THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS.

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Widi Astuti Winara, 2015

THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

Universitas Pendidikan Indonesia | \.upi.edu perpustakaan.upi.edu

THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

A RESEARCH PAPER

Submitted to the English Education Department of the Faculty of Language and Literature Educations of the Indonesia University of Education as Partial Fulfillment of the Requirements for

Sarjana Sastra Degree

By:

Widi Astuti Winara

0902536

ENGLISH LANGUAGE AND LITERATURE PROGRAM

FACULTY OF LANGUAGE AND LITERATURE EDUCATION

INDONESIA UNIVERSITY OF EDUCATION

BANDUNG

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

Halaman Hak Cipta

Oleh

Widi Astuti Winara

Sebuah skripsi yang diajukan untuk memenuhi salah satu syarat memperoleh gelar Sarjana pada Fakultas Pendidikan Bahasa dan Sastra

Universitas Pendidikan Indonesia

Agustus 2015

Hak Cipta dilindungi undang-undang.

Skripsi ini tidak boleh diperbanyak seluruhya atau sebagian,

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

PAGE OF APPROVAL

By

WIDI ASTUTI WINARA 0902536

APPROVED BY Main Supervisor

Prof. Dr. Didi Sukyadi, M.A. NIP. 196706091994031003

The Head of English Education Department Faculty of Language and Literature Education

Indonesia University of Education

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

ABSTRACT

This study entitled The Representation of Women in Instant Seasoning Advertisements. This studyaims to investigate how women are represented in instant seasoning advertisements and reveal ideologies behind the representation. This study investigates the representation of women in five instant seasoning advertisements; ABC „SambalMasak‟ advertisement “Kayak MasakanMami”, Royco „All in One‟ advertisement “IniResepku”, Indofood „BumbuRacik Tempe‟ advertisement “ResepKering Tempe”, Masako „BumbuKalduPenyedap‟ advertisement “CumaUbi”, and „Bango „BumbuAyamGorengBacem‟ advertisement “PetaniKetumbar”. The advertisements were downloaded randomly from www.youtube.com. This study uses a descriptive qualitative method. Women in instant seasoning advertisements were investigated through the visual elements of the advertisements as follows; actresses (physical appearance, fashion, facial expression and emotion), setting and properties, frame size, camera angle, and color saturation. This study uses order of signification’s theory by Barthes (1957), reading images’ theory by Kress and Leuween (2006), and some theories of visual elements in television advertisement. The results show that women are mostly represented as brave, feminine, motherly, cheerful, independent, calm, optimistic, and modern women. The study also concludes that there are three ideologies in instant seasoning advertisements: femininity, modernism, and recreation.

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

STATEMENT OF AUTHORIZATION

I certify that this research paper entitled The Representation of Women in Instant Seasoning Advertisements is completely my original work. This research paper

contains ideas and quotations from other articles, journals, and books. Those ideas and quotations have been properly cited and mentioned in the bibliography page of this research paper.

Bandung, August 2015

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

PREFACE

Alhamdulillah, by the Grace of Allah SWT finally the writer finished this

research paper entitled The Representation of Women in Instant Seasoning Advertisements as a partial fulfilment of the requirements for Sarjana Sastra Degree in Universitas Pendidikan Indonesia.

The writer realizes that this research paper is far from perfect. Therefore comments and suggestions are highly expected for the improvements of this research paper. Hopefully, this research paper can give beneficial contribution for future researchers of the related study and the readers of this research paper.

Bandung, August 2015

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

ACKNOWLEDGEMENT

Alhamdulillahirabbil’alamin,

I would like to express my highest gratitude for Allah SWT who has given me strength and opportunity to finish this paper. I thank to Him for the countless blessing I had during the journey of making this paper. I am grateful to many people who have helped and supported me to finish the paper. I will extend my sincere appreciation and deepest thankful to:

1. My supervisor, Prof. Dr. Didi Sukyadi, M. A. Thank you very much for the time, patience, guidance, motivation, and suggestion during finishing this paper. I truly feel honoured to be your student.

2. My lovely parents, H. Jhabar Winara and Hj. Iis Sa’adah who always support and encourage me to finish my study. Thank you for teach me how to overcome every obstacle in life. I am so lucky to have you both in my life.

3. My husband, Adnan Firmansyah. Thank you for believing me that I can finish my study. Thank you for all your suggestions and motivations during this time. My little baby, Aslan Harith Azfar who always be my

power and motivation to do my best in life. I love you both.

4. My brothers, my sisters, my nephew and my niece; Hilman Raffel Winara, Lina Herlina, Willy Winara, Dewi Ani, Naufal Bardan Winara, and Qaireen Zahra Raffelina Winara. Thank you for the priceless love, support, and pray.

5. My best friends; Dessyana Damayanthy, Sri Fajrina Putri, Wulan Purnamasari, Euis Rostikasari, and Ilma Siti Nur Syifa. Thank you for the togetherness and every moment that we have shared during this time. I miss you all.

