Open access peer-reviewed chapter
Abstract
Women in movies so far have often been shown unfairly, especially in action movies. Women are usually only as a complement or as a weak party and need to be saved. Gradually this is starting to change, but there are still many movies that depict women as not important characters in a story. This has changed significantly in 2022 when there are several action movies featuring female characters as the main characters or characters with different characters from previous movies. In this research, two Indonesian movies released in 2022 were taken, namely “Mencuri Raden Saleh” and “The Big 4.” This study aims to see how the four female characters, namely Sarah, Fella, Dina, and Alpha are presented in the two movies by using semiotic analysis. The results showed that the four female characters were successfully reconstructed as characters who did not experience marginalization, did not obey the orders of the male characters, and did not follow the stereotypes of women that usually appear in movies. Even so, there are still stereotypes of romantic relationships that still emerge.
Keywords
- reconstructions
- women portrayal
- movies
- gender inequality
- social construction
1. Introduction
Movie is one part of the mass communication media, which has an important and strong role in conveying a message to the public. This is because movie as a product of mass communication media is a medium that is in great demand and easily understood by people of various age groups, from children to parents. This is what shows that movies have the potential to influence their audiences according to Sobur in Susanto [1]. The integration between audio and visual quality can very easily attract the attention of audiences, especially with the addition of very diverse ideas and story ideas.
The function of movies in general is to convey a message and information that is packaged in the form of entertainment. That is why movies have a significant influence on the formation of the audience’s mindset, this is because the content of movies can not only reflect but also create reality according to Jowett in Susanto [1]. Many things can be learned through movies, they have the power to form a stigma through the construction of reality and people’s stereotypes about something. One of the stigmas and stereotypes in the movie industry that is heavily discussed is the construction of women’s representation, which is considered to be as old as the movie industry itself.
The representation of women in both the national and international movie industry has always been a hot topic of discussion. However, the construction of the depiction of female characters still carries negative stereotypes [2]. This is none other than being influenced by cultural traces and patriarchal ideology that is ingrained in Indonesian society. Where in the patriarchal system, women rarely get a place and become the number two marginalized creatures [3]. This old-fashioned thinking is then constructed in the movie industry and creates historical traces of the negative portrayal of women in a movie. The presence of women in movie history, in fact, has not been able to eliminate the negative representation of women in stereotypes that are constructed in the movie industry [2].
A study entitled “Women’s Representation in Soap Operas” shows that soap operas in Indonesia still represent women with an image of being weak, dominated, dependent, crybaby, sex symbol, and passive [4]. There is still a lot of negativity about women’s representation in the world of cinema, making academic studies related to women’s representation in movies always interesting to discuss, especially to see how the reconstruction of women’s representation in the world of cinema continues to develop. Another study titled “
The results of the third study titled “
Movies that represent women with a different image, and are far from the old-fashioned stigma construction, will also become a new wind, both in the movie industry and for academics who like the discussion. The movie industry in Indonesia itself is growing and experiencing improvement. This is of course based on the high enthusiasm of the Indonesian people as spectators for various movies produced by the nation’s children. Movie is one of the media of mass communication that is of interest to the public from the past until now. The reason is that the packaging contains the contents of the story, plot, themes, and characterizations in such a way as to produce an interesting story and carry a special message.
Throughout 2022, various movies appear in the Indonesian movie industry, which brought novelty to the depiction of women. The novelty of this different portrayal of women has emerged in various movie genres, especially action. Two examples of Indonesian action movies in 2022 that present female characters differently are the movie “
The movie “
This movie brings novelty regarding the depiction of female characters in it. Where this is supported by the statement of the actor Sarah in the movie “
In the movie, Sarah is a female Pencak Silat athlete who decides to join the mission to steal Raden Saleh’s paintings after learning that her lover, Piko, is involved in this mission. Sarah is shown as a young woman who is very strong, brave, and good at martial arts. Therefore, in the movie, Sarah is likened to the muscle of this theft group. Sarah is also shown to be responsible in all matters concerning fights in order to protect her group [8].
The second female character in the movie Mencuri Raden Saleh is the character Fella. Fella is a bookie who has excellent manipulation skills. Fella is shown as a young woman who is smart and detailed in planning strategies. Therefore, in the movie, Fella is likened to the eyes, ears, and mouth of this group of thieves. This was because Fella was the one who served as the face to meet many people and gave directions to the other members. Fella is also often shown to show intelligence in correcting and completing the deficiencies of the initial planning [8].
