Representation of female stereotypes in sense and sensibility Film (2008) through cinematography and narrative elements

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REPRESENTATION OF FEMALE STEREOTYPES IN SENSE

AND SENSIBILITY FILM (2008) THROUGH

CINEMATOGRAPHY AND NARRATIVE ELEMENTS

TIRTA NYUMINNAR NIM 106026001029

ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY

STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA


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A Thesis

Submitted to Letters and Humanity Faculty in Partial Fulfillment of the Requirement for

the Degree of Letters Scholar

TIRTA NYUMINNAR NIM 106026001029

ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY

STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA


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i ABSTRACT

Tirta Nyuminnar,Representation of Female Stereotypes in Sense and Sensibility Film (2008) through Cinematography and Narrative Elements. Thesis. Letters and Humanities Faculty, UIN Syarif Hidayatullah, Jakarta, 2011.

The study concerns on the representation of female stereotypes to express her idea through the film that appears in the film of Sense and sensibility. The writer uses the qualitative descriptive analysis as the method to analyze the relationship between characters, camera, and spectator, which are appeared in the Sense and Sensibility film. The data are obtained from the books of feminism, film, and literature and the internet, which are related with feminist film theory.

In this analysis, the writer finds out the result that shows the characteristics of female characters, which represents the female stereotypes in Sense and

Sensibility Film. Using Mulvey’s theory of Visual pleasure, this study identifies

the critical use of camera’s position, movement, and point of view as the extensive use of framing to reveal representation of female stereotypes as the barer of the novel’s early feminism in adaptation of Jane Austen’s Sense and Sensibility. It is revealed that cinematography and narrative elements not only depict female stereotypes as domestic creature, inferior, second sex, emotional and sexual object but also, his film empowers the male spectators through the narcissistic identification with male character and male director.


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SENSIBILITY FILM (2008) THROUGH CINEMATOGRAPHY AND NARRATIVE ELEMENTS

A Thesis

Submitted to Faculty of Adab and Humanities In partial Fulfillment of the Requirements for

The Degree of Strata 1

Tirta Nyuminnar 106026001029

Approved by: Advisor,

Drs. Asep Saefuddin, M.Pd NIP. 19640710 199303 1 006

ENGLISH LETTERS DEPARTMENT FACULTY OF ADAB AND HUMANITIES

STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA


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LEGALIZATION

The thesis entitled “Representation of Female Stereotypes in Sense and Sensibility Film (2008) through Cinematography and Narrative Elements” has been defended before the Letter and Humanities Faculty’s Examination Committee on January 27, 2011. The thesis has already been accepted as a partial fulfillment of the requirement for the degree of Letters Scholar.

Jakarta, February 14, 2011

Examination Committee

Signature Date

1. Drs. Asep Saefuddin, M.Pd NIP. 19640710 199303 1 006

(Chair Person)

2. Elve Oktafiyani, M.Hum NIP. 19781003 200112 2 002

(Secretary)

3. Drs. Asep Saefuddin, M.Pd NIP. 19640710 199303 1 006

(Advisor)

4.

Inayatul Chusna, M.Hum NIP. 19780126 200312 2 002

(Examiner I)

5.

Muh. Supardi, M. Hum NIP.


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my knowledge and belief. It contains no material previously published or written by another person nor material which to substantial extent has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except where due acknowledgement has been made in the text.

Jakarta, January 12, 2011


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ACKNOWLEDGEMENT

In the name of Allah, the Most Gracious, the Most Merciful.

First of all, the writer would like to thank to Allah SWT for all favor and guidance in completing this paper. All praise belongs to Him, the Creator of living things from being nothing to existence. Many solutions and benediction be unto the noblest of the prophet and messenger, Muhammad SAW.

On this occasion, the writer would like to express a special thanks to her father Pitoyo and her mom Arnita who give her their full financial, spiritual support and all the contribution during her study and the process of making this paper. Thank you for bringing her into this world and taking care of her patiently and affectionately since the writer was child. Thanks for always being there for her.

Thanks to her sisters and brother (Dian Suminnar SE., Sinta Ayunda Putri, and Noval Rahmat Reza). They always give her support and pray so that their pray may recharge her spirit. Let’s show that our parents are the most fortune parents because they gave birth to great human beings. Thanks to her aunt Ratna and her family who has been her second family when the writer was student in UIN. Thanks for their guidance, support, and contribution during her study since she stayed in her house.

The writer cannot fail to mention her advisor Drs. Asep Saefuddin, M. Pd. for his guidance and contribution in finishing this thesis, thank you very much for being patient in giving her advice to finish this thesis. Your correction, criticism, and broad perception give her lots of lessons.

The writer would like to thank to important people who have helped her from the beginning of outline until the outline become a complete work. They are:

1. Dr. H. Abdul Wahid Hasyim, MA, as the Dean of Adab and Humanities. 2. Drs. Asep Saefuddin, M.Pd. the Head of the English Letters Department. 3. Elve Oktafiyani, M.Hum, the Secretary of the English Letters Department. 4. All of the lecturers in English Letters Department whom the writer cannot

mention one by one who have taught and educated her during her study in UIN.

5. Mrs. Inayatul Chusna M. Hum, for guiding her and helping in finishing this thesis. Thanks for your time, patience, and kindness. Thank you for never getting tired of teaching her and giving her advice.

6. All of her friends, the students of class C 2006 and Literature class for being her classmates especially Kiki. Thanks for sharing both joy and advice.


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8. All of her work team in PT. A.W. Faber Castell Indonesia, especially, Mr. Daniel, Mba Ana, Mba Tachy, Mas Oni and Pak Djati for support, advise and kindness.

Finally, the writer’s great thanks to the entire place that gave her pleasures within her study process.

Jakarta, January 12, 2011


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TABLE OF CONTENTS

ABSTRACT ... i

APPROVEMENT ... ii

LEGALIZATION ... iii

DECLARATION... iv

ACKNOWLEDGMENT ... v

TABLE OF CONTENT ... vii

CHAPTER I. INTRODUCTION ... 1

A.Background of Study ... 1

B.Focus of Study ... 4

C.Research Question ... 4

D.Significance of Study ... 5

E.Research Methodology ... 5

1. The Method of the Research ... 5

2. Technique of Data Analysis ... 5

3. Instrument of Research ... 5

4. The Unit of Analysis ... 6

5. Time and Place of the Research ... 6

CHAPTER II. THEORETICAL FRAMEWORK... 7

A.Concept of Representation ... 7

B. Cinematography Elements ... 8

a. Camera placements ... 8

b. Camera movements ... 10

c. Lighting ... 11

d. Feminist Film Theory ... 11

C. Narrative Elements ... 13

a. Characterization and Character ... 13

b. Setting ... 14

c. Costume ... 15

CHAPTER III. RESEARCH FINDING... 16


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through Cinematography and narrative elements...21

CHAPTER IV. CONCLUSION AND SUGGESTION... 37

A. CONCLUSION ... 37

B. SUGGESTION ... 39

BIBLIOGRAPHY ... 40


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1 CHAPTER I INTRODUCTION

A. Background of Study

Literature is simply ways of increasing our experience, of going place, of doing things in our imagination that might never has a chance to do otherwise. Literature is an art from whose medium is language, oral, and written. It differs from three ways, they are first, it is concentrated and meaningful, and second it is that purpose is not simply to explain, argue, or make a point but rather to give sense of pleasure in discovery of new experience and the last it demands intense concentration from readers.1 Literary works come in several forms such as poetry, novel, drama, and film.

