DOCUDRAMA GENRE TO REPRESENT RELIGIOUS EXPERIENCE IN OBAT MALAM AND SOLUSI TV PROGRAM: A CASE STUDY

Genre is an important thing in planning film or TV program. This paper focuses on exploring two national TV programs that use docudrama genre to deliver people’s real past to represent their religious experience. By conducting interview with the producer of Obat Malam and Solusi TV program, the aim of this paper is to examine why docudrama genre used to represent religious experience in Obat Malam and Solusi TV program. The interview was conducted online via zoom meeting and involved the producer manager as the single participant. The open ended questions were used in the interview. A mix coding technique was applied in the interview data collection analysis. The findings show that producer’s perspective puts emphasis on docudrama genre as a configuration of particular elements, highlights visual narrative aspects, and accentuates qualities of docudrama modes of documentary. It can be concluded that docudrama genre meets the need of creative and contextual way to present religious experience to the viewers.

function of the genre used. Genre is a concept that proposes a discourse is received in a particular mode and status and attached with an author-function; therefore, the author function is the genre function which create conceptual condition. . The concept of genre is abstract rather than empirical one in the world (Feuer, 1992, 144). Genre, firstly, regulates a preexisting social activity in which the existence is rules free and functions as an interpretive tool identifying a present communicative purpose; secondly, it constitutes an activity in which the existence is not rule free by its rhetorical and ideological conventions. In the context of film, genre defines a social and moral world (Tudor 1974, 180) and can be seen as representing ideological assumptions and particular values (Chandler, 1997, 4), therefore, the concept can plausibly change as the ideological climate changes (Hayward 1996, 50). Televisual genre indocates the viewers' social and cultural concerns (Baudry in Hayward 1996, 162). In this respect, genre reproduces the activity with the enactment conventions and shape social actions by establishing the way of recognizing the situations within the activity performed. The activity performed is the activity recognized and identified by the way or genre. Televisual genres reflect the programme-makers' values (Lichter et al., 1991).
In the context of television program, producer refers to the author function. In fact, that the television producer has particular conceptual considerations in selecting the docudrama genre, this paper aims to examine why the docudrama genre was chosen to represent religious experiences to the viewers. This paper explores the producer's perspective on docudrama genre used in Obat Malam and Solusi television program. The previous genre studies examine film genres with the content of films as the tools and explore the genre issues in the perspective of the viewers. Studies on the interconnectedness between film genre and film content show that genres are identified by their lexical signatures (Matthews & Glitre, 2021). Whilst, studies on the interconnectedness between genre and viewers show that the film genre elements affect the viewers' preferences and change over time following certain patterns (Xinri Fu, 2010) and the movie genre effects on the consumer's reactions toward brand placement (Garza, 2003). Both audience's likeability on film elaboration is also supported by the data taken from the Obat Malam and Solusi docudramas uploaded on YouTube in 2014.

Findings
The producer possesses particular emphasises on elements and aspects of the docudrama genre used in Solusi and Obat Malam. The emphasises suggest how the producer sees the genre as particular configuration of elements and highlights certain qualities that include qualities of docudrama visual narrative aspects and qualities of documentary docudrama modes.

Docudrama Configurative Elements
The producer emphasized three configurative elements of docudrama that include reenactment, authenticity, and creativity. Authenticity concerns with rearranging times, settings, real characters, casting characters, and events to present the truth. It sets fort the genuine quality, without being corrupted from the real facts. The authenticity in a documentary refers to the visualized details of the testimonies (R. Siahainenia, interview, August, 2021). Authenticity is a mode that functions to represent, firstly, auratic places and objects and, secondly, the reenactment (Jones, 2013).
In the docudrama, the producer rearranged the meaningful events to represent a meaning configuration and visually present it. The real characters in the docudramas are the reenactors. The reenactors also put their meanings on their experiences as they testify their experiences (R.

Conclusion
From the whole elaboration of producer's perspective on docudrama genre, it can be concluded that docudrama genre meets the need of creative and contextual way to present religious experience to the viewers. The creativity and contextuality are significant qualities to the programs; therefore, in the efforts to achieve these qualities, combined modes of documentary of docudrama genre are applied to attain the authenticity and the viewers' effect. The findings of this research are recommended to professionals in media world who concern on religious broadcasts to use docudramas as the effective way to promote religiosity.