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

ABSTRACT

This study entitled The Representation of Women in Instant Seasoning Advertisements. This study aims to investigate how women are represented in instant seasoning advertisements and reveal ideologies behind the representation. This study investigates the representation of women in five instant seasoning advertisements; ABC „Sambal Masak‟ advertisement “Kayak Masakan Mami”, Royco „All in One‟ advertisement “Ini Resepku”, Indofood „Bumbu Racik Tempe‟ advertisement “Resep Kering Tempe”, Masako „Bumbu Kaldu Penyedap‟ advertisement “Cuma Ubi”, and „Bango „Bumbu Ayam Goreng Bacem‟ advertisement “Petani Ketumbar”. The advertisements were downloaded randomly from www.youtube.com. This study uses a descriptive qualitative method. Women in instant seasoning advertisements were investigated through the visual elements of the advertisements as follows; actresses (physical appearance, fashion, facial expression and emotion), setting and properties, frame size, camera angle, and color saturation. This study uses order of signification’s theory by Barthes (1957), reading images’ theory by Kress and Leuween (2006), and some theories of visual elements in television advertisement. The results show that women are mostly represented as brave, feminine, motherly, cheerful, independent, calm, optimistic, and modern women. The study also concludes that there are three ideologies in instant seasoning advertisements: femininity, modernism, and recreation.

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

TABLE OF CONTENTS

PAGE OF APPROVAL

STATEMENT OF AUTHORIZATION ... i

PREFACE ... ii

ACKNOWLEDGEMENT ... iii

ABSTRACT ... iv

TABLE OF CONTENTS ... v

LIST OF TABLES ... ix

LIST OF FIGURES ... xii

CHAPTER I INTRODUCTION ... 1

1.1. Background of the Study ... 1

1.2. Research Questions ... 4

1.3. Aims of the Study ... 4

1.4 Scope of the Study ... 5

1.5 Significance of the Study ... 5

1.6 Research Methodology... 5

1.6.1 Research Method ... 5

1.6.2 Research Procedures ... 6

1.7. Clarification of Terms ... 6

1.8. Organization of the Paper ... 7

CHAPTER II THEORETICAL FOUNDATION ... 9

2.1 Semiotics ... 9

2.2 Orders of Signification ... 11

2.2.1 Denotation and Connotation ... 11

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2.3 Reading Images: The Grammar of Visual Design ... 13

2.4 Representation ... 15

2.5 Advertisement ... 15

2.5.1 Classification of Advertisement ... 17

2.5.2 Types of Advertisement ... 18

2.5.3 Television Advertisement ... 21

2.5.4 Visual Elements of Television Advertisement ... 22

2.6 Instant Seasoning Advertisements ... 28

2.7 Previous Studies ... 29

CHAPTER III RESEARCH METHODOLOGY ... 31

3.1 Research Method ... 31

3.2 Research Procedures ... 31

3.2.1 Data Collection... 31

3.2.2 Data Analysis ... 41

3.2.3 Data Presentation ... 42

CHAPTER IV FINDINGS AND DISCUSSIONS ... 57

4.1 Findings ... 54

4.1.1 The Analysis of Actresses in Instant Seasoning Advertisements ... 54

4.1.1.1 The Actresses of ABC „Sambal Masak‟ Advertisement “Kayak Masakan Mami” ... 54

4.1.1.2 The Actresses of Royco „All in One‟ Advertisement “Ini Resepku” ... ... 60

4.1.1.3 The Actresses of Indofood „Bumbu Racik Tempe‟ Advertisement “Resep Kering Tempe” ... 66

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4.1.1.5 The Actresses of Bango „Bumbu Ayam Goreng Bacem‟

Advertisement “Petani Ketumbar” ... 76

4.1.2 The Analysis of Setting and Properties in Instant Seasoning

Advertisements ... 79

4.1.2.1 The Setting and Properties of ABC „Sambal Masak‟ Advertisement “Kayak Masakan Mami” ... 79

4.1.2.2 The Setting and Properties of Royco „All in One‟ Advertisement “Ini Resepku” ... 82

4.1.2.3 The Setting and Properties of Indofood „Bumbu Racik Tempe‟

Advertisement “Resep Kering Tempe” ... 86

4.1.2.4 The Setting and Properties of Masako „Bumbu Kaldu Penyedap‟ Advertisement “Cuma Ubi” ... 89

4.1.2.5 The Setting and Properties of Bango „Bumbu Ayam Goreng Bacem‟ Advertisement “Petani Ketumbar” ... 92

4.1.3 The Analysis of Frame Size in Instant Seasoning Advertisements ... 95

4.1.3.1 The Frame Size of ABC „Sambal Masak‟ Advertisement “Kayak Masakan Mami” ... 95

4.1.3.2 The Frame Size of Royco „All in One‟ Advertisement “Ini Resepku” ... 98

4.1.3.3 The Frame Size of Indofood „Bumbu Racik Tempe‟ Advertisement “Resep Kering Tempe” ... 101

4.1.3.4 The Frame Size of Masako „Bumbu Kaldu Penyedap‟ Advertisement “Cuma Ubi” ... 103

4.1.3.5 The Frame Size of Bango „Bumbu Ayam Goreng Bacem‟

Advertisement “Petani Ketumbar” ... 105

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4.1.4.1 The Camera Angle of ABC „Sambal Masak‟ Advertisement “Kayak