About film, film is another alternative of media for narrating a story. Film is considered an important art form, a source of popular entertainment and powerful method for education or indoctrinating citizen. The task of film is to make those processes available for debate, whether they are deliberate or unconscious, individual or collective, human or institutional. In order that, film needs theory. During the 1990s the digital revolution in image technologies has had an impact on film theory in various ways. In the 1960s and 1970s, film theory took up residence in academe, importing concepts from established disciplines

1

Gloria Mason H, et. al. Literature and Ourselves, A Thematic Introduction For Readers and Writers Fourth Edition, (Newyork: Longman 2003), p. 1.


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like psychoanalysis, gender studies, anthropology, literary theory, semiotics and linguistics. The aimed of film theory is to explores the essence of the cinema and provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large.

Moreover, the aimed of films bring important meaning and contain social message for the spectator. The messages that are brought by a film are frequently related to the social phenomenon based on the setting time. Feminism is a social movement that has had an enormous impact on film theory and criticism. The development of feminist criticism was influenced by second wave feminism and the development of women's studies within the academy. Feminist scholars began taking cues from the new theories arising from these movements to analyzing film.2 After that feminist theory are rapidly developed. One of them is Feminist Film Theory (Cinefeminism). Feminist Cinema is taken by feminists to be a cultural practice representing myths about women and femininity.3

Feminism was popular in the early eighteenth century. Patriarchal value was dominantly at that year. The conditions of women were very difficult. They did not have many rights and were financially dependent on their husband or families. An average wife spent some 15 years either in a state of pregnancy or in nursing a child for the first year of its life.4 Women were exploited domestically.

2

Anonymous, feminism, accessed on March 27, 2010. http://en.wikipedia.org/wiki/Feminist _Film_theory.htm

3

Anneke Smelik, Feminist Film Theory in Pam Cook and Mieke Bernink, (eds), The Cinema Book, second edition (London: British Film Institute, 1999), p. 491.

4

Anonymous, The Eighteenth Century, accessed on January 31, 2011 www.uk.filo.pl/uk-_history_8_htm


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They could not enter public field. Mother was nurturing and teaching their children – the activities which most of women do it in 18th century. Feminist have worked hard to advancement of women in social and politic field. They tried to liberate women from inferiority and minority by use film.

Related to previous explanation, Sense and Sensibility Film is a film with the setting time at the early eighteenth century. Sense and Sensibility film is a 2008 British television serial adapted by the BBC from Jane Austen's novel of the same name. Sense and Sensibility Film was written by Andrew Davies and directed by John Alexander. It was nominated for several Awards; BAFTA TV Awards Nominated Best Original Television Music - Martin Phipps, Costume Designers Guild Awards Nominated Outstanding Costume Design in a Miniseries or TV Movie - Michele Clapton, Primetime Emmy Awards Nominated Outstanding Cinematography for a Miniseries or Movie - Sean Bobbitt Nominated Outstanding Music Composition for a Miniseries, Movie or Special (Original Dramatic Score) - Martin Phipps.5

Sense and Sensibility is a story of two young sisters, Elinor and Marianne

Dashwood who face uncertain future. After their father died, they left Norland Park with their mother and their young sister. They are dismayed to learn that their inheritance consists of only £500 a year. John Dashwood, Mr. Dashwood's eldest son from his first marriage, inherits his father's entire estate, under the laws of primogeniture. The conflict in this film is the two sister’s love entangled with their new status. Sense and sensibility film shows spectators from the point of

5

Anonymous, sense and sensibility (2008), accessed on March 17, 2010. http://en.wikipedia.org/wiki/ Sense_and_Sensibility_(2008_TV_serial).htm


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view of the minority. It represented women as victims of social structure. This is the reason why the writer intends to examine the representation of women that is reflected through cinematography and narrative elements based on feminist film theory.

B. Focus of Study

According to the background of problem above, this research would be concentrated in how film presents female stereotypes and exploitation through the combination of the patriarchal order of society, and looking in itself as a pleasurable act of voyeurism based on cinematic, framing, and dialog. The usage cinematography and narrative elements that are perspectives of the male director and the male spectator as they see the female character on screen and perspective of male spectator that occur in film which serve to sexually objectify women.

C. Research Questions

Based on the background of study above, the statement of problem is:

How does Sense and Sensibility film represent female stereotypes through cinematographic and narrative elements?

D. Significance of the Study

The writer hopes the result of the research will be advantageous to her especially and the reader generally and it is expected to be able to assist the reader


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in understanding the message which is delivered in the film. Besides that, the writer hopes that this research can be a contribution for others especially culture and literature studies in State Islamic University Syarif Hidayatullah Jakarta.

E. Research Methodology

1. The Method of The Research

Based on research question and the significance of the study above, the writer applies description qualitative method, which is analyzing the relation among words or sentences that produces particular meaning.

2. Technique of Data Analysis

The data is analyzed based on the method and the approach of feminism liberal. First, the writer watches the film carefully for several times. It is aimed to learn and understand the contents of film. Then the writer analyzed female characters with give annotation about the film. Finally, the writer relates it to the feminist theory.

3. Instrument of Research

The instrument is the way that is used to obtain the data or information that is needed in research.6 The instrument used in this research is the writer herself as the subject of the research by reading the data taken from the script’s film by signifying, grouping, giving a note to the required data, collecting data and interpreting the meaning of the data.

6

Muhammad Farkhan, Proposal Penelitian Bahasa dan Sastra (Jakarta: Cella Jakarta, 2007), p. 2


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4. The Unit of Analysis

The unit in this research is the film sense and sensibility directed by John Alexander released on 2008.

