of Cumulonimbus Clouds as Background Art in the Animated Film The Girl Who Leapt Through
Time by Mamoru Hosoda”, it is known that the background has an important role and it contains
a representation of culture (Munggaran 2019).
This paper stated that natural objects, namely clouds in Japanese animation, contain certain
meanings in Japanese culture. There it can be seen that the background has a role that is no less
important than the presence of characters. However, there has been no further research that discusses
the representation of Indonesian culture on an animated background, therefore this study intends
to study how Indonesian culture is represented in the animated background of the Pocari Sweat
advertisement “Bintang SMA”. So that the results of this study can be used as input for parties
involved in the world of advertising, especially in compiling an animated media advertisement by
raising cultural elements as an advertising solution amid the COVID-19 pandemic.
2 RESEARCH METHOD
This research is included in the qualitative paradigm. Research was conducted by looking at specific patterns is then developed into more general patterns and aims to generate hypotheses from
field research. This is supported by Judistira K. Garna’s statement which states that a qualitative
approach is characterized by the aim of the researcher who seeks to understand symptoms in such
a way that does not require quantification, or because these symptoms are not possible to measure
quickly (Afdjani 2010). The method used is a case study on advertisements that are in accordance
with the research objectives, namely the animated ad Pocari Sweat “Bintang SMA”. This is because
the ad has succeeded in attracting the attention of the audience. On YouTube, the advertisement has
been watched more than 14,714,720 times. Besides that, the Japanese anime-style illustration style
wrapped with the diversity of Indonesian culture makes the advertisement have its own charm.
Data collection techniques used are field studies to obtain primary data obtained through documentation and collecting animated media advertisements in image format derived from recorded
advertisements on YouTube media. As well as distributing questionnaires online, to obtain data on
audience perceptions of the animated Pocari Sweat “Bintang SMA” ad. From the distribution of
the questionnaire obtained data of 303 respondents, with a dominant age between 15–20 years,
who are in junior high and high school. In addition, a literature study was also carried out to obtain
secondary data through books, journals, articles, and some literature on internet sites. The data
that has been obtained is analyzed using the visual discourse analysis method, a method that has
a function to find meaning and discourse in a work based on capital such as visual, verbal, and
sound (Kress & Leeuwen 2006). In addition, it is supported by cultural movement theory, which
is a theory that explains that a brand is not just designing a logo and developing a narrative but is
much more fundamental, namely re-coding it culturally or culturally (Hendroyono 2019).
3 RESULT AND DISCUSSION
The 60-second Pocari Sweat animation ad “Bintang SMA” tells the story of two students: Ayu
slive in Bali and Reza lives in Jakarta. Both want to achieve their goals by participating in Bintang
SMA. This ad is directed by Shinomiya Yoshitoshi, a Japanese animator who is heavily involved
in animation production, especially in the case of illustration and background design. Some of
the anime that he has worked on are anime by director Makoto Shinkai, such as “Children Who
Chase Lost Voices”, “The Garden of Words”, and “Your Name” (Kusumanto 2019). Therefore,
this ad also utilizes the right momentum by carrying the nuances of the Japanese anime style to
represent the origin of the Pocari Sweat drink, but still wrapped in the diversity of Indonesian
culture as local wisdom where the ad is located. Based on the results of the questionnaire, obtained
data showed that the background scenes that stand out in representing Indonesian culture are the
statue scene at 74.4%, the Bundaran HI scene at 66.8%, the offering scene at 60.5%, the school
gate scene at 58.8%, class atmosphere scenes at 48.8%, kite festival scenes at 33.9%, bus stop
337
Time by Mamoru Hosoda”, it is known that the background has an important role and it contains
a representation of culture (Munggaran 2019).
This paper stated that natural objects, namely clouds in Japanese animation, contain certain
meanings in Japanese culture. There it can be seen that the background has a role that is no less
important than the presence of characters. However, there has been no further research that discusses
the representation of Indonesian culture on an animated background, therefore this study intends
to study how Indonesian culture is represented in the animated background of the Pocari Sweat
advertisement “Bintang SMA”. So that the results of this study can be used as input for parties
involved in the world of advertising, especially in compiling an animated media advertisement by
raising cultural elements as an advertising solution amid the COVID-19 pandemic.
2 RESEARCH METHOD
This research is included in the qualitative paradigm. Research was conducted by looking at specific patterns is then developed into more general patterns and aims to generate hypotheses from
field research. This is supported by Judistira K. Garna’s statement which states that a qualitative
approach is characterized by the aim of the researcher who seeks to understand symptoms in such
a way that does not require quantification, or because these symptoms are not possible to measure
quickly (Afdjani 2010). The method used is a case study on advertisements that are in accordance
with the research objectives, namely the animated ad Pocari Sweat “Bintang SMA”. This is because
the ad has succeeded in attracting the attention of the audience. On YouTube, the advertisement has
been watched more than 14,714,720 times. Besides that, the Japanese anime-style illustration style
wrapped with the diversity of Indonesian culture makes the advertisement have its own charm.
Data collection techniques used are field studies to obtain primary data obtained through documentation and collecting animated media advertisements in image format derived from recorded
advertisements on YouTube media. As well as distributing questionnaires online, to obtain data on
audience perceptions of the animated Pocari Sweat “Bintang SMA” ad. From the distribution of
the questionnaire obtained data of 303 respondents, with a dominant age between 15–20 years,
who are in junior high and high school. In addition, a literature study was also carried out to obtain
secondary data through books, journals, articles, and some literature on internet sites. The data
that has been obtained is analyzed using the visual discourse analysis method, a method that has
a function to find meaning and discourse in a work based on capital such as visual, verbal, and
sound (Kress & Leeuwen 2006). In addition, it is supported by cultural movement theory, which
is a theory that explains that a brand is not just designing a logo and developing a narrative but is
much more fundamental, namely re-coding it culturally or culturally (Hendroyono 2019).
3 RESULT AND DISCUSSION
The 60-second Pocari Sweat animation ad “Bintang SMA” tells the story of two students: Ayu
slive in Bali and Reza lives in Jakarta. Both want to achieve their goals by participating in Bintang
SMA. This ad is directed by Shinomiya Yoshitoshi, a Japanese animator who is heavily involved
in animation production, especially in the case of illustration and background design. Some of
the anime that he has worked on are anime by director Makoto Shinkai, such as “Children Who
Chase Lost Voices”, “The Garden of Words”, and “Your Name” (Kusumanto 2019). Therefore,
this ad also utilizes the right momentum by carrying the nuances of the Japanese anime style to
represent the origin of the Pocari Sweat drink, but still wrapped in the diversity of Indonesian
culture as local wisdom where the ad is located. Based on the results of the questionnaire, obtained
data showed that the background scenes that stand out in representing Indonesian culture are the
statue scene at 74.4%, the Bundaran HI scene at 66.8%, the offering scene at 60.5%, the school
gate scene at 58.8%, class atmosphere scenes at 48.8%, kite festival scenes at 33.9%, bus stop
337