Gender Portrayal on
Comedy Cinema in Indonesia
Lala Palupi Santyaputri
Lecturer in University of Pelita Harapan
PhD Candidate at the Bandung Institute of Technology
Introduction
¤ It is at once read the discourses and cultural developments that occurred in Indonesia. Discourse and culture, and read between the lines in the Qilm through its visual
language. Therefore the visual language is very important on Qilm. Each element of the Qilm to support the visual language, these elements consist of: Script / Screenplay, Cast, Director, Actor/Actress, Property, Planning and the
Gender Differences as
Visual Objects
¤ Masculinities and Femininities as objects of visual in the cinema, is often become an object of interest in a movie. As objects, they are receiving treatment visits, value, and
appreciation in a variety of media discourse context.
¤ Comedy genre on cinema production parallel with the national cinema development according to Eric Sasono (2007).
¤ In Indonesia comedian world is dominated by a group comedy. And many of that group member is male.
¤ Warkop Qilm comedian Indonesia is considered to represent an exists representation because of its presence in the
period for 15 years. And when the Qilm fell fallen in
Indonesia 1990-‐2000 Warkop still has its own place in the Indonesian moviegoers.
¤ Warkop DKI movie has been chooses as a subject of research because this comedian group is produced 33 Qilm since
Warkop Dono Kasino Indro
Warkop or before Warkop Geronimo, is a comedy group formed by Nanu (Nanu Mulyono real name), Rudy (Rudi
Badil), Dono (Wahjoe Sardono), Kasino (Kasino
Hadiwibowo) and Indro (Indrodjojo Kusumonegoro).
Warkop considered to represent the people of Indonesia with a different cultural background of the tribe.
Warkop DKI is a comedy group that has the prime time
of the NewOrder era the years1979-‐1994. Group originally starte d as a radio comedy and develops into the cinema.
Gender Stereotypes on
Comedy Cinema
¤ Gender is selected as the artist's companion has a certain stereotype. There are several techniques used in the
¤ In the table Tudor 1973, 135 in the book An introduction of Film Studies by Jill Nemmes, Comedy genre comparable in horror and thriller genre is in the process enter the criteria Intended effect or effects of the element of intent is expected to produce humor in general. In Indonesia comedy Qilm
starring men, women never missed his presence as a movie player.
Humor of linguistic terms
1. The theory of liberation, that is nothing but a
joke emotional trickery that seems threatening but it was not nothing
2. The theory of con3lict, which speciQies the pressure on the implications of treatment between the two conQlicting
impulse, and
3. Lack of harmony theory, namely the existence of two meanings or interpretations are not the same and
Table. 3. Gendered Spectatorial Positioning (Tseelon and Kaiser
changing and aging, contextualized
Modes of Pleasure
Male Gaze Female Gaze
Objectifying, fetishing Narcissistic identiQication
Masculine Representation in Film Comedy
Cornell (1995) provided a useful breakdown of three different types of masculinities that are present in modern Western Culture. They are hegemonic masculinity, conservative masculinity, and subordinated masculinity.
¤ Laraine Porter accused a question of humor that uses gender stereotypes. If femininity is a perverse deviation from a
masculinity understood to be the norm, is the breast an inherently humor object? Are overweight bosomy ladies intrinsically funny as a parody of heterosexual desire?
Porter, Laraine, ‘Tarts, Tampons and Tyrants: Women and representation in British comedy’, Because I Tell a Joke or
Two: Comedy, Politics and Social Difference, ed. Stephen
Type of Femininity in
Comedy Cinema
¤ The Slender Woman when the accessories of female
attractiveness and femininity, mini skirt and the large breasts are denuded of both their appeal and their functionality, “they become obsolete, parody and repulsive to the male”.
¤ The Impersonated Menopausal Woman is funny because her increased sexual appetite and decreasing sexual appeal,
concurrent with the failing virility of her male opposite, poses a threat to male authority and violates the principle that female sexuality is a function of male desire.
¤ The impersonated menopausal woman is funny because her increased sexual appetite and decreasing sexual appeal,
concurrent with the failing virility of her male opposite, poses a threat to male authority and violates the principle that female sexuality is a function of male desire.
¤ In consequence, when the accessories of female
attractiveness and femininity, mini skirt and the large breasts are denuded of both their appeal and their
Conclusions
¤ The portrayal of humor in Indonesia, especially cinema comedy that the image is often created and in the comedy genre, portrayal of gender has different symbols.
Reference
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Reference
Kristanto, J. B. (2007), Katalog Film Indonesia 1926-‐2007, Nalar, Jakarta, 320-‐436. Porter, Laraine, (1998), Tarts, Tampons and Tyrants: Women and representation in British comedy’, Because I Tell a Joke or Two: Comedy, Politics and Social Difference, ed. Stephen Wagg., London: Routledge, 75
Pratt, A.C., Gornostaeva,G., (2005), On Film Industry, 1-‐27.
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Film Source
Makin Lama Makin Asyik (1987) PT Soraya Intercine Films
Malu Malu Mau (1988), PT Soraya Intercine Films