5. Time


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7 CHAPTER II

THEORETICAL FRAMEWORK

A. The Concept of Representation

The concept of representation has to come to occupy a new and important place in study of culture. Representation began with early literary theory in the ideas of Plato and Aristotle, and has involved into a significant component of language, Saussurian and Communication studies.7 Representation is essential part of the process by which meaning is produced and exchanged between members and culture. Representation describes the signs that stand in for and take the place of something else. It is through representation people know and understand the world and through the act of naming it. Signs are manipulated in order to make of the world. For many philosophers, both ancient and modern, man is regarded as the “representation animal’ or homo symbolic, the creature whose distinct character is the creation and the manipulation of signs things that “stand for’ or “take the place of” something else.8

Representation has been associated with aesthetics (art) and semiotics (signs). It is system by which all sorts of objects people and event are correlated with a set of concepts or mental representations, which the directors carry around in the spectator’s mind. Without them, we could not interpret the world

7

Mitchell, W. “Representation”, in F Lentricchia and Mc Laughlin, Critical Terms for Literary Study 2nd edn, (Chicago: University of Chicago Press, 1995),

8

O’Shaugnessy, M. And Stadler J, Media and Society: an Introduction 3rd edn, (South Melbourn: Oxford University Press, 2005),


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meaningfully at all. For examples are our concepts of war, death, friendship, or love. It means that is speaker or the author who imposes his or her unique meaning on the world through language. Our shared conceptual map must be translated into a common language, so that the reader can correlate the author’s concepts and ideas with certain written words, spoken sounds, or visual images. Words mean what the author intends that they should mean. With this approach and theories above writer has purpose to represent women in Sense and Sensibility Film.

B. Cinematographic Elements

According to Oxford learner’s Dictionary, film is a series of moving pictures recorded with sound that tells a story, shown on television or the cinema.9 The story refers to a making story that is created based on either imagination or reality. In film or video scene consists of a sequence of shots. Each shot is made from a different perspective and then they are joined together. In film, the cinematographer sets the camera shots and decides what camera movement is necessary for a scene.

a.Camera Placements

It is important to differences between camera movements and camera placements. Camera movements are used to position the viewer so that they can understand the relationships between the characters. Camera placements are used

9

AS Hornby, Oxford Advanced Learner’s Dictionary of Current English,(Oxford: Oxford University Press, 2007), p. 573.


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to demonstrate different aspects of setting, themes, and characters. These are very important for shaping meaning in film as well as in other visual texts.

Table 1. Standard camera shots using different length lenses

The Field of View (FOV) is the angle described by a cone with the vertex at the camera's position. It is determined by the camera's focal length, with the shorter the focal length the wider the FOV.

Shot Visual Composition Use

Extreme long shot

characters are small in frame; all or major parts of buildings appear

establishes physical context of action; shows landscape and

architectural exteriors

Long shot

All or nearly all of the standing person; large parts of a building

shows a large scale action; shows whole groups of people; displays large architectural details

Medium shot

Character shown from waist up; medium-sized architectural details

small groups such as two or three people

Close-up

Head and neck of character; objects about the size of the desktop computer fill frame

focus on one character; facial expression very important

Extreme close-up

The frame filled with just part of a character or very small objects

facial features in a character or small objects


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Camera position Field of view

Figure. 1. The Field of view

b. Camera Movements

In film and video production, the cinematographer sets the camera placements and decides what camera movement is necessary for a scene. The camera angle helps to determine the point of view of the camera. This is very important since viewers have seen much TV or film and this has conditioned them to interpret the cameras "eye level" as containing meaning.10 A good idea is to observe existing film and video and to determine how far above ground level the camera is for a particular scene and use that information.

1. A bird's eye angle (animation on right) is an angle that looks directly down upon a scene. This angle is often used as an establishing angle, along with an extreme long shot, to establish setting.

2. A high angle (animation on right) is a camera angle that looks down upon a subject. A character shot with a high angle will look vulnerable or small. These angles are often used to demonstrate to the audience a perspective of a particular character. The example above demonstrates to us the perspective or point of view of a vampire. As a viewer, we can understand that the vampire feels powerful.

3. An eye-level angle (animation on right) puts the audience on an equal footing with the character/s. This is the most commonly used angle in most films as it allows the viewers to feel comfortable with the characters.

10

G. Scott Owen, Traditional Film Camera Technique, accessed on March 27, 2010. http://www.traditional_film_camera_techniqu.htm, p. 2.


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4. A low angle (animation on right) is a camera angle that looks up at a character. This is the opposite of a high angle and makes a character look more powerful. This can make the audience feel vulnerable and small by looking up at the character. This can help the responder feel empathy if they are viewing the frame from another character's point of view. 11

c. Lighting

Lighting is one important element in film that is capable to conduct eyes to the most important object in a frame. Lighter and darker areas within the frame help create overall composition of each shot and thus guide our attention to certain objects and action.12 Lighting furthers the audience’s understanding of characters, underscores particular actions, develops themes, and established mood.13

d. Feminist Film Theory (Cinefemists)

Issues of representation and spectatorship are central to feminist film theory and criticism.14 Feminist film theory or cinefeminism is a particular application of poststuctural-feminist approach to culture studies.15 Early feminist criticism was directed at stereotypes of women, mostly in Hollywood films. Most of these plays raise question about the expectation that women will become

11

Anonymous, Camera Movement, accessed on August 10 , 2010. http://www.film-overview. htm p. 2.

12

David Bordwell and Kristin Thompson, Film Art: An Introduction, (New York: McGraw Hill, Inc, 1993), p.152.

13

Maria Pramaggiore and Tom Wallis, Film: A Critical Introduction, (London: Laurence King Publishing Ltd, 2005), p. 77.

14

Anneke Smelik, (1999), op.cit. p.353. 15

Ben Agger, Cultural Studies as Critical Theory, (London: The Falmer Press, 1992), p.127.


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mothers and the centrality of nurturing and pasificity to idea of feminist.16 A feminist film focuses on production that are shared by many women, but it also attends to differences of race, history, class, sexuality, and nation, alongside and as part of theoretical difference feminist theory.

Laura Mulvey (in Shaw and Janet Lee) identified the “male gaze” (male director’s project male fantasies onto female characters which viewers then internalize) as a primary motif for understanding gender in filmmaking. Mulvey argues that feminist movies are essentially made through and for male gaze and fulfill a voyeuristic desire of men to look women as objects.17 Feminist film critics focus on the ways in which the male directorial gaze constitutes women as objects for men and ignores aspects of sexual politics and power transacted between both men and women on the screen and between the film (maker) and audience off screen.18

Cinefeminism differs markedly from liberal feminist studies of the content of filmic images of women, rejecting this approach as overly positivist.19 It is equally as important to examine ways in which women are signified or represented. Postructural feminists focus on film because films are significant screen of power. The films are being women as objects by pretending that the cinematic gaze is somehow value free. The three of the cinematic gaze (camera,

16

Claire M. Tylee, et. al. War Plays by women an International Anthology, (London: Routledge, 1999) p. 1.

