Acssc gender portrayal revised

Gender
Portrayal
on

Comedy
Cinema
in
Indonesia

Lala
Palupi
Santyaputri

Lecturer
in
University
of
Pelita
Harapan

PhD
Candidate
at
the
Bandung
Institute
of
Technology

Asian
Cinema
Studies
Society
Conference
2012

University
of
Hong
Kong,
16-‐20
March
2012

Introduction

¤  A
media
culture
in
which
images,
sounds,
and
spectacles
help

produce
the
fabric
of
everyday
life,
dominating
leisure
time,

shaping
political
views
and
social
behavior
and
providing
the

materials
out
of
which
people
forge
their
very
identities.
A
:ilm

can
help
us
to
understand
what
is
going
on
in
contemporary

societies
and
cultures…(Kellner,
D.,
1995)

¤  It
is
at
once
read
the
discourses
and
cultural
developments

that
occurred
in
Indonesia.
Discourse
and
culture,
and
read

between
the
lines
in
the
Qilm
through
its
visual

language.
Therefore
the
visual
language
is
very
important
on

Qilm.
Each
element
of
the
Qilm
to
support
the
visual
language,

these
elements
consist
of:
Script
/
Screenplay,
Cast,
Director,

Actor/Actress,
Property,
Planning
and
the

Spectator.
Important
aspect
of
this
arrangement
consists
of

makeup,
fashion,
lighting,
and
sound.

Gender
Differences
as

Visual
Objects

¤  Masculinities
and
Femininities
as
objects
of
visual
in
the

cinema,
is
often
become
an
object
of
interest
in
a
movie.
As

objects,
they
are
receiving
treatment
visits,
value,
and

appreciation
in
a
variety
of
media
discourse
context.

¤  Visualization
of
gender
in
media
characterized
by

stereotyping
and
as
commodiQication
in
a
media.
This

discourse
exists
in
various
forms
of
mass
media,
ranging

from
fairy
tales
and
folklore,
to
the
magazine,
advertising

and
feature
Qilms.

Table
1.
Development
of
the
Qilm
in
Indonesia,
(2006)
Gayus
Siagian

1999-
1926-1942! 1950! 1955-1969! present!
1942! 1942-1945! 1945-1949! 1969-1998!
Birth & Birth of Civil War Reformatio
Developme Verbal Japanese Transition National and New New Order n & Young
Movies ! Era! Era! Era!
nt Era! Production! Order! Director
Era!

¤  Comedy

genre
on
cinema
production
parallel
with
the

national
cinema
development
according
to
Eric
Sasono

(2007).

¤  In
the
era
of
1979-‐1994
comedy
genre
in
cinema
production

is
23,4
%
out
from
national
production
in
every
genre.
(JB

Kristanto,
Katalog
Film
Indonesia,
194)

¤  In
Indonesia
comedian
world
is
dominated
by
a
group

comedy.
And
many
of
that
group
member
is
male.

¤ 
Warkop
Qilm
comedian
Indonesia
is
considered
to
represent

an
exists
representation
because
of
its
presence
in
the

period
for
15
years.
And
when
the
Qilm
fell
fallen
in

Indonesia
1990-‐2000
Warkop
still
has
its
own
place
in
the

Indonesian
moviegoers.

¤  Warkop
DKI
movie
has
been
chooses
as
a
subject
of
research

because
this
comedian
group
is
produced
33
Qilm
since

1979-‐1994
(15yrs)
and
29
Qilms
is
considering
as

blockbusters
by
PerQini
(Indonesian
National
Film

Asociation)

Warkop
Dono
Kasino
Indro

Warkop
or
before
Warkop
Geronimo,
is
a
comedy
group
formed

by
Nanu
(Nanu
Mulyono
real
name),
Rudy
(Rudi

Badil),
Dono
(Wahjoe
Sardono),
Kasino
(Kasino

Hadiwibowo)
and
Indro
(Indrodjojo
Kusumonegoro).

Warkop
considered
to
represent
the
people
of
Indonesia
with
a

different
cultural
background
of
the
tribe.

Warkop
DKI
is
a
comedy
group
that
has
the
prime

time

of
the
NewOrder
era
the
years1979-‐1994.
Group
originally
starte
d
as
a
radio
comedy
and
develops
into
the
cinema.

Badil,
Rudy
&
Indro
Warkop.
(2010).
Main-‐Main
Jadi
Bukan
Main.

