SISTERLY! A research compendium on how the representation of sisterhood in Indonesian films influenced the female identity in contemporary culture.
Published by LASALLE College of the Arts 1 McNally Street Singapore 187940 © LASALLE College of the Arts © NOJO All rights reserved; no part of this publication may be reproduced without prior written permission of the publisher. 1st edition, April 2022 Design & Copywriting by Nurfatin Jumari BADC4D, 15248
This publication is a deliverable for Practical Studio 2B: Design Thinking and Practice under School of Design Communication.
CONTENTS INTRODUCTION
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METHODOLOGIES SEMIOTICS & CINEMA LINGUISTICS CINEMA & FEMINIST SENSIBILITIES IDENTITY & REPRESENTATION
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CASE STUDY #1 / KARTINI: THE PRINCESS OF JAVA (2017) FILM SUMMARY CHARACTER ANALYSIS RELATIONSHIP ANALYSIS CULTURAL IMPACTS
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THE MYTH
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CASE STUDY #2 / TILIK (2018) FILM SUMMARY CHARACTER ANALYSIS RELATIONSHIP ANALYSIS CULTURAL IMPACTS
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COMPARISON
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CONCLUSION
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BIBLIOGRAPHY
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INTRODUCTION Meaning formation in relation to representation is linked to a growing awareness of the effects of living in an increasingly image-saturated culture, as theorised by writers such as Baudrillard and Debord. The representation of female friendships in films have positively influenced female sensibilities for the independent woman. However, the same sisterhood can too propose a negative ideal– a in the real world.
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HYPOTHESIS This research compendium will be investigating how female bonding and/or female friendships are represented in Indonesian feminist films, and how they influence the Javanese/Indonesian female identity. The hypothesis will be investigated through different methodologies, case studies and comparison.
Society of the Spectacle, Guy Debord 1967
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SISTERLY!
METHODOLOGIES
KEY CONCEPTS To critically analyse this hypothesis, it is important to first familiarise with the discourses of looking at the moving image supported by both visual culture and feminist thinkers.
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The Semiotic Theory by Roland Barthes In his acclaimed book Image, Music, Text (1997), Barthes presents the image, that includes the dialogue and the sequencing of imagery, as a form of visual linguistics. Barthes borrows theories from Structuralist ideals, such as semiology from Ferdinand de Saussure, on the concept of images, or signs, always having a denoted and connoted messages – signifier and signified. This is how we make meaning from the forms.
Semiotic Film Theory by Christian Metz Metz outlined in his book Film Language: A Semiotics of the Cinema (1990) that the narrative of films create units of meaning through a syntagma – constructing meaning through a set of codes that operate in succession. He also argues that cinematographic signification are typically motivated by a specific narrative, which is why scenes are shot in a certain manner, from a certain angle, includes certain imagery in a particular sequence as to carefully direct an intentional narrative typically by the director.
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SEMIOTICS & CINEMA LINGUISTICS
1.2 Image to Meaning The system of semiotics explains how interpretations and assumptions are made from looking at signs, icons and symbols. sign 1 individual signs
signifier (1) 'girl'
signified (1) a female person
combined signs
DENOTATION
sign 2
signifier (2) 'friend'
signified (2) companion, confidante
sign 3 'girl friend' signified (3) a bond with mutual affection
signifier (3) a friend who is a girl
CONNOTATION
signifier (4) a female friend of whom one shares a close platonic relationship with
MYTH
This sisterhood can also be negative or non-platonic.
signified (4) a positive sisterhood
❶ An example of the process of image to meaning–making through the system of semiotics as illustrated by Roland Barthes.
Cinematographic signification
Linguistic signification
2.2 In linguistics, there is no direct connection between the signifier and signified. The symbol for the female gender bears no resemblance to the word 'girl' nor how it sounds, making the signification process arbitrary.
2.3 However in cinema, the signification process is most likely motivated as to convey a certain narrative or concept. To convey a sisterly relationship, a specific set of signs (such as three female persons) are chosen to communicate a motivated message.
motivated
artibrary
FEMALE, GIRL, WOMAN
A SISTERLY RELATIONSHIP
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CINEMA & FEMINIST SENSIBILITIES
FEMINIST THEORIES THE GIRLY GENRE MAINSTREAM FILMS
ROMANCE SEXUALITY ultra-femininity
FANTASY FEMALE FRIENDSHIPS ❷ A chart describing the qualities of the girly genre as devices to make feminist theories more agreeable to general demographic that includes men and children.
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The Girly Genre by Hilary Radner Feminist film and media theorist, Hilary Radner illustrates in Neofeminist Cinema (2011) the different dimensions of the girly genre in film–romance, sexuality (ultra-femininity), fantasy and friendships. Radner explaines that these dimensions are methods in making feminist sensibilities more palatable to the general audience. The girly genre in films parallels feminist theories in academia in expressing the feminine identity in contemporary culture.
IDENTITY & REPRESENTATION
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Identity through Representation by Peggy Phelan Feminist scholar Peggy Phelan shares that the process of self-identity employs seeing as a way of knowing. This relates to the psychoanalytic relationship between the real and the representational, describing that one's identity is influenced by what is represented to one. The representational is conveyed in various mediums, one of them being film, and within the representational there exist portrayals of ideologies, such as race and gender.
Real Representation & Representation of the Real by Judith Butler Building on from Phelan's theory, Judith Butler further explains on the interrelationship and interdependence of the real and the representational. Butler describes that the representational relies on a specific logic of the real, and this logical real promotes its own representation. The real then creates different imagistic and discursive paradigms, such as in feminism and consumerism.
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PURPOSE & RATIONALE
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COMBINED THEORIES Through understanding the key concepts from the mentioned theorists, it is apparent that there is a relationship between identity and representation in the realm of visual culture through the discourse of semiology and meaning–making.
