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Hapsari Dwiningtyas Sulityani
Departemen Ilmu Komunikasi FISIP UNDIP

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Pemaknaan Santri Mengenai Wacana Poligami Pada Film Surga Yang Tak Dirindukan 2 Bakhita Aida; Hapsari Dwiningtyas Sulityani
Interaksi Online Vol 6, No 3: Juli 2018
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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Abstract

The divorce recapitulation data processed by the Religious Courts stated that in 2015 there were 7.476 divorce cases due to polygamy. Polygamy practice developed because polygamy discourse still contains pros and cons or raises perspective in every individual, so to knew the perspective or meaning of the audience on polygamy in the movie of Surga Yang Tak Dirindukan 2, researchers used the method of reception analysis. The purpose of this research was to described the meaning of santri as audiences about polygamy discourse on the movie of Surga Yang Tak Dirindukan 2 .The theory used in this research was the theory of encoding-decoding and Nurture theory. The result of the research showed that there were variations in the meaning of different santri on polygamy discourse on Surga Yang Tak Dirindukan 2. The six informants in the negotiation position justify the permissibility of polygamy with the condition and the special cause. But they were not willing to do polygamy because polygamy makes people feel hurt and polygamy conditions that are difficult to implement that is fair. Where some female santri informants argue that fair includes the established aspects and feelings while the santri son disagrees if the feelings are fair demands. Not only that, some informants agreed that wives who can not perform their duties well are conditions that were allowed to be polygamous. Informant's opinion is based on the textualist's interpretation of Al-Qur’an verses on polygamy, Kitab Kuning, santri and kyai, and the mass media.
MEMAHAMI POLITIK TATAPAN DALAM FILM WONDER WOMAN Larissa Asoka Tunggadhewi; Hapsari Dwiningtyas Sulityani
Interaksi Online Vol 6, No 3: Juli 2018
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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Abstract

Superhero genres have been Hollywood's blockbuster for ten years, but none narrates the story of a female Superhero. The release of Wonder Woman film directed by Patty Jenkins become a commercial success and received praises globally but that didn't make this movie free from the accusation that it objectified the character. This study based on the idea that director's gender could offer a difference in the portrayal of women as a subject and aim to describe her political gaze. This research refers to a critical paradigm with discourse analysis using Sara Mills' approach and used Male gaze and Auteur as the main theories. Research findings show that the personal (like political gaze) can indeed be political. The character has a maternal, sensitive, and naive trait which identified as a female attributes and have never shown in the lead character of a Superhero films before. Fragmentation like chest, buttocks, and those which portray women from foot to head did not occur. Patty Jenkins was able to add a message of female subjectivity in the film genre that is identic to the masculine audience, but she still can not escape the Male gaze. Diana's character communicates the feminine notion of peace and justice with the classic Superhero charisma. The fragmentation of a robust and sturdy female physique forms a protest against the soft, passive and commodified bodies in conventional femininity even though it still contains scopophilia. Diana's focalizations portray the subjectivity of women as feminine and heroic subjects. The schemata analysis based on the cinema's structure show director's political gaze which communicates that femininity is power and not a weakness.
PEMBENTUKAN FEMME FATALE DALAM DRAMA SERIAL GAME OF THRONES PADA TOKOH CERSEI LANNISTER ELISABETH NATASIA; Hapsari Dwiningtyas Sulityani
Interaksi Online Vol 6, No 4: Oktober 2018
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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Abstract

Game of Thrones merupakan drama serial televisi dengan genre fantasi. Drama ini layak dikaji karena terdapat tokoh penjahat perempuan yang mendominasi dan menjadi salah satu tokoh utama dalam ceritanya. Penelitian ini bertujuan untuk mengetahui apakah tokoh Cersei sebagai penjahat memiliki karakteristik femme fatale yang sering disandingkan dengan tokoh penjahat perempuan dalam drama dan bagaimana karakter femme fatale tersebut ditampilkan, serta mengetahui potensi power yang dimiliki femme fatale. Penelitian ini menggunakan pendekatan kualitatif deskriptif dengan menggunakan analisis wacana Sara Mills yang memiliki elemen karakter, fragmentasi, fokalisasi dan schemata, dan berdasarkan teori feminis film dan femme fatale. Hasil dari penelitian ini menunjukkan bahwa perempuan dengan karakter femme fatale memiliki potensi untuk meraih kekuasaan. Penelitian juga menunjukkan bahwa femme fatale dalam drama menunjukkan sisi negatif dan positif dari karakternya, karena femme fatale tidak akan bisa dilepaskan dari tokoh female villain.
REPRESENTASI MASKULINITAS DAN FEMINITAS PADA KARAKTER PEREMPUAN KUAT DALAM SERIAL DRAMA KOREA Eko Rizal Saputra; Hapsari Dwiningtyas Sulityani
Interaksi Online Vol 6, No 3: Juli 2018
Publisher : Jurusan Ilmu Komunikasi, FISIP, Universitas Diponegoro

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Abstract

The female characters in Korean dramas are often displayed with emphasis on femininity. The femininity on the text only represents a message of a particular ideology, did not a representation of human being. It could lead to restrictions on women's roles and affirmation of how women should be. Supposedly, women could put themselves on the masculine and feminine side and mass media should be able to bring diversity to the female character. This study aims to see how the representation of masculinity and femininity displayed on a strong female character in the Korean television drama—Strong Woman Do Bong Soon—as an ideal concept for women. The theory that is used in this research was the performance theory of Judith Butler. This study used an approach of discourse analysis on the text of Sara Mills. With this approach, the analytical tools were divided into four structures, including character, fragmentation, focalization, and schemata. The results showed that the character of women brings masculine and feminine values on her. The character displayed with the attribute of femininity through her physical appearance. While in her role, the character displayed two sides, namely masculinity and femininity. Masculinity was in the ability of herself who takes over the role of hero and protector of men. Meanwhile, masculinity and femininity were also seen in the realm of women's work and romance. Fragmentation of a strong female character represented as a body that carries power through her face, chest, waist, hand, leg, and back. Masculinity and femininity were also seen through the position of women in the narrative. Masculinity arised when women act as a subject or Self and femininity exists when women are narrated by other characters or The Other. However, there were also results that show masculinity when the position of women in The Other and femininity on the Self. And in the schemata, masculinity and femininity were shown to shape women's position as a subject. In the social context, the male and female audience tend to interpret the character according to what is displayed. The different meanings influenced by some factors, such as the knowledge and experience of the audience. The presence of masculinity and femininity in a female character here was a form of gender performativity that shows the character was able to escape from dominant performance.