KAJIAN MEDIUM ANIMASI PADA SERIAL SPIDER-MAN (1967), SPIDER-MAN: THE NEW ANIMATED SERIES (2003), DAN FILM SPIDER-MAN: ACROSS THE SPIDER-VERSE (2023)

Raditya Putra Efendi, - and Hery Supiarza, - (2025) KAJIAN MEDIUM ANIMASI PADA SERIAL SPIDER-MAN (1967), SPIDER-MAN: THE NEW ANIMATED SERIES (2003), DAN FILM SPIDER-MAN: ACROSS THE SPIDER-VERSE (2023). S1 thesis, Universitas Pendidikan Indonesia.

Abstract

Apabila berbicara soal animasi, bahasannya tidak akan luput dari kontroversi mengenai apakah animasi genre atau medium? Apakah animasi termasuk ke dalam konteks sinema? Kontroversi ini bukanlah suatu bahasan yang baru muncul tapi sudah menjadi perdebatan bahkan sejak animasi pertama kali diciptakan. Hingga saat ini, masih banyak sekali yang memandang animasi hanya sebagai produk untuk anak kecil, perspektif tersebut lah yang memotivasi didorongnya pergerakan “animasi adalah sinema”. Terdorong oleh pergerakan tersebut, penelitian ini berfokus pada evolusi artistik maupun teknologi pada animasi melalui tiga adaptasi Spider-Man, merepresentasikan tiga era yang berbeda. Spider-Man (1967), Spider-Man: The New Animated Series (2003), dan Spider-Man: Across the Spider-Verse (2023). Menggunakan metode kualitatif dengan pendekatan analisis konten, penelitian ini membedah ketiga karya tersebut menggunakan kerangka morfologi estetika animasi, klasifikasi gaya animasi Paul Wells, serta arkeologi media. Hasil penelitian menunjukkan perkembangan yang jelas dari satu karya ke karya lainnya, dimana karya memiliki ciri serta identitasnya masing-masing yang menjadi merepresentasikan era dari mereka dibuat. Spider-Man (1967) dengan keterbatasan estetikanya, Spider-Man: The New Animated Series (2003) dengan eksperimentasi awal terhadap teknologi 3D nya, serta Spider-Man: Across the Spider-Verse (2023) dengan tampilan hibridanya yang inovatif. Perkembangan pada animasi yang direpresentasikan oleh estetika dari ketiga objek tersebut menegaskan bahwa animasi merupakan medium ekspresi artistik tanpa batas. When discussing animation, the conversation inevitably touches on the controversy of whether animation is a genre or a medium. Does animation belong within the context of cinema? This controversy is not a newly emerging discussion, but rather one that has been debated ever since animation was first created. To this day, many still perceive animation merely as a product for children, a perspective that motivated the push for the movement of “animation is cinema.” Driven by this movement, this research focuses on the artistic and technological evolution of animation through three Spider-Man adaptations, each representing a different era: Spider-Man (1967), Spider-Man: The New Animated Series (2003), and Spider-Man: Across the Spider-Verse (2023). Using a qualitative method with a content analysis approach, this research examines the three works through the frameworks of animation aesthetic morphology, Paul Wells’ classification of animation styles, and media archaeology. The results of the study show a clear progression from one work to another, with each possessing its own characteristics and identity that represent the era in which they were made: Spider-Man (1967) with its aesthetic limitations, Spider-Man: The New Animated Series (2003) with its early experimentation in 3D technology, and Spider-Man: Across the Spider-Verse (2023) with its innovative hybrid visual style. The development of animation as represented by the aesthetics of these three objects affirms that animation is a medium of boundless artistic expression.

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Item Type:	Thesis (S1)
Additional Information:	https://scholar.google.com/citations?hl=en&user=weoNQCUAAAAJ ID Sinta Dosen Pembimbing: Hery Supiarza: 6664624
Uncontrolled Keywords:	Adaptasi, Animasi, Estetika, Pahlawan Super, Spider-Man Adaptation, Animation, Aesthetics, Superhero, Spider-Man
Subjects:	L Education > L Education (General)
Divisions:	Fakultas Pendidikan Seni dan Desain > Film dan Televisi - S1
Depositing User:	Raditya Putra Efendi
Date Deposited:	14 Oct 2025 08:09
Last Modified:	14 Oct 2025 08:09
URI:	http://repository.upi.edu/id/eprint/143206

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