PURPOSE & RATIONALE The hypothesis will then be analysed using the key concepts and theories discussed though a selection of case studies.
The study of film as a signifying practice (through rigorous analysis of films as texts) contributes to an understanding of how determines and is determined by . Camera Obscura Collective Janet Bergstrom, Sandy Flitterman, Elisabeth Hart Lyon, Constance Penly
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CASE STUDIES Using the key concepts and theories discussed, the hypothesis will then be analysed using the key concepts and theories discussed though a selection of case studies of films.
INDONESIAN FILMS FEMALE PROTAGONIST character analysis
PAST 5 YEARS
relationship analysis cultural impacts
SISTERHOOD
compare & contrast
❸ The process of how the case studies will be selected and analysed supported by the mentioned key thinkers and more.
METHODOLOGIES
CASE STUDY CRITERIA
MODES OF ANALYSIS
Female protagonist As the focus is the female identity, films with the main character, or protagonist, being a female person is ideal and relevant for this analysis.
Character analysis Examining the main character(s) of the films individually is crucial as they act as the backdrop for the discussion of the female identity and for the relationship analysis.
Sisterhood The main variable of this analysis will be the aspect of female bonding or female friendships as an influence to the identity of the female protagonist. Hence, films that portrays sisterhood as the main or major premise is an important criteria for this analysis. Indonesia Using theories from Western thinkers, the hypothesis also aims to compare and contrast those theories in contexts outside the West, such as Southeast Asia. Therefore, Indonesian films will be a preferable selection to test this hypothesis due to their large archive of films. Past 5 years It is important for the selected films to be relatively recent so as to make a stronger, more contemporary analysis.
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Relationship analysis After examining the characters, the sisterhood between the characters will be analysed to assess the interrelationship between the different female identities and their sisterhoods. Cultural impacts From the character and relationship breakdown in the films, the analysis will be placed into context of the real world, where we discuss the sociocultural implications of these representations. Compare & Contrast Lastly, using all the information and insights found, we will investigate the role of sisterhood in influencing the female identity and whether it is a media spectacle used to assimilate feminist sensibilities such as female empowerment and independence to mainstream culture, or whether it is counterproductive.
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SISTERLY!
CASE STUDY #1
KARTINI: PRINCESS OF JAVA 2017
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FILM SUMMARY Kartini: Princess of Java (2017) is a biographical film following prominent Indonesian activist, Kartini of Jepara, and her journey in intervening patriarchal norms in 1900s Indonesian society through advocating for accessible education for women and girls. Through her journey, Kartini is accompanied by her sisters, Kardinah and Roekmini, as they each battle their own struggles to find their own identity as a women in a patriarchal society. Directed by Hanung Bramantyo.
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CHARACTER ANALYSIS KARTINI KARDINAH ROEKMINI
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RELATIONSHIP ANALYSIS THE JEPARA SISTERS
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CULTURAL IMPACTS REVIEWS KARTINI DAY
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CASE STUDY #1
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CHARACTER ANALYSIS
KARTINI Kartini is the female protagonist of the film. Her story starts from her childhood as a daughter of wealthy aristrocrats from Jepara–a town in Central Java, Indonesia in the early 1900s–to her adulthood. Kartini is depicted as a smart and strong woman who dissents the tradition for the Raden Ajeng/Ayu, or noblewoman, who is expected to be in seclusion from the start of her menstrual cycle until a man comes to marry her. Kartini was introduced to books by her older brother (something that was not the norm) and that was when her zeal for education began. Kartini's comingof-age was presented from begrudgingly practicing the laku dodok (squatting walk) to nobly conducting lessons for underprivileged girls in Jepara. Kartini's advocacy was not only personally motivated but also influenced by the journeys of the women around her, such as her sisters Kardinah and Roekmini.
CHILD past
WARM In this sequence, we see changes in Kartini from child to adulthood. From the start of puberty, a noblewoman of Jepara is forced to live in seclusion until a man with royal blood comes to marry her. We can see a few signifying units the filmmaker has applied in this sequence to show a change in time. The first is in the hue. The frame depicting the younger Kartini (left) is warmer and the frame depicting the older Kartini (right) is of cooler tone. The change of the hues is a way to communicate to the viewer that
ADULT present
COOL there has been a change or aging of time. Viewers can relate this to real life examples of this aging process just like the yellowing of aged paper or photographs, or the drying of fallen leaves. Looking at those items in present, already yellowed or already dried, it can be understood that an aging has happened and they were items of the past. Just like how in this sequence, the warm tone is not applied to the older Kartini (right) to show her aging, but applied to the younger Kartini (left) to show that the scene being watched has aged and of the past.
KARTINI: PRINCESS OF JAVA (2017)
THE RADEN AJENG The unmarried noblewoman To become a Raden Ayu (married noblewoman), it is customary for the Raden Ajeng (unmarried noblewoman) to practice daily beauty regimens to upkeep their "womanhood". Some rituals included practicing the laku dodok (squatting walk), ratus (fogging of the intimate areas), lulur (a scrub made of natural ingredients) and mandi bunga (flower bath).
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In this sequence, viewers can understand what it is to be expected of a noblewoman such as Kartini. Viewers also start to understand how Kartini feels about this tradition from the discontentment and sombre in her expressions. Nevertheless, she respects the tradition and continues to practice them. Perhaps it is because she is surrounded by women who are constantly reminding her of her purpose as a woman, repeatedly mentioning the value of her body. Though displeased and longing for something more than being a "prized possession", Kartini accepts her destiny as a noblewoman of Jepara.
