Women's Resistance Discourse in the Film Like & Share (2022): Sara Mills Critical Discourse Analysis
DOI:
https://doi.org/10.25134/30daw196Keywords:
Critical Discourse Analysis, Film, Resistence, Sara Mills, WomenAbstract
This article analyses the construction of discourse in the film Like & Share directed by Gina S. Noer. This research is qualitative with Sara Mills' critical discourse analysis as the theoretical framework. theoretical framework. Based on the results of the analysis, it is found that the film Like & Share presents a discourse of women's resistance to patriarchal values & stereotypes in society. society. Like & Share presents a discourse of resistance by by presenting the position of female subjects who are subordinated by patriarchal values. patriarchal values. In addition, the early part of the film seems to agree with the concept of male gaze both at the visual level & in the film dialogue. The film's visuals emphasise on women's bodies while the dialogue presents women's perspectives on patriarchal values patriarchal values. The resistance discourse is then presented through the impact ofpatriarchal values to women & the dynamics of power relations that occur in Sara and Lisa's personal relationships. personal relationship between the characters Sara and Lisa. This strategy can be declared effective in presenting the concept of gender equality to readers. In addition to presenting resistance discourse, Like & Share also raises the discourse of women supporting women, which is presented through the relationship between Sara and Lisa.support women discourse which is presented through the relationship between Sara and Lisa.
Downloads
References
Berger, J. (1972). Ways of Seeing. Penguin Group.
Brown, C. C., Durtschi, J. A., Carroll, J. S., & Willoughby, B. J. (2017). Understanding and predicting classes of college students who use pornography. Computers in Human Behavior, 66(2016), 114–121. https://doi.org/10.1016/j.chb.2016.09.008
Brown, W. (2015). Destroy Visual Pleasure: Cinema, Attention, and the Digital Female Body (or Angelina Jolie Is a Cyborg). In L. Mulvey & A. B. Rogers (Eds.), The Key Debates: Mutation and Appropriation in European Film Studies Feminism (pp. 54–64).
Fajri, H., Fitri, D., & Riski, W. N. (2023). Mise-En-Scene Sebagai Pendukung Unsur Dramatik Film Penyalin Cahaya. Cinelook: Journal of Film, Television and New Media, 1(1), 12–26. https://journal.isi-padangpanjang.ac.id/index.php/JFTNM/index
Fajria, F., & Fatanti, M. N. (2024). Unravelling Power Relations in Sexual Violence in the Penyalin Cahaya Movie : Sara Mills ’ Feminist Stylistic Analysis Framework Mengungkap Relasi Kekuasaan dalam Kekerasan Seksual dalam Film Penyalin Cahaya : Kerangka Analisis Stilistika Feminis Sara Mil. Jurnal Aristo (Social, Politic, Humaniora), 12(1), 121–145.
Früchtl, J. (2017). Aesthetic-Philosophical Realism: How Intuition Matters for Ontology Cinema. In C. Reeh & J. M. Martins (Eds.), Thinking Reality and Time Through Film (pp. 180–197). Cambridge Scholars Publishing.
Haryatmoko, J. (2015). Kondisi Ideologis Dan Derajat Keteramalan Analisa Wacana Kritis Norman Fairclough. Diskursus, 14(2), 153–192.
Iksandy, D. Y., & Pribadi, F. (2024). Representasi Feminisme dalam Film Like & Share (Analisis Semiotika John Fiske). Paradigma, 13(2), 21–30. https://journals.upi-yai.ac.id/index.php/IKON/article/view/1834
Klarer, M. (2004). An Introduction to Literarty Studies: Second Edition. Routledge.
Kubrak, T. (2020). Impact of films: Changes in young People’s attitudes after watching a movie. Behavioral Sciences, 10(5). https://doi.org/10.3390/bs10050086
Kusumawati, K., Kusumaningsih, D., & Wicaksana, M. F. (2024). Representasi Perempuan dalam Pemberitaan Puan & Megawati di. Fon: Jurnal Pendidikan Bahasa Dan Sastra Indonesia, 2(2), 313–325.
Marfudhotun, I., & Wiyatmi, W. (2020). The Body Autonomy in the Short Story “Wanita Muda di Sebuah Hotel Mewah” by Hamsad Rangkuti: The Feminism Discourse Analysis of Sara Mills. International Journal of Linguistics, Literature and Translation (IJLLT), 3(11), 38–45. https://doi.org/10.32996/ijllt
Mills, S. (2004). Discourse. Routledge.
Mills, S. (2005). Feminist stylistics. In The Routledge Handbook of Stylistics. https://doi.org/10.4324/9781315795331.ch21
Noer, G. S. (2022). Like and Share. Starvision Plus.
Prihandini, P., Limilia, P., & Pratamawaty, B. B. (2020). Studi Komparasi Chi-Square Perilaku Konsumsi Pornografi Bagi Remaja Berdasarkan Perbedaan Jenis Kelamin. Jurnal Komunikasi Pembangunan, 18(02), 163–175. https://doi.org/10.46937/18202031451
Safitri, N. A., & Nurlita, I. (2024). Analisis Isi Mengenai Kekerasan Seksual pada Film Like & Share. Jurnal PIKMA : Publikasi Ilmu Komunikasi Media Dan Cinema, 6(2), 458–492. https://doi.org/10.24076/pikma.v6i2.1530
Salampessy, M., Sari, A. R., Florid, M. I., Widyastuti, & Runtu, A. R. (2024). Documentary Film Dirty Vote: Substance and Sensation. International Journal of Society Reviews (INJOSER), 2(4), 956–962.
Syarifa, R. (2019). Comparison of The Model Critical Discourse Analysis by Mills and Fairclough at Online Media in Case Reporting of Ikan Asin. HORTATORI: Jurnal Pendidikan Bahasa Dan Sastra Indonesia, 3(2), 73–80.
Wibawani, S., & Anwar, M. (2023). Representation of Women in Demi Nama Baik Kampus Short Films from Sara Mills’ Perspective. Journal of Pragmatics and Discourse Research, 3(2), 163–175. https://doi.org/10.51817/jpdr.v3i2.345
Wulansari, A., & Mazid, S. (2024). Revealing the Ideology of Documentary Film Dirty Vote: Critical Discourse Analysis with Transitivity Perspective. Metthesis: Journal of English Language, Literature, and Teaching, 8(1), 1–16. https://doi.org/https://doi.org/10.31002/metathesis.v8i1
Yu, A. (2020). Discussion of the artistic aesthetic transformation between film and literature from the perspective of adaptation. Journal of Language Teaching and Research, 11(6), 1005–1010. https://doi.org/10.17507/jltr.1106.19
Downloads
Published
Issue
Section
License
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Articles published in this journal are licensed under a Creative Commons Attribution-ShareAlike 4.0 International (CC BY-SA 4.0) license. Readers are free to copy, distribute, and adapt the work for any purpose, including commercial use, provided appropriate credit is given to the original authors and any derivative work is distributed under the same license.
