Cross Media dan Remediasi Soundwork Suara Surabaya FM 100 dan PRFM
DOI:
https://doi.org/10.24002/jik.v20i2.5760Keywords:
cross media, radio siaran, remediasi, soundworkAbstract
Broadcast radio faces challenges in maintaining its existence, particularly in the internet era. Audiences now have more media access choices, leading to decreased loyalty to a single medium. This research explores the strategy of expanding the reach of broadcast radio through cross-media initiatives in the new internet-based medium. It also examines the process of soundwork remediation within the internet medium, focusing on Suara Surabaya FM 100 and PRFM radio. The new context of remediation enables the establishment of social connections between the audience and radio, as well as connectivity among the audience mediated by radio across different outlets.
References
Alcorn, S. & Digg. (2014, January 16). Is this thing on? <https://longform.org/posts/is-this-thing-on>
Asosiasi Penyelenggara Jasa Internet Indonesia. (2020). Buletin APJII (eds. 74). <https://apjii.or.id/content/read/104/503/BULETIN-APJII-EDISI-74---November-2020>
Balea, J. (2016, January 28). The latest stats in web and mobile in Indonesia (INFOGRAPHIC). TECHINASIA. <https://www.techinasia.com/indonesia-web-mobile-statistics-we-are-social>
Bolter, J. D., & Grusin, R. (1999). Remediation: Understanding new media. Cambridge, MA: MIT Press
Bowman, S., & Willis, C. (2003). We media: How audience are shaping the future of news and information. <http://sodacity.net/system/files/Willis-and-Bowman_We-Media-Ch1.pdf>
Crisell, A. (1994). Understanding radio. New York, NY: Routledge.
Cwynar, C. (2017). NPR music: Remediation, curation, and National Public Radio in the digital convergence era. Media, Culture and Society, 39(5), 680–696.
Dobson, S. (2009). Remediation. Understanding new media - revisiting a classic. Seminar.net: International Journal of Media, Technology & Lifelong Learning, 5(2), 1–9.
Dubber, A. (2013). Radio in the digital age (1st ed.). Oxford, UK: Polity Press.
Edmond, M. (2015). All platforms considered: Contemporary radio and transmedia engagement. New Media & Society, 17(9), 1566–1582.
Erdal, I. J. (2009). Cross-media (re)production cultures. Convergence, 15(2), 215–231.
Gazi, A., & Bonini, T. (2018). "Haptically mediated ” radio listening and its commodification : The remediation of radio through digital mobile devices. Journal of Radio & Audio Media, 25(1), 109–125.
Gazi, A., Starkey, G., & Jedrzejewski, S. (Eds.). (2011). Radio content in the digital age: The evolution of a sound medium. Chicago, IL: Intellect Ltd.
Harliantara. (2019). Website pada industri penyiaran radio di Indonesia: Live streaming dan podcasting. Jurnal Studi Komunikasi, 3(1), 82-100.
Hartoyo, N. M., Fadilah, E., & Yudhapramesti, P. (2017). On mediating the public: PRFM and citizen journalism in Indonesia. Asian Politics & Policy, 9(2), 336–340.
Hilmes, M. (2020). Soundwork: Something to work with. Resonance: The Journal of Sound and Culture, 1(4), 340–343.
Infotendencias Group. (2012). Media convergence. Dalam Eugenia Siapera & Andreas Veglis (ed.), The handbook of global online journalism (h. 21–36). New York, NY: John Wiley and Sons, Inc.
Jenkins, H. (2006). Convergence culture: Where old and new media collide. New York, NY: New York University Press.
Kemp, S. (2021). Digital 2021: Indonesia. <https://datareportal.com/reports/digital-2021-indonesia>
Kominfo. (2016, Januari 20). Praktisi radio siaran perlu sikapi era digital dan MEA.< https://www.kominfo.go.id/content/detail/6619/praktisi-radio-siaran-perlu-sikapi-era-digital-dan-mea/0/berita_satker>
Laor, T. (2022). Radio on demand: New habits of consuming radio content. Global Media and Communication, 18(1), 25–48.
Mccrindle. (2012). Generations defined sociologically. <https://mccrindle.com.au/wp-content/uploads/2018/03/ Generations-Defined-Sociologically.pdf>
Nielsen. (2023). Belanja iklan digital di Asia melonjak 64% pada tahun 2022, karena investasi iklan secara keseluruhan meningkat sebesar 12%*. <https://www.nielsen.com/id/news-center/2023/digital-ad-spend-in-asia-jumped-64-in-2022-as-overall-ad-investment-increased-by-12/>
Ong, W. J., & Hartley, J. (2012). Orality and literacy: The technologizing of the word. London, UK: Routledge
Pluskota, J. P. (2015). The perfect technology: Radio and mobility. Journal of Radio and Audio Media, 22(2), 325–336.
Ryu, S., Dutta, S., & Chen, B. (2022). Cross-media usage and explorative digital music consumption : An optimum stimulation-level perspective and evidence from China. New Media & Society, 00(0), 1–25.
Sen, K., & Hill, D. T. (2000). Media, budaya dan politik di Indonesia. Jakarta, Indonesia: Institut Studi Arus Informasi.
Stachyra, G. (2015). Radio in the workplace: A liminal medium between work and leisure. Media, Culture and Society, 37(2), 270–287.
Supratman, L. P. (2018). Penggunaan media sosial oleh digital native. Jurnal ILMU KOMUNIKASI, 15(1), 47–60.
Toivanen, P., Nelimarkka, M., & Valaskivi, K. (2021). Remediation in the hybrid media environment: Understanding countermedia in context. New Media & Society, 24(9), 2127-2152.
Downloads
Published
How to Cite
Issue
Section
License
![Creative Commons License](http://i.creativecommons.org/l/by/4.0/88x31.png)
This work is licensed under a Creative Commons Attribution 4.0 International License.
Jurnal ILMU KOMUNIKASI is an academic journal. As such, it is dedicated to the open exchange of information. For this reason, JIK is freely available to individuals and institutions. Authors who publish in Jurnal ILMU KOMUNIKASI will release their articles under the Creative Commons Attribution (BY) License. This license allows anyone to copy and redistribute the article in any medium or format as well as remix, transform, and build upon the material for any purpose, even commercially as long as they credit the authors for the original creation. For details of the rights authors grants users of their work, see the "human-readable summary" of the license, with a link to the full license. (Note that "you" refers to a user, not an author, in the summary)
This work is licensed under a Creative Commons Attribution 4.0 International License.