Fariddin Zakky Atthoriq

1809010044

Aesthetic In Media

A. Introduction

The change of a literary work into a film according to Eneste is called

ecranization (1991: 11). Ecranization is the whitening or transfer / removal into the
film. Ecranization also a form of interpretation or “reader reception” (in this case the
screenwriter). Therefore, it is not impossible in the film there are additions to the
original work. In addition, the director can also give his own interpretation of the
scenario so that there is a reception for the reception.

Ecranization is a form of intertextual and reception of a work. An active reader

will give birth to a new work as a form of appreciation for a work. The changes that
appear are a manifestation of what Jauss calls the horizon of readers' expectations.
Kolker (2002: 128) states that intertextuality (in films) is a perception of several texts
taking into account the culture that developed at that time. So, it is natural that a
work of the past reappears with the face of the present. As stated by Ratna (2003:
176), as a manifestation of social structure, literary works are always associated with
social phenomena that occur in their time. That is, the function of a literary work is
most appropriate when it is associated with the time of its birth. However, as a
manifestation of imaginative structures, with the medium capacity of metaphorical
language, literary works not only function to understand a particular universe, but
also refer to the past and the future. The process of ecranization is also referred to
as the process of adaptation from literary works to films.

This adaptation process is called ecranization, namely sailing or

transferring/appointing a novel (literary work) into a film. A novel or short story that is
transformed into a film will indeed experience changes. This is a natural thing
because of the difference between the literary system and the film system. However,
analyzing the differences that exist is not only caused by differences in the literary
system and the film system, but furthermore finding meaning as a result of these
changes is an important action to take.

B. Background

Koala Kumal is a novel by Raditya Dika published in January 2015 by Gagas

Media. The film "Koala Kumal" is a series of broken-hearted comedy films released
on July 5, 2016 directed by Raditya Dika. Koala Kumal which was appointed to the
big screen received great enthusiasm for the audience who watched, Koala Kumal
took the top position out of 5 films that aired simultaneously on July 5 2016, which
had 1,472,975 tickets bought up by the audience. , as well as making the film Koala
Kumal the best-selling of the previous films entitled "Single" which only penetrated
1.3 million. In addition, the award also went to the film player "Koala Kumal" who
received an award as the best newcomer.

The reason for choosing the novel Koala Kumal with its film adaptation as the
subject of research in the study of transformation is because Koala Kumal is a
comedy story that has received a big public response. Second, there is a change in
function as a result of adding, subtracting, and appearing various variations from the
novel to the film "Koala Kumal". Based on the problems described above, this study
aims to describe how the ecranization process is in the form of plot reduction, plot
additions, and changes in variations from the novel to the film "Koala Kumal".

C. Discussion

1. Plot Reduction

The opening in the film is about a guy who is being dumped by the girl and
the boy cries, so far, the boy hasn't actually felt his greatest heartbreak. At the
beginning of the story in the film, there is a backward plot, that is Andrea's
wedding plan with Dika. The event that was about to take place was suddenly
canceled because Andrea, who loved James, caused Andrea to break his
relationship with Dika. It was also told that Dika met Trisna outside the
restaurant. Until he meets Dika again with Andrea after a year of breaking up.
From this point the beginning of the conflict in the film is different from the novel
which has many conflicts because the story in the novel consists of many parts
so that changing from novel to film is a natural thing. The conflict in the film
shows Trisna's various ways to heal Dika's broken heart from Andrea. In novels
and films, there is the same conflict when Trisna was left by her boyfriend.

While in the film, the story begins with a backward and forward plot, which
shows the story of the resolution of the conflict that is bound between Dika and
Trisna who both have the greatest heartbreak for their partner. At the end of the
story they realize that heartbreak makes them different and not what they used to
be. The conclusion is that in general the story moves through a series of events
towards the end of the story/completion. Although in general the plot in the novel
uses a forward plot and only a few have a mixed plot, while in the film, the plot
used is backward and forward, but basically the transformation of the novel into a
film form will inevitably cause various changes.