17

Susan M. Shaw and Janet Lee, Women’s Voices, Feminist Vision, Clasic and Contemporary Reading 2nd Edition, (New York: Mcgraw Hill, 2004), p. 388.

18

Ben Agger (1992), op. cit. p. 127. 19


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character, and spectator) that objectify the female character and make her into spectacle. Male gaze has become shorthand term for the analysis of complex mechanisms in cinema that involve structures like voyeurism and narcissism. These concepts help to understand how Hollywood cinema is made for male desire.

C. Narrative Elements

Narrative is a chain of events in a cause effect relationship, occurring in time and space. A narrative is not a random string of events. Usually, the agaents of cause and effect are characters. By reacting to events, they create causes and react to the twist and turns in the story.

a. Characterization and Character

Many readers believe that plot is the most crucial element to their enjoyment of a story, but most of us soon recognize that no matter how exciting, eventful, or surprising the plot of a short story, novel, and film may be, we care most about finding convincing portrayals of human nature in action. The method by which writers create, reveal, and develop characters is called

characterization.20 Writers usually focus on a single character and show us the

complexities, contradictions, and difficulties in that person’s life and personality. A major character is an important figure at the center of the story’s action or theme. Sometimes this central character is the protagonist.

20


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Character is changed in some a ways by experience. Characters who remain relatively unchanged are called static. Characters who through some development are called dynamic. The central characters in most short stories are

round (They have fully developed complex personality that may defy simple

analysis and description). Less significant characters in the story are likely to be flat.

Finally, some characters in fiction lend themselves to neither kind of analysis. Instead, they may represent abstraction or ideas rather than complex human beings in action. When the fiction writer is primarily interested why character choose and respond as they do their motivation we as readers must respond by seeking and explanation for their behavior. We have to pay attention to the list of characters and carefully read whatever descriptions the playwright has provided. Characters have several properties. They usually have a body. They possess traits such as attitudes, skill, psychology, drives, details of dress and appearance, habits, etc.21 The viewer seeks to connect events by casual motivation of characters.

b. Setting

Causes and effects take place in time. In sample terms, setting is the time, place, and social reality within which a story takes place.22 Setting seems to be an insignificant element in some stories. Setting is important for additional reason: it symbolize the emotional state of the characters. In which place is an important

21

Aaron Sherwood, Characterization, Narrative Structure and Mythopeia in The Film of Hayao Miyazaki, (Vancouver: Regent College, 2006). p.3

22


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elements of setting, the writer usually provides specific, sometimes extended description of that place, focusing especially on those particular details that most important to our understanding of the story. 23 As reader, we need to have a clear sense of the place because that perception is central to our interpretation of character, conflicts, and meaning. The time period is more significant than place. Setting is also an important element in establishing the tone in a work of fiction.

c. Costume

Costumes are always important, because they tell us something about the people who wear them.24 Costume can be especially symbolic. Costumes also provide information about time and place. By integrating costumes may function to support the film narrative and thematic patterns. Costume identified the character. Costume employee decided to differentiate the sisters by contrasting the colors of their wardrobes, having the "flighty" and "artistic" Marianne wear bolder shades of red, yellow and purple compared to the more modest hues of Elinor's attire. Marianne is thoroughly youthful, impetuous, and thoroughly immersed in romantic ideals. Contrasted with her sister, Elinor tempers, her emotions, and judgments with good sense and discretion. She prefers to keep her troubles secret. Willoughby's costume was also designed to reflect his "fashionable" personality, while Colonel Brandon's trench coat and dark shades were intended to make him seem an old-fashioned, stronger character. The costumes really helped to get into character and that they were "absolutely beautiful" to look.

23

Joseph F. et. al, (2002) op. cit, p. 6. 24


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16 A. Data Description

1. Representation of Female Stereotypes in Sense and Sensibility Film (2008) through Cinematography and Narrative Elements

Feminist is the problematic issue that is taking place around 1800s England. Patriarchal society is society structure at that time. Patriarchal society is social structure that allowed men to have power, especially economic and political power, while women were exploited, especially domestically. Women were legal infant, and her conducts were determined by many rules. They could not enter the profession or study at the university, and society had sketched out the outlines of a perfect woman pretty clearly. To leave political, legal and military affairs - the masculine sphere to men, to regard marriage as the only ambition worth having, to concentrate humbly only to her husband, her children and her home and to behave graciously and elegantly – that was the ideal woman.

Published in 1811, Sense and Sensibility is a novel by the English novelist Jane Austen. Sense and Sensibility story is taking place early 18th century. Austin wrote the first draft of Elinor and Marianne (later retitled Sense and Sensibility) in epistolary from sometime around 1795 when she was about 19 years old. Sense and sensibility did not tell about super women. It is a story about two siblings sister’s love stories that are entangled with their new class status, which is prove


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discrimination towards women. The story reflected social phenomena around 1800’s. Austen realized that patriarchal society dominantly at that time. It helps

Sense and Sensibility Film with making stereotype for women and men. This

stereotype helped men to have power and exclusive. The writer analyzes female stereotypes wih using cinefeminists, which is presented by John Alexander in

Sense and Sensibility Film. Cinefeminists focus on the gestural and directorial

ways in which film women are represented by the male director and represented by the male audience. Instead, cinefeminist directors refocus the camera on the ways in which men objectify women acquiesce fatefully to their own objectification.25 After doing a deeply examination, the writer finally finds some representation of female stereotypes which reflect with social phenomena in 18th century.

25

Ben Agger (1992), op. cit. p. 127 No Representati

on of Female stereotypes Camera Movement Camera Placement Dialog

1. Domestic creature

•The camera starts from long shot, and then the camera gets closer and closer and stops, in the frame showed Lady Middleton

•Using camera shots long extreme, the framing shows Mrs. Dashwood and Margaret who are

standing in from

Margaret: I wish I was not sister Women cannot do anything Man can around the countries and do things And girls just sit and wait what can happen. (In minute 10:17, 3rd disc)


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the owner of Barton Park was sitting in the middle around her children. (In minute 31:33, 2nd disc)

The camera move follow Mr. John Dashoowd down stairs while Mrs. Fanny and their son standing in the corner of framing only. (In minute 5: 27, 2nd disc)

their house. (In minute 9:50, 3rd disc)

Marianne: Elinor!

