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All Journal BASIS (BAHASA DAN SASTRA INGGRIS) Lingua Susastra
Krisna Sujiwa
Universitas Ahmad Dahlan
Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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THE REPRESENTATION OF THE VATICAN THROUGH THE LENS OF AMERICAN IDEOLOGY IN THE FILM CONCLAVE (2024) Nurhaeni Sulastri; Krisna Sujiwa
BASIS (Bahasa dan Sastra Inggris) Vol 13 No 1 (2026): JURNAL BASIS UPB
Publisher : Universitas Putera Batam

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33884/basisupb.v13i1.11501

Abstract

This article examined how the Vatican was represented through the lens of American ideology in the film Conclave (2024) by using Stuart Hall’s theory of representation, specifically the intentional approach. The study employed a qualitative method through textual analysis of narrative structure, characters, dialogue, and visual symbols such as closed spaces, the sealing of red candles, black and white smoke, and the technological isolation procedures during the conclave to identify ideological meaning patterns embedded in the film. The analysis showed that the film deliberately constructed the Vatican as a sacred institution that also functioned as a political arena marked by secrecy, intrigue, and conflict between progressive and conservative factions, so that religious practice was shifted into a power drama in line with the typical suspicion of American ideology toward closed institutions. Characters such as Cardinal Tremblay and Joshua Adeyemi were represented as symbols of corruption, hypocrisy, and political ambition, while Cardinal Lawrence and Vincent Benitez were used to insert liberal American values such as moral individualism, transparency, inclusivity, and reform, including through the figure of an intersex Pope as a metaphor of a “new purity.” The article concluded that Conclave not only presented the Vatican as the spiritual center of Catholicism, but also intentionally projected and negotiated the hegemony of American values within the image of a transnational institution, thereby influencing how global audiences understood the relationship between sacredness, power, and ideology in cinematic representation.
A Feminist Analysis of Katy Perry’s “Woman’s World” Lyrics and Music Video Rafita Prasetya Ningsih; Krisna Sujiwa
Lingua Susastra Vol 7, No 1 (2026)
Publisher : Departemen Bahasa dan Sastra Indonesia dan Daerah

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ls.v7i1.536

Abstract

Music videos and song lyrics function as cultural texts through which gender ideologies are both reinforced and contested. Despite growing interest in feminist media studies, few studies have integrated lyrical and visual analysis of contemporary pop music using Simone de Beauvoir's foundational concept of women as "The Other." This study analyzes how Katy Perry's 2024 song "Woman's World" represents female identity and women's empowerment through its lyrics and official music video. Employing a qualitative descriptive method grounded in de Beauvoir's The Second Sex (1949/2011), and supplemented by postfeminist media criticism, this study examines verbal and visual data,  including lyrics, costumes, body movements, and symbolic props through three analytical themes: the reversal of male-coded public spaces, female subjectivity, and symbolic resistance to gender stereotypes. The findings reveal that "Woman's World" constructs women as active, self-determining subjects who reject the subordinate position of "The Other" through dominant visual symbols and lyrical narratives. However, the analysis also identifies a recurring paradox in which feminist empowerment is simultaneously undermined by the entertainment industry's commodification of the female body. This study contributes to media feminist scholarship by demonstrating both the emancipatory potential and the commercial contradictions inherent in feminist representations within contemporary popular culture. 
Co-Authors Nurhaeni Sulastri Rafita Prasetya Ningsih