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"Film Gone Girl ini mengisahkan tentang kehidupan seorang istri yang tidak puas yang bernama Amy yang setelah menghilang, berencana untuk menyalahkan suaminya sebagai pembunuh dari kematiannya. Didefinisikan sebagai gadis psikopat, Amy Dunne menjadi karakter yang kontroversial selama persejarahan film. Pada film ini, Amy mencoba untuk hidup sesuai dengan standar 39;Amazing Amy 39; yang tinggi dan cenderung untuk memanipulasi dirinya untuk menjadi seseorang yang semua orang inginkan, tapi pada saat yang bersamaan, dia menjalankan hidupnya dengan perlawanan terhadap dirinya sendiri. Dalam tulisan ini, penulis fokus pada eksplorasi tanda-tanda eksistensial krisis karakter Amy dalam film Gone Girl. Dengan menggunakan analisis klip dan dialog, studi ini akan menyelidiki pilihan Amy yang menyebabkan hilangnya Amy, dan studi ini akan menganalisis karakter Amy melalui pendekatan eksistensialisme. Untuk mencari tahu hal ini, penulis menggunakan pandangan Jean Paul Sartre terhadap eksistensialisme yang terdiri dari tiga konsep: Facticity atau Throwness, Bad Faith dan Subjectivism. Dari penemuan ini, dapat disimpulkan bahwa label 39;Amazing Amy 39; mengarah pada pengalaman eksistensial krisis pada Amy, dan hal itu menunjukkan ironi dan fluktuasi dalam menemukan eksistensialisme itu sendiri.

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Gone Girl film tells about the life of a dissatisfied wife named Amy who once disappeared and schemed lots of fake plans to blame her husband as the murderer of her death. Being defined as a psychopathic girl, Amy Dunne becomes a controversial character through movie history. In the film, Amy tries to live up to the high standard of lsquo Amazing Amy'and tends to manipulate herself to be the one that everyone wants, but at the same time, she lives her life with the resistance against her own self. In this paper, the author focuses on exploring the signs of existential crisis of the character of Amy in Gone Girl film. By using analyses of clips and dialogues, this study will investigate the nature of Amy's choices that causes Amy's disappearance, and it will also analyze the character of Amy through existentialism approach. In order to figure these out, the author uses Jean Paul Sartre's viewpoint of existentialism which is a round up of three concepts Facticity or Throwness, Bad Faith, and Subjectivism. From this finding, it can be concluded that the label of lsquo Amazing Amy'leads to Amy's experience of existential crisis, and it shows the irony and fluctuation of finding the existentialism itself."

"ABSTRAKStudi ini bertujuan untuk mengetahui resepsi mahasiswa perempuan Indonesia terhadap isu pemerkosaan dalam film Gone Girl (2014) yang berkaitan dengan mitos-mitos tentang pemerkosaan yang dipercaya oleh masyarakat luas. Walaupun mendapat pujian karena dianggap sebagai film psikologi thriller yang brilian, film ini juga mendapat banyak kritik karena penggambaran isu perkosaan pada film ini dianggap problematik. Hasil studi yang menggunakan teori Encoding/Decoding milik Stuart Hall (1980) dan analisis tekstual dari isu pemerkosaan yang terdapat pada film ini menunjukkan bahwa film ini memang menguatkan kepercayaan yang salah seperti "perempuan memberi kesaksian palsu bahwa telah diperkosa" dan mitos-mitos tentang pemerkosaan lainnya yang tidak selalu benar. Data yang didapat dari hasil diskusi kelompok terarah (FGD) dan wawancara dibagi ke dalam tiga tipe pemaknaan atau pembacaan menurut Hall, yaitu: dominant/preferred, negotiated, and oppositional readings. Kesimpulan dari studi ini adalah meskipun beberapa responden menganggap film ini terlalu dibuat-buat dan tidak realistis, semua responden setuju bahwa penggambaran isu pemerkosaan, khususnya kesaksian palsu yang diberikan oleh Amy, menunjukkan bahwa mitos-mitos tentang pemerkosaan mungkin bukanlah hanya sekedar mitos.

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ABSTRACTThis study examines young Indonesian college women's reception of the rape narrative in Gone Girl (2014) in relation to the widely accepted rape myths. Despite being praised as a brilliant psychological thriller, Gone Girl (2014) has received criticism for its problematic depiction of rape. Using Stuart Hall's Encoding/Decoding theory (1980) and a textual analysis of the rape narrative in the film, it is discovered that the film actually perpetuates the false belief that "women cry rape" and many other misleading rape myths. The data obtained from focus group discussion (FGD) and interviews are put under Hall's dominant/preferred, negotiated, and oppositional readings. It is concluded that though some of the respondents considered the film is too staged and unrealistic, the fact that all of the respondents condemn this film for sensationalising the false accusation of rape shows that rape myths may not be just myths after all."