I keep thinking about the poor girl with the baby. What strange grievances man of? Elinor: Yes, indeed Marianne: What they want from us? Elinor: I cannot done to you

Marianne : Perhaps They see us not as people but as play things, Elinor. (In minute 26:37, 3rd disc) 2. As Inferior

The camera looks upon a subject. Marianne shot with a high angle will look

vulnerable or small. (in minute 27:37, 3rd disc)

Mr Dashwood: Law prohibition me for dividing my state. You have everything Mr Dashwood: Without your help, Your step mother and the girls almost have nothing. You must do something. You have to promise me

[....]

Elinor : It is his house now Magaret : But why Elinor! It’s not Fair,


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isn’t it? Elinor: Thats the way thing Meg! Because Mr. John Dashwood is father’s first son and son has everything. That is nothimg that anyone can do about this. (in minute 02:23, 2nd disc) 3. Emotional

The camera starts from long shots and slowly come closer and closer stop. When camera come closer and closer, Elinor cry more and more.

Using camera movement medium shot shows small groups

Camera shots using close up the frame is looked only Head and neck of Marianne who is crying while writing disappoint letter.

(in minute 03:50, 3rd disc )

using close up lense again It is focus on one camera to see Marriane facial


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expression. (in minute 04:00, 3rd disc )

The camera then uses close up lense again to show Elinor facial expression. (in minute 22:40, 3rd disc) 4. Sexual Object

This series of shots use the omniscient FOV creates naked body male and female,

Perspectives of male spectators that occur in film which serve to sexually

The camera placement beside Willoughby as Willoughby’s eyes look Marianne’s neck to give spectator’s pleasure.


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B. Analysis

1. Representation of Female Stereotypes in Sense and Sensibility Film (2008) through Cinematography and Narrative Elements

The essential poststructural thesis of cinefeminism is that the camera shot is not neutral. Cinefeminist likens the camera to male gaze.26 Which is the male gaze of camera presents women as sexual object, prostitute, lesbian and mother.27 Camera focuses on the ways in which the male directorial gaze constitute of women as object for men and ignores aspect of sexual politics and power transacted between men and women in the screen. Feminist criticisms have pointed to the "male gaze" that predominates in classical Hollywood filmmaking. Sense and Sensibility film shows discrimination, stereotyping, objectification (especially sexual objectification), oppression, and patriarchy to women characters. In this case, the Cinematography and narrative elements have helped in bringing the patriarchal value of Sense and Sensibility Film.

a. Female Stereotypes as Domestic Creature

In the patriarchal family, a woman does not have a freedom to determine what she wants to choose. Women must obey their parents in childhood, their husband when they marry and their children when they grow up.28 Patriarchal culture shows us the nature of gender inequality. Surrounding limited rights to

26

Ben Agger, (1992), op. cit, p. 127 27

Ibid. 28

John, J. Macionis. Society: The Basics, (New Jersey: Prentice Hall, 1996), p. 378. objectify women.

(in minute 04:00, 2nd disc)


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women based on the flawed perceptions that men held of women. Those problematical represented women as domestic creature.

Figure 2. Mrs. Middleton is sitting in the middle her children

In the frame showed Lady Middleton the owner of Barton Park was sitting in the middle around her children that Lady Middleton was welcoming Mrs. Dashwood and the girls when they visited Barton Park. The camera shot has helped bring “soft patriarchal message.” The camera starts from long shot, and then the camera gets closer and closer and comes to close up and pause when Lady Middleton finally whispers the word. She was looked pale.

The camera acts as male director who wants to tell more and more that women supposed to be. The camera presents women in their very own sphere. Lady Middleton is central to her family as wife, mother, and lover. The genteel, but reserved wife of Sir John Middleton, she is quieter than her husband is, and is primarily concerned with mothering her four spoiled children and savages than to an adult, civilized man.In the same way, the spectators participate in the story as


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23

they get identify with the camera which is moving to a short shot as curiosity arises.

Figure 3. Mr. John down the stairs while Fanny fixed their son dress

At the figure 3, the camera starts from long shot and then moves closer as following Mr. John Dashwood is walking down stairs while Mrs. Fanny and their son are standing in the corner of framing only. She is fixing their son’s dress. The camera shot presents within the space is then crucial as disruption of patriarchal values developed within patriarchal ideology itself. Those women were nurturing and carrying her children while men could do whatever and go wherever they want but not to do what women did.

Women represent the most inferior forms of human evolution and that they are closer to children in this film. The camera shot shows that there is no equal parenting to nurturing the children. Society believes that women were never equal. Men and women have a master slave relationship. Being a slave in what


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suppose to be an equal society is a handicap of being the second sex.29 Being a member of the second sex has also developed the title ‘The other’. It means that women were just “dispersed among males, attached through residence, housework, economic conditions, and social standing to certain men.

Figure 4. Framing presents Mrs. Dashwood who is teaching Margaret At the figure 4, using camera shots long extreme, the framing shows Mrs. Dashwood and Margaret in front of their house. This camera acts have three means. First, the image presents Mrs. Dashwood as a mother; she has responsibility that is not only nurturing her children but also teaching them. The activity, which was most of women, do it in 18th century.

Second, Margaret was looked study that she learnt about King and Queen of England. Women of the 18th century cannot take education in school as men. Girls received less education than boys did. It means women cannot take

29

Simone de Beauvior, The Second Sex, Translator : H.M. Parshley (London: Vintage Classic, 1949), p.293.


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25

variety field. Furthermore, almost working fields were limited for women. Women only can take domestic field.

Last, the house is as not only background in framing but also the male director wants to convince the spectators about women only can spend their life at home. Borrowed Simone de Beauvoir word that an image of "the woman in the home.”30 Women cannot take profession in variety field. In other words, women have nature responsibilities that only can take housework. Women are exploited domestically.

One of the definitions a woman is a female person who plays a significant role (wife or mistress or girlfriend) in the life of a particular man. Societies also see women being known as one of the others due to dualities. Socialization is the process by which representatives of society teach people the ways of society and, in so doing, form their basic qualities. Through socialization, people learn the ways of society and internalize these ways. Moreover, socialization is also the process by which individual qualities and directions people take in life are created. Nonetheless, women are socialized with an ascribed status. The ascribed status female role was still as the good wife and mother, who primary responsibility was that of a homemaker.

MARGARET

Willoughby is scoundrel is you think mom. MRS DASHWOOD

King and Queen Meg!!

30


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[...] MARGARET I wish I were not a sister Women cannot do anything

Man can around the countries and do things And girls just sit and wait what can happen.

From the dialogue, it can be seen a statement of a child which is honest, brave, and critical. It is an extraordinary thing for a child to state the opinion even just to think about it. In this sequence, Margaret analyzes condition that happens to women. By the time, women really do not have power for her own life. Women in patriarchal culture have no chance to consider their orientation. In generally women does not have freedom to determine what she wants to choose. Women are in this way completely dependent on men.