Masakan Mami” ... 106

4.1.4.2 The Camera Angle of Royco „All in One‟ Advertisement “Ini Resepku” ... 108

4.1.4.3 The Camera Angle of Indofood „Bumbu Racik Tempe‟ Advertisement “Resep Kering Tempe” ... 111

4.1.4.4 The Camera Angle of Masako „Bumbu Kaldu Penyedap‟ Advertisement “Cuma Ubi” ... 113

4.1.4.5 The Camera Angle of Bango „Bumbu Ayam Goreng Bacem‟ Advertisement “PetaniKetumbar” ... 114

4.1.5 The Analysis of Color Saturation in Instant Seasoning Advertisements... ... 116

4.2 Discussions ... 117

4.2.1 Ideologies behind the Representation of Women in Instant Seasoning Advertisements ... 120

CHAPTER V CONCLUSION AND RECOMMENDATION ... 122

5.1 Conclusion ... 122

5.2 Recommendation... 125

BIBLIOGRAPHY ... 126

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LIST OF TABLES

Table 2.1 Physical Appearance ... 22

Table 2.2 Fashion ... 23

Table 2.3 Facial Expressions and Emotions ... 24

Table 2.4 Techniques in Video Shooting and Editing ... 25

Table 2.5 Wilfred’s Connotation in Color ... 26

Table 2.6 Linschoten and Mansyur’s Connotation in Color ... 27

Table 2.8 Fisher’s Connotation in Color ... 28

Table 3.1 Selected scenes in ABC „Sambal Masak‟ Advertisement “Kayak Masakan Mami” ... 31

Table 3.2 Selected Scenes in Royco „All in One‟ Advertisement “Ini Resepku” ... ... 35

Table 3.3 Selected Scenes in Indofood „Bumbu Racik Tempe‟ Advertisement “Resep Kering Tempe” ... 37

Table 3.4 Selected Scenes in Masako „Bumbu Kaldu Penyedap‟ Advertisement “Cuma Ubi” ... 39

Table 3.5 Selected Scenes in Bango „Bumbu Ayam Goreng Bacem‟ Advertisement “Petani Ketumbar” ... 41

Table 3.6 Sample Analysis of the Representation of Women in Instant Seasoning Advertisement ... 42

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Table 4.2 Orders of Signification of Actresses in Royco „All in One‟ Advertisement “Ini Resepku” ... 61

Table 4.3 Orders of Signification of Actresses in Indofood „Bumbu Racik Tempe‟ Advertisement “Resep Kering Tempe” ... 67

Table 4.4 Orders of Signification of Actresses in Masako „Bumbu Kaldu Penyedap‟ Advertisement “Cuma Ubi”... 72

Table 4.5 Orders of Signification of Actresses in Bango „Bumbu Ayam Goreng Bacem‟ Advertisement “Petani Ketumbar”... 76

Table 4.6 Orders of Signification of Setting and Properties in ABC „Sambal Masak‟ Advertisement “Kayak Masakan Mami” ... 79

Table 4.7 Orders of Signification of Setting and Properties in Royco „All in One‟ Advertisement “Ini Resepku” ... 82

Table 4.8 Orders of Signification of Setting and Properties in Indofood „Bumbu Racik Tempe‟ Advertisement “Resep Kering Tempe” ... 86

Table 4.9 Order of Signification of Setting and Properties in Masako „Bumbu Kaldu Penyedap‟ Advertisement “Cuma Ubi” ... 90

Table 4.10 Order of Signification of Setting and Properties in Bango „Bumbu Ayam Goreng Bacem‟ Advertisement “Petani Ketumbar” ... 92

Table 4.11 Order of Signification of Frame Size in ABC „Sambal Masak‟ Advertisement “Kayak Masakan Mami” ... 95

Table 4.12 Order of Signification of Frame Size in Royco „All in One‟ Advertisement “Ini Resepku” ... 98

Table 4.13 Order of Signification of Frame Size in Indofood „Bumbu Racik Tempe‟ Advertisement “Resep Kering Tempe” ... 101

Table 4.14 Order of Signification of Frame Size in Masako „Bumbu Kaldu Penyedap‟ Advertisement “Cuma Ubi”... 103

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

Table 4.16 Order of Signification of Camera Angle in ABC „Sambal Masak‟ Advertisement “Kayak Masakan Mami” ... 107

Table 4.17 Order of Signification of Camera Angle in Royco „All in One‟ Advertisement “Ini Resepku” ... 109

Table 4.18 Order of Signification of Camera Angle in Indofood „Bumbu Racik Tempe‟ Advertisement “Resep Kering Tempe” ... 111

Table 4.19 Order of Signification of Camera Angle in Masako „Bumbu Kaldu Penyedap‟ Advertisement “Cuma Ubi”... 113

Table 4.20 Order of Signification of Camera Angle in Bango „Bumbu Ayam Goreng Bacem‟ Advertisement “Petani Ketumbar” ... 114

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

LIST OF FIGURES

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CHAPTER I

INTRODUCTION

This is an introductory part of this paper. This chapter provides background of the study, research questions, aims of the study, scope of the study, significance of the study, research methodology, clarification of terms and organization of the paper.

1.1. Background of the Study

Many companies compete to create attractive promotions in selling their products to market. The sale process does not only involve people but also media as marketing tools. Advertisement is one of the promotion tools which most often used by companies to sell their products. The media of advertisement can be print media such as newspapers and magazine or electronic media such as television and radio.

Advertisement comes from the Latin word “ad vertere” means "to turn toward”. According to Dyer (1982), advertisement means drawing attention to something or notifying or informing somebody of something. According to

Oxford Dictionaries (2014), advertisement is a notice or announcement in a public medium promoting a product, service, or event or publicizing a job vacancy. In other words, advertisement is a tool of communication to attract people‟s attention

in order to promote and publicize product or service.

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

Television advertisement is one of the most ideal tools to promote a product. It invites viewers to indirectly feel the benefit of the product. Television advertisement uses some interesting music/sounds, actors, storyline, settings and properties to make audiences easily tempted to the product.

