Ibu(isme) dan Film Orde Baru: Representasi Ibu dalam film Jangan Menangis Mama
The representation of women in films is always an interesting topic in Indonesian film studies. This article aims to reveal the representation of women, especially in their identity as mothers in the film Jangan Menangis Mama (Don’t Cry Mommy) was produced in 1977. This film was directed by Sofia W...
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| Format: | Article |
| Language: | English |
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Department of Communications, Universitas Islam Indonesia
2024-04-01
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| Series: | Jurnal Komunikasi |
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| Online Access: | https://journal.uii.ac.id/jurnal-komunikasi/article/view/31942 |
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| author | Novi Kurnia Mochammad Taufik Hidayatullah |
| author_facet | Novi Kurnia Mochammad Taufik Hidayatullah |
| author_sort | Novi Kurnia |
| collection | DOAJ |
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The representation of women in films is always an interesting topic in Indonesian film studies. This article aims to reveal the representation of women, especially in their identity as mothers in the film Jangan Menangis Mama (Don’t Cry Mommy) was produced in 1977. This film was directed by Sofia WD, a film star, screenwriter, and film producer who works both in the Old Order and the New Order of the Indonesian Film Industry. Based on Roland Barthes' semiotic analysis, this article uncovers two levels of meaning systems, namely denotation and connotation related to the mother's character in the film. The process of interpreting these signs cannot be separated from the concept of ‘ibuism’ (motherhood) as a gender-political ideology of the New Order and the context of the male-dominated film industry. Research findings show that the dominant representation of mothers is associated with the weak position of a woman with various roles: as a wife, a mother, a single mother, a citizen, and a daughter. However, this research found a 'limited' agency from Sofia WD as a woman director of the film Jangan Menangis Mama to offer gender representation that is not completely stereotypical as well as not just 'black and white' as in previous studies.
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| format | Article |
| id | doaj-art-e1d5b7714df14e14a3c15022c3b9d2aa |
| institution | OA Journals |
| issn | 1907-848X 2548-7647 |
| language | English |
| publishDate | 2024-04-01 |
| publisher | Department of Communications, Universitas Islam Indonesia |
| record_format | Article |
| series | Jurnal Komunikasi |
| spelling | doaj-art-e1d5b7714df14e14a3c15022c3b9d2aa2025-08-20T02:03:43ZengDepartment of Communications, Universitas Islam IndonesiaJurnal Komunikasi1907-848X2548-76472024-04-0118210.20885/komunikasi.vol18.iss2.art6Ibu(isme) dan Film Orde Baru: Representasi Ibu dalam film Jangan Menangis Mama Novi Kurnia0Mochammad Taufik Hidayatullah 1Departemen Ilmu Komunikasi Fisipol UGM, Fakultas Ilmu Sosial dan Politik, Universitas Gadjah Mada, Yogyakarta, IndonesiaDepartemen Ilmu Komunikasi Fisipol UGM, Fakultas Ilmu Sosial dan Politik, Universitas Gadjah Mada, Yogyakarta, Indonesia The representation of women in films is always an interesting topic in Indonesian film studies. This article aims to reveal the representation of women, especially in their identity as mothers in the film Jangan Menangis Mama (Don’t Cry Mommy) was produced in 1977. This film was directed by Sofia WD, a film star, screenwriter, and film producer who works both in the Old Order and the New Order of the Indonesian Film Industry. Based on Roland Barthes' semiotic analysis, this article uncovers two levels of meaning systems, namely denotation and connotation related to the mother's character in the film. The process of interpreting these signs cannot be separated from the concept of ‘ibuism’ (motherhood) as a gender-political ideology of the New Order and the context of the male-dominated film industry. Research findings show that the dominant representation of mothers is associated with the weak position of a woman with various roles: as a wife, a mother, a single mother, a citizen, and a daughter. However, this research found a 'limited' agency from Sofia WD as a woman director of the film Jangan Menangis Mama to offer gender representation that is not completely stereotypical as well as not just 'black and white' as in previous studies. https://journal.uii.ac.id/jurnal-komunikasi/article/view/31942representation ibu film New Ordersemiotics |
| spellingShingle | Novi Kurnia Mochammad Taufik Hidayatullah Ibu(isme) dan Film Orde Baru: Representasi Ibu dalam film Jangan Menangis Mama Jurnal Komunikasi representation ibu film New Order semiotics |
| title | Ibu(isme) dan Film Orde Baru: Representasi Ibu dalam film Jangan Menangis Mama |
| title_full | Ibu(isme) dan Film Orde Baru: Representasi Ibu dalam film Jangan Menangis Mama |
| title_fullStr | Ibu(isme) dan Film Orde Baru: Representasi Ibu dalam film Jangan Menangis Mama |
| title_full_unstemmed | Ibu(isme) dan Film Orde Baru: Representasi Ibu dalam film Jangan Menangis Mama |
| title_short | Ibu(isme) dan Film Orde Baru: Representasi Ibu dalam film Jangan Menangis Mama |
| title_sort | ibu isme dan film orde baru representasi ibu dalam film jangan menangis mama |
| topic | representation ibu film New Order semiotics |
| url | https://journal.uii.ac.id/jurnal-komunikasi/article/view/31942 |
| work_keys_str_mv | AT novikurnia ibuismedanfilmordebarurepresentasiibudalamfilmjanganmenangismama AT mochammadtaufikhidayatullah ibuismedanfilmordebarurepresentasiibudalamfilmjanganmenangismama |