Based on that dialog, it can be seen difference between man and woman. That dialog describes women as "lacking,” an "incidental being,” and as "imperfect men.” Sense and Sensibility film realizes us that humanity as a whole is dominantly male and defines women as relative to him. In addition, a wife must wait on hands and foot to her husband. Women cannot take variety field. They could not enter the profession or study at the university. Furthermore, almost working fields were limited for women. Women only can spend their life at home. Women in eighteenth century always want marriage as the only ambition worth having, to concentrate humbly only to her husband, her children and her home and to behave graciously and elegantly. A good keeps her house stay clean,


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27

watches appearance, and pays attention to her family so that it becomes perfect. A wife must serve every detail of her husband’s needs and give birth the babies.

MARIANNE:

Oh, Elinor!

I keep thinking about the poor girl with the baby. What strange grievances man of?

ELINOR: Yes, indeed

MARIANNE:

What they want from us? ELINOR:

I cannot done to you

MARIANNE:

Perhaps they see us not as people but as playthings, Elinor.

From the dialog, Marianne and Elinor analyzed the condition of Charlotte Jennings Palmer. Mrs. Palmer is jolly and laughs at inappropriate things, such as her husband’s continual rudeness to her and others. In patriarchal culture, women will say “yes” to everything her husband decide. Women were moved by man’s hand. They do not have anything that they can admit their own. After they see Mrs. Palmer, Marianne and Elinor realized that women are the one who give birth and have the primary responsibility for her children and her husband ongoing.

Based on the dialog and framing, definition of woman is what man decides it is; and while men are independent of women, the opposite is definitely not true. Sense and Sensibility film realizes us that the women around have no freedom to do what they want to do as men because of patriarchal values


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dominantly at that year. In additional, men tend to be conquest driven while it is natural for women to be more concerned with nurturing. In other words, women only can take housework. That problematic creates women as domestic creature.

b. Female Stereotypes as inferior

The most important term of feminism is discrimination based on gender, especially discrimination against women. Moreover, discrimination based on gender is a set of generalized beliefs, that one sex is superior to the other. Because of this, the others as defined by one group make a reciprocal claim of exclusiveness against others. Examining historical cases of total domination of one group over another, causes superiority of numbers (in which the majority oppresses the minority), or superiority of strength (in which the strong suppress the weak).31

Figure 5. Camera and male spectators look upon of Marianne

31


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29

This frame (figure 5) uses bird eyes level camera placement. The camera looks upon a subject. Camera shots Marianne with a high angle. This shot does put the audience in a godlike position, looking down on the action. This picture above illustrate that Marianne takes long, melancholic walk in the rain, thinking about how close Willoughby’s house, while at Cleveland as a natural consequence of her long walks.

She does not really think before she acts, and believes firmly that one should be directed by feelings, not logic. She cannot face her disappointed heart of Willoughby. She cannot realize that Willougbhy has leave her and married with Miss Shopia Grey in order to retain his comfortable lifestyle. That are starting point of the implicit inferiority of women. It was because Marriane is uncreative, afraid of conflict, and skeptical of change. The camera acts can be made Marianne to look insignificant,vulnerable, powerless, or small.

Women have been seen inferior to men in every way possible. In 18th century, Women have nothing that they can claim as their own. Society was very patriarchal during that time. Men were in control of all monitory assets. The whole laws about legacy, marriage, and divorce align to men and the rules to neutralize those authorities are almost nothing. Women only have what men allow them to have, that they have taken nothing but only received.

MR. DASHWOOD


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MR. DASHWOOD

Without your help, Your step mother and the girls almost have nothing. You must do something. You have to promise me

[...] ELINOR It is his house now

According to the law, in 18th century the first son got entire estate after their father died. This is actually the trajectory of sense and sensibility, “house go from father to son, dearest – not from father to daughter. It is the law.” The three misses Dashwood and their mother were thrown out from their mansion in Norland. And They only have what John Dashwood allow them to have that the three misses Dashwood and their mother were left penniless consists of only £500 a year.

Regarding to discussion above female stereotypes in Sense and

Sensibility film are showed who are though as powerless. They cannot deny their

right as When a man died, his money was actually passed on the closest living male heir. The death of the father ensures the trajectory of social identity loss. Women have always been a man’s dependent that is why she is not seeing as equally. Women were looked insignificant contrast with men.

MARGARET But why Elinor! It is not fair, isn’t it?

ELINOR

That is the way thing Meg!

Because Mr. John Dashwood is father’s first son and son has everything. That is nothing that anyone can do about this.


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Society was ve monitory assets. Women culture, not a religion. patterns of pre-judgmen writer that women are co

c. Female Stereoty Sense and sens women, which it propou over sensibility. Emotio be positive or negative, intense. It can also for a

Figure 6.

At the figure 6, and closer comes to clos Elinor is crying more a

ery patriarchal during that time. Men were in co en have no histories to say this is what we went t n. This particular ideology has led to male s ent, and discrimination against women. This inf considered as the inferior due to social and cultur

types as Emotional Human

sibilty film that a quality reflects it is ultimate m ounds through the collective impact of female e ional is causing people to feel strong emotion. Emo

, giving pleasure or discomfort. The feeling can b a shorter or long period.

6. Elinor is crying to see Marianne who get deathl

6, the camera starts from long shots and slowly c ose up and pause. When camera is slowly closer and more. She is very worried about Marianne

31

ontrol of all t through, no superiority, nformed the ural norms.

message to emotions to Emotion can be slight or

hly ill

come closer r and closer, ne who gets


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sick, then grows deathly ill. The camera acts as male director want to tell spectators that Elinor are easily cry and feel touched because other’s pain. That is Marianne who got illness and lost her beloved Willoughby.

At the figure 5, Marianne got highly emotional because of disappointed heart. Marianne took long walks and then she got sick, then grew deathly ill. Her illness was brought on by her wallowing in her grief, by her excessive sensibility, and had she died, it would been have morally equivalent to suicide. Because of highly emotional, Marianne was being sensibility, irrational, indecisive and illogical thinking.

Figure 7, Mrs. Dashwood is crying in front of her daughters

Using camera movement medium shot shows small groups (Mrs. Dashwood and her daughter). They are gathering to have a breakfast. However, a letter comes from John Dashwood. John Dashwood has entire estate now after their father died. The letter tells that He and His family will come to stay in his house. In other words, Mrs. Dashoowd and her daughter have to leave Norland Park. Mrs. Dashwood cries because she cannot believe that she and her daughter


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33

have nothing after her husband died. She also cannot do anything because there is no law and norms in women side. While all of the female stereotypes experience some detriment of their disposition.

