Deconsruction analysis on major female character in the film a destyni of her own
DECONSTRUCTION ANALYSIS ON MAJOR
FEMALE CHARACTER IN FILM
A DESTINY OF HER OWN
LIA FADHILAH NIM. 106026001002
ENGLISH LETTERS DEPARTMENT FACULTY OF ADAB AND HUMANITIES
STATE ISLAMIC UNIVERSITY “SYARIF HIDAYATULLAH” JAKARTA
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A Thesis
Submitted to Letters and Humanities Faculty In Partial Fulfillment of the Requirements for
Strata One Degree (SI)
LIA FADHILAH NIM. 106026001002
ENGLISH LETTERS DEPARTMENT FACULTY OF ADAB AND HUMANITIES
STATE ISLAMIC UNIVERSITY “SYARIF HIDAYATULLAH” JAKARTA
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i Hidayatullah” Jakarta, 2010.
The study concern on the deconstructed fminist characteristics of the major female character in A Destiny of Her Own film. The writer uses qualitative descriptive analysis as the method to analyze the relationship between the main character and deconstruction theory and feminism. The data are obtained from the film, the books of deconstruction and feminism, and the website. The writer focuses her analysis to the character using through Jacques Derrida’s Deconstruction Theory.
In this analysis, the writer finds that Veronica Franco is a decisive woman. When Veronica becomes a courtesan she wants to existence in her decision. She is also independent woman, because she is not dependent to any man as generally other women are; an unmarried woman is to some extend dependent to either her father or brother and she is not at all a young woman of that category. And these characteristics are considered support feminist movement.
In other view, using deconstructive theory the writer identifies some different things about Veronica Franco characteristics which is re-deconstructed, are decisive and independent. From those characteristics, they reveal that actually, Veronica only wants to bear all her family’s expenses by becoming a mistress. Hence, we may conclude that Veronica’s characterization does not produce stable meaning because it depends on the context.
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APPROVEMENT
DECONSTRUCTION ANALYSIS ON M AJOR FEMALE CHARACTER IN THE FILM
A DESTINY OF HER OWN
A Thesis
Submitted to Letters and Humanities Faculty In Partial Fulfillment of the Requirements for
Strata One Degree (S1)
LIA FADHILAH NIM. 106026001002
Approved by: Advisor,
Elve Oktafiyani, M. Hum NIP. 19781003 200112 2 002
ENGLISH LETTERS DEPARTMENT FACULTY OF ADAB AND HUMANITIES
STATE ISLAMIC UNIVERSITY “SYARIF HIDAYATULLAH” JAKARTA
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NIM : 106026001002
Title : Deconstruction Analysis On Major Female Character In Film A Destiny Of Her Own
The thesis has been defended before the Faculty Letters and Humanities’ Examination Committee on February 28th, 2011. It has been accepted as a partial fulfillment of the requirements for the degree of strata one.
Jakarta, March 17th, 2011
The Examination Committee
Signature Date
1. Drs. Asep Saefuddin, M.Pd 19640710 199303 1 600
(Chair Person)
2. Elve Oktafiyani, M.Hum 19781003 200112 2 002
(Secretary)
3. Elve Oktafiyani, M.Hum 19781003 200112 2 002
(Advisor)
4. Dr. Muhammad Farkhan, M.Pd 19650919 200003 1 002
(Examiner I)
5. Inayatul Chusna, M.Hum 19780126 2003122 2 002
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v
First of all, the writer would like to give the most appreciation and many
thanks to Allah SWT., the lord of the universe and the thereafter. She is sure that
she cannot do anything without Him. He guided us with all of His blessed in our life. Then, peace and blessing is upon to our beloved prophet Muhammad Saw,
and all of his followers.
The writer would like to express her highest gratitude to all her family, and
special for her mother and father for giving support even financial and psychology
that makes her strong and accomplish her thesis. And also her beloved nephew
and niece (Annis, Hany, Nabila, Zie, Sadam, Naomi, Ilham and Wafa) for always
make her laugh and entertain her whenever she was down, and great family; her
brother and sister (Fifi, Embeng, Muiz, Uye, Acun, Ummu and luffy, and for her
sisters and brothers in-law), for their big supports to her in doing this thesis. Big
thanks for Aki Awank who help correction her written English and Aa Ian, her
uncle, who with his loyal always accompany her. And also special her beloved person, Saeful Anwar SE, for all inspiration, motivation, spirit and help that will
never forget and replaceable.