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CASE STUDY #1
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A CAGED BIRD In this scene, Kartini looks out her window and watches her housekeeper feeding the birds. She looks not at the birds but rather the cages they are in, and then she looks at the grilles of her window.
ESCAPISM It is until Kartini started reading books that she then began to feel a sense of freedom. Whenever Kartini reads a book, the scene is reenacted as though it is real life. It is merely an imagination but this is another visual
CHARACTER ANALYSIS
A metaphor here is used as device in film linguistics to convey a message through a comparison drawn from something familiar1. In this case, it can be said that the filmmaker is describing how Kartini feels – suffocated; trapped – not using a dialogue but through the visual metaphor of a bird in a cage. Viewers can then relay this feeling to Kartini, who since puberty have been in seclusion.
metaphor that the filmmaker has employed to convey to the viewers that even in seclusion, reading a book allowed Kartini to participate in the world beyond her home through her mind. She was able to explore and learn about the life outside of Jepara without having to leave the premises of her home. Kartini constantly reading is her way of escaping what is then her fate as a Raden Ajeng/Ayu (noblewoman).
KARTINI: PRINCESS OF JAVA (2017)
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FREEDOM? By the end of the film, women in Jepara, regardless of their social status, are given the right to get an education. This is greatly due to Kartini's impact. However, this cultural shift happened at a cost. In order to implement this change, Kartini needed financial and political support – which was something she could not get from her family alone. It was then she was introduced to a wealthy nobleman who was able to provide her with the support she needed on a condition that she marries him. Kartini was then forced to make a decision between marrying him (which she did not want) or going to the Netherlands on an education scholarship that she was offered at the
same time. Kartini had selflessly chosen the former as she understood that that was crucial for the future of other Jepara women, including her sisters. This scene then shows Kartini's mourning for the sacrifice she did. Kartini is seen in a field with a pen in one hand and paper in another. She looks afar in a longing and solemn expression before she cries. From the previous devices the filmmaker had used – visual metaphors as signifying units in relaying meaning to the viewers – it can be inferred that this scene is a metaphor for Kartini's sacrifice. The windmills signify that the she is not in Jepara but the Netherlands. Kartini grieves on what could have been.
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Gavin Ambrose and Paul Harris. "Metaphor" The Visual Dictionary of Graphic Design. 2007
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CASE STUDY #1
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CHARACTER ANALYSIS
KARDINAH Kardinah is Kartini's younger sister. Although Kartini is the main character of the film, the story also follows Kardinah's journey. Kardinah joined Kartini later in seclusion with their younger sister, Roekmini. Kardinah shares the same sentiments as Kartini and disagrees with the tradition of women's purpose being only for marriage. Unlike Kartini who has a flair for writing, Kardinah is skilled in drawing.
VICTIM OF CIRCUMSTANCE
Kardinah is portrayed to be soft-spoken and demure. Even when she agrees with the more "radical" thoughts of her older sister, Kardinah shares a more quiet advocacy for the movement. She supports
and assists Kartini and rarely takes the lead. This could possibly be because of what is customary in their tradition – to always respect and obey the elders, and to follow instructions instead of giving them.
However, it is her demure personality that eventually sabotages her when she received a marriage proposal. Having verbally objecting to marrying a man she does not love to her sisters, Kardinah was forced to oblige
for the sake of her father. Even though she had pleaded with him, she still obeyed and swallowed her pride in the end. She cried throughout her wedding as she accepted her fate as a noblewoman in Jepara.
KARTINI: PRINCESS OF JAVA (2017)
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ROEKMINI The film also follows Roekmini, who is assumed to be the youngest. She and Kardinah had joined Kartini in seclusion at the same time. Roekmini was too influenced by Kartini and advocates for the rights and independence of woman. However, unlike Kardinah, Roekmini strongly disagrees with the idea of marriage, pledging to never be. Roekmini is seen to be more expressive of her emotions and deeply empathetic towards others, especially her sisters. Her talent is in batik fabric making.
KARDINAH'S WEDDING
Roekmini's story and character arc happened during Kardinah's wedding. Seeing her beloved sister succumbing to her fate proved something she could not bear to watch. She leaves the ceremony, unable to control her tears and was shortly followed by Kartini. Kartini offers her younger sister comfort as Roekmini
sobs and swears to her older sister that she will never marry. Roekmini cries not only out of despair but also in fear of what is to come for her eventually – a marriage. Kartini says nothing but embraces her sister in solace.
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CASE STUDY #1
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RELATIONSHIP ANALYSIS
THE JEPARA SISTERS Even though Kartini is the main protagonist of the film, it is very apparent that the story follows not only her but also her sisters. As strong as an influence she is, she too was heavily influenced and inspired by her younger sisters. They gave her strength and further solidified her drive in making a change for the women in Jepara. If anything, they worked as a close unit in supporting Kartini and her purpose.
As seen previously in their character backgrounds and analysis, Kartini observes the struggles of her sisters and sees them as reasons to challenge the patriarchal system that was oppressing them.
Charls & Co., "Signed photograph with portraits of Kartini, Kardinah and Roekmini (left to right)" 1901
Kartini: Princess of Java, "Family portrait" 2017
KARTINI: PRINCESS OF JAVA (2017)
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TOGETHER IN SECLUSION Kardinah and Roekmini joins Kartini in seclusion at the same time later in the film. This scene marks the start of the sisterhood between the Jepara sisters. In the beginning, Kardinah and Roekmini pay respect to Kartini as younger siblings by kneeling on the floor, putting their palms together and raising them above their heads as a form of initiation. Kartini let her sisters hold this position for some time and intimidates them by reminding them that as the current oldest and unmarried sibling, she is the one in charge and to be obeyed. However, through her silent giggles, it is apparent that Kartini was actually just pulling their legs. It was Roekmini who then voices out the absurdity of this initiation after sharing a strained look with
Kardinah. Kartini then compares this to their fate as Raden-Raden Ajeng/Ayu (noblewomen), forced to obey traditions even if it pains them. It was then she released them from the positions and embraced them. "This room is the only place in Jepara where we can be ourselves. You can laugh as hard as you want. Show your smile as much as you can." (Kartini) Kartini breaks the system and sees her younger sisters as equals, removing any formalities and encouraging them to be true to who they are. She also introduced her sisters to books which Kardinah and Roekmini too thoroughly enjoyed.
