2016). With its unique shape, Wisma 46 is one of Jakarta’s most notable icons, besides the
National Monument.
4 CONCLUSION
From the analysis provided here, it can be concluded that Indonesian culture is represented in the
background of the Pocari Sweat advertisement “Bintang SMA” through the location, architecture,
and property settings. The Indonesian culture presented in this animated advertisement is Balinese
culture, which is thick with various decorations in the form of carvings both in architecture and
property, such as the Dvarapala statue and events such as the kite festival and offerings. Meanwhile,
the culture or lifestyle of Jakarta is conveyed through architecture such as skyscrapers like Wisma 46
and the Welcome Monument, as well as the congested traffic conditions at the HI Roundabout or the
Hotel Indonesia Roundabout. The animated Pocari Sweat ad “High School Star” shows that cultural
values are the main concept in their advertisements. In recent times, a brand will increasingly exist
if it has strong ties to certain cultural values (Hendroyono 2019). Makoto Shinkai’s beautiful
visual style and detail are at the peak of his fame and are utilized in this animated advertisement
which can attract buying interest from certain groups. This is also being developed in the world
of advertising in this pandemic era, which is called “goodvertising”. Besides, when viewed from
the media selection in the form of animation, based on the results of the questionnaire, it can
be concluded that animated advertisements are effective in promoting products and can be used
as alternative advertising choices during the pandemic. Thus, it can be understood that making
an advertisement is not only about persuasion and selling products or services, but also must pay
attention to the situation and take advantage of opportunities, enabling the brand to survive through
various situations.
REFERENCES
Afdjani, H. 2010. Makna Iklan Televisi (Studi Fenomenologi Pemirsa di Jakarta terhadap Iklan Televisi
Minuman “ Kuku Bima Energi” Versi Kolam Susu. Jurnal Ilmu Komunikasi, (8)1:96.
Arina, M. 2019. Mengenal Dwarapala, Patung Penjaga Tempat Suci di Bali, Etnis, accessed July 10, 2020, <
https://etnis.id/mengenal-dwarapala-patung-penjaga-tempat-suci-di-bali/>
Freidin, S. 1989. Return to Bali. Kite Lines, 7(3)31–35.
Hendroyono, H. 2019. Artisan Brand, kenapa Begitu Penting? Jakarta: PT Gramedia.
Kress, G. and Leeuwen T. V. 2006. Reading Images: The Grammar of Visual Design, Taylor and Francis Group,
pp. 46–214, New York.
Kusumanto, D. 2019. Yoshitoshi Shinomiya Berbagi Cerita tentang Pembuatan TVC Pocari Sweat - Bintang
SMA, Kaori Nusantara, October 25, 2019, https://www.kaorinusantara.or.id/newsline/138511/yoshitoshishinomiya-berbagi-cerita-tentang-pembuatan-tvc-pocari-sweat-bintang-sma.
Munggaran, G.A. 2019. Representasi Awan Cumulonimbus Pada Background Art Film Animasi Jepang.
Prosiding Seminar Animasi dan Visual Media Digital. Jakarta, September 19, 2020.
Pattymahu, D. R. 2016. Gerbang Sebagai Pembentuk Identitas Kota Studi Kasus Koridor Jalan Trans Sulawesi
Di Malalayang Manado, Daseng: Jurnal Arsitektur, 5(2,3): 68–82.
Pilihan Promosi yang Tepat dalam Masa Pandemi Covid-19, Jawa Pos, June 26, 2020, Accessed
pandemicovid-19/>.
Pocari Sweat Bintang SMA. 2020. online video, accessed July 1, 2020, < https://www.youtube.com/watch?v=
DCfk7tc_KqE>
Suryada, I.G.A.B. 2011. Varian-varian Ornament di Bagian Atas Lubang Pintu Masuk Bangunan Gerbang
Berlanggam. Jurnal Sulapa 3(1):17–28.
Tracy, M. 2016. Menginjak Sesajen di Bali Bisa Celaka?, Pegi Pegi, accessed 1 July 2020, <
https://www.pegipegi.com/travel/menginjak-sesajen-di-bali-bisa-celaka/>
Wahyudewi, P. 2016. Ini Dia 10 Gedung Pencakar Langit Tertinggi di Indonesia, IDN Times, accessed August
20, 2020, < https://www.idntimes.com/hype/fun-fact/putri-wahyudewi/ini-dia-10-gedung-pencakar-langittertinggi-di-indonesia/10>
340
National Monument.
