pp. 561–575.
[11] Straubhaar, Joseph, Larose, Robert Larose, & Davenport, Lucinda. Media Now: Understanding Media, Culture, and Technology, 2012. Boston, USA: Wadsworth Cengage Learning.
[12] Keh, Hean Tat. “Evolution of the Book Publishing Industry: Structural Changes and Strategic Implications,” 1998. J. Manag. Hist., vol. Vol 4 No.2, pp. 104–123.
[13] Leurdijk, Andra, Slot, Mijke, Nieuwenhuis, Ottlie. The Newspaper Publishing Industry, 2012. Luxembourg: Publications Office of the European Union.
[14] Das, Simon, “Magazine Publishing Innovation: Two Case Studies on Managing Creativity,” 2016, MDPI Publ., vol. Vol 4 No.1, pp. 1–12.
[15] Neill, Brian O, “Digital Radio Policy in Canada: From Analog Replacement to Multimedia Convergence,” 2008. J. Radio Audio Media, vol. Vol 15 (1), pp. 26–40.
[16] Hull, Geoffrey P., Hutchison, Thomas William, & Strasser, Richard. The Music Business and Recording Industry: Delivering Music, 2010. The 21st Century, Third Edit. New York and London: Routledge, Taylor & Francis Group.
[17] Basin, Ken. The Business of Television, 2019. New York: Routledge-A Focal Press Book.
[18] Williams, Dmitri. “Structure and Competition in the US Home Video Game Industry,” 2009. Int. J. Media Manag., no. 28 May, pp. 41–54.
[19] Wattimena, Reza A.A. “Teori Ingatan Kolektif,” 2012. Unika Widya Mandala Surabaya.
[20] Erll, Astrid, & Nunning, Ansgar, Ed., Cultural Memory Studies: An International and Interdisciplinary Handbook, 2008. Berlin, Germany: Deutsche Nationabibliothek.
[21] Ebbrecht, Tobias, “HISTORY , PUBLIC MEMORY AND MEDIA EVENT HISTORY , PUBLIC MEMORY AND MEDIA EVENT, 2007. Codes and conventions of historical event-television in Germany,” vol. 8804.
[22] Wolverhampton University. “Guide To Writing a Literature Review,” Ski. Learn., 2018. March, pp. 1–2.
[23] Frederiksen, Linda, Phelps, Sue F., & Kimmons, Royce. “Introduction to Literature Reviews,” 2018. EdTech Books.
[24] Snyder, Hannah. “Literature Review as a Research Methodology: An Overview and Guidelines,” 2019. J. Bus. Res., vol. 104, pp. 333–339.
[25] “Konvergensi Media: Pengertian dan Dampaknya.” 2021, Kompas.com.
[26] “8 Situs Belanja Toko Buku Online Terpercaya di Indonesia.” 2021.
[27] Aksara, Dika. “10 Aplikasi Video Streaming Terbaik 2021: Fitur dan Biaya.” 2021.
[28] McAlister, Andrea, “Teaching the Millenial Generation,” 2009. Am. Music Teach., vol. Vol 59, no. Iss 1, pp. 13–15.
[29] Berk, Ronald A. “Teaching Strategies for the Net Generation,” 2009. Teach. Learn. J., vol. Vol 3, no. Issue 2.
[30] Selwyn, Neil. “The Digital Native-Myth and Reality,” 2009. Aslib Proceedings Vol.61 Issue 4,, pp. 364–379.
[31] Vandewater, E, et al. “Digital Childhood,” 2007. Pediatrics, vol. Vol 119 No, pp. 1006–15.
[32] Jones, Dylan. “Why Content Must be King,” 2016. Br. Journal. Rev., vol. Vol 27, no. Issue 4, pp. 47–52.
[33] Kortum, Philip, & Sullivan, Marc. “Content is King: The Effect of Content on the Perception of Video Quality,” 2004. Proceedings of The Human Factors and Ergonomics Society 48th Annual Meeting, pp. 1910–1914.
[34] Levinson, Paul. Digital McLuhan: A Guide to the Information Millennium. 1999. London and New York: Routledge.