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CASE STUDY #1
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RELATIONSHIP ANALYSIS
❹ The Jepara sisters are constantly wearing kebayas (traditional wear) of the same style but in different colours.
KARTINI: PRINCESS OF JAVA (2017)
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SAME BUT DIFFERENT Kartini, Kardinah and Roekmini are always presented as a unit, and it is telling from their clothes. The sisters are always seemingly wearing the same clothes except in different colours or patterns. This not only differentiates them but also portrays each of the sisters to as individuals. Even though the colours are different, they are typically of the same hue. This is a consistent aspect throughout the film and the only time where they wore something visually different is when one of them gets married. Or in another instance, they wear the exact same outfit when meeting people outside of their family.
The fact that the sisters wear the same clothes but in different colours presents that though they share similarities (all three are women; in seclusion; sisters; unmarried), they carry different qualities as insinuated by their clothes. Viewers get a better understanding that these are the nuances that makes them different. However, when they wear the exact same outfits, the filmmaker is offering us a perspective of how outsiders view them – the same. It can be seen through the film that that is not the case and that Kartini, Kardinah and Roekmini are unique in their own ways. The different colours signifies their autonomy.
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CASE STUDY #1
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RELATIONSHIP ANALYSIS
Kartini stands outside the room where Kardinah was pleading with their father to stop her marriage to a man whom she does not know nor love. She tries to reason with him but alas, her father regards the man's status as a valid enough
reason to accept his proposal. Kartini hears and clenches her fists, but then cries in defeated anger, heartbroken at the fate of her younger sister she thought she had protected.
The sisters share the same solemn expressions during Kartini's wedding. As she walks down the aisle, she shares a look with her younger sister, Roekmini. However, their expressions are also weaved with hope as this wedding marks the start of a change for the women in Jepara.
Kartini gave a condition: to only accept the marriage proposal if the groom-to-be agrees to actively support her ambition in making education accessible for everyone in Jepara regardless of social status or gender. He agrees and even though Kartini does not love him, she believed that this is the only way for her
THE RADEN AYU The married noblewoman
KARTINI: PRINCESS OF JAVA (2017)
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During Kardinah's wedding, the Jepara sisters are visibly upset and defeated. Kartini and Roekmini said nothing but shared a solemn look whereas Kardinah cries throughout the ceremony.
to fight for equality and women's rights – by giving up her own. By agreeing to the marriage, Kartini had to give up her scholarship of pursuing her education in the Netherlands. Her sacrifice caused a monumental change for the women in Jepara, including her sisters.
Throughout the film, the moments where any of the sisters go from a Raden Ajeng (unmarried noblewoman) to a Raden Ayu (married noblewoman) are pivotal to the narrative of the sisterhood in the film, which we see influenced the identities of the sisters. The two moments are during Kardinah's and Kartini's wedding. At Kardinah's wedding, the demure, soft-spoken Kardinah succumbs to her fate as a noblewoman and marries the man she does not love, even though she shares the same sentiments for women's rights. The
emotional and empathetic Roekmini vows in tears to Kartini to never, ever, get married. And the ambitious Kartini realises the urgency in making a change in the system her, her sisters, and the women in Jepara have fallen victim to. It was at Kartini's wedding that she did her most selfless deed. Greatly influenced, inspired and supported by her sisters, the sisterhood of the Jepara sisters had propelled Kartini into her womanhood.
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CASE STUDY #1
REVIEWS
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CULTURAL IMPACTS
INSIDE INDONESIA There are plenty of reviews of the film Kartini: Princess of Java (2017) that are mostly positive. This review by Inside Indonesia was particularly compelling and comprehensive as it was written by a group of feminist authors, researchers and professors. They were speakers for the University of Melbourne's Indonesia Forum on the theme 'The film Kartini and Kartini as a source of historical and contemporary inspiration in Indonesia.'
The Kartini film portrayal of Javanese culture by Helen Pausacker Helen Pausacker is a Deputy Director of the Centre for Indonesia Law, Islam and Society. She gives a descriptive review, breaking down the different oppressive customs that were portrayed in the film. Pausacker's critique is that though the movie is effective in presenting the oppressive systems of the early nineteenth century, it romanticises the reality of Kartini's life. The movie ends with Kartini marrying the man who will support her dreams but failed to portray Kartini's "true ending" where she died giving birth to her first child. The film's ending eludes a "happy ending" that constrasts the real life of Kartini.
The construction of masculinity and femininity in Kartini by Hani Yulindrasari Yulindrasari is a gender researcher and in her review, she mentioned how Kartini's experience is not that drastically different from women's contemporary experience in Indonesia. She states that new constructions of femininity that fight for female autonomy brings new pressures to contemporary Indonesian women.
Notes from Kartini by Dina Afrianty Dina Afrianty is an Indonesian women's rights researcher. Afrianty's review relates to the Islamic aspect of the film and Kartini's spiritual journey. She presents a contrasting view to Kartini's influence in Indonesian culture. Conservatives tend to use Kartini's story not to liberate women but instead to justify and promote polygamy. Conservatives believe it is Kartini's eventual fate of being in a polygamous marriage that seemed to invalidate her efforts for emancipation. Seeing Hanung Bramantyo’s ‘Kartini’ in the light of the historical sources by Joost Coté Yulindrasari is a gender researcher and in her review, she mentioned how Kartini's experience is not that drastically different from women's contemporary experience in Indonesia. She states that new constructions of femininity that fight for female autonomy brings new pressures to contemporary Indonesian women.