"Jurnal ini membahas krisis eksistensial yang dialami seorang transpuan dalam film GIRL (2018). Film ini dibuat berdasarkan kisah yang dialami oleh seorang transpuan yang bercita-cita ingin menjadi balerina profesional dan harus berjuang menghadapi permasalahan dalam meraihnya. Konflik yang dihadapi tokoh dimulai dari konflik dalam batinnya yang berkecamuk, hubungannya dengan keluarga, hingga pengakuan dalam kelompok pertemanannya. Konflik yang begitu kompleks ditampilkan dengan memanfaatkan teknik sinematografi yang beragam. Pembahasan krisis eksistensi yang dialami transpuan dalam film ini dijabarkan dengan analisis struktur, fokalisasi, dan sinematografi.

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This journal discusses the existence crisis experienced by a trans woman in the film GIRL (2018). This film is based on a story experienced by a trans woman who aspires to become a professional ballerina and must struggle to face problems in achieving it. The conflicts that the characters face, start from the inner conflict that rages on, her relationship with her family, the recognition in their group of friends. Such complex conflicts are displayed using various cinematographic techniques. Analysis of the existence crisis experienced by trans women in this film is described by structural analysis, focalization, and cinematography."

"ABSTRAKTindak tutur ekspresif digunakan untuk mengungkapkan sikap psikologis penutur terhadap keadaan tersirat dalam sebuah ilokusinya. Mempelajari tindak tutur memang sangat penting agar dapat memahami berbagai ujaran baik dalam kehidupan sehari-hari maupun pada karya sastra. Penelitian ini dilakukan untuk mendeskripsikan bentuk dan fungsi tindak tutur ekspresif dalam dialog percakapan karakter utama pada film About A Girl karya Mark Monheim (2015). Penelitian ini menggunakan metode kualitatif. Hasil dari penelitian menunjukkan bahwa fungsi tuturan ekspresif yang paling banyak terlihat dalam film ini adalah menyatakan sikap marah dan permintaan maaf, sedangkan bentuk tuturan yang terdapat film ini adalah tujuh tindak tutur langsung literal dan tujuh tindak tutur tidak langsung literal.

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ABSTRACTExpressive speech act is to tell or to say the attitude of the speaker psychologically to the implicit situation in illocution. Expressive speech art is important in daily life and also in literature to understand various statements. This research is being intended to describe forms and functions of expressive speech art in the dialogs between two main characters in a movie About a Girl by Mark Monheim (2015). The research method is qualitative method. The result of this research shows that the most function of expressive speech act in this film is angry statements and apologies. the speech act form in this film are seven literal direct speech acts and seven literal indirect acts."