[35] Bartl, Mathias. “YouTube channels , uploads and views : A statistical analysis of the past 10 years,” 2018. Vol. 24, no. 1, pp. 16–32.
[36] Bakry, Anjas Alifah. “Kurasi Digital untuk Pengarsipan Digital,” 2016. J. Ilmu Perpust. Informasi, Progr. Stud. Ilmu Perpustakaan, Fak. Ilmu Sos. Univ. Islam Negeri Sumatera Utara, vol. Vol 1 No.1, pp. 1–9.
[37] Kligler, Neta, Tsfati, Yarif, & Oren Meyers, “Setting The Collective Memory Agenda: Examining Mainstream Media Influence on Individual’s Perceptions of the Past,” 2014. Mem. Stud. Assoc., vol. Vol 7, no. 4, pp. 484–499.
[38] Proctor, Nancy. “Digital: Museum as Platform, Curator as Champion, in the Age of Social Media,” 2010. Curator, vol. Volume 53/, January.
[39] Spivack, Stephen, et al. “Who Remebers the Beatles? The Collective Memory for Popular Music,” 2019. PLoS One, no. 6 February.
[2] Croteau, David, & Hoynes, William. Media/Society, 2014 UK: SAGE Publications, Inc.
[3] Jenkins, Henry. “Convergence? I Diverge,” 2001. Digit. Renaiss. Technol. Rev., p. 93.
[4] Meikle, Graham Sherman Young. Media Convergence: Networked Digital Media in Everyday Life, 2012. UK, US: PALGRAVE MACMILLAN.
[5] Fiddler, Roger. Mediamorfosis, 2003. Yogyakarta: Bentang Budaya.
[6] Jenkins, Henry, Deuze, Mark. “Convergence Culture,” 2008. Converg. Int. J. Res. into New Media Technol.
[7] Cha, Meeyoung, Kwak, Hawoon, Rodriquez, Pablo, Ahn, Yong-Yeol, & Moon, Sue. “I Tube, You TUbe, Every Day Tubes: Analyzing The World’s Largest User Generated Content Video System,” 2007. IMC’07 Proceedings of the 7th ACM SIGCOMM Conference on Internet Measurement, pp. 1–14.
[8] Dijck, Jose Van. “Users Like You? Theorizing Agency in User-Generated Content,” 2009. Media, Cult. Soc., vol. 31 (1), pp. 41–58.
[9] Long, Paul, & Wall, Tim. Media Studies: Texts, Production, Context, 2012. Second Edi. New York, USA: Pearson Education Limited.
[10] Tremblay, Gaetan. “From Marshall McLuhan to Harold Innis, or From the Global Village to the World Empire,” 2012. Can. J. Commmunication, vol. 37 (4), pp. 561–575.
[11] Straubhaar, Joseph, Larose, Robert Larose, & Davenport, Lucinda. Media Now: Understanding Media, Culture, and Technology, 2012. Boston, USA: Wadsworth Cengage Learning.
[12] Keh, Hean Tat. “Evolution of the Book Publishing Industry: Structural Changes and Strategic Implications,” 1998. J. Manag. Hist., vol. Vol 4 No.2, pp. 104–123.
[13] Leurdijk, Andra, Slot, Mijke, Nieuwenhuis, Ottlie. The Newspaper Publishing Industry, 2012. Luxembourg: Publications Office of the European Union.
[14] Das, Simon, “Magazine Publishing Innovation: Two Case Studies on Managing Creativity,” 2016, MDPI Publ., vol. Vol 4 No.1, pp. 1–12.
[15] Neill, Brian O, “Digital Radio Policy in Canada: From Analog Replacement to Multimedia Convergence,” 2008. J. Radio Audio Media, vol. Vol 15 (1), pp. 26–40.
[16] Hull, Geoffrey P., Hutchison, Thomas William, & Strasser, Richard. The Music Business and Recording Industry: Delivering Music, 2010. The 21st Century, Third Edit. New York and London: Routledge, Taylor & Francis Group.
[17] Basin, Ken. The Business of Television, 2019. New York: Routledge-A Focal Press Book.
[18] Williams, Dmitri. “Structure and Competition in the US Home Video Game Industry,” 2009. Int. J. Media Manag., no. 28 May, pp. 41–54.