"Review: Four perspectives on Hanung Bramantyo's Kartini", insideindonesia.org 21 July 2017
KARTINI: PRINCESS OF JAVA (2017)
THE JAKARTA POST This review by The Jakarta Post was posted shortly after its theatre release. The article commends the film as "politically" accurate, although it struggles to justify that statement. Similar to other reviews, it includes the summary of the biopic. While the writer praises the representation of a female national hero, they also point out the inaccuracies in the film (which contradicts the title of the article). The writer also mentioned that the actresses casted as Kartini, Kardinah and Roekmini were very popular and was a "good choice for commercial purposes" (Simanjutak). It might insinuate that the constant portrayal of their characters and their sisterhood is more so for marketing than the drive of the plot.
"Kartini: A politically correct version of her story", thejakartapost.com 21 April 2017
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CASE STUDY #1
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CULTURAL IMPACTS
KARTINI DAY Kartini Day is an Indonesian holiday celebrated on every April 21st in honour of Kartini as a national hero and a pioneer in the emancipation of Indonesian women. Treated as a joyous occasion, there are differing opinions on the holiday.
"Kartini Day Celebrations", factsofindonesia.com
A SPECTACLE? The term 'spectacle' was championed by French philosopher, Guy Debord. He described it as the "concrete inversion of life"2. It can be interpreted as a sensationalised imitation of reality.
"It is with deep regret that 116 years after Kartini's passing and the legacy she left behind, we are still seeing many Indonesian girls forced into child marriage and Indonesian women falling victim to domestic violence, discrimination and injustice." (The Jakarta Post)
Although Kartini Day is meant to celebrate Kartini and remind ourselves of her contribution to women's right in Indonesia, some people see it as a spectacle that doesn't support the emancipation of Indonesian women but instead reinforces the patriarchial nuances of femininity. In the VICE article written by Arzia Tivany Wargadiredja, she expressed her detestment to how Kartini Day is being celebrated.
Similarly, the editorial board at The Jakarta Post highlights that even though Kartini is undoubtedly a hero for Indonesian women and their emancipation, women issues are still very much happening in present times especially since the COVID-19 pandemic. Forced to be seclusion, there seems to be a repeat of what happened in the 1900s.
"Why the hell are we honoring the life of Indonesia's foremost women's empowerment figure with cooking competitions and beauty pageants in the first place? Doesn't that seem really wrong to anyone else?" (Wargadiredja)
This brings in the question of whether Kartini Day is being honoured and celebrated in the way Kartini respectfully deserves or is it a spectacle employed to distract society of the very real and current problems in their cultural systems.
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Paul Taylor and Jan Harris. "Guy Debord's Society of the Spectacle" Critical Theories of Mass Media: Then and Now. The Visual Dictionary of Graphic Design. 2007
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KARTINI: PRINCESS OF JAVA (2017)
"Kartini Was a Feminist Hero. So Why Is Her Holiday All About Beauty Pageants and Cooking Classes?", vice.com 21 April 2017
"Spreading Kartini's light", thejakartapost. com 21 April 2021
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REPRESENTATION
THE MYTH IN REPRESENTATION
"Barthes' diagram on the myth of signs.", Mythologies
MYTH IN SIGNS Mythologies, Roland Barthes
1972
In the book, Mythologies (1972), Roland Barthes illustrates extensively on the peculiarity of myth in the semiological system. Barthes describes that there can be more than one level to the system of representation and the third level is a more abstract concept of connotation (as seen in the diagram above). This concept is considered abstract as there is no natural connection between the signifier and signified of myths. It can be argued that it is then a social or cultural construct. This myth occurs depending on the viewer’s perception of things, which then depends on the viewer’s knowledge of things. John Berger3 expresses that “We never look at just one thing; we are always looking at the relation between things and ourselves” (9). It can be assumed then that the myth; this connotation, is shaped by the viewer’s knowledge which proposes a variability. This variability will then affect how images are then denoted visually, creating a sort of policy in the making of ideas, proposing a possible contamination in the system of representation.
3
John Berger. "Ways of Seeing" 1972
THE MYTH
VOLATILITY OF MEANING In Unmarked: The Politics of Performance (1993), feminist scholar Peggy Phelan shares that the representational is conveyed in various mediums of media such as “photographs, paintings, films, theatre, political protests, and performance art” and within the representational, there exist ideologies such as race and gender (4). The process of self-identity is then interlaced through the operation of seeing as a way of knowing (5). From Phelan’s expositions, it can be assumed that one’s identity is influenced by what is represented to one. However, as Barthes argues, Phelan too express a predicament in this discourse. She states that “...representation produces ruptures and gaps; it fails to reproduce the real exactly" (2). This implies that the myth in signs proposes a possible misrepresentation because meaning is not fixed but socioculturally constructed.
REPRESENTATION ≠ REAL Unmarked, Peggy Phelan
1993
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SISTERHOOD
THE MYTH OF SISTERHOOD SISTERHOOD AS A SIGN As seen in case study #1, the solidarity between the Jepara sisters is presented to have played a major role in the individual journeys of Kartini, Kardinah and Roekmini. The relationship between their bond and their identities is seen to be interdependent on each other. Their sisterhood is signified by their similarity in appearance but their identities varied as signified by colour. However, the sisterhood [signifier] is also a sign for something else – strength, purpose, unity. This presents the semiological system of sisterhood to have two levels – sign and signifier.
