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Female Psychology in August Strindberg’s The Stronger Anton Sutandio; Erica Apriliani
Lingua Cultura Vol. 11 No. 2 (2017): Lingua Cultura Vol. 11 No. 2
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/lc.v11i2.1756

This research aimed to offer interpretations of August Strindberg’s The Stronger through the lens of female psychology. The Stronger is unique as it seemed very simple yet so intense and powerful with layers of interpretations. Written during 1888-1889, The Stronger, which only had two characters and only one speaking character, had become one of Strindberg’s shortest yet important plays during his career. The female psychology approach used in the analysis would cover the discussion of gender role, women’s self-esteem, competition for males, women’s friendships, ego style, and female psychology. It was an interdisciplinary research that combined structuralist, historical, biographical, and feminist approach to gain a better interpretation on the play. By referring to three different sources on the concept of female psychology, the analysis offered different and interesting interpretations on the nature and dynamics of the two female characters’ relationship. The Stronger has shown an enigmatic attraction in Strindberg’s authorship in which the readers could see the co-existence, collision, conflict, and merge of different paradigms concerning sex, gender, and sexuality.

Cinematic Representation of Chinese-Indonesians’ Trauma in Jason Iskandar The Day The Sky Roared Anton Sutandio
Lingua Cultura Vol. 13 No. 4 (2019): Lingua Cultura
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/lc.v13i4.6000

This research analyzed a contemporary independent Indonesian film entitled The Day the Sky Roared (2015) that was directed by Jason Iskandar. This 10-minute silent film talked about the anxiety of Chinese-Indonesians through the eyes of a mother and her daughter regarding the historical trauma of the May 1998 tragedy. The fact that the film was produced about 17 years after the tragedy suggested the director’s awareness that the trauma remained due to the absence of reconciliation and closure. This research would show how the short film frames the incident and trauma of the Chinese-Indonesians. The research was a combination of trauma studies and film studies that focuses on the visual analysis of the film’s cinematography and mise-en-scene to show the cinematic representation of Chinese-Indonesians’ trauma. The findings show that the portrayal of Chinese-Indonesians still strongly suggests unrelieved psychological discomfort, albeit, at different levels, that is closely related to the traumatic past and the pervasive stereotyping of Chinese-Indonesians.

Shame and Alienation in Kafka’s The Metamorphosis Karla Sharin Minar; Anton Sutandio
POETIKA Vol 5, No 2 (2017): Issue 2
Publisher : Literary Studies, Faculty of Cultural Sciences, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/poetika.v5i2.27100

This article explores Sartre’s concept of shame and alienation in Kafka’s The Metamorphosis through the portrayal of the protagonist. By focusing on the interpretation of the characteristics of Gregor Samsa through New Criticism approach, this article reveals that shame and alienation may occur when a person realizes that one is judged by others and sees oneself through the eyes of others. This way of looking at one’s identity is problematic because it creates complexity within the existence of the self. Through his fantastical transformation into an insect, Gregor cannot help but seeing himself from his family’s point of view. Instead of fighting for himself, he is made to believe that he deserves to be alienated. From the analysis of the protagonist, it is revealed that his being selfess and dutiful in a way trigger the shame and alienation that result in his submission to death. Keywords: alienation, Kafka, Sartre, shame

Settings Transposition of the Scientific Elements in Hiroshi Teshigahara’s Adaptation of Kobo Abe’s the Face of Another Anton Sutandio
kata Vol 19 No 2 (2017): DECEMBER 2017
Publisher : The English Department, Faculty of Humanities & Creative Industries, Petra Christian University

This article focuses on Hiroshi Teshigahara’s film adaptation of the famous Kobo Abe’s The Face of Another with special attention on the transposition of the scientific elements of the novel in the film. This article observes how Teshigahara, through cinematic techniques, transposes Abe’s scientific language into visual forms. Abe himself involved in the film adaptation by writing the screenplay, in which he prioritized the literary aspects over the filmic aspect. This makes the adaptation become more interesting because Teshigahara is known as a stylish filmmaker. Another noteworthy aspect is the internal dialogues domination within the novel narration. It is written in an epistolary-like narration, placing the protagonist as a single narrator which consequently raises subjectivity. The way Teshigahara externalizes the stream-of-consciousness narration-like into the medium of film is another significant topic of this essay. Keywords: transposition, scientific element, adaptation, The Face of Another

Jiro Dreams of Sushi: A Circuit of Shokunin Anton Sutandio
Lingua Cultura Vol. 17 No. 1 (2023): Lingua Cultura
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/lc.v17i1.8444