Advertisement is not only used as promotion and publication tool, but also as guidelines in society because advertisement obtains societal values. Societal values in advertisement can construct ideologies. An ideology is a logical and relatively fixed set of beliefs or values (Wodak and Meyer, 2009). Thus, ideology reflects the common beliefs and values in society. A graphic designer should be able to produce an advertisement that contained ideology in it. Roxburgh (2010) asserts that design is described as reproducing ideologies and identities. He also mentions that the art of design is reliant on “Myth of Creativity” (Roxburgh, 2010). In other words, an advertisement is not only designed to sell products, but also to show ideas and ideologies through visual representation. According to Correa (2011), advertisement is a vehicle for ideologies which reflect ideas, beliefs, and opinions of the society. Therefore, ideology is conveyed through the

representation in advertisement.

Representation is the construction of aspects of reality in any medium (Chandler, 2002). Representation may reflect ideologies because it constructs the

aspects of reality which in turn will be the set of beliefs and values in the society. Gender is one of the aspects of reality which always shows in television advertisement. The representations of gender often involve stereotypes. Doring (2006) states that the depiction of men and women in media often portrays gender stereotypes. According to Amancio (1993), gender stereotypes are seen as social representations or collective ideologies defining model behavior. It can be understood that gender stereotype refers to what men and women should behave in society as social and cultural construction.

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

products, food and drink products, etc. It may occur because women have bigger desire to shop than men and women have responsibility for shopping in a household. Thus, many television advertisements make women as their target audiences.

Some studies have been conducted to analyze the representation of women. Aryani (2012) analyzes women representation in PT. Kao detergent products. She investigates how woman was represented through product packaging designs. The data used were the selected packages namely Attack Softener, Attack Clean-Maximizer, Attack Color and Attack Easy. The results of

the study show that women are mostly represented as feminine, tender, motherhood, mature, independent, warm, loving, caring, beautiful, attractive, friendly and happy. Another previous study about women representation was done by Utami (2013). She investigates women representation in magazine advertisement. She uses Maybelline„s Moisture Extreme Lipcolor, Sally Hansen‟s Mega Shine Nail Top Coat, Dove Deodorant, Loreal„s Kiss Proof Ultra Glossy Lipstick, Maybelline‟s Volum‟ Express Turbo Boost Mascara. The results of the study show that women are mostly represented as stylish and trendy women as reflection of modern women.

The previous studies above analyze the representation of women in printed

advertisements through packaging designs and magazine advertisements. They do not analyze the representation of women in other types of advertisements, such as radio or television advertisements. Those studies also analyze the representation of women without clearly enough explain about the ideology of the representation and how the representation create stereotype of women in society.

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

visualization. The present study is limited to analyze five instant seasoning advertisements and reveal ideologies behind the representation.

Instant seasoning advertisements always engage women as their models. However, every advertiser of instant seasoning companies has their own way to represent women and convey ideologies behind the representation. The present study investigates five instant seasoning advertisements: ABC „Sambal Masak‟ advertisement “Kayak Masakan Mami”, Royco „All in One‟ advertisement “Ini Resepku”, Indofood „Bumbu Racik Tempe‟ advertisement “Resep Kering Tempe”, Masako „Bumbu Kaldu Penyedap‟ advertisement “Cuma Ubi”, and „Bango „Bumbu Ayam Goreng Bacem‟ advertisement “Petani Ketumbar”.

The representation of women in the advertisements above is analyzed through their visual elements. There are some visual elements of television advertisements: actor, setting, property, frame size, camera angle and color saturation (Dyer, 1996; Selby and Cowdery, 1995). Following the kind of visual elements itself, this study analyzes actor, setting, property, frame size, camera angle, and color saturation involved in instant seasoning advertisements. These visual elements belong to the visual sign in semiotics. The present study uses some theories: Barthes‟ orders of signification theory (1957), Kress and Leeuwen‟s reading images: the grammar of visual design (2006), and some other theories about visual elements in television advertisement.

1.2. Research Questions

Regarding to the reasons that have been mentioned before, this study is conducted to reveal these following questions:

1) How are the women represented in instant seasoning advertisements? 2) What is the ideology behind the representation?

1.3. Aims of the Study

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

1) To investigate how women are represented in instant seasoning advertisements

2) To reveal the ideology behind the representation

1.4. Scope of the Study

The study investigates the representation of women in five instant seasoning advertisements: ABC „Sambal Masak‟, Royco „All in One‟, Indofood „Bumbu Racik Tempe‟, Masako „Bumbu Kaldu Penyedap‟ and Bango „Bumbu Ayam Goreng Bacem‟. This study focuses on analyzing the visual elements in those advertisements through actors, settings, properties, frame sizes, camera angles and color saturation. This study uses some theories: Barthes‟ orders of signification theory (1957), Kress and Leeuwen‟s reading images: the grammar of visual design (2006), and some other theories about visual elements in television advertisement in order to investigate the representation of women and reveal the ideology behind the representation.

1.5. Significance of the Study

The study hopefully may contribute to develop the knowledge of

semiotics, especially in the semiotics analysis of advertisements. Advertisement can contain signs or ideologies that cover the message. Therefore, this study is expected to enrich other researchers and readers in understanding the message

beyond what it seen in an advertisement.

1.6. Research Methodology

1.6.1. Research Method

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ideology behind the representation that are reflected in the instant seasoning advertisements.