"ABSTRAK Pada abad 21, jumlah penampilan tokoh wanita yang kuat atau tangguh di film-film Hollywood mengalamikenaikan. Terdapat sejumlah jalan cerita di mana tokoh wanita berperan sebagai pahlawan atau sosok yang kuatatau tangguh menghadapi tokoh-tokoh lainnya di film-film Hollywood. Menganalisa ?The Girl with the DragonTattoo? dan ?Gone Girl? karya David Fincher, jurnal ini menyampaikan argumen bahwa representasi tokoh wanitadi kedua film tersebut hanya sampai pada titik tertentu. Memberikan sejumlah analisis mengenai hubungan antarakarakter pria dan wanita di kedua film tersebut, jurnal ini menunjukkan bahwa representasi tokoh wanita kuat atautangguh di ?The Girl with the Dragon Tattoo? dan ?Gone Girl? karya David Fincher sangat berkaitan denganterjadinya ketidakseimbangan kekuasaan atau power imbalance di dalam hubungan, dan hanya jatuh pada konsepbinary opposition, di mana tokoh wanita dilihat sebagai sosok yang kuat atau tangguh hanya di saat merekamengalami pembalikkan kekuasaan atau reversal of power di dalam hubungan.ABSTRACT In the 21st century, the number of appearances of strong female characters in Hollywood movies is increasing.There are a lot of circumstances in which female characters play as heroines or are powerful over other charactersin Hollywood movies. Examining David Fincher?s ?The Girl with the Dragon Tattoo? and ?Gone Girl?, this paperargues that the portrayal of strong female characters in the two films is only to a particular extent. By presenting anumber of analyses of how relationships go between male and female characters in the two films, the paper showsthat the representation of strong female characters in David Fincher?s ?The Girl with the Dragon Tattoo? and?Gone Girl? is strongly related with the occurrence of power imbalance in relationships yet only falls under theconcept of binary opposition, in which female characters are seen as strong or powerful only when they undergoreversal of power in relationships.;In the 21st century, the number of appearances of strong female characters in Hollywood movies is increasing.There are a lot of circumstances in which female characters play as heroines or are powerful over other charactersin Hollywood movies. Examining David Fincher?s ?The Girl with the Dragon Tattoo? and ?Gone Girl?, this paperargues that the portrayal of strong female characters in the two films is only to a particular extent. By presenting anumber of analyses of how relationships go between male and female characters in the two films, the paper showsthat the representation of strong female characters in David Fincher?s ?The Girl with the Dragon Tattoo? and?Gone Girl? is strongly related with the occurrence of power imbalance in relationships yet only falls under theconcept of binary opposition, in which female characters are seen as strong or powerful only when they undergoreversal of power in relationships.;In the 21st century, the number of appearances of strong female characters in Hollywood movies is increasing.There are a lot of circumstances in which female characters play as heroines or are powerful over other charactersin Hollywood movies. Examining David Fincher?s ?The Girl with the Dragon Tattoo? and ?Gone Girl?, this paperargues that the portrayal of strong female characters in the two films is only to a particular extent. By presenting anumber of analyses of how relationships go between male and female characters in the two films, the paper showsthat the representation of strong female characters in David Fincher?s ?The Girl with the Dragon Tattoo? and?Gone Girl? is strongly related with the occurrence of power imbalance in relationships yet only falls under theconcept of binary opposition, in which female characters are seen as strong or powerful only when they undergoreversal of power in relationships.;In the 21st century, the number of appearances of strong female characters in Hollywood movies is increasing.There are a lot of circumstances in which female characters play as heroines or are powerful over other charactersin Hollywood movies. Examining David Fincher?s ?The Girl with the Dragon Tattoo? and ?Gone Girl?, this paperargues that the portrayal of strong female characters in the two films is only to a particular extent. By presenting anumber of analyses of how relationships go between male and female characters in the two films, the paper showsthat the representation of strong female characters in David Fincher?s ?The Girl with the Dragon Tattoo? and?Gone Girl? is strongly related with the occurrence of power imbalance in relationships yet only falls under theconcept of binary opposition, in which female characters are seen as strong or powerful only when they undergoreversal of power in relationships."

"Karakter perempuan Manic Pixie Dream Girl (MPDG), seperti yang diartikan oleh kritikus film Nathan Rabin, adalah trope perempuan eksentrik dan aneh yang dibentuk untuk menyelamatkan laki-laki dari kehidupan membosankan, mencerminkan diskriminasi terhadap perempuan. Penulisan ini bertujuan memahami representasi MPDG dalam film Love for Sale sebagai bentuk seksisme. Melalui analisis wacana kritis feminis, penulisan ini mengungkap sistem patriarki dalam narasi dan visual film, berkorelasi dengan teori film feminis oleh Laura Mulvey, terutama konsep male gaze. Male gaze merujuk pada cara film dibuat dari sudut pandang laki-laki, di mana perempuan digambarkan sebagai objek fantasi memuaskan audiens laki-laki, memperkuat pandangan patriarkal. Temuan seksisme ini didukung oleh tiga pondasi utama. Pertama, konstruksi dan stereotip gender memperkuat norma patriarkal, khususnya maskulinitas dan femininitas tokoh. Kedua, stereotip gender mengobjektifikasi tubuh dan seksualitas perempuan, menjadikannya objek keinginan seksual daripada individu dengan ekspresi pribadi yang bebas. Ketiga, relasi kuasa yang timpang, dengan dominasi laki-laki yang besar, menegaskan hubungan hierarkis yang tidak seimbang. Ketiga pondasi ini menunjukkan bahwa film ini memperkuat narasi gender yang tidak setara. Akibatnya, perempuan mengalami kesadaran palsu akibat memproyeksikan karakter MPDG ke realita. Penulisan ini diharapkan dapat meningkatkan kesadaran masyarakat dan perempuan tentang pentingnya representasi perempuan yang lebih adil dan inklusif.

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The Manic Pixie Dream Girl (MPDG) character, as defined by film critic Nathan Rabin, is an eccentric and quirky female trope designed to save men from their boring lives, reflecting discrimination against women. This paper aims to understand the representation of the MPDG in the film Love for Sale as a form of sexism. Through a feminist critical discourse analysis, this paper reveals the patriarchal system in the film’s narrative and visuals, correlating with feminist film theory by Laura Mulvey, particularly the concept of the male gaze. The male gaze refers to the way films are made from a male perspective, where women are depicted as fantasy objects satisfying the male audience, reinforcing patriarchal views. These findings of sexism are supported by three main foundations. First, the construction and gender stereotypes reinforce patriarchal norms, especially the masculinity and femininity of the characters. Second, gender stereotypes objectify women's bodies and sexuality, making them objects of sexual desire rather than individuals with free personal expression. Third, the unequal power relations, with significant male dominance, affirm an imbalanced hierarchical relationship. These three foundations show that the film reinforces an unequal gender narrative. As a result, women experience false consciousness by projecting the MPDG character into reality. This paper hopes to raise awareness among society and women about the importance of more equitable and inclusive representation of women."