The writer cannot fail to mention her advisor Mrs. Elve Oktafiyani, M. Hum
for her great patients and contributions in finishing this paper. She thanks for all
of her advices that have been given to her; and may Allah SWT. Bless her and her
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The writer also wishes to say her gratitude to the following persons:
1. Dr. Wahid Hasyim, MA as the Dean of Faculty of letters and Humanities State Islamic University Syarif Hidayatullah Jakarta.
2. Drs. Asep Saefuddin, M.Pd as the Head of English Letters Department.
3. Mrs. Elve Oktafiyani, M. Hum as the Secretary of English Letters
Department.
4. All lecturers of English Letters Department for taught and educated her
very well during her study at UIN Syarif Hidayatullah Jakarta.
5. To all her friends in the English Department; Akin, Cahya, Djarwo, Eka,
Dian, Mitha, Vina, Ara, Ega, Tokek, Emak, and others, she cannot
mention all.
6. Thanks for her beloved friends, Mbyu, Buntut, Emon, Amel, Noeridha and
Ditha. She never ever forgets all the experience that they gave got. Keep going togetherness.
Finally, may Allah gives His blesses to us, amien.
Jakarta, February, 2011
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APPROVEMENT ... ii
LEGALIZATION ... iii
DECLARATION ... iv
ACKNOWLEDGEMENT ... v
TABLE OF CONTENT ... vii
CHAPTER I INTRODUCTION... 1
A. Background of the Study... 1
B. Focus of Study ………. 5
C. Research Question ... 5
D. Significance of the Study ... 5
E. Research Methodology ... 6
CHAPTER II THEORETICAL FRAMEWORK ... 8
A. Character and Characterization in Film ... 8
B. Feminism ... 14
C. Feminist Film Criticism ……… 15
D. Deconstruction Criticism ... 17
CHAPTER III RESEARCH FINDING ... 21
A. Character Analysis…... 21
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CHAPTER IV CONCLUSION AND SUGESTION ... 36 BIBLIOGRAPHY
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CHAPTER 1 INTRODUCTION
A. Background of The Study
Jacques Derrida, postmodern philosopher, was born on July 15, 1930 in
El-Biar (a suburb of Algiers), Algeria, into a Sephardic Jewish family. “(…)
Hidup di negeri poskolonial, apalagi yang tengah dilanda perang seperti Aljazair, adalah berkah terselubung bagi Derrida, karena ia dapat melihat dengan mata telanjang bagaimana kekuasaan mencengkram tanah-tanah jajahan di dunia Ketiga”.1 From this point on Derrida started thought regarding logocentrism2—
western thought domination—resulting some kinds of deconstruction. He also
used to write comments on hysterical issues and writings, appearing in the second
half in the years of 1960’ies in Paris journal, Critique- this work had been made the basic of his masterpiece Of Grammatology. His works that had made Derrida
well known are among others: Writing and Difference, Speech and Phenomena,
and Of Grammatology. In Of Grammatology Derrida had analyzed and criticized
western philosophy since pre-Socrates up to Martin Heidegger. By that book
Derrida has openly refused “logos” centralization philosophy and resulted in
thought known as deconstruction.
1
Muhammad Al-Fayyadl, Derrida, ed. Goenawan Mohamad (Yogyakarta: LKiS Yogyakarta, 2005), p. 2
2
Logocentrism is the attitude that logos (the Greek term for speech, thought, law, or reason) is the central principle of language and philosophy. Alex Scot, Derrida’s Of Grammatology, www.angelfire.com/md2/timewarp/derrida.html accessed on January 17th 2011, 08:45 am.
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The deconstruction introduced by Jacques Derrida showed logics or
rhetoric’s in consistency between what was explicitly mention in the texts and implicitly hidden in the texts. Ferdinand de Saussure had explicitly made verbal
language priority to written one. In the other parts, de Saussure strongly criticized
the “tyranny” of written or verbal language. But on the other hand, particularly
when he explained that language is symbolic system depending on the context
differentiating among one symbol and other symbols, he necessarily depended on
written language. The written as secondary and derivative system and which
depended on the verbal language, was the best illustration for the explanation of
linguistic characteristics. The inconsistency was indicated in the Saussure’s
theory, which in his explicitly level had made written language priority to written
one, but in fact he had implicitly depended on the written language as his theory
basic.
Stanley J. Grenz said that “(…) dekonstruksi adalah segala sesuatu yang
Derrida tolak”.3 Deconstruction is everything Derrida’s denied. Deconstruction
used philosophic assumption or certain philology for the logocentrism
deconstruction. Deconstruction is found not only in linguistic but also literature.
