CANCEL CULTURE SEBAGAI KRISIS: DINAMIKA DAN STRATEGI KOMUNIKASI KRISIS KONTROVERSI FILM REMAKE A BUSINESS PROPOSAL

Abstract

The adaptation of South Korean films into Indonesian cinema has previously shown positive outcomes, as demonstrated by the success of Miracle in Cell No. 7. This indicates that film adaptations can be well received when production processes and promotional strategies are properly managed. However, the Indonesian remake of A Business Proposal experienced substantial commercial failure after triggering public controversy surrounding statements made by the lead actor, Abidzar Al-Ghifari. This study aims to analyze the dynamics of cancel culture formation in this controversy, the crisis communication strategies employed by Abidzar and Falcon Pictures, and the extent to which these strategies contributed to mitigating the impact of cancel culture on both the individual and the institution. This research employs a qualitative descriptive method using primary data derived from public posts and conversations on platform X from 8 January 2025 to 20 February 2025, supported by secondary data from IMDb reviews. Data were analyzed using Braun and Clarke’s thematic analysis. The dynamics of cancel culture are examined through Berger and Luckmann’s Social Construction of Reality, while the crisis communication strategies of Abidzar and Falcon Pictures are analyzed using Coombs’ Situational Crisis Communication Theory. The findings reveal that cancel culture unfolded through four final themes: (1) initial reactions and emotional outbursts, representing the stage of externalization in which spontaneous, personal responses were expressed through audience tweets; (2) formation of collective narratives and early legitimization of cancel culture, corresponding to the objectivation stage marked by collective sentiments, the emergence of “we” or “us” diction, widespread declarations of refusal to watch the film, and early public predictions of commercial failure; (3) normalization of rejection, reflecting the internalization stage in which calls to boycott became pervasive and not watching the film was regarded as normal and socially acceptable; and (4) commercial failure, which occurs outside the theoretical stages of social construction but demonstrates that the socially reinforced value (refusing to watch the film) had been adopted in everyday behavior, resulting in fewer than 7,000 tickets sold and only six days of theatrical screening. The analysis of crisis communication strategies indicates that Abidzar employed rebuild and bolstering strategies, while Falcon Pictures combined rebuild, diminish, and bolstering. However, these strategies led to limited recovery because the apology was issued too late, was not accompanied by corrective action, and was perceived by the public as manipulative and merely a form of damage control. Consequently, public resistance intensified, and the strategies failed to mitigate the effects of cancel culture.