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Khoirunnisa Pengarang Iswahyu Pranawukir, S.Sn., M.I.Kom Dosen Pembimbing 1 Misnan, S.S.,M.I.Kom Anggota 1/Penguji 2 Agus Hitopa Sukma, S.H M.Ikom Ketua Penguji/Penguji 1 Alamsyah, S.Sos.,M.I.Kom Anggota 2/Penguji 3

This research is motivated by the limited studies on film trailers as promotional media using Roland Barthes’ semiotic approach. Women from Rote Island was selected as the research object because, despite receiving prestigious awards, its audience numbers were lower compared to other Indonesian films that were not nominated for the Oscars. Moreover, film trailers are often viewed merely as short story excerpts, whereas they actually contain signs, symbols, and promotional messages constructed persuasively and worthy of deeper analysis. The purpose of this study is to analyze the promotional messages in the trailer of Women from Rote Island through Roland Barthes’ semiotic approach. The research method applied is qualitative, employing Barthes’ semiotics. Data were collected through documentation of the film trailer and analyzed using the concepts of denotation, connotation, and smyth, enriched by Barthes’ five codes (hermeneutic, semic, symbolic, proairetic, and cultural). The findings reveal that the trailer constructs promotional messages across three layers of meaning: denotation, connotation, and myth, supported by Barthes’ five codes. At the denotative level, the trailer presents characters, the Rote Island setting, and women’s conflicts within traditional life. At the connotative level, emotional symbols such as chains, expressions of trauma, and local cultural landscapes are used to create an emotional bond with the audience. At the myth level, the trailer constructs an ideological narrative of women as symbols of resistance against patriarchy and injustice. Furthermore, linked to Kotler & Keller’s marketing communication theory, the trailer incorporates four key promotional messages: information, persuasion, differentiation, and image. Thus, the Women from Rote Island trailer not only functions as a tool to introduce the film but also as promotional media that emphasizes cultural values, reinforces social messages, and builds the film’s image as a cinematic work with strong advocacy for humanity and gender equality.