The contribution of deconstruction to literature theory development can be found
in various in efforts to integrate deconstruction techniques by other approach,
such as: feminism approach, psychoanalysis, Marxism, and post-colonial ideology
critics. The feminism critics relates logocentrism which was criticized by Derrida
3
Stanley J. Grenz, A Primer on Postmodernism. Translator, Wilson Suwanto (Michigan: Willian B. Eerdmans Publishing Co, 1996), p. 235.
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with “phallogocentrism”4 that is an ideology emphasizing on “phallus”. Derrida
had positively responded to the application of his theory into this area saying that,
“(…) phallosentrisme dan logosentrisme system yang satu dan yang sama: yakni
yang menegakkan logos paternal dan yang memprioritaskan phallus sebagai penanda yang paternal”. Phallogoscentrism and logocentrism is one and same
system: namely that builds paternal logos which made phallus as paternal symbol
a priority.5 Phallus does not just simply masculinity, but thinking approach that
makes hierarchical binary opposition between masculine/feminine, logic/emotion,
and courage/weakness, and any others. The feminism critics borrow
deconstruction techniques to interrogate the phallocentrism tendency in texts,
discussing it, reversing it or finding out the alternative surpassing dichotomist
thinking approach mention above. The post-colonial critics applied deconstruction
by identifying logocentrism with ideology that make hierarchical binary dichotomy between west/east; logic/emotion, modern/primitive, etc. are made
colonialism and imperialism.
Deconstruction in literary work can be noted in Anna and the King novel
by Margaret Landon. Ratna Asmarini, a researcher at Undip-Semarang, analyzed
the hidden meaning contained in the novel through deconstructive approach from
a feminist perspective about two different cultures (British and Siam) that interact
for a long time. The result shows that each side –Anna the British woman and
4
Phallogocentrism is a neologism coned by Jacques Derrida, used in deconstruction ( a postmodern from of philosophical criticism and literary criticism) to refer to the perceived tendency of Western thought to locate the center of any discoursewithin the logos (speech and words) and the phallus (embodiments representing the male genitalia). www.wordiq.com/definition/Phallogocentrismaccessed on Jan 19th 2011. 19:56 pm.
5
Melani Budianta, Teori Sastra Sesudah Strukturalisme: dari Study Teks ke Study Wacana Budaya (Jakarta: PPKB-LPUI, 2002), p. 46.
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King Maha Mongkut of Siam– deconstructs and is deconstructed in the process of
interaction. Both, in the long run, have a blend of cultures for their own betterment and for the betterment of the people around them.6 And many other
literary work that can be studied using deconstruction theory.
Based on the above research, that deconstruction is not only found in
linguistics field but also found in literary work. Deconstruction theory search for
the hidden meanings in a so called stable permanent meaning to prove that texts
always depend on the contexts. It is from that point that the writer is interested in
analyzing a film with the title of A Destiny of Her Own directed by Marshal
Herkovitz. This film described the main character, Veronica Franco as
well-educated mistress and far different with the condition of that days: the period
where woman is confined by the existing tradition and rules, to be housewife, take
care of her husband and children and household work. Veronica is very much different from common women in Venice. Viewed from feminism, Veronica is
literate, independent, decisive, and courageous woman. Based on the very
different character of Veronica from common Venetians women, the writer is
interested to analyze more deeply the texts findin the film A Destiny of Her Own.
In the literary work, deconstruction is used to find the contrasted matters found in
the texts themselves. And the meaning shown is even in the contrary with the
precious existing meaning.
6
Ratna Asnarani, Pendekatan Feminis Dekonstruktif-Kultural,
http://staff.undip.ac.id/sastra/ratna/2009/07/21/pendekatan-feminis-dekonstruktif-kultural/. (Accessed on Jan 3 2011)
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We can analyze Veronica’s character using feminism deconstruction in
order to see the possibility of different meaning from that concerted in that film. Since the texts has copious the meanings, then the texts of A Destiny of Her Own
can be seen from the different point of views that result different kind of
perceptions.
B. Focus of The study
This research is focused on Herskovitz’s A Destiny of Her Own film and
limit merely on analyzing the characteristic of Veronica Franco and relates it with
deconstruction and feminism theory.
C. Research Question
The writer takes the two interesting question out based on the
background of the study and the focus of the study.
1. How is the main character, Veronica Franco, described in A Destiny of Her Own film?
2. How does the film A Destiny of Her Own deconstruct Veronica’s
characteristic?
