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All Journal Tonil, Jurnal Kajian Sastra, Teater dan Sinema Sense : Journal of Film and Television Studies MEDIAKOM : Jurnal Ilmu Komunikasi
Ni Luh Ayu Sukmawati
Universitas Jember
Arts Humanities Languange, Linguistic, Communication & Media Social Sciences Other

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THE GOOD MOTHER AS REPUTATIONAL PERFORMANCE: MYTH AND SOCIAL SURVEILLANCE IN LEFT-HANDED GIRL (2025) Ni Luh Ayu Sukmawati; Wen-Hung Chao; Denny Antyo Hartanto; Bambang Aris Kartika
Sense: Journal of Film and Television Studies Vol 9, No 1 (2026)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/sense.v9i1.19531

Abstract

This article examines Left Handed Girl (2025) to refine how patriarchy works through moralised of reputation and public evaluation. Patriarchy appears as a social process sustained through gendered self policing, where mothers protect family face by managing secrecy, shame, and communal judgement. The framework draws on Roland Barthes’ semiotics of denotation, connotation, and myth, Friedrich Nietzsche’s moral genealogy of ressentiment, bad conscience, and the conversion of debt into guilt, and Judith Butler’s performativity as repeated acts shaped by social norms. The study uses close readings of selected sequences and recurring motifs that organise the film’s moral economy. Motifs include the stigmatisation of left handedness as the devil’s hand, the night market as a semiotic economy of female commodification, the concealment of nonmarital motherhood, and an incident where a pet’s fatal fall is disavowed to avert censure. Barthesian myth shows how reputational discipline becomes common sense, Nietzschean genealogy explains how external judgement turns inward as bad conscience, and Butlerian performativity frames concealment as affective labour that produces the figure of the good mother. The findings portray patriarchy as reproduced through women’s enforced moral responsibility, binding care to coercive respectability
DINAMIKA PENCARIAN JATI DIRI TOKOH AURORA DALAM FILM JALAN YANG JAUH JANGAN LUPA PULANG Wahyu Ariyanti Mulyaningtias; Muhammad Zamroni; Ni Luh Ayu Sukmawati
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 22, No 2: September 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v22i2.16984

Abstract

Perubahan motivasi tokoh Aurora seiring menghadapi konflik internal dalam film Jalan yang Jauh, Jangan Lupa Pulang dapat terlihat melalui pendekatan psikoanalisis Sigmund Freud. Pendekatan tersebut mampu memperlihatkan cara tokoh Aurora menggunakan mekanisme pertahanan ego sebagai tanggapan terhadap tekanan akademik, keluarga, dan sosial, terutama akibat perilaku destruktif Jem. Pemilihan topik penelitian ini berkaitan dengan relevansi isu kesehatan mental pada generasi muda, khususnya akibat dominasi keluarga yang memengaruhi proses pencarian jati diri. Film tersebut menggambarkan konflik internal yang erat kaitannya dengan bayangan masa lalu dan pengaruhnya terhadap pengambilan keputusan tokoh Aurora. Penelitian ini menggunakan metode deskriptif kualitatif dan menggabungkan pendekatan psikoanalisis Sigmund Freud, struktur naratif Tzvetan Todorov, serta sinematik David Bordwell. Penerapan struktur naratif serta sinematik sebagai pendukung dapat membantu menganalisis interaksi id, ego, dan superego Aurora melalui struktur pembagian cerita serta visualisasi dalam adegan. Hasil penelitian menunjukkan bahwa seiring berkembangnya cerita, motivasi tindakan Aurora mengalami perubahan secara bertahap menuju kondisi yang lebih stabil, mandiri, dan rasional. Oleh karena itu, film Jalan yang Jauh, Jangan Lupa Pulang tidak hanya menampilkan konflik internal dan proses perubahan motivasi tokoh, tetapi juga menggunakan struktur naratif dan sinematik untuk memperjelas dinamika kondisi tokoh Aurora. Kata kunci: Jalan yang Jauh Jangan Lupa Pulang, psikoanalisis Sigmund Freud, konflik internal
TRANSFORMASI KARAKTER MELALUI TATA RIAS DAN BUSANA PADA TOKOH YOUNG-SOOK DALAM FILM THE CALL (2020) Idz Nada Zetra Aurora; Soekma Yeni Astuti; Ni Luh Ayu Sukmawati
MEDIAKOM Vol. 9 No. 02 (2026): Mediakom, Februari 2026
Publisher : Universitas Muhammadiyah Jember

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32528/mdk.v9i02.4440

Abstract

Film The Call (2020) is South Korean fantasy thriller an adaptation of The Caller which was released in 2011. The appeal of the film in its ability to present an unexpected character transformation turns into an antagonist, Young-sook. This study uses a qualitative descriptive method with a film analysis approach to examine how visual elements are used to reinforce the character transformation of the antagonist. Data were collected through observation, focusing on the storyline that motivates the character to change their attitudes and behavior, based on Todorov’s three-act structure theory and Jeff Gerke’s character arc theory. Scenes from the film were captured and analyzed in depth to highlight changes in the makeup and costume aspects of the character. Research findings indicate that makeup and fashion serve not only as aesthetic elements but also play a significant role in creating character changes of the antagonist in reflecting the development of conflict in films.
Co-Authors Bambang Aris Kartika, Bambang Aris Hartanto, Denny Antyo Idz Nada Zetra Aurora Muhammad Zamroni Soekma Yeni Astuti Wahyu Ariyanti Mulyaningtias Wen-Hung Chao