4 CONCLUSION
From the analysis provided here, it can be concluded that Indonesian culture is represented in the
background of the Pocari Sweat advertisement “Bintang SMA” through the location, architecture,
and property settings. The Indonesian culture presented in this animated advertisement is Balinese
culture, which is thick with various decorations in the form of carvings both in architecture and
property, such as the Dvarapala statue and events such as the kite festival and offerings. Meanwhile,
the culture or lifestyle of Jakarta is conveyed through architecture such as skyscrapers like Wisma 46
and the Welcome Monument, as well as the congested traffic conditions at the HI Roundabout or the
Hotel Indonesia Roundabout. The animated Pocari Sweat ad “High School Star” shows that cultural
values are the main concept in their advertisements. In recent times, a brand will increasingly exist
if it has strong ties to certain cultural values (Hendroyono 2019). Makoto Shinkai’s beautiful
visual style and detail are at the peak of his fame and are utilized in this animated advertisement
which can attract buying interest from certain groups. This is also being developed in the world
of advertising in this pandemic era, which is called “goodvertising”. Besides, when viewed from
the media selection in the form of animation, based on the results of the questionnaire, it can
be concluded that animated advertisements are effective in promoting products and can be used
as alternative advertising choices during the pandemic. Thus, it can be understood that making
an advertisement is not only about persuasion and selling products or services, but also must pay
attention to the situation and take advantage of opportunities, enabling the brand to survive through
various situations.
REFERENCES
Afdjani, H. 2010. Makna Iklan Televisi (Studi Fenomenologi Pemirsa di Jakarta terhadap Iklan Televisi
Minuman “ Kuku Bima Energi” Versi Kolam Susu. Jurnal Ilmu Komunikasi, (8)1:96.
Arina, M. 2019. Mengenal Dwarapala, Patung Penjaga Tempat Suci di Bali, Etnis, accessed July 10, 2020, <
https://etnis.id/mengenal-dwarapala-patung-penjaga-tempat-suci-di-bali/>
Freidin, S. 1989. Return to Bali. Kite Lines, 7(3)31–35.
Hendroyono, H. 2019. Artisan Brand, kenapa Begitu Penting? Jakarta: PT Gramedia.
Kress, G. and Leeuwen T. V. 2006. Reading Images: The Grammar of Visual Design, Taylor and Francis Group,
pp. 46–214, New York.
Kusumanto, D. 2019. Yoshitoshi Shinomiya Berbagi Cerita tentang Pembuatan TVC Pocari Sweat - Bintang
SMA, Kaori Nusantara, October 25, 2019, https://www.kaorinusantara.or.id/newsline/138511/yoshitoshishinomiya-berbagi-cerita-tentang-pembuatan-tvc-pocari-sweat-bintang-sma.
Munggaran, G.A. 2019. Representasi Awan Cumulonimbus Pada Background Art Film Animasi Jepang.
Prosiding Seminar Animasi dan Visual Media Digital. Jakarta, September 19, 2020.
Pattymahu, D. R. 2016. Gerbang Sebagai Pembentuk Identitas Kota Studi Kasus Koridor Jalan Trans Sulawesi
Di Malalayang Manado, Daseng: Jurnal Arsitektur, 5(2,3): 68–82.
Pilihan Promosi yang Tepat dalam Masa Pandemi Covid-19, Jawa Pos, June 26, 2020, Accessed
pandemicovid-19/>.
Pocari Sweat Bintang SMA. 2020. online video, accessed July 1, 2020, < https://www.youtube.com/watch?v=
DCfk7tc_KqE>
Suryada, I.G.A.B. 2011. Varian-varian Ornament di Bagian Atas Lubang Pintu Masuk Bangunan Gerbang
Berlanggam. Jurnal Sulapa 3(1):17–28.
Tracy, M. 2016. Menginjak Sesajen di Bali Bisa Celaka?, Pegi Pegi, accessed 1 July 2020, <
https://www.pegipegi.com/travel/menginjak-sesajen-di-bali-bisa-celaka/>
Wahyudewi, P. 2016. Ini Dia 10 Gedung Pencakar Langit Tertinggi di Indonesia, IDN Times, accessed August
20, 2020, < https://www.idntimes.com/hype/fun-fact/putri-wahyudewi/ini-dia-10-gedung-pencakar-langittertinggi-di-indonesia/10>
340