Meanwhile, the movie “
This movie also features female characters in it by constructing the reality of women in a new way that no longer appears weak or only as a complement as in most other movies. In this movie, the two female characters, Dina and Alpha, are shown as tough, brave, and aggressive women. These two figures are also highlighted in the movie and become important figures as well. The first female character in
The second female character in
Both the movies “
However, because the movies “
Hence, it is very interesting to observe the verbal and nonverbal symbols and signs on the characters Sarah and Fella in the movie “
2. Movie and the social construction of reality
2.1 The social construction of reality
The social construction of reality was popularized and introduced by Peter L. Berger and Thomas Luckmann through their book entitled The Social Construction of Reality: A Treatise in the Sociological Knowledge of Knowledge. The book describes social processes through interaction and action, in which individuals intensely create a reality that is collectively experienced and owned subjectively. Therefore, understanding something is caused by communication with other people. Social reality is actually nothing more than the result of social construction in certain communications [13]. Social construction stems from constructivism philosophy with cognitive constructive ideas. According to Suparno in Muthmainnah [12], there are three types of constructivism, namely ordinary constructivism, radical constructivism, and hypothetical realism constructivism. The similarity of the three is that constructivism is seen as a person’s cognitive work to make sense of the world of reality, which is caused by social ties between individuals and the people or environment around them.
Sobur in Muthmainnah [12] explains that community institutions are formed, maintained, and changed by human interaction and action. Society and social institutions may look objectively real, but in fact, they are formed subjectively through processes of interaction. Where at the highest level of generality, humans form a world with symbolic meanings that view life as a whole (Universal), which gives legitimacy and handles social forms, and also gives meaning or defines various areas of life.
Media content is in fact the result of the construction of reality by using language as its component. Not only is it a tool in presenting reality but language can also determine the form that will be realized with respect to that reality. Therefore, the mass media has great power to be able to influence the meaning and description of the reality it constructs. If in the media there is a construction of reality that is different from that in society, then basically there is symbolic violence that occurs. Where symbolic violence can occur through the use of language that obscures, refines, to coarsens a fact [13].
2.2 Movies in constructing reality
In fact, movie always captures the reality that grows and develops in society and then projects it onto the screen. As a reflection of society, movie is a perspective that is generally easier to agree on. Movie has a different meaning than just a reflection of reality, the movie has the meaning of representing the reality of society. Movie as a reflection of reality is only limited to transferring reality onto the screen without changing reality itself. Meanwhile, movie as a representation of reality also builds and displays reality based on codes, conventions, ideology, and culture [14].
Today, movie has become a means of communication by telling stories. Storytelling is a culture of thousands of years from humans that is now perpetuated by movies. Everything about life is always told in the movie. Therefore, the movie is referred to as a representation of the real world that we live in. According to Sasono in Muthmainnah, when compared to other media, movie has more power in imitating reality as closely as possible to the real thing [12]. However, even though it mimics reality as closely as possible, in reality, the reality shown in the movie is not the actual reality. The reality presented in the movie is a pseudo-reality. As explained by Hooks in Muthmainnah [12], movie cannot present the actual reality. What the movie presents may look familiar but is actually different from the real world. This is because what is presented in the movie is an artificial re-imagination of reality. Where after watching a movie, individuals can develop an artificial reality as a comparison to the actual reality they face. Hence, this is where movie can be used as a window to see the world and a new understanding.
Movie developed from what was originally just a fragment of an object image that was recorded and played back for the audience to see, into a movie engineering that records reality to become an integration that describes reality itself. The recorded image then has its own meaning. In denotation, movies are enjoyed as they are without the need to understand them in depth. This is the advantage of movie, which is that it can provide a picture of reality and communicate it in detail, which is difficult if only done by spoken or written language.
Connotatively, movies require in-depth interpretation to see the picture of meaning. The movie displays a hidden or implicit code of meaning. The connotation aspect becomes an essential aspect because the power of meaning lies precisely in what is invisible and not in what is seen. This hidden meaning is understood by Barthes as an area of mythology and ideology. Ideology is a language phenomenon whose emergence may not be realized but can bring people to agree or disagree. Movie then becomes an effective medium for instilling various behaviors, lifestyles, and attitude orientations in its audience, whether intentional or not [12].