"Disforia gender merupakan sebuah gangguan mental yang dipicu oleh ketidaksesuaian identitas gendernya dalam lingkungan yang heteronormatif. Artikel ini bertujuan untuk memperlihatkan kaitan dan pengaruh konstruksi identitas gender dalam lingkungan heteronormatif dengan disforia gender pada film Girl. Metode yang digunakan adalah metode kajian film oleh Boggs dan Petrie dan teori performativitas gender oleh Judith Butler. Teori disforia gender remaja oleh Riittakerttu Kaltiana-Heino dan Heidi Claahsen-van der Grinten juga digunakan untuk memperdalam analisis kajian film ini. Hasil analisis menunjukkan bahwa internalisasi heteronormativitas yang dimiliki oleh lingkungan sosial dapat menimbulkan disforia gender yang menyebabkan hadirnya perilaku-perilaku ekstrem.

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Gender dysphoria is a mental disorder that is triggered by an incongruence between gender identity and sex. In general, this disorder can cause distress and difficulty functioning in a social environment. In the narrative and cinematographic aspects of Girl's film, gender dysphoria is shown to be present due to Lara's efforts to construct her gender identity in a heteronormative environment. This article aims to show the relationship and influence of gender identity construction in a heteronormative environment with gender dysphoria in the film Girl. The method used is the film study method by Boggs and Petrie and the gender performativity theory by Judith Butler. The theory of adolescent gender dysphoria by Riittakerttu Kaltiana-Heino and Heidi Claahsen-van der Grinten is also used to deepen the analysis of this film study. The results of the analysis show that the internalization of heteronormativity possessed by the social environment can cause gender dysphoria which causes the presence of extreme behaviors."

"[ABSTRAK Dalam suatu karya sastra, baik puisi, novel, maupun film selalu memiliki unsur intrinsik. Salah satu unsur penting dalam unsur interinsik adalah tokoh dan penokohan. Penokohan dalam sebuah karya sastra merupakan salah satu cara pengarang untuk memperkenalkan dan menggambarkan sifat juga watak dari sebuah tokoh kepada pembaca maupun penonton. Jurnal ini menganalisis tokoh dan penokohan Gyeonwoo sebagai tokoh utama di dalam film ?엽기적인그녀 (My Sassy Girl)?. Tujuan dari penelitian ini adalah untuk membandingkan dan mendeskripsikan sifat dan watak tokoh utama dalam novel dan film ini dilihat dari ucapan maupun perilakunya. Metode penelitian yang digunakan adalah metode penelitian deskrptif kualifikatif. Hasil dari penelitian adalah secara umum pendeskripsian sifat Gyeonwoo dalam novel dan film memiliki persamaan dan perbedaan.ABSTRACT In a literature, such as poetry, novel, and film, they always have an intrinsic element. One of the important element in intrinsic element are character and characterization. Characterization in literature is the way of the author to introduce and portray the characteristic and personality of a character to reader and/or viewer. This journal analyze the character and characterization of Gyeonwoo as the lead character in the movie ?엽기적인그녀 (My Sassy Girl)?. This study aims to compare and describe characteristic and personality of the lead character, in the novel and film, seen from his remark and behaviour. Research method that used is descriptive qualitative method. The result of the study is the description of Gyeonwoo?s character in the novel and film both have similarities and differences. ;In a literature, such as poetry, novel, and film, they always have an intrinsic element. One of the important element in intrinsic element are character and characterization. Characterization in literature is the way of the author to introduce and portray the characteristic and personality of a character to reader and/or viewer. This journal analyze the character and characterization of Gyeonwoo as the lead character in the movie ?엽기적인그녀 (My Sassy Girl)?. This study aims to compare and describe characteristic and personality of the lead character, in the novel and film, seen from his remark and behaviour. Research method that used is descriptive qualitative method. The result of the study is the description of Gyeonwoo?s character in the novel and film both have similarities and differences. , In a literature, such as poetry, novel, and film, they always have an intrinsic element. One of the important element in intrinsic element are character and characterization. Characterization in literature is the way of the author to introduce and portray the characteristic and personality of a character to reader and/or viewer. This journal analyze the character and characterization of Gyeonwoo as the lead character in the movie ‘엽기적인그녀 (My Sassy Girl)’. This study aims to compare and describe characteristic and personality of the lead character, in the novel and film, seen from his remark and behaviour. Research method that used is descriptive qualitative method. The result of the study is the description of Gyeonwoo’s character in the novel and film both have similarities and differences. ]"