[19] Wattimena, Reza A.A. “Teori Ingatan Kolektif,” 2012. Unika Widya Mandala Surabaya.
[20] Erll, Astrid, & Nunning, Ansgar, Ed., Cultural Memory Studies: An International and Interdisciplinary Handbook, 2008. Berlin, Germany: Deutsche Nationabibliothek.
[21] Ebbrecht, Tobias, “HISTORY , PUBLIC MEMORY AND MEDIA EVENT HISTORY , PUBLIC MEMORY AND MEDIA EVENT, 2007. Codes and conventions of historical event-television in Germany,” vol. 8804.
[22] Wolverhampton University. “Guide To Writing a Literature Review,” Ski. Learn., 2018. March, pp. 1–2.
[23] Frederiksen, Linda, Phelps, Sue F., & Kimmons, Royce. “Introduction to Literature Reviews,” 2018. EdTech Books.
[24] Snyder, Hannah. “Literature Review as a Research Methodology: An Overview and Guidelines,” 2019. J. Bus. Res., vol. 104, pp. 333–339.
[25] “Konvergensi Media: Pengertian dan Dampaknya.” 2021, Kompas.com.
[26] “8 Situs Belanja Toko Buku Online Terpercaya di Indonesia.” 2021.
[27] Aksara, Dika. “10 Aplikasi Video Streaming Terbaik 2021: Fitur dan Biaya.” 2021.
[28] McAlister, Andrea, “Teaching the Millenial Generation,” 2009. Am. Music Teach., vol. Vol 59, no. Iss 1, pp. 13–15.
[29] Berk, Ronald A. “Teaching Strategies for the Net Generation,” 2009. Teach. Learn. J., vol. Vol 3, no. Issue 2.
[30] Selwyn, Neil. “The Digital Native-Myth and Reality,” 2009. Aslib Proceedings Vol.61 Issue 4,, pp. 364–379.
[31] Vandewater, E, et al. “Digital Childhood,” 2007. Pediatrics, vol. Vol 119 No, pp. 1006–15.
[32] Jones, Dylan. “Why Content Must be King,” 2016. Br. Journal. Rev., vol. Vol 27, no. Issue 4, pp. 47–52.
[33] Kortum, Philip, & Sullivan, Marc. “Content is King: The Effect of Content on the Perception of Video Quality,” 2004. Proceedings of The Human Factors and Ergonomics Society 48th Annual Meeting, pp. 1910–1914.
[34] Levinson, Paul. Digital McLuhan: A Guide to the Information Millennium. 1999. London and New York: Routledge.
[35] Bartl, Mathias. “YouTube channels , uploads and views : A statistical analysis of the past 10 years,” 2018. Vol. 24, no. 1, pp. 16–32.
[36] Bakry, Anjas Alifah. “Kurasi Digital untuk Pengarsipan Digital,” 2016. J. Ilmu Perpust. Informasi, Progr. Stud. Ilmu Perpustakaan, Fak. Ilmu Sos. Univ. Islam Negeri Sumatera Utara, vol. Vol 1 No.1, pp. 1–9.
[37] Kligler, Neta, Tsfati, Yarif, & Oren Meyers, “Setting The Collective Memory Agenda: Examining Mainstream Media Influence on Individual’s Perceptions of the Past,” 2014. Mem. Stud. Assoc., vol. Vol 7, no. 4, pp. 484–499.
[38] Proctor, Nancy. “Digital: Museum as Platform, Curator as Champion, in the Age of Social Media,” 2010. Curator, vol. Volume 53/, January.
[39] Spivack, Stephen, et al. “Who Remebers the Beatles? The Collective Memory for Popular Music,” 2019. PLoS One, no. 6 February.
Published
2022-03-30
How to Cite
Puspitaningrum, D. (2022). Konvergensi Media dan Memori Kolektif Masyarakat Indonesia. Jurnal Inovasi Penelitian, 2(11), 3675-3686. https://doi.org/10.47492/jip.v2i11.1357
Issue
Section
Articles
Copyright (c) 2022 Jurnal Inovasi Penelitian
This work is licensed under a Creative Commons Attribution 4.0 International License.
