Tipologi gaya penyutradaraan konten otomotif digital di YouTube Indonesia: Studi kasus Denkus, Motomobi, Fuse Box, Garasi Drift
DOI:
https://doi.org/10.30998/jd.v13i2.1134Keywords:
Konten Otomotif, Penyutradaraan Digital, Self-Directed Production, Tipologi, YouTubeAbstract
YouTube merupakan ruang ekosistem budaya partisipatif yang berkembang dan digemari di Indonesia. Salah satu konten yang populer sebagai tontonan di YouTube adalah konten otomotif. Pola produksi mandiri yang diusung YouTube menjadi penting untuk dianalisis untuk memahami bagaimana penyutradaraan dan estetika visual konten otomotif berkembang dalam ekosistem budaya partisipatif. Penelitian ini mengkaji gaya penyutradaraan dan strategi naratif yang dikembangkan kreator konten otomotif di YouTube Indonesia melalui studi kasus komparatif empat kanal: Denkus, Motomobi, Fuse Box, dan Garasi Drift. Penelitian ini menggunakan pendekatan kualitatif eksploratif dengan analisis naratif dan estetika visual terhadap 12 video, mengidentifikasi pola struktur naratif, keputusan visual, dan performativitas kreator dalam praktik self-directed production. Temuan menunjukkan persona kreator menjadi faktor penentu gaya penyutradaraan, sementara estetika visual beradaptasi dengan orientasi konten. Penelitian menghasilkan empat tipologi: (1) Conversational-Reflective Style yang menekankan intimasi dialog dengan visual minimalis; (2) Performative-Authoritative Style menggabungkan hiburan teatrikal dengan review teknis; (3) Informational-Reportage Style berbasis voice-over anonim dengan struktur listicle; dan (4) Cinematic-Experiential Style mengembangkan documentary filmmaking berbasis aksi. Penelitian ini berkontribusi pada pemahaman self-directed production sebagai bentuk baru penyutradaraan digital di luar industri film konvensional.
Downloads
References
Aidarbekov, A., Ibraiymov, A., Murzabekova, G., Grif, M., Petrov, B., & Saulebayeva, K. (2024). ‘Filmmaking Business Processes For Video Content Production In Modern Social Media.’ Herald of Journalism, 74(4), 46–57.
Arthurs, J., Drakopoulou, S., & Gandini, A. (2018). ‘Researching YouTube.’ In P. Snickars & P. Vonderau (Eds.), The YouTube reader (pp. 9–25). National Library of Sweden.
Bordwell, D., Thompson, K., & Smith, J. (2024). Film art: An introduction (13th ed.). McGraw-Hill Education.
Bruns, A. (2008). Blogs, Wikipedia, Second Life, and Beyond: From Production to Produsage. Peter Lang.
Burgess, J., & Green, J. (2009). YouTube: Online Video and Participatory Culture. Polity Press.
Creswell, J. W., & Creswell, J. D. (2018). Research Design: Qualitative, Quantitative, and Mixed Methods Approaches (5th ed.). SAGE Publications.
Faisal, D. S., & Abidin, Z., & Oxcygentri, O. (2025). ‘Pengaruh Konten Review pada Channel Youtube Fitra Eri Terhadap Minat Beli Mobil di Kalangan Subscriber.’ Edu Society: Jurnal Pendidikan, Ilmu Sosial, dan Pengabdian Kepada Masyarakat, 5(2), 1020-1029.
Landry, B. M., & Guzdial, M. (2008). ‘Art or Circus? Characterizing User-Created Video On YouTube.’ In Proceedings of the 2008 ACM Conference on Human Factors in Computing Systems (CHI ’08). ACM Press.
Marwick, A. (2015). ‘Instafame: Luxury Selfies In The Attention Economy.’ Public Culture, 27(1), 137–160.
Müller, E. (2010). ‘Where Quality Matters: Discourses On The Art Of Making A Youtube Video.’ In P. Snickars & P. Vonderau (Eds.), The YouTube Reader (pp. 126–141). National Library of Sweden.
Ortells-Badenes, S. (2015). ‘Self-Produced Video Contents In The Digital Press: Finding The Balance Between Quality And Immediacy.’ Revista Latina de Comunicación Social, 71, 1-14.
Patton, M. Q. (2015). Qualitative Research & Evaluation Methods: Integrating Theory and Practice (4th ed.). SAGE Publications.
Phasukdee, P. (2021). Content Strategy for YouTube Channel: The Case Study Of Khotkool Channel. (Undergraduate thesis). Thammasat University, Faculty of Journalism and Mass Communication.
Rabiger, M., & Hurbis-Cherrier, M. (2020). Directing: Film Techniques and Aesthetics (6th ed.). Routledge.
Rachman, Y. (2020, Oktober 6). Otomotif, konten YouTube paling ditonton selama pandemi. Antara Otomotif. https://otomotif.antaranews.com/berita/1767577/otomotif-konten-youtube-paling-ditonton-selama-pandemi.
Riandy, O. (2024). Persepsi Mahasiswa Universitas Buddhi Dharma Program Studi Ilmu Komunikasi Mengenai Konten Youtube Fitra Eri dalam Meningkatkan Pengetahuan Otomotif. Universitas Buddhi Dharma, Tangerang.
Santoso, R. F. (2024). ‘Analisis Isi John Fiske pada Isi Pesan Moral Akun Youtube Om Mobi dalam Episode “Mobil-Mobil Paling Tidak Suka di IIMS 2024”.’ Jurnal Somasi (Sosial Humaniora dan Komunikasi), 8(1), 22–37.
Saputra, A. B., Atmaja, S. & Nihayati, L. (2025). ‘Pengaruh Konten Video Otomotif di YouTube Ridwan Hanif Terhadap Pemenuhan Kebutuhan Informasi Subscriber.’ Jurnal CommLine, 10(2), pp.123-137.
Senft, T. (2013). ‘Microcelebrity and The Branded Self. In J. Hartley, J. Burgess, & A. Bruns (Eds.), A Companion To New Media Dynamics. Wiley-Blackwell.
Svanidze, N., & Verchenko, N. (2024). ‘Director In Modern Content: From Idea to Implementation.’ International Journal of Media and Communication Studies, 6(2), 77–86.
Downloads
Published
Issue
Section
License
Copyright (c) 2026 Ari Dina Krestiawan, Rista Ihwanny (Author)
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
This license allows users to:
- Share: Copy and redistribute the material in any medium or format.
- Adapt: Remix, transform, and build upon the material to create derivative works.
These freedoms are granted under the following mandatory conditions:
- Attribution (BY)
You must give appropriate credit to the original author(s) and Jurnal Desain, provide a link to the license, and indicate if any changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor (the author or the journal) endorses you or your use. When citing the work, reusers must include the article’s Digital Object Identifier (DOI) for permanent citation. - NonCommercial (NC)
You may not use the material for commercial purposes. Commercial purposes are defined as uses primarily intended for or directed towards commercial advantage or monetary compensation. For any commercial use, republication, or incorporation into commercial products, you must seek and obtain specific permission from the copyright holder(s). - No Additional Restrictions
You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
Official Legal Code: For the complete and legally binding terms of this license, please refer to the official legal code: Creative Commons Attribution-NonCommercial 4.0 International Public License: http://creativecommons.org/licenses/by-nc/4.0/.