{ MYTH { language
1. signifier a friend who is a girl
2. signified a bond with mutual affection
3. sign – I SIGNIFIER a sisterhood of whom one shares a close platonic relationship with
II SIGNIFIED a positive relationship
III SIGN the sisterhood can also be negative or non-platonic
In the diagram above, it depicts the occurrence of myth in the semiological system of sisterhood. As much as it is portrayed in films for sisterhood to be a positive, uplifting and empowering system, there is also a variable of sisterhood to be something unpleasant.
❺ The diagram presents the semiological system of sisterhood as a sign and a signifier, and the occurrence of myth.
THE MYTH
In the book, In the Company of Women (1998), Karen Hollinger offers a contrasting perspective on sisterhood. In the chapter "Backlash: The Anti-Female Friendship Film", Hollinger criticises how sisterhood portrayals that are “plagued by jealousy, envy... competition for men...teach women to be aware of and fear one another” (207) reveal the problems within womanhood that are destructive to the feminist movement. In some instances, such ‘antisisterhood’ nuances are laced within the sisterhood portrayals themselves. This indicates that the representation of sisterhood does not always necessarily signify a positive relationship or influence. This will be further explored in case study #2.
SISTERHOOD ≠ GOOD
In the Company of Women, Karen Hollinger 1998
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CASE STUDY #2
CASE STUDY #2
TILIK (LOOK) 2018
TILIK (2018)
FILM SUMMARY Tilik (2018) is a short film produced by Racavana Films in collaboration with Yogyakarta Cultural Agency. It narrates the trip a group of women from a rural area riding in the back of a pickup truck to visit Bu Lurah (subdistrict head) in the hospital. It depicts the culture of ghibah (gossiping) between the women and its fuelling through herd mentality. The women gossip passionately about a young woman named Dian who allegedly has "improper" jobs and a romantic relationship with Bu Lurah's son. The conversation led by Bu Tejo is repeatedly stopped by Yu Ning that eventually resulted in a conflict. However, the story ends in an unexpected turn. Directed by Wahyu Agung Prasetyo.
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CHARACTER ANALYSIS YU NING BU TEJO DIAN BU LURAH
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RELATIONSHIP ANALYSIS IBU–IBU
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CULTURAL IMPACTS REVIEWS
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CASE STUDY #2
CHARACTER ANALYSIS
YU NING Yu Ning is portrayed to be wise and good-hearted, always thinking the best of people. Every time the gossip on Dian picks up, Yu Ning tries her best to deny the allegations or deflect the conversation to something else. However, her kindness is also at times detrimental to her. This is later proven in the film when she gets into a heated argument with Bu Tejo and visibly heartbroken when were told that Bu Lurah could not yet be visited. She was deeply affected and crestfallen in the end, barely able to lift her head up, as she realised that the allegations Bu Tejo had made about Dian might have been true. It can be assumed that she felt her compassion was misplaced.
TOO GOOD FOR HER OWN GOOD
Even when the others are deep into the rumours, Yu Ning holds her ground – unshaken. Even when the other engage and encourage Bu Tejo, she does not let it steer her. However, as the story unfolds, it is proven that she is too good for her own good.
TILIK (2018)
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BU TEJO Bu Tejo is portrayed to be the antagonist of the film. She was the instigator of the malicious gossip on Dian, accusing her of working as a sex worker, of drinking alcohol and being a gold digger. She admits to getting these presumptions from social media platforms such as Facebook. She shares with the others photos as proof of her allegations. Bu Tejo is also portrayed to be pompous. At a few instances, she alludes that she is wealthy such as showing off her gold jewellery and tipping the truck driver publically. She also mentions her husband's interest in running for mayor to replace the ill Bu Lurah, suggesting that she is a woman with status.
WRONG INFLUENCE
Despite the fact that Bu Tejo was making malicious comments on Dian, the others seemed to quickly believe her implications. It can be assumed that it is because of her social status which deem her more credible. This is a very jarring contrast to the ibuibu's (the other women's) reaction to Yu Ning, whose comments were of good nature.
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CASE STUDY #2
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CHARACTER ANALYSIS
DIAN Despite not being part of the ibu-ibu (housewives), Dian was the topic of the conversation throughout their journey to the hospital. She is a young woman from the small village they are from that had garnered the attention of many for being pretty and successful. However, as insinuated by Bu Tejo, Dian gained her quick success despite being fresh out of college through dubious ways. Bu Tejo also suspects Dian to be romantically involved with Fikri – Bu Lurah's son. Upon arriving at the hospital, Dian greets the ladies with Fikri, which gave Bu Tejo and the ibu-ibu more reason to believe the rumours.
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BU LURAH The whole purpose of the ibu-ibu's journey to the hospital in the back of a truck is to visit the sick village head, Bu Lurah. She is described to be a single mum bearing only one child – her son, Fikri. Even though she was never physically portrayed in the film, it can be implied that Bu Lurah is a well-loved leader as the ibu-ibu were willing to travel far in the back of a truck from their rural village just to visit her at the hospital.
TILIK (2018)
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THE PLOT TWIST Despite Yu Ning's efforts in defending Dian and the spiteful rumours against her, the story slowly unfolds to support Bu Tejo's assumptions. Dian was found to be with Fikri upon the ibu-ibu's arrival at the hospital. Bu Tejo points this out while Dian and Fikri said nothing but share a shy look to each other. Although it does not confirm Bu Tejo's statements, them not denying her implies that there might be some truth to it.