2.3 Reconstruction
The word “reconstruction” is a combination of two words, namely, “re,” which means renewal, and also “construction,” which means a form system. The overall meaning of the word “reconstruction” is explained in the Black Law Dictionary as: “Reconstruction is the act or process of rebuilding, recreating, or reorganizing something.” This means that reconstruction is the act or process of rebuilding, reorganizing, or rearranging something. According to Qardhawi in Sutrisno [15], there are three main points in the reconstruction, namely maintaining the core of the original form by preserving its character and characteristics; fixing something that has fallen down and strengthening a weak joint; and pouring newness without changing its character and characteristics [15].
From what has been described above, it can be concluded that reconstruction is an activity of rebuilding separate sets of ideas into a single whole. If reconstruction is related to reality, it means that reconstruction is interpreted as renewal with efforts to repair and apply current reality. In this research, writers tried to see how the two movies that are the object of research try to rebuild how women are represented in movies.
2.4 Semiotic as methodology
According to Prasetya in Nurrochman, Abidin, and Santoso [16], semiotics describes that the cultural code in movie is a combination of the concept of a sign and the culture of society. Where in the movie, the strongest identification is through the language used, which includes the codes of meaning representation that need to be conveyed by the sender of the message. In Roland Barthes’s semiotics, he adheres to and implements de Saussure’s semiotic theory (signifier and signified), which seeks to explain that humans in social life are dominated by connotations [12].
According to Sobur in Nasirin and Pithaloka [17], Roland Barthes developed this thought and applied it to the concept of culture with a system of meaning in the form of two levels of signifieds, namely denotation and connotation. It is explained that Barthes defines a sign as a system consisting of (E) an expression or signifier in conjunction (R) with content (signified) (C): ERC.
The primary sign system can be an element of a sign system that is much more complete and has a different meaning than before. With that, the primary sign is denotative, while the secondary sign is one of the connotative semiotics. So that this connotative concept is the key to Roland Barthes’s semiotics. Barthes explains that semiotics is basically concerned with how humanity makes sense of things [1]. Sobur in Susanto [1] explained that Barthes’ analysis model is known as two-stage significance (two orders of signification). Where the first stage of significance is the relationship between the signifier (expression) and the signified (content/denotation meaning), which describes the relationship between the signifier (object) and the signified (meaning) on the sign in external reality. This refers to the real meaning of the signifier (object). While the second stage of significance is the connection that arises when the sign meets (connotative meaning). The term connotation itself, according to Barthes [1], describes a relationship that processes when meeting the emotions and cultural values of its users.
Nurrochman, Abidin, and Santoso [16] explained that in Barthes’ semiotics, two stages of meaning denotation and connotation then create myths. This is because Barthes also explores a cultural approach in the search for meaning. Myths are in fact inseparable from human life because what underlies the creation of myths is mass culture so that they can dominate. For Barthes, connotation actually denotes myth, then myth has the connotation of a certain ideology.
In this study, a semiotic method is used by focusing on analyzing the signs and texts in the film to understand the code behind the signs and texts, so that the desired meaning can be found. In the area of semiotics research, the researcher uses the Roland Barthes model of semiotic analysis through two orders of signification, denotation, and connotation.
Where in the first stage of significance, namely denotation, will examine the clearest meaning in accordance with the reality of the selected scenes. Then in the second stage of significance, namely connotation, it will examine the meaning of signs related to emotions and values in these scenes. Then after the connotative meaning is found, it is continued by looking at the myths that arise from the meanings and messages found. The researcher will observe the scenes in the films “Mencuri Raden Saleh” and “The Big 4” and relate them to the concept of forms of gender inequality to see the reconstruction of women’s reality in the main female characters.
2.5 Representation of the reality of women in gender inequality
The increasing progress on women’s rights at this time apparently did not stop the issue of social injustice that still occurs to women. This is caused by the construction of gender that has flowed over a long history and has taken root in society. As explained in the Women’s Studies Encyclopedia, gender is a cultural concept that seeks to create a difference/comparison between men and women in terms of characteristics, behavior, roles, and mentality that develop in society [18]. This difference became known as gender differences.