1.6.2 Research Procedures

a. Data Collection

Procedure of this study begins with data collection by downloading five videos of instant seasoning advertisements from www.youtube.com. The advertisements consist of ABC „Sambal Masak‟ (duration: 30 seconds), Royco „All in One‟ (duration: 31 seconds), Indofood „Bumbu Racik Tempe‟ (duration: 29 seconds), Masako „Bumbu Kaldu Penyedap‟ (duration: 31 seconds) and Bango „Bumbu Ayam Goreng Bacem‟ (duration: 29 seconds). These advertisements are divided into several scenes that contain representation of women.

b. Data Analysis

The analysis relies on theory on Barthes‟ orders of signification theory (1957), Kress and Leeuwen‟s reading images: the grammar of visual design (2006), and some other theories about visual elements in television advertisement. Furthermore, the scenes from the advertisements are analyzed by their visual elements: actors (physical appearances, fashion, and facial expressions and

emotions), setting and properties, frame sizes, camera angles, and color saturation. The next step is investigating ideologies contained in the instant seasoning advertisements based on the data that has been analyzed.

1.7. Clarification of Terms

There are several main terms in the present study that are presented below:

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

2) Instant (Of Food) that can be made very quickly and easily (Oxford Learner‟s Pocket Dictionary, 2008).

3) Seasoning is salt, herbs, or spices added to food to enhance the flavor (Oxford Learner‟s Pocket Dictionary, 2008).

4) Woman is adult female human being (Bull, 2011).

5) Representation is the production of meaning of the concept in our minds through language (Hall, 1997: p. 17)

6) Ideology is a logical and relatively fixed set of beliefs and values (Wodak and Meyer, 2009).

7) Denotation is the “literal” or “obvious” meaning (Chandler, 2002: p. 140).

8) Connotation is the meaning that influenced by “socio-cultural and „personal association” (Chandler, 2002: p. 140)

9) Signs are everything that represents the other thing (Chandler, 2002: p. 2)

10)Semiotics is “the study of signs” (Chandler, 2002: p. 1)

1.8. Organization of the Paper

This Paper consists of five chapters. The details of each chapter will be

presented below:

1.8.1 Chapter I: Introduction

Introduction contains background of the study, research questions, aims of the study, scope of the study, significance of the study, research methodology, clarification of terms, and organization of the paper.

1.8.2 Chapter II: Theoretical Foundation

The second chapter contains general review of related theories and the previous study that connects or supports the present study.

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

This chapter discusses the steps and the procedures taken in conducting the research, including data collection and data analysis.

1.8.4 Chapter IV: Findings and Discussions

Findings and discussions presents the result of the study and the answer of the research questions that will be explored and discussed thoroughly.

1.8.5 Chapter V: Conclusions and Suggestions

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

CHAPTER III

RESEARCH METHODOLOGY

This chapter provides the methodological aspects of the study. It covers research method, research procedures including data collection, data analysis and data presentation.

3.1 Research Method

A descriptive qualitative is used as a method of analysis. A qualitative research aims to describe, explain and interpret the collected data (William, 2007). The qualitative research deals with words and pictures, not numbers (Bogdan and Biklen, 2007). Thus, the qualitative method is appropriate to use because the present study does not aim to account the data by numbers rather the present study focuses on the analyzing and interpreting the meaning of visual representations of instant seasoning advertisement. Meanwhile, a descriptive method is an investigation that attempts to describe and examine the particular phenomena and current situation (Travers, 1978, cited in Sevilla et al., 1992). Therefore, a descriptive qualitative method is an appropriate method for this study, because this study aims to analyze, describe and interpret the representation of women in

instant seasoning advertisement.

3.2 Research Procedures

There are some research procedures in this study. Those are data collection, data analysis and data presentation.

3.2.1 Data Collection

a. Data Resources

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

www.youtube.com. There are five selected advertisements of instant seasoning product in this study:

1. ABC „Sambal Masak‟ advertisement “Kayak Masakan Mami”

(duration: 30 seconds)

2. Royco „All in One‟ advertisement “Ini Resepku” (duration: 31 seconds)

3. Indofood „Bumbu Racik Tempe‟ advertisement “Resep Kering

Tempe” (duration: 29 seconds)

4. Masako „Bumbu Kaldu Penyedap‟ advertisement “Cuma Ubi”

(duration: 31 seconds)

5. Bango „Bumbu Ayam Goreng Bacem‟ advertisement “Petani

Ketumbar” (duration: 29 seconds)

Those advertisements were selected based on the most viewers in www.youtube.com and the advertisements contain the issue of how women are represented in instant seasoning advertisements.

b. Selected Scenes in Instant Seasoning Advertisements

Five advertisements were collected in this study. They were

categorized and analyzed based on the scenes which containing the issue of how women are represented in instant seasoning advertisements. The selected scenes from these advertisements are presented as followed:

1. There are six scenes selected in ABC „Sambal Masak‟ advertisement

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

Table 3.1 Selected scenes in ABC „Sambal Masak‟ Advertisement

“Kayak Masakan Mami”

Scene Visual Description

1 This scene

describes a young woman who has a good idea in cooking for

welcoming her parents-in-law.

2 This scene

describes

parents-in-law have arrived. When they

are opening the door, father-in-law looks happy and mother-in-law has sensitivity of smelling the dishes aroma.

3 This scene shows

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

4 This scene shows a

young woman who is worry when her dish is tasted by he

mother-in-law.

5 This scene

describes that mother-in-law and the family are

eating hot ‘telur

balado’ which is

cooked by a young woman (daughter-in-law).

6 This scene shows

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

2. There are seven scenes selected in Royco „All in One‟ advertisement “Ini Resepku”. The scenes are presented below:

Table 3.2 Selected Scenes in Royco „All in One‟ Advertisement “Ini Resepku”

1 This scene

describes a young woman who is

enjoying her cooking activity. She looks very happy.

young woman visionary. When she looks into refrigerator, there is her mother who reminds her about some herbs & spices to make her dish delicious.