Gender
Stereotypes
on

Comedy
Cinema

¤  Gender
is
selected
as
the
artist's
companion
has
a
certain

stereotype.
There
are
several
techniques
used
in
the

shooting
that
took
the
charge
that
it
is
sexist.
A
technique

often
used
is
cutting
-‐
showing
separate
parts
of
the
gender

differences
-‐
for
example,
his
legs,
on
his
own.
This
suggests

that
the
difference
is
entirely
separate
to
the
mind,
and
if
he

looks
better
and
it's
just
a
foot
is
the
most
important.

¤  In
the
table
Tudor
1973,
135
in
the
book
An
introduction
of

Film
Studies
by
Jill
Nemmes,
Comedy
genre
comparable
in

horror
and
thriller
genre
is
in
the
process
enter
the
criteria

Intended
effect
or
effects
of
the
element
of
intent
is
expected

to
produce
humor
in
general.
In
Indonesia
comedy
Qilm

starring
men,
women
never
missed
his
presence
as
a
movie

player.

¤  In
Indonesia,
most
of
theme
the
comedy
Qilm
is
musical

comedy
and
satire
comedy
that
can
be
distinguished
as

sarcastic.

Humor
of
linguistic
terms

1.  The
theory
of
liberation,
that
is
nothing
but
a

joke
emotional
trickery
that
seems
threatening
but
it
was

not
nothing

2.  The
theory
of
con3lict,
which
speciQies
the
pressure
on
the

implications
of
treatment
between
the
two
conQlicting

impulse,
and

3.  Lack
of
harmony
theory,
namely
the
existence
of
two

meanings
or
interpretations
are
not
the
same
and

combined
in
a
complex
combination
of
meaning.

Male
Gaze

¤  Women
do
not
just
see
themselves
as
men
see
them,
but
are

encouraged
to
enjoy
their
sexuality
through
the
eyes
of

men.
(Janice
Winship,
Sexuality
for
Sale,
1980).
This
applies
also

to
the
roles
of
women
in
Indonesia’s
Comedy
Cinema.
A

dominant
masculine
image
that
appears
on
the
actor
portrayed

women
should
always
look
stunning,
especially
when
she
only

appeared
as
an
supporting
actress.

¤  Men
act
and
women
appear.
Men
look
at
women.
Women
watch

themselves
being
looked
at.
This
determines
not
only
most

relations
between
men
and
women
but
also
the
relation
of

women
to
themselves.
The
surveyor
of
women
in
herself
is

male:
the
surveyed
female.
Thus
she
turns
herself
into
an
object

and
most
particularly
an
object
of
vision:
a
sight.
(John
Berger’s.

Ways
of
Seeing,
1972)

¤  Laura
Mulvey
took
this
concept
further
in
what’s
become
a

well-‐known
work
of
psychoanalytic
Qilm
theory
in
her
essay,

“Visual
Pleasure
and
Narrative
Cinema.”
In
talking
about
the

way
narrative
Qilm
reinforces
the
gender
of
the
Qilm’s
viewer

using
a
sequence
of
looks.

¤  In
a
world
ordered
by
sexual
imbalance,
pleasure
in
looking

has
been
split
between
active/male
and
passive/female.
The

determining
male
gaze
projects
its
phantasy
on
to
the
female

:igure
that
is
styled
accordingly.
In
their
traditional

exhibitionist
role
women
are
simultaneously
looked
at
and

displayed,
with
their
appearance
coded
for
strong
visual
and

erotic
impact
so
that
they
can
be
said
to
connote
to-‐be-‐looked-‐
at-‐ness.
Woman
displayed,
as
sexual
object
is
the
lit-‐motif
of

erotic
spectacle:
from
pin-‐ups
to
strip
tease,
from
Ziegfeld
to

Busby
Berkeley
she
holds
the
look,
plays
to
and
signi:ies
male

desire.

Table.
3.
Gendered
Spectatorial
Positioning
(Tseelon
and
Kaiser

1992)
from
Tseelon
(1995).
P
68

•  Male
Gaze
•  Female
Gaze

•  Undimensional
•  Complex

•  Posing
for
male
audience;
aware
of
•  Self
absorbed;
not
self-‐conscious;

audience
oblivious
to
audience

•  Glamorized,
idealized,
timeless
•  Variable;
both
beautiful
and
plain,

changing
and
aging,
contextualized

•  Accessible
•  Unavailable

•  Primarily
an
object
of
desired
•  A
range
of
role

•  DeQined
by,
through,
for
men
•  Independent
existence
beyond
and

outside
male
discourse

•  Pleasure
in
being
a
sexual
object
•  Pleasure
in
sexuality
and

autoeroticism

Modes
of
Pleasure

Male
Gaze
Female
Gaze

Objectifying,
fetishing
Narcissistic
identiQication

Voyeuristic
pleasure
at
a
distance
Pleasure
in
closeness

Masculine
Representation
in
Film
Comedy

Cornell
(1995)
provided
a
useful
breakdown
of
three
different
types
of
masculinities

that
are
present
in
modern
Western
Culture.
They
are
hegemonic
masculinity,

conservative
masculinity,
and
subordinated
masculinity.