Gender differences in fact will not be a problem as long as it does not cause gender inequalities. In fact, gender inequalities have given birth to various injustices. Women are still ranked highest as victims of gender inequalities, although it is possible for men to become victims of gender inequality [12]. According to Herdiansyah [19], in his book entitled Gender in a Psychological Perspective, gender inequality manifests itself in patterns of daily life in many forms:
Marginalization is a process of exclusion and subordination caused by gender differences and resulting in poverty. There are various ways to marginalize a person or a group, one of which is by assuming gender. In this case, women are usually set aside regarding the economy. Where there is an assumption that women are less suitable to work in the public sector, less authorized to become leaders, and less worthy of a higher salary/income than men.
Because of this unequal situation, especially in terms of the economy, women become powerless under male domination. An example of marginalization of women is the notion that women are only supporting breadwinners, so that in the public sector such as factories, women are most vulnerable to layoffs due to gender reasons such as reproductive factors and are only supporting breadwinners.
Subordination can be interpreted as a situation that is not primary and not too important. Subordination is also the view that a role/thing done by one sex is lower than the other sex. Subordination with women puts them in a low position because of the assumption that women are more irrational and emotional. So that women are not considered too important and are not prioritized in making ideas, opinions, or other important decisions. In domestic life, there is also an assumption that women are responsible for domestic and reproductive affairs, while men are responsible for public affairs and production. Therefore, women are often unable to be present to lead. An example of subordination of women is the priority of education for boys compared to girls who are deemed not to need higher education because they will end up in the kitchen. This is because there is still an assumption that women are only bound by three things, namely the kitchen, the well, and the mattress.
Stereotypes are labeling of certain characters or traits based on a wrong assumption of a person or a group. In general, this labeling is often used as a justification for an action from one group to another. So that labeling can show power inequality with the aim of controlling/dominating other parties. Negative labeling can lead to injustice that ends in discrimination, and this can harm women. Stereotypes based on gender often affect women, making it difficult and detrimental to women. An example of stereotypes against women is women who are considered inappropriate to be leaders because women are emotional beings who will not be able to make fair decisions because they are mixed with emotional elements.
Violence is an act of physical and nonphysical (mental/psychological) violence. If it is related to gender, it is physical and nonphysical violence perpetrated against certain genders and generally occurs in women. Violence in gender roles occurs because of differences in character between men and women. Where men are considered masculine with characteristics of being brave, strong, dashing, and others. While women are considered feminine with weak, gentle, submissive characteristics, and others. Even though there is nothing wrong with this difference, in fact, this difference gives rise to acts of violence against women. The assumption that women are gentle is misinterpreted as a reason for acts of violence against women. Fakih in Herdiansyah [19] describes eight forms of gender bias consisting of rape, domestic violence, violence and torture of the genital organs, prostitution/prostitution, pornography, violence in contraception, covert violence, and sexual harassment. Examples of violence against women are the beating of a husband against his wife in the household, sexual harassment, coercion, sexual exploitation, and others.
Unbalanced double burden is an imbalance of workload or in general referred to as a double-burden for one gender when compared to the other gender. This happens a lot in the daily lives of women in various cultures and countries, especially those with a patriarchal history. The reproductive role of women is often considered a permanent role. So that the domestic role of women does not decrease even though there has been an increase in the number of women who carry out public roles by working in public areas in this modern era. These two role responsibilities result in a double burden being borne by women. An example of a woman’s double burden is a wife who works, but when she returns home she still has the obligation to take care of the house, children, and husband. On the other hand, it is considered normal for men to immediately rest or relax after returning home from work without other responsibilities.
3. Reconstruction of women in “Mencuri Raden Saleh” and “The Big 4”
3.1 Marginalization
In movies, women are usually shown to be marginalized by portraying themselves as side characters. Women are usually only companions or supporters in the life of male characters. This is due to the assumption that women are not suitable to work in the public sector, are less suitable to be leaders, and are less eligible to earn the same income as men [19]. However, based on the results of documentation and analysis conducted from the two movies in this study, the concept of marginalization in gender inequality towards women does not appear. The female characters in these two movies are shown to be empowered and even have more reliable abilities than the male characters.
