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All Journal k@ta Lire Journal (Journal of Linguistics and Literature)
Adipurwawidjana, Ari J
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Arts Humanities Languange, Linguistic, Communication & Media

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SPEAKING BODIES, VISIBLE VOICES: NARRATIVE TENSION IN COPPOLA’S APOCALYPSE NOW: REDUX (2001) Mori, Alifa Syauqina; Priyatna, Aquarini; Adipurwawidjana, Ari J
Lire Journal (Journal of Linguistics and Literature) Vol. 8 No. 2 (2024): Lire Journal (Journal of Linguistics and Literature)
Publisher : Elite Laboratory Jurusan Sastra Inggris Universitas Bangka Belitung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33019/lire.v8i2.315

Abstract

Francis Ford Coppola’s Apocalypse Now: Redux (2001), a 2001 re-release of his 1979 Vietnam War epic, sparked significant discussions among both academic scholars and mainstream media. The extended version, which features almost an hour-long addition of new scenes, challenged the question of the film’s continued relevance within the evolving Hollywood industry. While the original version may have highlighted the horror and dehumanization of the Vietnam War, it was also criticized for depicting women as one-dimensional sexual objects and effectively silencing their voices. However, by utilizing Verstraten’s notion of filmic narrative, Mulvey’s visual pleasure, and Stark’s narrative voicelessness, this research aims to show how narrative tension is displayed in Apocalypse Now: Redux and how it highlights the representation of the female characters’ subjectivity. We argue that the Redux version offers a notable difference from the stereotypical portrayal of women in war film. By incorporating the newly added scenes, Apocalypse Now: Redux provides the female characters with more agency and individuality, allowing them to move beyond the limitation of being mere decorations.
Metacinema as Diasporic Postmemory in Justin Chon’s Blue Bayou (2021) Ghassani, Damia Rizka; Adipurwawidjana, Ari J
k@ta: A Biannual Publication on the Study of Language and Literature Vol. 26 No. 1 (2024): JUNE 2024
Publisher : The English Department, Faculty of Humanities & Creative Industries, Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/kata.26.1.1-13

Abstract

Blue Bayou (2021), a film by Justin Chon, presents issues of imagination, postmemory, and identity through self-referential techniques. Referring to Marianne Hirsch’s theory on postmemory, this article examines how this film represents imagined moments and how they serve as a postmemory of the history of Korean immigrants, and how this kind of forgetting constitutes the American shared experience. The findings and discussion show that imagined moments in Antonio's subconscious function as postmemory for Antonio, while the film itself serves as a postmemory for America’s imagination. It can be argued that Blue Bayou deliberately acknowledges itself as a film and as fiction to present the world that America imagines and understands. We argue that Blue Bayou conceives memory, fosters imagination, and acts as a documentation for the audience as well as for America’s fragmented memory.
IN BETWEEN SUPERPOWERS: LIMINALITY AND WESTERNIZATION IN WEI HUI’S SHANGHAI BABY (1999) Sakinah, Mutiara; Adipurwawidjana, Ari J; Prabasmoro, Tisna
Lire Journal (Journal of Linguistics and Literature) Vol. 8 No. 1 (2024): Lire Journal (Journal of Linguistics and Literature)
Publisher : Elite Laboratory Jurusan Sastra Inggris Universitas Bangka Belitung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33019/lire.v8i1.260

Abstract

Shanghai Baby (1999), a novel by Wei Hui, tells the story of a Shanghai woman named Coco who is caught between two superpowers, China and the West, personified by the characters Tian Tian, a native Chinese man with no passion for life, and Mark, a white German man who is dominant in every way. This study aims to identify the tension experienced by both Coco and the novel Shanghai Baby in such a liminal position through narrative content and reactions in the surrounding political economy and cultural discourse. Through a close reading of the text within the theoretical framework of Bhabha's (1994) concept of in-betweenness and third space, we argue that the liminality displayed within the text and based on the novel's highly Westernized narrative structure creates a liminal state for the novel. As such, while the narrative is set in China and was originally written in Chinese, the novel represents Western ideological imagination, underscored by its economic success in its translated form in English.
Co-Authors Aquarini Priyatna Ghassani, Damia Rizka Mori, Alifa Syauqina Sakinah, Mutiara