¤  Hegemonic
masculinity
is
based
on
the
political
idea
of
hegemony
(Gramsci,

1985),
which
contends
that
the
dominant
culture
in
any
society
is
based
on
the

values
of
the
ruling
class.
Because
in
most
societies
across
time
and
space,
man

have
tended
to
have
a
unequally
large
share
of
political
and
economic
power,

their
values
are
likely
to
have
been
more
culturally
inQluential
than
have
those
of

woman.
This
category
refers
to
masculinity
that
is
intended
to
dominate
(either

men
dominating
women,
or
men
dominating
other
men).

¤  Conservative
masculinity,
Cornell
used
the
stereotypes
of
the
“New
man”
as
an

example
of
conservative
masculinity.
The
“New
man”
was
a
1980s
cultural
icon

that
represented
notions
of
changing
masculinities,
moving
from
the
hegemonic

virtues
of
toughness
and
strength
to
a
sensitive,
nurturing
ideal,
embodied
by

images
of
men
engaged
in
child
care
or
overt
displays
of
emotion.

¤  Subordinated
masculinity
is
a
kind
of
alternative
or
outcast
masculinity
that
is

generally
seen
as
negative.
Trans
images
or
homosexual
or
drag
queen
have
been

the
subjects
of
derision
or
presented
as
a
problem
for
straight
men
to
solve.
This

is
represent
underclass
or
trailer
class
stereotype.

¤  Laraine
Porter
accused
a
question
of
humor
that
uses
gender

stereotypes.
If
femininity
is
a
perverse
deviation
from
a

masculinity
understood
to
be
the
norm,
is
the
breast
an

inherently
humor
object?
Are
overweight
bosomy
ladies

intrinsically
funny
as
a
parody
of
heterosexual
desire?

Porter,
Laraine,
‘Tarts,
Tampons
and
Tyrants:
Women
and

representation
in
British
comedy’,

Because
I
Tell
a
Joke
or

Two:
Comedy,
Politics
and
Social
Difference,
ed.
Stephen

Wagg
(London:
Routledge,
1998)

Type
of
Femininity
in

Comedy
Cinema

¤  The
Slender
Woman
when
the
accessories
of
female

attractiveness
and
femininity,
mini
skirt
and
the
large
breasts

are
denuded
of
both
their
appeal
and
their
functionality,
“they

become
obsolete,
parody
and
repulsive
to
the
male”.

¤  The
Impersonated
Menopausal
Woman
is
funny
because
her

increased
sexual
appetite
and
decreasing
sexual
appeal,

concurrent
with
the
failing
virility
of
her
male
opposite,
poses
a

threat
to
male
authority
and
violates
the
principle
that
female

sexuality
is
a
function
of
male
desire.

¤  The
Overweight
Ladies.
According
to
Sue
Thorman
called

Dysfunctional
Bodies.
This
become
parody
and
funny
because

they
tended
to
be
slapstick
victim.

¤  The
impersonated
menopausal
woman
is
funny
because
her

increased
sexual
appetite
and
decreasing
sexual
appeal,

concurrent
with
the
failing
virility
of
her
male
opposite,

poses
a
threat
to
male
authority
and
violates
the
principle

that
female
sexuality
is
a
function
of
male
desire.

¤  In
consequence,
when
the
accessories
of
female

attractiveness
and
femininity,
mini
skirt
and
the
large

breasts
are
denuded
of
both
their
appeal
and
their

functionality,
they
become
obsolete,
parody
and
repulsive
to

the
male.

Conclusions

¤  The
portrayal
of
humor
in
Indonesia,
especially
cinema

comedy
that
the
image
is
often
created
and
in
the
comedy

genre,
portrayal
of
gender
has
different
symbols.

¤  The
world
will
still
sexist
even
without
the
mass
media,
but

media
opens
new
doors
for
people
to
perceive
and
believe

what
they
see.
Cinema
comedy
opens
another
discourse

about
the
representation
of
gender
and
body
image

Reference

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Joseph.
M.
(1991)
The
Art
of
Watching
Films,
MayQield
Publishing,
California.

29-‐53

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Pierre.
(2010)
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90-‐113

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Christie,
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Ethnic
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Tarts,
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Women
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British
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Comedy,
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