In the movie “Mencuri Raden Saleh,” the characters Sarah and Fella are shown to have an equal position with other male characters. They are not just side characters but are characters who both play an important role in the theft of a painting that was planned along with three other male characters. Sarah has an important role in this heist group, namely as a muscle for her group. Because she has extraordinary martial arts abilities, she acts as The Brute whose job is to protect her group and advance in any event that requires martial arts skills to bring down opponents. Next is the character Fella who gets the nickname The Negotiator in the group. He is a clever character and very detail oriented. Fella often gives directions and corrects the strategies her team has devised.
In terms of cinematography, Sarah and Fella’s characters when talking or discussing with other characters are always shown standing side by side, not behind the male characters. This shows that the two characters have an equally important role, not just as a support, as we can see for example in the image below Figure 1.
Figure 1.
The scene where fella is recruited as a member of the team because of her strategic skills.
In the movie “The Big 4,” Dina’s character is a woman who works as a police detective, which is usually handled by a male character. Even though so far women’s work in movies is usually not far from jobs that support men’s positions or household chores. However, in this movie, Dina’s character holds a job position that is rarely played by female characters. This is also shown by the character Alpha who acts as a member of “The Big 4” assassins. Alpha is also shown as a woman who has the ability to defend herself and use firearms that are just as great as other male assassin characters. The duties she carries out are the same as other male characters without any discrimination.
3.2 Subordination
Subordination with women puts them in a low position because of the assumption that women are more irrational and emotional. So that women are not considered too important and are not prioritized in making ideas, opinions, or other important decisions. However, in the movie “Mencuri Raden Saleh,” the characters Sarah and Fella do not show subordination to the male characters. In several scenes, when Sarah and Fella receive orders from the male characters, they show defiant reactions or even do not follow what they are told. Sarah, for example, in one of the scenes when she is ordered to be quiet by her friend, Ucup, actually challenges Ucup to a fight because he disturbed her conversation with Piko, her boyfriend Figure 2.
Figure 2.
The scene where Sarah challenged Ucup to a fight.
This is also shown by the characters Dina and Alpha in the movie “The Big 4” who do not show subordination to male power either at work or in personal life. Dina, for example, who works as a police detective, refused when her boss ordered her not to continue the investigation into her father’s death. This is shown in the scene image below Figure 3.
Figure 3.
The scene where Dina refuses her superior’s order to stop the investigation into her father’s murder.
This scene shows that the female character (Dina) is presented differently from the female characters in previous Indonesian action films. Women are usually shown as characters who always follow orders or directions given by male characters. This shows that there are different constructions of how women are presented in action movies. Even from a cinematographic point of view, in scenes that show changes in terms of subordination, female characters such as Dina and Alpha are positioned in the center and in front of each scene. The placement of a character in the middle or front of a scene shows the center of the story of a scene, not just as a companion in a scene [3].
3.3 Stereotype
According to Herdiansyah [19], stereotypes is labeling of certain characters or traits based on a wrong assumption of a person or a group. Stereotypes based on gender often affect women, making it difficult and detrimental to women. An example of stereotypes against women is women who are considered inappropriate to be leaders because women are emotional beings who will not be able to make fair decisions because they are mixed with emotional elements.
There are three stereotypes that usually appear in movies according to Fedorova. First, women rarely take the role of a leading character. Second, the story usually links them romantically with the main characters. Finally, the third portrayal of women on screen is as someone who needs to be rescued [20]. Some of these stereotypes are reconstructed but one is still shown in these two movies.
In movie “The Big 4,” Dina is the main character in this movie who runs the story from beginning to end. Although Alpha is not the main character, he still plays an important role in the storyline. Dina and Alpha work hand in hand in a firearm fight with a group of military who are about to kill them. Even the cinematographic character Dina is shown in front of the main male character when they are chasing the enemy. We can see this as an example in the cut scene below Figure 4.
Figure 4.
The scene where Dina leads the enemy search in front of the male character.
The second stereotype is that the female character has a romantic relationship with the main male character, which is almost indescribable. However, unfortunately at the end of the movie, there is a scene where it turns out that Dina and Topan, one of the male characters, show interest in each other through a kiss scene. Even though in the end the kiss scene is Topan’s trap so that Dina does not follow or catch them after they succeed. Knocks her opponent out, but Dina still falls into the trap and kisses Topan.