Figure 8, 9, 10. The frames show that female stereotypes cry

At the figure 8, 9 and 10 Camera shots use close up the frame is looked only Head and neck of Marianne and Elinor. The aim of this camera placement is to see image’s facial expressions. All of frame happens when Elinor and Marianne spend their winter at Mrs. Jenning’s home in London. Marianne has written a series of letters to Willoughby. However, Marianne’s letters go unanswered. At the figure 8, Marianne is crying while writing disappoint letter to Willoughby after Willoughby snubs her coldly when he sees her at ball.

At the figure 9, Marianne is crying again after receive letter’s response from Willoughby. He writes to Marianne, enclosing their framer correspondence and love tokens, including a lock of her hair and informing her of his engagement to Miss Grey. Marianne is devastated, and admits to Elinor that she and Willoughby were never engaged, but she loved him and he led her to believe he loved her.


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At the figure 10, The camera uses close up lense again to show Elinor facial expression. Elinor is crying after she hides disappointment and works to convince Lucy she fells nothing to Edward. This is particularly hard as she sees Lucy tell and tell about her engagment and happy to Edward while Elinor realize that she can not with Edward forever.

The frames show that women are around all day accountable bursting into tears. The different between women and men that women are easily to cry to express their emotion. Elinor and Marianne Dashwood are two central female characters in Austin’s Sense and Sensibility. They are respectively represented sense and sensibility. Marianne who got illness and lost her beloved Willoughby and Elinor still indulges her disappointed heart. They are models of extreme sensibility.

d. Female stereotypes as sexual objects

Probably, the best genre of film in which to observe gender is romantic drama. Pearce and whisker define romantic love as ‘re/production of infantile human desire and romance as the culture representation of that desire.”32 Female stereotype function is as object of desire that expressed in term of this two steps process of presentation and representation. Female characters are doubly constructed according to desire both male camera and male spectator. The notion of the male gaze has become a shorthand term for the analysis of complex mechanisms in cinema that involve structures like voyeurism, narcissism and

32

Lynne Pearce and Gna Wisker, Ed., Fattal Attraction-Rescripition Romance in Contemporary Literature Film, (London: Pluto press, 1998), p. 5


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fetishism. This concept made for male desire.

Figure 11, 12, and

The opening of burn of desire. This ser male spectator FOV. F Willoughby whom slow and slowly taken off El series of shots with diffe male, and female (figur girl’s neck. The camer woman exposing her bac

There are two either for male director role. Eliza who is sexual and sales of the film. E

t help writer to understand how Hollywood cinem

d 13 the finale of Willoughby’s pleasure over the

of the sequence, director uses fire to describe tha eries of shots use the omniscient field of view ( First, the omniscient FOV shows that princes wly kissed fifteen year old Eliza William’s neck liza’s clothes (figure 12) for the audience’s plea fferent point of view creates the imagination of na re 13), which is then concluded by Willoughby era then uses Willoughby’s eyes again to show

ack and again these shots for male spectator’s ple main reasons for film developer to create film r and male spectator’s sex appeal, or to defy th ally attractive has strong appeal and will increase Eliza also draws attention, simply for being a

35

ema is tailor

e Eliza

at the scene (FOV) and es charming k (figure 11) easure. This naked body, y’s lips and ow a naked leasure. m character,

their gender se interest in traditional.


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While barely dressed seductive temptresses will always appeal to a male’s basic primal instincts.

Figure 14, Willoughby took Marianne hair

Camera shot is placed beside Willoughby as Willoughby eyes to see Marianne’s body. Women’s bodies are often dismembering into legs, breast, thigh, or necks. The camera acts as sees Marianne’s neck. Camera placements work to give male spectator’s pleasure. The depiction of Marianne as the passive object of Willoughby’s male gaze evokes the male spectators’ identification with Willoughby.

The camera placements and movements acts as Willoughby’s eyes. Thus, humanity is male and man defines woman not in herself but as relative to him. This empowers the male audience with the power to control the look and enjoy the visual pleasure offered by the farming of female stereotypes as object in this adaptation. Thus, she is called ‘the sex’, by which is meant that she appears essentially to the male as a sexual being. Perspectives of male spectators that occur in film which serve to sexual objectify of men.


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37 CHAPTER IV

CONCLUSION AND SUGGESTION

A. Conclusions

In every narrative text such as film, novel, lyric, poem, etc the author will describe his or her point of view how the society or even the world supposed to be. The author creates new world – an imaginative world – which suit his or her ideology. This filmmaker will potray the world which suits his or her concept. Be The concept that he takes is his point of view about ideal world.

When a film is said to be based on a work of literature, it usually means either film is an almost exact reproduction of the story remaining completely faithful to its model, or it is an adaptation of the text in which original material is reorganized or deleted, and new material is created added where necessary. The film of Sense and sensibility is an example of an adaptation and it is based on Jane Austin novel with the same titled “Sense and Sensibility.” New scene and situation are created to round out and develop the story line. Sense and sensibility film was directed by John Alexander and was written by Andrew Davies.

Regarding to discusion above that in Sense and Sensibility film, John Alexander wants convience the spectators about women can not be equal at that time. He shows how patriachal values developed. Which is men were in control of all monitory assets. He can do whatever he want, he can go wherever and whenever. While women was created to be more concerned with nurturing. After


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all a daughter must be obiedient to her father’s will. And a wife must wait on hands and foot to her husband. Women cannot take variety field. Women spend of her rest time at home. Female stereotypes in sense and sensibility film represented women domestic creature, inferior, emotional and sexual object.

From the previous chapter, The writer has explored the argument suggested by Mulvey visual theory and narrative elements that feminist movies are essentially made through and for male gaze and fulfill a voyeuristic desire of men to look women as objects. Sense and sensibility film portrays female characters with love, passion, kindness but in contrast males are not unconvincing. Contrasted with male characters, female characters was created as passive personae. With the critical use of camera’s point of view, the film also assigns Female characters as the object of the look, which can be concluded that the 2008 Sense and Sensibility film has effectively employed selective cinematic techniques to reveal representation of women with analyzed female character’s characterization, camera movement, and framing based on male gaze. while at the same time maintain her as the central focalization.

B. Suggestion

There are any other problems that can be analyzed from Sense and Sensibility Film especially which not taken by the writer. In this era there are a lot of literary theory that we can used to analyze literary works. The writer suggests the reader to explore more about other problems because the literary works may shows different meaning in different era from each people’s point of view.