The research looked at David Gelb’s 2011 documentary, Jiro Dreams of Sushi, from the shokunin concept’s perspective. Referring to Hall’s circuit of culture, the research focused on two interrelated links within cultural studies: production and consumption. Production and consumption referred to the sushi culture. Shokunin was defined as mastery of one’s profession or artisans. The film reflected this concept through the character, Jiro Ono, who dedicated his life to excelling in making sushi. The method applied in the research was qualitative. The data were drawn from the film’s cinematography which referred to the camerawork, and mise-en-scène, which referred to everything on the film frame, as part of the film studies method applied. The findings show that in terms of production and consumption of sushi within the circuit of culture, the film has shown the interrelated meaning of sushi culture: that in the context of Jiro Ono’s sushi, sushi becomes more than just food, but through its complex production and consumption process, sushi culture becomes a representation of ancient Japanese concept, shokunin, which emphasizes on discipline, perfection, beauty and of course, hard work, and sacrifice. These findings are supported by visualizing the production and consumption through the film’s cinematography and mise-en-scène.

Conflict Analysis in Luca Guadagnino's Call Me by Your Name Tisca Amaranty Putri; Anton Sutandio
DIALEKTIKA: JURNAL BAHASA, SASTRA DAN BUDAYA Vol. 10 No. 1 (2023): JUNI
Publisher : Prodi Sastra Inggris UKI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33541/dia.v10i1.4713

This article analyzes the conflicts experienced by the main character in the film Call Me by Your Name by Luca Guadagnino. Guadagnino is an Italian director known for films such as The Protagonist (1999), I am Love (2010), and Suspiria (2018). Call Me by Your Name (2017) is Guadagnino's film which discusses the issue of homosexuality set in a rural area in Lombardy, Italy in 1983. The analysis focuses on aspects of conflict because the issue of homosexuality is most clearly reflected through this aspect. The analysis is carried out to reveal the types of conflicts that occur, the causes of conflicts, conflict resolution, and how the film's cinematography helps visualize these conflicts. By using the formalism approach, it is concluded that there are two types of dominant conflict, namely social conflict and inner conflict. The main cause of the conflict is the character's inability to express his identity as a homosexual. The cinematographic aspect also helps conflict analysis through the visualization that is displayed.

The Politics of Religion in Sisworo Gautama Putra’s and Joko Anwar’s Pengabdi Setan Anton Sutandio
k@ta: A Biannual Publication on the Study of Languange and Literature Vol. 21 No. 1 (2019): JUNE 2019
Publisher : The English Department, Faculty of Humanities & Creative Industries, Petra Christian University

This research compares two films, the original Pengabdi Setan and its remake, in the context of politics of religion to show how the two films depict the issue of religion at two different eras based on the released years of the two films. The display of religion in the two films is viewed as an allegorical representation as well as critical responses to the socio-political situation of the two eras. Separated by almost four decades, Joko Anwar’s nostalgic remake and the original film subtly converse with each other, share distinctive similarities yet also polarized differences that underlie their endeavor to allegorically bring back and relive public memory of certain national trauma; that is repression during the New Order regime and marginalization of the minority in contemporary Indonesia. By focusing on the films’ cinematography and mise-en-scene, this research attempts to locate those allegorical moments within the depiction of religious practice that challenge, criticize or accentuate the dominant ideology of their respective eras. Keywords: allegorical moment, religion, national trauma, politicization

Cultural Representation of Chinese-Indonesians in Ca Bau Kan (The Courtesan) in the Context of Spice Trading and Nationalism Anton Sutandio; Yohan Yusuf Arifin
k@ta: A Biannual Publication on the Study of Languange and Literature Vol. 24 No. 2 (2022): DECEMBER 2022
Publisher : The English Department, Faculty of Humanities & Creative Industries, Petra Christian University

The object of this research is Nia Dinata’s film, Ca Bau Kan, which was adapted from Remy Sylado’s novel. The research focuses on the representation of Chinese-Indonesians which pertains to the context of the maritime spice trade route and the concept of nationalism. Set in Batavia in three different decades, namely the 1930s, 1940s, and 1960s, the film depicts the journey of a Chinese-Indonesian character from the Dutch colonial era and the Japanese colonial era to the era of the independence revolution. The research method used is a qualitative method through the theory of film studies, which is juxtaposed with the historical approach to see how Chinese-Indonesians are represented in the film. The findings show that the film attempts to represent the Chinese-Indonesians accurately, albeit with the continuous presence of inaccurate stereotypes. The findings show Chinese-Indonesians’ economic contribution that reflects the history of the spice trade maritime route in Indonesia.

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