//ojs.bakrie.ac.id/index.php/I-POP <p style="text-align: justify;"><em><strong>I-Pop:&nbsp;International Journal of Indonesian Popular Culture and Communication</strong>, </em>published by Program Studi Ilmu Komunikasi Universitas Bakrie<em>,</em> is an open-access interdisciplinary journal of popular culture and communication in (the context of) Indonesia, about Indonesia (or whatsoever is related to Indonesia), and the pop work created by or involves Indonesians. Published biannually, the <em><strong>I-Pop Journal</strong></em> follows a rigorous blind review process, in which reviewers and authors do not know each other, to ensure the objectivity of the assessment. <strong><em>I-Pop Journal</em> </strong>has four typical rubrics: ORIGINAL ARTICLE (research paper or constructive conceptual paper), BOOK REVIEW (review and criticism of the latest book), POP REVIEW (review and criticism of the latest work of popular culture and communication), and REFLECTIONS (reflective experiences and exclusive interviews with the creators or actors of Indonesian pop culture work).</p> Program Studi Ilmu Komunikasi Universitas Bakrie en-US I-Pop: International Journal of Indonesian Popular Culture and Communication 2715-0917 //ojs.bakrie.ac.id/index.php/I-POP/article/view/97 <p>For decades, especially during the New Order regime, the G30S victims and their families remained silent. The oppressive political system makes them afraid to speak out. Not only that, stigma, false stereotypes, and labeling are often attached to them, creating social punishments that are unfair, unexplained, and indefensible. This article examines the film 'Senyap' as a voice for G30S victims who, until now, have not fully recovered from stigma and false stereotypes. The victim's voice is a form of counterhegemony against the dominant anti-communist ideology and stereotypes in Indonesia, which for years has become a regime of truth. This film, at least, can be a medium for reconciling the past, grudges, misunderstandings, and the unclear (or obscuring) historical truth.</p> Naadiyah Azh Zhafirah Copyright (c) 2022 I-Pop: International Journal of Indonesian Popular Culture and Communication https://creativecommons.org/licenses/by-nc-sa/4.0 2022-07-03 2022-07-03 3 2 112 123 10.36782/i-pop.v2i2.97 //ojs.bakrie.ac.id/index.php/I-POP/article/view/96 <p>In societies with a culture of heteronormativity, including Indonesia, the gay community tends to be alienated and marginalized, especially in rural areas where social control is stringent and inherent. So, what is the life of a gay person in rural Indonesia? And how do gay audiences perceive content and narratives about this issue? This article reveals the reception of audiences from the gay community towards the film 'Pria,' which tells the story of the romance of a gay youth in a village in Indonesia. Using the spectatorship ethnography method, this study finds how film viewers reflect on the film's narrative and relate the characters' problems and experiences to their personal experiences and inner conflicts as gay people who also come from the village. This study is the first to investigate rural gay film viewing practices by gay viewers using a spectatorship ethnographic approach, making it a valuable reference for subsequent relevant studies and as a social reflection for society, especially in the cultural context of heteronormativity.</p> Dhea Aptarina Copyright (c) 2022 I-Pop: International Journal of Indonesian Popular Culture and Communication https://creativecommons.org/licenses/by-nc-sa/4.0 2022-07-10 2022-07-10 3 2 124 136 10.36782/i-pop.v2i2.96