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All Journal Lakon : Jurnal Kajian Sastra dan Budaya ELS Journal On Interdisciplinary Studies in Humanities Anaphora: Journal of Language. Literary and Cultural Studies
Alexei Wahyudiputra
Universitas Airlangga
Arts Humanities Languange, Linguistic, Communication & Media Social Sciences Other

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THE REPRESENTATION OF SISTERHOOD IN SUSAN GLASPELL'S TRIFLE: PROXEMIC AND KINESIC ANALYSES Ni Komang Arie Suwastini; Alexei Wahyudiputra
Lakon : Jurnal Kajian Sastra dan Budaya Vol. 10 No. 2 (2021): JURNAL LAKON
Publisher : Universitas Airlangga

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (742.022 KB) | DOI: 10.20473/lakon.v10i2.31305

Abstract

Abstract: Susan Glaspell’s plays have been recognized for its feminist ideologies. The present study traces the representations of the notion of sisterhood in Glaspell’s scrip entitled Trifles by employing Barthes’ semiotics and Fischer-Lichte’s concept of kinesics. Focusing on the gestural and the proxemic signs of the kinesics included in the script, the present study reveals that the notion of sisterhood grows among the female characters in the play through the increasing realization of their similar positions as women in patriarchal society. This development of solidarity among the female characters implies a strong feminist ideology about how women should stand together in facing oppression in male-dominated structures.
THE WEINSTEIN EFFECTS: FORECASTING THE GENESIS OF CANCEL CULTURE IN HOLLYWOOD INDUSTRY Alexei Wahyudiputra; Abdika Taslih Amrullah; Diaz Adrian
Anaphora : Journal of Language, Literary, and Cultural Studies Vol 4 No 1 (2021): JULY
Publisher : Universitas 17 Agustus 1945 Surabaya, Prodi sastra Inggris, Fakultas Ilmu Budaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30996/anaphora.v4i1.4710

Abstract

The phenomenon of cancel culture has become a common, even effective, way of convicting people who are deemed to be a deviant of social norms. The practice of cancel culture is massively emerging on mainstream lens by the stimulation of Harvey Weinstein’s cases in Hollywood discourse, or known as the Weinstein Effects. The article aims to examine cancel culture in Hollywood and the relation between this phenomenon with Weinstein Effects, and point out a hysteresis in Hollywood celebrity culture due to this event. The research is conducted qualitatively by synthesizing information from various journal articles and online news regarding celebrity discourse. Furthermore, the basis of analytical discussion within this article is Foucauldian premise regarding genealogy and Bourdieusian postulation on cultural hysteresis.
The Tumultuous Game of Legitimacy: Capital Contestation between Riggan, Mike, and Tabitha in Birdman (2014) Alexei Wahyudiputra; Edi Dwi Riyanto
Anaphora : Journal of Language, Literary, and Cultural Studies Vol 5 No 1 (2022): JULY
Publisher : Universitas 17 Agustus 1945 Surabaya, Prodi sastra Inggris, Fakultas Ilmu Budaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30996/anaphora.v5i1.6415

Abstract

The contemporary Hollywood cinematic landscape is commonly filled with popular films that seek mass legitimacy. It is different from theatrical works or Broadway that are specifically aimed at connoisseurs. The ample evidence of popular films infers that American cultural field constructs its logicality in effect of this system. It affects at how one distinctively perceives theatre or Broadway as “art” and films as “entertainment", leading the actors within them to seek to be legitimized as an “actor/artist” in a distinctive way. This article specifically aims to diagnose this condition through Alejandro Gonzalez Iñárritu’s film entitled Birdman (2014) that tells a story of a washed-up American film actor who wishes to revive his career on Broadway. The research utilizes Pierre Bourdieu’s theory on the mechanism of symbolic power, capital, and trajectories to reveal the dynamics of the field in legitimizing one’s status as an actor and the paths one takes to be legitimized as an artist. The findings suggest the asymmetrical position between Broadway and films leads to exertions of symbolic violence as portrayed by Birdman. The skillset to act is not a measurement for one to be called as an “actor”, rather it is the complex nexus between the field and the agent’s background that determines the legitimacy.
Chinese-American Liminality in Everything, Everywhere All at Once (2022): Between Violence and Wu Wei Alexei Wahyudiputra; Antonius Rahmat Pujo Purnomo
ELS Journal on Interdisciplinary Studies in Humanities Vol. 5 No. 4 (2022): December
Publisher : Hasanuddin University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (867.078 KB) | DOI: 10.34050/elsjish.v5i4.24158

Abstract

Diasporas are often said to live in “two worlds”. The conflicting relationship between their physical and mental states results in a fissure where symbolic and physical violence become the main drive for diaspora to survive. This violence comes not only due to these diaspora’s own inner conflicts, but also due to the discrepancies between their native and internalized culture with the external norms and values that surround them in their current stay. The theme of diaspora and violence has been recurrent in American cinematic representation. As the most recent example, an independent film entitled Everything, Everywhere All at Once delves into this issue by incorporating a storyline of a Chinese-diasporic family in the United States who encounters various problems regarding their cultural differences to their surroundings. This article seeks to examine the cultural dynamics only of Evelyn, Waymond, and Joy in the film’s storyline amidst the abundance of multiversal plot points that serve as the pivotal exposition in the film. The analyses are textually grounded based on Homi Bhabha’s notion of liminality and contextually on the differing conception of violence in Chinese and American contexts respectively. This article draws from a Taoist concept of Wu wei to interpret the latter point. This study finds that the film represents diasporic characters within a liminal space that forces them to produce their own “maneuver” in order to survive. The parental problems that Evelyn has with Joy as well as her familial and ideological problems with Waymond are found to be propelled by such culturally-laden maneuvers. The film then can be read as an allegory of Chinese-American diaspora’s liminal experience in the United States. This allegory contains an ethical stance where the idea of non-violence (wu wei) becomes the utopian message of the film.
Co-Authors Abdika Taslih Amrullah Antonius Rahmat Pujo Purnomo Diaz Adrian Edi Dwi Riyanto Ni Komang Arie Suwastini