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39

This research using visual pleasure theory from feminist fim theory to find female stereotype is represented in Sense and Sensibility Film. Because the limitation of time and in order to make the research specific, the writer focused on female characters, camera movement, and framing based on male gaze. If the reader want to use Sense and Sensibility as the object of study, the reader can analyze feminism using feminist liberal and feminist film theory based on female gaze. The reader also can analyze the social structure of the film, focusing on gender and society and compare how men and women directors present characters in films between Sense and Sensibility Film (1995) and Sense and Sensibility Film (2008).


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40

Agger, Ben. Cultural Studies as Critical Theory. London: The Falmer Press, 1992. Barnet, Sylvan et. al. An Introduction to Literature 12th edition. USA: Longman,

2001.

Beauvior, Simone de. The Second Sex, Translator : H.M. Parshley London: Vintage Classic, 1949.

Bordwell, David and Kristin Thompson. Film Art: An Introduction. New York: McGraw Hill, Inc. 1993.

Farkhan, Muhammad. Proposal Penelitian Bahasa dan Sastra. Jakarta: Cella Jakarta, 2007.

Hornby, AS. Oxford Advanced Learner’s Dictionary of Current English. Oxford: Oxford University Press, 2007.

Joseph F. et. al, Efictions. USA: Thomsom Learning, 2002.

Kutha, Nyoman. Sastra and Culture Studies Representasi, Fiksi dan Fakta. Yogyakarta: Pustaka Belajar, 2007.

M. O’Shaugnessy, And Stadler J, Media and Society: an Introduction 3rd edn, South Melbourn: Oxford University Press, 2005.

Macionis, John J. Society: the Basics, New Jersey: Prentice Hall 1996.

Mason H, Gloria et. al. Literature and Ourselves, A Thematic Introduction For Readers and Writers Fourth Edition. Newyork: Longman 2003.

Pearce, Lynne and Gina Wisker, Ed. Fattal Attraction-Rescripition Romance in Contemporary Literature Film. London: Pluto press, 1998.

Pramaggiore, Maria and Tom Wallis. Film: A Critical Introduction. London: Laurence King Publishing Ltd, 2005.

Shaw, Susan M. and Janet Lee, Women’s Voices, Feminist Vision, Clasic and Contemporary Reading 2nd Edition. New York: Mcgraw Hill, 2004.


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41

Smelik, Anneke. Feminist Film Theory in Pam Cook and Mieke Bernink, (eds), The Cinema Book, second edition. London: British Film Institute, 1999. Stephanie, Natalia. Keterasingan Perempuan didalam Subjektivitas Maskulin,

Sebuah Analisis Kritis atas Tatanan Simbolic Jacques Lacan. Depok: Fakultas Ilmu Pengetahuan Bahasa. Universitas Indonesia, 2009.

Tylee, Claire M. et. al. War Plays by women an International Anthology. London: Routledge, 1999.

W. Mitchell, “Representation”, in F Lentricchia and Mc Laughlin, Critical Terms for Literary Study 2nd edn, Chicago: University of Chicago Press, 1995.

Website:

Anonymous, Camera Movement, accessed on August 10 , 2010, http://www.film-overview.htm

Anonymous, The Eighteenth Century, accessed on January 31, 2011 www.uk.filo.pl/uk-_history_8_htm

Anonymous, feminism, accessed on March 27, 2010

http://en.wikipedia.org/wiki/Feminist_Film_theory.html Anonymous, sense and sensibility (2008), accessed on March 17, 2010

http://en.wikipedia.org/wiki/Sense_and_Sensibility_(2008_TV_serial).htm G. Scott Owen, Traditional Film Camera Technique, accessed on March 27, 2010 http://www.traditional_film_camera_techniqu.htm


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40

BIBLIOGRAPHY

Agger, Ben. Cultural Studies as Critical Theory. London: The Falmer Press, 1992. Barnet, Sylvan et. al. An Introduction to Literature 12th edition. USA: Longman,

2001.

Beauvior, Simone de. The Second Sex, Translator : H.M. Parshley London: Vintage Classic, 1949.

Bordwell, David and Kristin Thompson. Film Art: An Introduction. New York:

McGraw Hill, Inc. 1993.

Farkhan, Muhammad. Proposal Penelitian Bahasa dan Sastra. Jakarta: Cella Jakarta, 2007.

Hornby, AS. Oxford Advanced Learner’s Dictionary of Current English. Oxford: Oxford University Press, 2007.

Joseph F. et. al, Efictions. USA: Thomsom Learning, 2002.

Kutha, Nyoman. Sastra and Culture Studies Representasi, Fiksi dan Fakta. Yogyakarta: Pustaka Belajar, 2007.

M. O’Shaugnessy, And Stadler J, Media and Society: an Introduction 3rd edn, South Melbourn: Oxford University Press, 2005.

Macionis, John J. Society: the Basics, New Jersey: Prentice Hall 1996.

Mason H, Gloria et. al. Literature and Ourselves, A Thematic Introduction For Readers and Writers Fourth Edition. Newyork: Longman 2003.

Pearce, Lynne and Gina Wisker, Ed. Fattal Attraction-Rescripition Romance in Contemporary Literature Film. London: Pluto press, 1998.

Pramaggiore, Maria and Tom Wallis. Film: A Critical Introduction. London: Laurence King Publishing Ltd, 2005.

Shaw, Susan M. and Janet Lee, Women’s Voices, Feminist Vision, Clasic and Contemporary Reading 2nd Edition. New York: Mcgraw Hill, 2004.


(2)

41

Smelik, Anneke. Feminist Film Theory in Pam Cook and Mieke Bernink, (eds), The Cinema Book, second edition. London: British Film Institute, 1999. Stephanie, Natalia. Keterasingan Perempuan didalam Subjektivitas Maskulin,

Sebuah Analisis Kritis atas Tatanan Simbolic Jacques Lacan. Depok: Fakultas Ilmu Pengetahuan Bahasa. Universitas Indonesia, 2009.

Tylee, Claire M. et. al. War Plays by women an International Anthology. London: Routledge, 1999.

W. Mitchell, “Representation”, in F Lentricchia and Mc Laughlin, Critical Terms for Literary Study 2nd edn, Chicago: University of Chicago Press, 1995.

Website:

Anonymous, Camera Movement, accessed on August 10 , 2010, http://www.film-overview.htm

Anonymous, The Eighteenth Century, accessed on January 31, 2011 www.uk.filo.pl/uk-_history_8_htm

Anonymous, feminism, accessed on March 27, 2010

http://en.wikipedia.org/wiki/Feminist_Film_theory.html Anonymous, sense and sensibility (2008), accessed on March 17, 2010

http://en.wikipedia.org/wiki/Sense_and_Sensibility_(2008_TV_serial).htm G. Scott Owen, Traditional Film Camera Technique, accessed on March 27, 2010 http://www.traditional_film_camera_techniqu.htm


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