3 This scene shows

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

with her dish and she does not need recipe from her mother.

4 This scene shows

that the young woman can cook a delicious dish.

5 This scene shows

that she proudly serves her dish to her husband and son. Her husband

and son seem very happy.

6 This scene shows

that an old woman (mother) is happy and proud with her

daughter, because her daughter can cook a delicious dish. She thinks that her daughter uses her recipe.

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

index finger to her thumb (OK). It purposes that she is success cooking a

delicious dish for her family.

3. There are six scenes selected in Indofood „Bumbu Racik Tempe‟

[image:31.595.196.518.389.662.2]

advertisement “Resep Kering Tempe”. The scenes are presented below:

Table 3.3 Selected Scenes in Indofood „Bumbu Racik Tempe‟ Advertisement “Resep Kering Tempe”

1 This scene

describes a young woman who is

buying „tempe‟ at the traditional market.

young woman who is asking to an old

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

3 This scene shows

that the three old women give suggestions to the

young woman how to cook „tempe kering‟, but the young woman seems confuse.

man (‘tempe‟ seller) who gives Indofood „Bumbu Racik Tempe‟ to the young woman. The young woman looks very happy because she gets a instant seasoning for cooking „tempe kering‟.

5 This scene

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

‘tempe balado’ recipe.

young woman answers her husband challenge with self confident for cooking „tempe balado‟.

[image:33.595.196.520.83.272.2]

4. There are four scenes selected in Masako „Bumbu Kaldu Penyedap‟ advertisement “Cuma Ubi”. The scenes are presented below:

Table 3.4 Selected Scenes in Masako „Bumbu Kaldu

Penyedap‟ Advertisement “Cuma Ubi”

1 This scene shows

three young women. They buy vegetables from vegetable vendor.

2 This scene shows

that the woman who wears purple t-shirt is buying sweet potato. The other women are

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

3 This scene shows

a girl who gives a dish that is cooked from sweet potato.

These women are startled after tasting the dish. The dish is very delicious.

4 This scene shows

that the women shock about the dish. The woman who wears purple t-shirt and her daughter are happy and proud because she can cook the delicious sweet potato dish.

[image:34.595.196.517.81.506.2]

5. There are two scenes selected in Bango „Bumbu Ayam Goreng Bacem‟ advertisement “Petani Ketumbar”. The scenes are presented below:

Table 3.5 Selected Scenes in Bango „Bumbu Ayam Goreng Bacem‟ Advertisement “Petani Ketumbar”

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

1 This scene shows

a young woman who is cooking and smelling the

dish aroma. The dish seems delicious.

2 This scene shows

the young woman who is starring to

her daughter who is eating her dish. She looks very happy when her daughter eats her dish voraciously.

3.2.2 Data Analysis

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

fashion and physical appearance theory (2006). Meanwhile, facial expressions and emotions are analyzed by using Ekman’s connotation of facial expressions and emotions (2003). The connotation of colors relies on the theories by Wilfred (1962), Linschoten & Mansyur (as cited in Kasali, 1995) and Fisher (2004). Furthermore, reading images: the grammar of visual design by Kress and Leeuwen (2006) is used to analyze the meanings of frame size and camera angle in order to find out the relation between the represented and the interactive participant in the scenes. The last step is to interpret the findings based on the analysis to reveal the ideologies behind the representation.

3.2.3 Data Presentation

[image:36.595.121.504.430.731.2]

The analyzed data are represented in a table such as the following:

Table 3.6 Sample Analysis of the Representation of Women in Instant Seasoning Advertisement

Order of Signification of Actresses

First Orders of Signification

Second Orders of Signification

Third Orders of Signification Physical Appearance:

-A young woman (housewife)

-Bright Skin -Short hair

-An old woman (mother-in-law)

-Bright skin signifies beauty (Barnard, 2006).

-Short hair signifies

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

-Bright skin -Short hair

brave and independent (Tekriwal & Kothari, 2012).

bright skin.

-Young woman with

short hair is a brave and independent

woman. In this advertisement, a brave and independent young woman is woman who dares to take different step from old woman. She uses instant seasoning for cooking.

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

Fashion:

-A young woman (housewife)

-Red blouse

-Opened collar

-An old woman (mother)

-Yellow floral blouse

-Red signifies active,

brave, sexy, love, pleasure (Wilfred

(1962); Linschoten and Mansyur (Cited in Kasali, 1995); Fisher, (2004)).

-Yellow signifies happiness, cheerful and warm (Wilfred (1962); Linschoten and Mansyur (Cited in Kasali, 1995); Fisher, (2004)).

-Woman with red

blouse represents an active, brave, sexy and

lovable woman. In this advertisement, red blouse reflects the character of young woman who dares to take different step from old people. She uses instant seasoning for cooking.

-Woman with yellow blouse represents the character of an old woman who is cheerful and warm.

Facial Expressions and Emotions:

-Scene 1

-Smile (cheeks pushed up, mouth drawn back at the corners, and wrinkled skin under the eyes).

-Smile (cheeks pushed up, mouth drawn back at the corners, and wrinkled skin under the eyes) signifies enjoyable emotion or

happiness (Ekman, (2003); Barnard

-Woman who is smiling represents that the woman is happy and in a good mood. The facial expression reflects that cooking is

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

(2006)).

-Scene 2

-Smile (cheeks pushed up, mouth drawn back at the corners, and wrinkled skin under the eyes) signifies enjoyable emotion or

happiness (Ekman, (2003); Barnard

(2006)).

