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Dwi Setiawan
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Kata Kita: Journal of Language, Literature, and Teaching
Published by Universitas Kristen Petra Surabaya
ISSN : -     EISSN : 25987801     DOI : 10.9744/katakita
Core Subject : Education,
Languange, Linguistic, Communication & Media
Kata Kita is a journal dedicated to the publication of students research in the areas of literature, language, and teaching. In the study of language, it covers issues in applied linguistics such as sociolinguistics, discourse analysis, critical discourse analysis, pragmatics, sylistics, corpus linguistics and others. In the area of literature, it covers modern and contemporary literature in English in the forms of printed, screened, aired or performed texts. In the field of teaching, it covers teaching materials and practices, especially those related to English Language Teaching.
Arjuna Subject : Seni dan Humaniora - Bahasa dan Linguistik
Articles 22 Documents
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Search results for , issue "Vol. 13 No. 3 (2025)" : 22 Documents clear
Power and Resistance in A Singapore Film: La Luna Abigail Welby Junuslie; Setefanus Suprajitno
Kata Kita: Journal of Language, Literature, and Teaching Vol. 13 No. 3 (2025)
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/katakita.13.3.477-484

Abstract

This article discusses a Singapore film, La Luna. This film tells the story of Hanie, a modern business woman from a big city who opens a lingerie shop in a conservative village of Bras Basah. The villagers gradually welcome the shop with open arms. However, the religious leader of the village, Tok Hasan, sees that the store threatens as the religious values of the society, and thus he wants to drive the shop out of the village. Through the story of Hanie, La Luna exposes several important issues such as corrupted power, authoritarian leader, oppression, and resistance. Because of these issues, we are interested in analyzing this film. By using Michel Foucault’s theory of power and resistance and James Scott’s theory of everyday resistance, we investigate the way Tok Hassan exercises his religious power and the way the villagers resist his power. We find out that Tok Hassan exercises his religious power by establishing laws and rules, surveilling the act of villagers and also using violence. In response, the villagers show their resistance by protesting, disobeying and making an ally. Even though it has to be carried out slowly, the action was successful to bring change in the village. All these show that even under oppressive conditions, resistance will always exist in its own way.
Performing Identity and Concealment: Kim Mo-Mi’s Shifting Selves and the Illusion of Freedom in Mask Girl Saranietha Kadang; Liliek Soelistyo
Kata Kita: Journal of Language, Literature, and Teaching Vol. 13 No. 3 (2025)
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/katakita.13.3.485-492

Abstract

This study explores the shifting identities of Kim Mo-Mi in the South Korean psychological thriller Mask Girl, focusing on how the protagonist uses literal and symbolic masks to navigate societal beauty standards and reclaim agency. Drawing on Erving Goffman's dramaturgical theory and Anthony Giddens’ agency theory, this research analyzes the meanings behind the masks Mo-Mi wears across three life stages—online performer, surgically altered persona, and prisoner—and investigates the reasons she chooses to keep them. Using close textual and visual analysis, the study finds that Mo-Mi’s masks serve distinct functions: performance, transformation, and survival. The findings reveal that while each mask appears to offer her empowerment or escape, they ultimately reflect the constraints imposed by societal structures and her struggle to assert her identity. The study concludes that the mask, rather than merely concealing appearance, becomes both a tool of agency and a symbol of entrapment within social expectations. In the end, the story shows that real freedom comes not from wearing a mask, but from having the courage to live as her true self without hiding.

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