2. Plot Additions

The addition of the plot starts from the beginning of the film's opening, when
Dika and Roni look at a couple who are fighting and ask for a breakup,
highlighting the boy who was dumped by his girlfriend and crying. There was also
an addition when Dika and Andrea made a wedding invitation video. Dika met
Andrea at a cafe to talk about their relationship, James came to interrupt Dika
and Andrea's conversation, Andrea stated that he was no longer in love and had
met someone else he loved.

The next addition when Dika who entered Maxx Coffee in this scene met
Trisna. Dika waited for his mother, in the cafe, looking at the laptop that had no
writing on it. Her mother tries to introduce Dika to a girl, but Dika doesn't like it
and runs away. Trisna, who helped Dika escape from her mother, then asked
Dika to give her her phone number.

And an last example of plot addition to the story occurred at the meeting of
Trisna and Wira at the Cafe. Wira explained about her hobbies and daily life, but
Trisna was daydreaming and went to the toilet and left the cafe. It continued
when Trisna came to Dika's house by suggesting that Dika should repay the
person who had broken her heart, but Dika was surprised and refused what
Trisna wanted to do.

It is natural to add stories when making a film, including the film "Koala
Kumal". The addition of the story is almost entirely, very different from that in the
original novel. The additions made are also not far from the values contained in
the novel. Additions are also made so that the audience does not feel bored
when watching the film.

3. Variation Change

The first change occurred when Dika, who was busy being chased by the
producer to write the script for the film "Cinta Brontosaurus". The part contained
in this novel underwent a change in the visualization in the film when Dika was
called by the publisher to collect the script for Dika's new book, but it was not
finished. Because the script deadline was far too late, the producers called back
and forth. He said, “Gimana? Naskah udah beres?" to which I usually answer,
"Sebentar, Pak, ini masih nyari adegan yang lebih lucu". Because the producer
calls me too often, I've learned to avoid it. Starting from the silence of the
cellphone, until the son pretended to forget the date. I also practice imitating the
sound "nomor yang anda hubungi sedang tidak aktif" (Dika, 2015:27). From the
quote above, it tells that Dika has to finish the film script because the deadline
has passed. Changes in variations that appear in the picture are a film which
Dika being called by the publisher. From these data, it can be seen that there are
various changes in the storyline. In the novel, it is told that Dika is being chased
 by the producer about writing the script for the film "Cinta Brontosaurus", while
the visualization in the film is described as being chased by the publisher for Dika
to write the script for his new book.

D. Conclusion

The process of ecranization of the shrinking aspect of the novel into the form
of the film Koala Kumal as a whole is still reasonable to do. That is, the story has
many storylines so that if it is filmed it will experience changes and only use one
story in it.

The process of ecranization in the aspect of adding in the novel to the form of
the film "Koala Kumal" as a whole is still relevant because the storyline in the
novel contains many different parts of the story and conflicts. The making of the
story in the film does not allow to include the storyline in the whole of the novel.
Therefore, the addition is done using one storyline.
The process of ecranization on the aspect of changing variations in the novel to
the form of the film "Koala Kumal" is carried out in order to include parts in the
novel with a different appearance, but with a similar storyline.

E. References

Dika, R. (2015). Koala kumal. GagasMedia.

Reftu,H. Resensi Novel “Koala Kumal” Karya Raditya Dika.

https://reftuhandini12.wordpress.com/2016/11/21/resensi-novel-koala-kumal-
karya-radityadika/#:~:text=Koala%20kumal%20ini%20sebuah%20novel%20yang
%20menjelaskan%20tentang%20patah%20hati.&text=Koala%20kumal
%20menceritakan%20seorang%20cowo,menulis%20bab%20terakhir%20dari
%20bukunya. Accessed on June 27, 2021.
Istighfaroh, M. FILM - Koala Kumal (2016).
https://www.tribunnewswiki.com/2020/01/27/film-koala-kumal-2016. Accessed on
June 27, 2021.

Ningsih, T. Ekranisasi Karya Sastra Indonesia.

https://surabaya.tribunnews.com/2017/10/18/ekranisasi-karya-sastra-indonesia.
Accessed on June 27, 2021.