REPRESENTASI PELANGGARAN SOSIAL DALAM FILM KKN DI DESA PENARI DAN PABRIK GULA: PERSPEKTIF SASTRA BANDINGAN

Abstract

This study aims to analyze and compare the narrative structure, premise, and representation of social norm violations in two Indonesian horror films directed by Awi Suryadi, namely KKN di Desa Penari (2022) and Pabrik Gula (2025). Employing a qualitative descriptive approach grounded in a comparative literature theoretical framework, this research examines how both films construct terror and the local spiritual order. Data were collected through cinematic observation alongside note-taking techniques, and subsequently analyzed comparatively through stages of reduction, categorization, and narrative interpretation. The findings indicate that both films exhibit a consistent narrative pattern, beginning with the introduction of outsiders, progressing through the escalation of supernatural disturbances, and culminating in retribution for the desecration of sacred spaces. Their thematic similarity relies on the clash between foreign subjects (university students and seasonal workers) and supernatural rulers within traditional realms. A significant difference lies in their spatial settings: KKN di Desa Penari utilizes a traditional village infused with local folklore, whereas Pabrik Gula explores a colonial-era industrial complex. The primary catalyst of terror in both films stems from an act that seems trivial yet deeply human, namely adultery committed in a sacred place, which in Pabrik Gula is further compounded by the theft of mystical treasures. These infractions fall into four typologies of social norms: religious, moral, etiquette, and legal norms. The supernatural antagonists, Badarawuhi and Maharatu, act as figures of authority who judge and punish human disobedience. Overall, both films reflect the tension between modernity and tradition, while reinforcing the role of horror cinema as a balancing medium for Indonesia's moral and cultural order.