The third stereotype, women are characters who need to be saved, is clearly refuted in this movie. Dina can defend herself and is able to defeat her opponent, namely a bigger and stronger man. One of the enemy figures even told Typhoon that Dina did not need to be saved because she must be strong. In addition, since the beginning of her appearance in the movie, the Alpha character is a female character who does not need to be saved. She is an expert in martial arts and firearms. She was even shown to be very excited when they had to enter to attack their enemy’s base.
In the movie “Mencuri Raden Saleh,” the characters Sarah and Fella share the screen with three male characters. Although the center of the story is Piko, Sarah and Fella appear from the beginning of the story and contribute a lot to the theft process in this movie. The characters Sarah and Fella are also not characters who need to be saved by a male character. Sarah can defend herself and even protect other characters, including male characters with her martial arts skills. Meanwhile, Sarah protects herself by using her brain intelligence to set a strategy (Figures 5 and 6).
Figure 5.
Scene when alpha broke inside their enemy’s base while smiling and throwing grenades.
Figure 6.
Scene when Sarah had to protect her friends by fighting with lots of guards.
The character Sarah, for example, is shown as a strong and brave “Pencak Silat” (Indonesian Martial Art) athlete.
In the scene above, we can see the sign shown here is Sarah who is fighting and can defeat her opponent. In terms of denotation, the scene shows that Sarah defeated her opponent. However, based on the connotative meaning of defeating an opponent, it shows that Sarah has more strength than other male characters in the movies.
Unfortunately, in this movie, since the beginning of the movie, Sarah’s character is told to have a romantic relationship with the character Piko. He also helps Piko carry out the theft plan because he really wants to help Piko, who has to steal paintings to help his father. This shows that the stereotype of women in movies, namely having romantic relationships with male characters, is still depicted in the two movies in this study.
3.4 Violence
Violence in gender roles occurs because of differences in character between men and women. Where men are considered masculine with characteristics of being brave, strong, dashing, and others. While women are considered feminine with weak, gentle, submissive characteristics, and others. Fakih in Herdiansyah [19] describes eight forms of gender bias consisting of rape, domestic violence, violence and torture of the genital organs, prostitution/prostitution, pornography, violence in contraception, covert violence, and sexual harassment. Examples of violence against women are the beating of a husband against his wife in the household, sexual harassment, coercion, sexual exploitation, and others.
In these two movies, the female characters do not experience violence as mentioned above. There are no scenes of rape, domestic violence, prostitution, and so on. In addition, because the four female characters that appear are not told about domestic relations, there is also no form of domestic violence that is shown. Precisely in these two movies, the female characters are able to balance their opponent’s strength when they have to fight using physical violence.
3.5 Unbalanced double burden
The reproductive role of women is often considered a permanent role. So that the domestic role of women does not decrease even though there has been an increase in the number of women who carry out public roles by working in public areas in this modern era. These two role responsibilities result in a double burden being borne by women. However, because in these two movies, there is not a single female character who is told to run a household relationship, so the unequal burden of multiple roles does not appear and cannot be examined.
4. Conclusions
The conclusion that can be drawn from the results of this research is that the depiction of women shown in two Indonesian action movies in 2022 has changed. If previously women were shown as a complement in the story, but in the movies “Mencuri Raden Saleh” and “The Big 4,” women are shown differently. The depiction of women is reconstructed so that they are not merely shown as weak figures. The characters Sarah, Fella, Dina, and Alpha have their respective strengths, both physical and intellectual, which are usually possessed by male characters. In some scenes, it can be seen that they are stronger, braver, and protect the male characters.
In addition, the four characters are not characters who need to be rescued by men, as is usually the case in action movies. They fought their way and carried out the mission well. This reconstruction of the female character really provides a different view of women, even though there is still a stereotype of a romantic relationship with a male character which in fact still emerges. However, the reconstruction provided by these two movies provides good news for the depiction of Indonesian women in the future.
Acknowledgments
This research was conducted with the help and input from the lecturers of the Communication Science Department at Universitas Pembangunan Jaya, Indonesia.
Notes
All images in this article are taken from the official OTT, which screens the two films without prejudice to the filmmakers and the official copyright owners of these images. Images are used solely for research purposes without seeking any profit.
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