As the ibu-ibu leave the hospital, Dian is seen to be rushing to a black car. It is then presented that Dian is actually in a relationship with Fikri's father – Bu Lurah's ex-husband. Dian urges him to tell Fikri of their relationship, saying that FIkri "should know that his father will be remarrying soon". This particular scene was shot in the privacy of Fikri's father's car, which shows that no one, including the ibu-ibu, knows that Dian is in a relationship; possibly engaged to Fikri's father – a significantly older man.
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CASE STUDY #2
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RELATIONSHIP ANALYSIS
IBU-IBU (HOUSEWIVES) The representation of the sisterhood in Tilik is bilateral. On one hand, it presents tension, conflict and disharmony. This is portrayed through the relationship between Yu Ning and Bu Tejo. With jarringly different opinions, Yu Ning and Bu Tejo often go head-to-head with each other, particularly when it comes to Dian.
After a while on the road, Yu Ning many attempts in stopping Bu Tejo's "gossipmongering" led to a heated argument betweem the two. Even at this point, the other women did not interfere. It is an obvious contrast to when Bu Tejo gossiped about Dian, which the other women seemed to have easily participate in.
It presents that the sisterhood between the ibu-ibu isn't particularly healthy. This applies especially to Yu Ning. Since the start of the negative conversations between the ibu-ibu, Yu Ning did not receive any support from the others in speaking up against Bu Tejo.
It seemed to be a constant theme throughout the film that Yu Ning, despite her bravery in speaking up against Bu Tejo, she is often unnoticed by the others. Even when she is visibly upset, the others seem to engage more with Bu Tejo. Again, it might be because Bu Tejo is implied to be a woman of status. Yu Ning's
humility does not seem to be appreciated by the other ladies when in fact, it was Yu Ning who arranged the meeting and gathered them to visit Bu Lurah via their Whatsapp group chat. Yu Ning kept a firm stand for most of the film, she was shaken by the end of the film when her good intentions were not reciprocated.
TILIK (2018)
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However, there are moments that showed the possibility of a healthy bond between the ibuibu. In this sequence, it can be seen that they all rushed to help and support when one of them got unwell from motion sickness. They did not hesitate to provide comfort to the lady.
In another instance when their truck went off the road and was stuck, the ladies collectively assist in pushing the truck back to the road. This unity of the ibu-ibu in this scene constrasts that of Bu Tejo and another one of the ladies who did not lend a hand. It shows that the ibu-ibu are capable to uniting in a healthier setting. It also portrays Yu Ning as a positive influence as she was the one who suggested for them to help push the truck.
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SISTERLY!
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CULTURAL IMPACTS
REVIEWS
THE CONVERSATION Written by a communications professor, Budi Irawanto names the film a "social media sensation". The film had garnered more than 16 million views in less than two weeks from its upload on Youtube. There were mixed reactions among netizens. While netizens and other filmmakers such as Joko Anwar and Ernest Prakasa praises its cinematography and acting, the film also drew controversy for its objectionable portrayal of women. Irawanto states that Tilik glorifies certain stereotypes of women that are typically negative. The plot twist, especially, reinforces the negative stigma against women as "homewreckers". Due to its nature of prejudice against women, Irawanto mentioned that the film can be seen as misogynistic instead of empowering. However, he also highlights that Tilik can be seen as a harbinger to the public discourse of gender issues in Indonesia.
"Short film 'Tilik' grabs netizens' attention with 'ghibah', 'emakemak'", thejakartapost.com 22 August 2020
TILIK (2018)
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THE JAKARTA POST This article written by Jessicha Valentina provides more insights on the public's reaction and review of the film. While filmmakers Joko Anwar and Ernest Prakasa commends the film, there are others who strongly disagree. Film critic Hikmat Darmawan detest the portrayal of the female characters. Though the film's message was to address the issue of hoaxes, fake news and misinformation, that message seemed to be overpowered by the unverified gossip. Many of the reactions from the public supports the realistic portrayal, stating how they know people in real life that has the qualities of Yu Ning, Bu Tejo and Dian. This implies that the representation of the women is close to the real.
"Indonesian film Tilik fights female stereotypes instead of reinforcing them", theconversation.com 28 August 2020
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SISTERLY!
COMPARISON
KARTINI: PRINCESS OF JAVA MYTH IN THE REAL WORLD From the two case studies, it can be deduced that sisterhood representations in films are typically employed as a source of empowerment for the female character and thus, the female identity. However, is the the usage of female-bonding between characters reliable and consistent in its intention? In the context of Barthes theory on the myth of signs, it is presented that the volatility of meaningmaking can propose a rupture in the intention. This suggests that even if sisterhood is used as a positive agent, it can also be misread negatively. In the case of Kartini (2017), it can be seen that the sisterhood between Kartini, Kardinah and Roekmini was pivotal to Kartini's identity and movement. Inspired and encouraged by her sisters, Kartini also proved to be a source of inspiration and influence for them. The employment of sisterhood in the film succeeds. However, when compared to reality, the film is seen heavily romanticised.
COMPARISON
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TILIK This can be observed from the reviews to the movie and the celebration of Kartini Day, which was when the film was released. The common narrative in the reviews is how the film provides an insight to Kartini's life. This visual storytelling allowed viewers to better empathise with her and hopefully be influenced by Kartini's drive and ambition and continue her legacy. However, reviewers also argue that the romanticised portrayal of Kartini's life undermine the struggles and oppression she and her sisters actually faced. As mentioned, conservatives have used Kartini to support their argument on polygamous marriage. They argue that though Kartini was independent, driven and smart, she still fell victim to a polygamous marriage. Kartini Day has also been miscelebrated as something tokenistic instead of egalitarianism. Nevertheless, it should not be dismissed that Kartini has definitely made a monumental impact and change for Indonesian women.
