Published: 2026-07-01
Representasi Nilai-Nilai Budaya Tionghoa dalam Film Karate Kid Legends
DOI: 10.35870/jtik.v10i3.6621
Downloads
Abstract
This study examines the manifestation of Confucian philosophy within the cinematic narrative of Karate Kid Legends (2025) through the triadic analytical framework of Charles Sanders Peirce’s semiotics, integrated with Asian Communication Theory. Cinema is positioned as a cultural artifact that constructs social reality through a systematic weave of visual, auditory, and narrative signs. Utilizing a qualitative descriptive method, this research identifies the functional relationship between icons, indexes, and symbols across a series of pivotal scenes, interpersonal dialectics, and symbolic gestures. The analysis reveals that the film constructs patterns of hierarchical communication emphasizing moral authority, high-context interactions that remain implicit, and a relational orientation prioritizing collective stability. Furthermore, mechanisms of reputation protection (face saving) and strategies of direct confrontation avoidance emerge as derivations of the universal principle of harmony. These values are firmly internalized within the dynamics of the mentor–disciple relationship, familial authority structures, and the methodology of self-discipline that serves as the story's axis. These findings confirm that the audiovisual work fulfills a dual function: as a creative industrial product and as an arena for negotiating Chinese cultural identity transforming amidst the dialectic of Eastern and Western societies. Through the representations presented, the film demonstrates that traditional ethics maintain a persistent relevance in mediating social interactions within the modern era.
Keywords
Cultural Representations ; Confucianism ; Harmony ; Karate Kid Legends
Article Information
This article has been peer-reviewed and published in the Jurnal JTIK (Jurnal Teknologi Informasi dan Komunikasi). The content is available under the terms of the Creative Commons Attribution 4.0 International License.
-
Issue: Vol. 10 No. 3 (2026)
-
Section: Computer & Communication Science
-
Published: %750 %e, %2026
-
License: CC BY 4.0
-
Copyright: © 2026 Authors
-
DOI: 10.35870/jtik.v10i3.6621
AI Research Hub
This article is indexed and available through various AI-powered research tools and citation platforms. Our AI Research Hub ensures that scholarly work is discoverable, accessible, and easily integrated into the global research ecosystem. By leveraging artificial intelligence for indexing, recommendation, and citation analysis, we enhance the visibility and impact of published research.
Calista Lukito
Program Studi Ilmu Komunikasi, Fakultas Ilmu Komunikasi dan Bisnis Media, Universitas Ciputra, Kota Surabaya, Jawa Timur, Indonesia.
Zinggara Hidayat
Program Studi Ilmu Komunikasi, Fakultas Ilmu Komunikasi dan Bisnis Media, Universitas Ciputra, Kota Surabaya, Jawa Timur, Indonesia.
-
Barton, G., Lowien, N., & Hu, Y. (2021). A critical semiotic investigation of Asian stereotypes in the short film Bao: Implications for classroom practice.
-
Bencherki, N. (2016). Action and agency. In The International Encyclopedia of Communication Theory and Philosophy (pp. 1–13). Wiley. https://doi.org/10.1002/9781118766804.wbiect030.
-
Bordwell, D., Thompson, K., & Smith, J. (2020). Film art (12th ed.). McGraw-Hill.
-
Chandler, D. (2017). Semiotics: The basics (3rd ed.). Routledge.
-
Chen, G.-M., & Starosta, W. J. (2005). Foundations of intercultural communication. University Press of America.
-
Chen, Y. (2022). The changes of Chinese figures in Hollywood movies.
-
Creswell, J. W., & Creswell, J. D. (2018). Research design: Qualitative, quantitative, and mixed methods approaches (5th ed.). Sage Publications.
-
Dai, X., & Chen, G.-M. (2023). Conflict management and intercultural communication: The art of intercultural harmony (2nd ed.).
-
Denzin, N. K., Lincoln, Y. S., Giardina, M. D., & Cannella, G. S. (2024). The SAGE handbook of qualitative research (6th ed.). Sage Publications.
-
Feng, Y. (2025). A Confucian approach to media ethics.
-
Hall, S. (1997). Representation: Cultural representations and signifying practices. Sage Publications.
-
McDonald, K. Film theory: The basics (2nd ed.). Routledge.
-
Miike, Y., & Yin, J. (2022). The handbook of global interventions in communication theory.
-
Monkhouse, L. L., Barnes, B. R., & Pham, T. S. H. (2013). Measuring Confucian values among East Asian consumers: A four country study. Asia Pacific Business Review, 19(3), 320–336. https://doi.org/10.1080/13602381.2012.732388.
-
Nadia Al, R., & Hermanto Sihombing, L. (2023). Symbolism in film Turning Red: Representation of Chinese culture through animated movies. Jurnal Pendidikan Bahasa, 10(1).
-
Oetzel, J. G., Ting-Toomey, S., Masumoto, T., Yokochi, Y., Pan, X., Takai, J., & Wilcox, R. (2001). Face and facework in conflict: A cross-cultural comparison of China, Germany, Japan, and the United States. Communication Monographs, 68(3), 235–258.
-
Padmavathy, R. D., Anand, K., Kekare, S., & Cheepi, P. (2023). Research methodology: Methods, tools & techniques.
-
Shafira, V., & Rui, C. (2023). Semiotics analysis of representation Chinese culture in Sony Pictures Animation film Wish Dragon movie. 2(2), 86–103.
-
Surahman, dkk. (2018). Konstruksi peran perempuan pada iklan cetak Mandiri Prioritas di Majalah Teras (Studi analisis semiotika Charles S. Peirce).
-
Tong, Y. (2024). 5 facts about Confucianism.
-
Wahyono, M. D. M., Valiantien, N. M., & Utomo, A. (2022). The representation of Chinese society as portrayed in Ip Man 4: The Finale movie. 6.
-
Wang Yuen, N., et al. (2021). The prevalence and portrayal of Asian American and Pacific Islanders across 1,300 popular films.
-
Wildfeuer, J., & Bateman, J. A. (2017). Film text analysis: New perspectives on the analysis. Routledge.
-
Yin, R. K. (2018). Case study research and applications (6th ed.). Sage Publications.
This work is licensed under a Creative Commons Attribution 4.0 International License.
Authors who publish with this journal agree to the following terms:
1. Copyright Retention and Open Access License
Authors retain copyright of their work and grant the journal non-exclusive right of first publication under the Creative Commons Attribution 4.0 International License (CC BY 4.0).
This license allows unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
2. Rights Granted Under CC BY 4.0
Under this license, readers are free to:
- Share — copy and redistribute the material in any medium or format
- Adapt — remix, transform, and build upon the material for any purpose, including commercial use
- No additional restrictions — the licensor cannot revoke these freedoms as long as license terms are followed
3. Attribution Requirements
All uses must include:
- Proper citation of the original work
- Link to the Creative Commons license
- Indication if changes were made to the original work
- No suggestion that the licensor endorses the user or their use
4. Additional Distribution Rights
Authors may:
- Deposit the published version in institutional repositories
- Share through academic social networks
- Include in books, monographs, or other publications
- Post on personal or institutional websites
Requirement: All additional distributions must maintain the CC BY 4.0 license and proper attribution.
5. Self-Archiving and Pre-Print Sharing
Authors are encouraged to:
- Share pre-prints and post-prints online
- Deposit in subject-specific repositories (e.g., arXiv, bioRxiv)
- Engage in scholarly communication throughout the publication process
6. Open Access Commitment
This journal provides immediate open access to all content, supporting the global exchange of knowledge without financial, legal, or technical barriers.