-Woman who is smiling represents that the woman is happy and in a good mood. In relation to scene, the facial expression

indicates that the old woman (mother) is a

warm and cheerful person who always reminds her daughter about cooking.

-Scene 3

-Smile (cheeks pushed up, mouth drawn back at the corners and wrinkled

skin under the eyes).

-Smile (cheeks pushed up, mouth drawn back at the corners, and wrinkled skin under the eyes) signifies enjoyable emotion or happiness (Ekman, (2003); Barnard (2006)).

-Woman who is smiling represents that the woman is happy and in a good mood. In relation to the product, the facial expression represents that woman who uses instant seasoning will be happy because instant seasoning will make her dish delicious.

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

-Smile (cheeks pushed up, mouth drawn back at the corners, and wrinkled skin under the

eyes) signifies enjoyable emotion or happiness (Ekman, (2003); Barnard (2006)).

-Woman who is smiling represents that she is happy and in a good mood. In relation

to the product, a delicious food that is cooked by using instant seasoning can

attract people’s

attention and make people happy with the aroma.

-Scene 5

-Smile (cheeks pushed up, mouth drawn back at

the corners, and wrinkled skin under the eyes).

-Smile (cheeks pushed up, mouth drawn back at the corners, and wrinkled skin under the eyes) signifies enjoyable emotion or happiness (Ekman, (2003); Barnard (2006)).

-Smiling represents happy situation and good mood. In relation to the product, a delicious food that is cooked by using instant seasoning will make people satisfied and happy.

-Scene 6

-Smile (cheeks pushed up, mouth drawn back at

-Smile (cheeks pushed

up, mouth drawn back at the corners, and wrinkled skin under the eyes) signifies enjoyable emotion or

-Woman who is

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

the corners, and wrinkled skin under the eyes).

happiness (Ekman, (2003); Barnard (2006)).

cooked by using instant seasoning will make people satisfied and happy.

-Scene 7

-Smile (cheeks pushed up, mouth drawn back at the corners, and

wrinkled skin under the eyes) signifies enjoyable emotion or happiness (Ekman, (2003); Barnard (2006)).

-Woman who is smiling represents that the woman is happy

and in a good mood. In relation to the product, woman who uses instant seasoning will be happy because instant seasoning helps her to cook delicious dish.

Order of Signification of Setting and Properties First Order of

Signification

Second Order of Signification

Third Order of Signification Setting:

-Kitchen

-Brown and orange wall

-Kitchen signifies a room where food is prepared and cooked (Bull, 2011).

-Brown signifies

wealthy, warmth and comfortable (Wilfred

-Kitchen setting represents that woman has responsibility to cook.

-Brown indicates that

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

(1962) and Fisher (2004)).

-Orange signifies energetic, happiness,

friendly, active, creative, warm, power, and bright (Wilfred (1962); Linschoten and Mansyur (Cited in Kasali, 1995), and Fisher (2004)).

and she is a person who likes comfort (especially in her house).

-Orange reflects the character of a woman who is active, kind, optimistic, full of energy and spirit.

-Dining room

-Brown and white wall

-Dining room signifies a room in a house in which meals are eaten (Bull, 2011).

-Brown signifies wealthy, warmth and comfortable (Wilfred (1962) and Fisher (2004)).

-White in the dining room signifies pureness, naivety, peace, goodness and cleanliness (Wilfred (1962); Linschoten and

Mansyur (Cited in

-Dining room setting represents that woman manages the food needs.

-Brown indicates that the woman is rich. She is also a humble person and she is a person who likes comfort (especially in her house).

-White reflects that the young woman loves the serenity in her life and always maintains

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

Kasali, 1995)). in dining room).

Properties:

-White kitchen set, dining table, plates and bowls.

-Grey in refrigerator, spoons and forks.

-Black in stove and pan.

-Brown in spatula and other kitchen set

-White signifies pureness, naivety, peace, goodness and cleanliness (Wilfred (1962); Linschoten and Mansyur (Cited in

Kasali, 1995)).

-Black signifies elegant and prestigious (Wilfred (1962); Linschoten and Mansyur (Cited in Kasali, 1995)).

-Grey signifies independent, stability, seriousness, and neutral (Wilfred (1962); Linschoten and Mansyur (Cited in Kasali, 1995)).

-Brown signifies wealthy, warmth and comfortable (Wilfred (1962) and Fisher

(2004)).

-White supports the idea that the young woman loves the serenity in her life and always maintains cleanliness in her

house.

-Black reflects an elegant woman who has good taste.

-Grey reflects that the woman is a serious and independent person.

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

Orders of Signification of Frame Size First Order of

Signification

Third Order of Signification -Scene 1

Medium shot

-Medium shot represents a social relation between the represented

participants and the viewers (Kress & Leeuwen, 2006).

-Medium shot shows that the actress has the same position in society as the viewers. The woman in this advertisement wants to serve delicious dish for her family like other women in society.

-Scene 2 Long shot

-Long shot represents an impersonal relation

between the

represented

participants and the

viewers (Kress & Leeuwen, 2006).

-Long shot constructs a personal relationship between the actress and public or environment. This shot is used to

show how the young woman remembers her mother’s recipe but she does not rely on the recipe. She prefers to use instant seasoning.

-Scene 3 Medium shot

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

-Scene 4 Medium shot

-This shot shows that the desire of young woman to prepare delicious dish is

reached by using instant seasoning.

