WOMEN’S MASCULINITY IN FILM CINEMATOGRAPHY MARLINA THE MURDERER IN FOUR ACTS

The stereotypes of masculinity inherent in male characteristics can appear in women's bodies due to a state of urgency. Social understanding of reactions to the environment of men and women is situational. So, why is it impossible if a woman is masculine which means that she is no longer femini...

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Main Author: Dzikri Ar-Ridlo, Muhammad
Format: Theses
Language:Indonesia
Online Access:https://digilib.itb.ac.id/gdl/view/51698
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Institution: Institut Teknologi Bandung
Language: Indonesia
id id-itb.:51698
spelling id-itb.:516982020-09-30T09:47:57ZWOMEN’S MASCULINITY IN FILM CINEMATOGRAPHY MARLINA THE MURDERER IN FOUR ACTS Dzikri Ar-Ridlo, Muhammad Indonesia Theses Female Masculinity, Cinematography, Marlina the Murderer in Four Acts, Semiotics, Visual Text Analysis. INSTITUT TEKNOLOGI BANDUNG https://digilib.itb.ac.id/gdl/view/51698 The stereotypes of masculinity inherent in male characteristics can appear in women's bodies due to a state of urgency. Social understanding of reactions to the environment of men and women is situational. So, why is it impossible if a woman is masculine which means that she is no longer feminine. The masculinity of women in cinematography is the main point of the study. In this case, the rules regarding technical shooting that support the narrative and aesthetic elements of a film are further analyzed using Roland Barthes' semiotic approach and text analysis methods. Broadly speaking, this visual study examines various sign units in visual texts that work together and interact with cultural knowledge and identity of social relations in the film. In practice, all data collection in this study uses literature study. The technical study of female masculinity in film cinematography is divided into 2 stages of analysis. The first stage discusses the visual signs of films related to the unity of the meaning of female masculinity by sorting film scenes, then it is examined through the deepening of cinematographic surgery, visual syntax, denotation and connotation appearance. The second stage is a continuation of the first phase of the study, which includes the discussion of myths and social relations in the Sumba region as the setting for the film Marlina the Murderer in Four Acts. The masculinity of women in the cinematography of the film Marlina the Murderer in Four Acts finally provides a space for thinking to place men and women who should exchange ideas about gender construction views in order to work together against the current of patriarchy and other destructive views. Another objective in the exchange of views between men and women is to bring about gender equality which leads to benefits between the two parties. text
institution Institut Teknologi Bandung
building Institut Teknologi Bandung Library
continent Asia
country Indonesia
Indonesia
content_provider Institut Teknologi Bandung
collection Digital ITB
language Indonesia
description The stereotypes of masculinity inherent in male characteristics can appear in women's bodies due to a state of urgency. Social understanding of reactions to the environment of men and women is situational. So, why is it impossible if a woman is masculine which means that she is no longer feminine. The masculinity of women in cinematography is the main point of the study. In this case, the rules regarding technical shooting that support the narrative and aesthetic elements of a film are further analyzed using Roland Barthes' semiotic approach and text analysis methods. Broadly speaking, this visual study examines various sign units in visual texts that work together and interact with cultural knowledge and identity of social relations in the film. In practice, all data collection in this study uses literature study. The technical study of female masculinity in film cinematography is divided into 2 stages of analysis. The first stage discusses the visual signs of films related to the unity of the meaning of female masculinity by sorting film scenes, then it is examined through the deepening of cinematographic surgery, visual syntax, denotation and connotation appearance. The second stage is a continuation of the first phase of the study, which includes the discussion of myths and social relations in the Sumba region as the setting for the film Marlina the Murderer in Four Acts. The masculinity of women in the cinematography of the film Marlina the Murderer in Four Acts finally provides a space for thinking to place men and women who should exchange ideas about gender construction views in order to work together against the current of patriarchy and other destructive views. Another objective in the exchange of views between men and women is to bring about gender equality which leads to benefits between the two parties.
format Theses
author Dzikri Ar-Ridlo, Muhammad
spellingShingle Dzikri Ar-Ridlo, Muhammad
WOMEN’S MASCULINITY IN FILM CINEMATOGRAPHY MARLINA THE MURDERER IN FOUR ACTS
author_facet Dzikri Ar-Ridlo, Muhammad
author_sort Dzikri Ar-Ridlo, Muhammad
title WOMEN’S MASCULINITY IN FILM CINEMATOGRAPHY MARLINA THE MURDERER IN FOUR ACTS
title_short WOMEN’S MASCULINITY IN FILM CINEMATOGRAPHY MARLINA THE MURDERER IN FOUR ACTS
title_full WOMEN’S MASCULINITY IN FILM CINEMATOGRAPHY MARLINA THE MURDERER IN FOUR ACTS
title_fullStr WOMEN’S MASCULINITY IN FILM CINEMATOGRAPHY MARLINA THE MURDERER IN FOUR ACTS
title_full_unstemmed WOMEN’S MASCULINITY IN FILM CINEMATOGRAPHY MARLINA THE MURDERER IN FOUR ACTS
title_sort women’s masculinity in film cinematography marlina the murderer in four acts
url https://digilib.itb.ac.id/gdl/view/51698
_version_ 1822001030779371520