On the other end of the spectrum, there is the representation of sisterhood that is less romanticised and deemed more realistic – Tilik (2018). However, there is a problem with this realistic representation. The sisterhood in Tilik is presented as an unhealthy connection between women that is fuelled by gossip and herd mentality. Instead of empowering each other, Tilik presents a scenario where a "sisterhood" can neglect those who don't follow the herd. And those who don't follow are seen as unimportant or lesser. It is worrisome that this aspect of sisterhood in film is deemed a more factual representation of reality. This proposes the question if whether sisterhood in films supports the feminist women for equality and autonomy, or does the creation of a unity and solidarity form a larger gap between the herd and the individual?
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SISTERLY!
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CONCLUSION Through the key theories, the research methodologies, case studies and cross-examination, this research compendium closes with stating that though the representation of sisterhood in Indonesian feminist films have indeed influenced the Indonesian female identity, it is safe to say that this sisterhood is a spectacle. The persuasion of using female bonding and friendship as a way to connote and enforce an anthropological ideal such as female autonomy could be counterproductive and even detrimental for women.
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SISTERLY!
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BIBLIOGRAPHY Ambrose, Gavin , and Paul Harris. "Metaphor." The Visual Dictionary of Graphic Design. Lausanne London La Vergne: AVA Publishing SA, 2007. 162. Visual Dictionaries. Bloomsbury Design Library. Web. 21 Apr. 2022. <http://dx.doi.org/10.5040/9781474293761.0149>. Barthes, Roland, and Annette Lavers. Mythologies. The Noonday Press, 1972. Barthes, R. Image, Music, Text. Translated by S. Heath, Fontana Press, 1977. Baudrillard, Jean, and James Benedict. The System Of Objects. Verso, 1996. Baudrillard, Jean, and Sheila Faria Glaser. Simulacra and Simulation. Michigan, 1995. Berger, John. Ways of Seeing. Penguin, 1972. Butler, Judith. Gender Trouble. Routledge, 1999. Charls & Co. Signed Cabinet Photoghraph With Portraits Of The Three Sisters Kartini, Kardinah And Roekmini, Java.. 1901, https://g.co/arts/maiatS6XL3Dq28ag9. Accessed 21 Apr 2022. Debord, Guy, and Ken Knabb. Society Of The Spectacle. Rebel Press, 1967. Hollinger, Karen. In The Company Of Women. University Of Minnesota Press, 1998. Irwanto, Budi. "Indonesian Short Film Tilik Fights Female Stereotypes Instead Of Reinforcing Them". The Conversation, 2020, https://theconversation.com/indonesian-short-film-tilik-fightsfemale-stereotypes-instead-of-reinforcing-them-145239. Jones, Amelia. The Feminism And Visual Culture Reader. 2nd ed., Routledge, 2010. Metz, Christian, and Michael Taylor. Film Language: A Semiotics Of The Cinema. Oxford University Press, Inc., 1990. Pausacker, Helen et al. "Review: Four Perspectives On Hanung Bramantyo’S Kartini". Inside Indonesia, 2017, https://www.insideindonesia.org/review-four-perspectives-on-hanungbramantyo-s-kartini. Phelan, Peggy. “Broken symmetries: memory, sight, love” Unmarked: The Politics Of Performance. Routledge, 1993.
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Radner, Hilary. Neo-Feminist Cinema: Girly Films, Chick Flicks and Consumer Culture. New York, London: Routledge, 2011. Simanjuntak, Tertiani ZB. "'Kartini': A Politically Correct Version Of Her Story". The Jakarta Post, 2017, https://www.thejakartapost.com/life/2017/04/21/kartini-a-politically-correct-version-of-herstory.html. Taylor, Paul, and Jan Harris. Guy Debord’s Society Of The Spectacle. Mcgraw-Hill Education, 2007, https://ebookcentral.proquest.com/auth/lib/singaporenatlib-ebooks/login. action?returnURL=https%3A%2F%2Febookcentral.proquest.com%2Flib%2Fsingaporenatlibebooks%2Fdetail.action%3FdocID%3D332731, Accessed 21 Apr 2022. The Editorial Board. "Spreading Kartini's Light". The Jakarta Post, 2021, https://www. thejakartapost.com/academia/2021/04/20/spreading-kartinis-light.html. Valentina, Jessicha. "Short Film 'Tilik' Grabs Netizens' Attention With 'Ghibah', 'Emak-Emak'". The Jakarta Post, 2020, https://www.thejakartapost.com/life/2020/08/22/short-film-tilik-grabsnetizens-attention-with-ghibah-emak-emak.html. Wargadiredja, Arzia Tivany. "Kartini Was A Feminist Hero. So Why Is Her Holiday All About Beauty Pageants And Cooking Classes?". VICE, 2017, https://www.vice.com/en/article/aem7zp/kartini-wasa-feminist-hero-so-why-is-her-holiday-all-about-beauty-pageants-and-cooking-classes.
FILM Bramantyo, Hanung. Kartini: Princess of Java. Legacy Pictures, Screenplay Films, 2017. Prasetyo, Wahyu Agung. Tilik. Racavana Films, 2018.
IMAGES Atom Awards. Hilary Radner. 2019, https://atomawards.org/2019-judge/hilary-radner/. Accessed 21 Apr 2022. factsofindonesia.com. Selamat Hari Kartini. https://factsofindonesia.com/kartini-daycelebrations. Accessed 21 Apr 2022. “Kartini: Princess of Java”, IMDb, 2017, https://www.imdb.com/title/tt5882416/ Rue des Archives. Roland Barthes. https://www.the-tls.co.uk/articles/roland-barthes-footnotesto-plato/. Accessed 21 Apr 2022. Schorr, Collier. Judith Butler. https://www.thecut.com/2016/06/judith-butler-c-v-r.html. Accessed 21 Apr 2022.