-Scene 5 Medium shot

-Medium shot

represents a social relation between the

represented

-This shot shows that

the desire of young woman to prepare

delicious dish is reached by using instant seasoning. This shot also shows that the women wants to make her family happy and satisfied with the dish.

-Scene 6 Medium shot

- This shot shows that a delicious dish that is cooked by using instant seasoning makes people happy and satisfied. This shot also shows that the desire of young woman to prepare delicious dish is reached by using instant seasoning.

-Scene 7 Close up shot

-Close-up shot represents an intimate and personal relation

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

between the

represented

participants and the viewers (Kress &

Leeuwen, 2006).

the actress because she can cook delicious dish by using instant seasoning.

Orders of Signification of Camera Angle First Order of

Signification

Third Order of Signification -Scene 1

Eye level angle

-Eye level angle signifies equality (Kress & Leeuwen,

2006).

-Eye level angle shows no power difference between the woman

and the viewers.

-Scene 2 High angle

-High angle signifies the interactive participant has power over the represented participant (Kress & Leeuwen, 2006).

-High angle shows that the old woman is being dominated by other people.

-Scene 3 Eye level angle

-Eye level angle signifies equality (Kress & Leeuwen, 2006).

-Eye level angle shows no power difference between the woman and the viewers.

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

Eye level angle signifies equality (Kress & Leeuwen, 2006).

no power difference between the woman and the viewers.

-Scene 5 Eye level angle

-Scene 6 Eye level angle

-Eye level angle shows no power difference between the women and the viewers.

-Scene 7 Eye level angle

Orders of Signification of Color Saturation

First Order of Signification

Third Order of Signification

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

(yellow, orange, red, grey)

signifies optimism, hope, and desire (Selby & Cowdery, 1995).

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

CHAPTER V

CONCLUSION AND RECOMMENDATION

This chapter elaborates the conclusions of the study. Moreover, this chapter presents the recommendations for further studies in the future and those who are interested in this study.

5.1 Conclusion

This study aims to investigate the representation of women in instant seasoning advertisements and the ideologies behind the representation. The data are collected from 5 instant seasoning advertisements, as follows: ABC „Sambal

Masak‟ advertisement “Kayak Masakan Mami” (6 scenes), Royco „All in One‟

advertisement “Ini Resepku” (7 scenes), Indofood „Bumbu Racik Tempe‟ advertisement “Resep Kering Tempe” (6 scenes), Masako „Bumbu Kaldu

Penyedap‟ advertisement “Cuma Ubi” (4 scenes), and ‘Bango „Bumbu Ayam

Goreng Bacem‟ advertisement “Petani Ketumbar” (2 scenes). Women in the

advertisements are investigated through the visual elements of the advertisement as follows; actresses (physical appearance, fashion, facial expressions), setting and properties, frame size, camera angle, and color saturation.

Based on the analyzed data, women in instant seasoning advertisements are represented in many ways. In term of physical appearance, women are mostly represented with long hair and bright skin. The significations show that women with long hair and bright skin represent the concept of beauty for women in the advertisements. The significations also show that woman with long hair is a feminine and motherly woman. Thus, woman with long hair is the symbol of femininity.

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

rely on recipe. Moreover, old women are displayed in neutral color, such as brown and white. Thus, old women are represented as women who still use traditional ways in cooking. In connection to facial expressions and emotions, women are mostly displayed with smile expression. The advertisements show that the women are happy because they can cook delicious dishes by using instant seasoning products. The advertisements also show that cooking is a fun activity.

In term of setting and properties, women are mostly represented in kitchen and dining room. Kitchen and dining room reflect that woman is someone who has responsibility for cooking and manages the food needs. Furthermore, white and grey are the dominant colors of the properties. White in properties reflects that the woman loves the serenity in her life and always maintains cleanliness. Grey in properties reflects that the woman is a serious and independent person. Moreover, properties of the advertisements also represent that woman takes care all of the household needs, especially organizing the house.

In relation to frame size, most women are displayed through the use of medium shot. According to Kress & Leeuwen (2006), medium shot constructs a social relation between the represented participants and the viewers. Medium shot is used to represent that women have same position as the viewers in society.

Medium shot reflects that women in instant seasoning advertisements want to give the best for their family, especially in serving delicious dishes like other women in society (viewers). Thus, medium shot displays women in instant seasoning advertisements as the reflection of women in society.

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

In relation to color saturation, women are represented through the use of warm color saturation. In instant seasoning advertisements, women have a hope and desire to cook delicious dishes. The warm color saturation represents that women are optimist to cook delicious dishes by using instant seasoning.

The study also concludes that there are three ideologies found in the advertisement: femininity, modernism and recreation. Femininity is revealed through the physical appearance. Based on the findings, women in instant seasoning advertisements are mostly represented with long hair and long hair is the symbol of femininity. Soenarko (2013) states that men are more interested to women who have long hair because women with long hair seem more elegant and sensual. Cardellino (2014) also mentions that women who have long hair are more in touch with their feelings. Thus, women with long hair are considered to be feminine.

Modernism is revealed through the use of instant seasoning products. Modernism is reflected in the development and acceptance of new technologies to have a qualitative difference in the life (Dawson, 2012). Instant seasoning is a modern way to cook and it does not need to use variety of herbs and spices. Thus,

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

5.2 Recommendation

The study of advertisement is an interesting issue to investigate. For the future study, the writer suggests to expand the numbers of instant seasoning advertisements, so the result of the analysis would be more comprehensive.

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THE REPRESENTATION OF WOMEN IN INSTANT SEASONING ADVERTISEMENTS

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