Riska Ristiasari, Hendra Kaprisma


Social criticism is generally comprised of individuals' ideas and opinions of societal problems that bring changes. Individuals can express their opinions through various media, including animated films. The animated series Mister Frimen created by Pavel Muntyan, Vladimir Ponomarev, Anatoly Dobrozan, and Vadim Demchog are notoriously sarcastic. The sarcastic remarks given by the main character are always about current problems in Russian society. This study focuses on the way the animated series Mister Frimen expresses social problems. This article uses intertextual theory and discourse analysis to analyze every message and symbol and how the messages are generated. The results show that each scene in Mister Frimen contains symbols illustrating social criticism messages about the situation of Russian society. Nonetheless, satire/social criticism offers suggestions for establishing societal peace and prosperity


Intertextuality;social criticism;film animation;Russia

Full Text:



Asmolov, Gregory. (2010). Russia: Online Cartoon Character – Mr. Freeman – Deconstructs Reality, Mocks Netizens. Retrieved January, 27, 2020,

Beumers, Brigit. (2005). Pop Culture Russia!: Media, Arts, and Lifestyle. California: ABC-CLIO, Inc.

Beschastna, T. (2014) 'Freedom of Expression in Russia as it Relates to Criticism of the Government', Emory International Law Review, 27, 2.

Denisova, A. (2017). Democracy, Protest and Public Sphere in Russia after the 2011–2012 anti-Government Protests: Digital Media at Stake. Media, Culture & Society, 39(7), 976–994.

Elmo Raj, P. (2015). “Text/Texts: Julia Kristeva's Concept of Intertextuality”, Ars Artium: An International Peer Reviewed-cum-Refereed Research Journal of Humanities and Social Sciences, Vol.3, 78.

Eriyanto. (2013). Analisis Naratif: Dasar-dasar dan Penerapannya dalam Analisis Teks Berita Media. Jakarta: PT Interpratama Mandiri.

Fiske, John. (1987). Television Culture. Padstow, Cornwall: TJ International Ltd.

Kuswarini, Prasuri. (2016). “Penerjemahan, Intertekstualitas, Hermeneutika dan Estetika Resepsi”. Jurnal Ilmu Budaya, 4.1.

Kristeva, Julia. (1980). Desire in Language: A Semiotic Approach to Literature and Art. Trans. Thomas Gora, Alice Jardine and Leon S. Roudiez, ed. Leon S. Roudiez. New York: Columbia University Press.

Maida, Adam. (2017). Online and On All Fronts Russia's Assault on Freedom of Expression. Retrieved May, 17, 2020,

McDonneLL, Lawrence. (2017). Lies, Spies and Big Data: How Fake News Is Rewriting Political Landscapes. Russian International Affairs Council

Melvin L. Defleur, Sandra Ball-Rokeach. (1989). Theories of Mass Communication. White Plains: Longman.

Mr. Freeman. (2017). Mr Freeman, part 59,

Ott, B.L., & Walter, C.K. (2000). “Intertextuality: Interpretive Practice and Textual Strategy”. Critical Studies in Media Communication, 17, 429 - 446.

Pontieri, Laura. (2006). Russian Animation of The 1960s and The Khrushchev Thaw. Amerika Serikat: Yale University.

Sugihartono, Ranang Agung dkk. (2010). Animasi Kartun: Dari Analog Sampai Digital. Jakarta: Penerbit Indeks.

Wellek, R. (1992). “The Essential Characteristics of Russian Literary Criticism”. Comparative Literature Studies, 29(2), 115-140.



  • There are currently no refbacks.

Copyright (c) 2021 Riska Ristiasari

CAPTURE : Jurnal Seni Media Rekam by Jurusan Seni Media Rekam, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia (ISI) Surakarta is licensed under a Creative Commons Attribution-ShareAlike 4.0


Capture has been Indexed by :

crossref.pnggarudadikti.png   isjd.png sinta.png        


              2338-428X (e-ISSN)                               2086-308X (p-ISSN)