D. Significance of the Study
This literary research is expected to vary the knowledge in this
literary critic and approaching, especially, in the deconstruction and
feminist approach; however, it can be variety and especially for the
students who love the studying of deconstruction and feminism. From this
research, the writer would like to show about another meaning of
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E. The Methodology of The Research 1. Object of The Study
Based on the problem that has stated above, the writer takes the
objective of the study are:
a. To describe the main character of A Destiny of Her Own film.
b. To analyze A Destiny of Her Own film based on deconstruction
and feminism approach.
2. The Method of the Research
The method that is used in this research is descriptive qualitative.
This method describes and analyzes the collected data from the film. In
analyzing the data, the writer uses the concept of Deconstruction and
feminism.
3. The Technique of Data Analysis
Data analysis of qualitative is method which used by the writer in
this research. The analysis is based on method, theories or approaches that
are relevant, like historical approach, sociological, psychological, and
textual approach.7 In this analysis, the writer will explain the data in the
film and try to figure the relation out with the Deconstruction and
feminism theory. By watching the film, the writer will analyze the
character and find another meaning from both; textual and visual data in
“A Destiny of Her Own” film.
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4. The Instrument of Research
The research instrument of this qualitative research is the writer herself. The writer tries to get qualitative data about another meaning of
the main character related to women role in A Destiny of Her Own film by
watching the film, understanding the story, collecting the data and
classifying the main character in A Destiny of Her own film itself.
Furthermore, the writer relates the existing text with the deconstruction
and feminism theory.
5. The Unit of Data Analysis
The unit of data analysis in this research is A Destiny of Her Own
film. A Destiny of Her Own is directed by Marshall Herskovitz that was
released by Twentieth Century Fox in 2006, and the screenplay was
written by Jeannine Dominy.
6. Time and Place of the Research
This research is accomplished in ten semesters. All the materials
are taken from the libraries: Letters and Humanities library. State Islamic
University library, Universities of Indonesia library, and the other libraries
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CHAPTER II
THEORETICAL FRAMEWORK
A. Character and Characterization in Film
A character is showed at perpetrator of presented story or the player of the
story. The character of narrative film is studied in cause of effect as a part of film
analysis. The character is the agent of cause bend effect. By creating and reacting
to event, characters play roles within the film’s formal system. Thus event when
characters are based on historical personages, they are not identical real people, in
a narrative, characters are constructed being.
Joseph M. Boggs and Denis W. Petrie in their book that title The Art of
watching film, character devided in some parts. They are;
1. Stock Characters and Stereotypes
Stock characters are minor characters whose actions are completely predictable or typical of their job or profession. They are in
the film simply because the situation demands their presence. They serve
as a natural part of the setting, much as stage properties like a lamp or a
chair might function in a play. Stereotypes, however, are characters of somewhat greater importance to the film. They fit into preconceived
patterns of behavior common to or representative of a large number of
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2. Static and Developing Characters
Developing characters are deeply affected by the action of the plot and undergo some important change in personality, attitude, or
outlook on life as a result of the action of the story. Static characters remain essentially the same throughout the film. The action does not
have an important effect on their lives (as might generally be the case
with the hero of an action/adventure film). Or they are insensitive to the
meaning of the action and thus are not capable of growth or change.
3. Flat and Round Characters
Flat characters are two-dimensional, predictable characters who lack the complexity and unique qualities associated with psychological
depth. They often tend to be representative character types rather than
flesh-and-blood human beings. Unique, individualistic characters who
have some degree of complexity and ambiguity and who cannot easily be
categorized are called round characters or three-dimensional characters.1
A character usually refers to human, animal or thing that has function to
play its rule in a story. And every character has variety values to make a story
seems real, understandable, and worth caring about; the value could be moral,
1
Joseph M. Boggs and Dennis W. Petrie, The Art of Watching Films (London: Mayfield Publishing Company, 2000), 5th edition. Pp. 57-60.
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emotional, intellectual, or appearance value.2 To give impressive values toward
character is called characterization.
The process of describing character is called characterization.
Characterization means how the writer tells the reader about the physical and
non-physical characteristic of the person told in the story but characterization in film is
different with characterization in literary works because film is a visual story
telling so that the characterization of a character in film more complicated and
detailed than in literary works.
Characterization of a character in film can be given in some ways; such as
characterization through appearance, dialogue, through external and internal
action, and through reaction of other characters. And even setting has contribution
as the characterization of a character in a film; it can be determiner of character
and reflection of character.3
Characterization in film has some values that could be showed, like
characterization appearance. A character is showed physical, dress, facial feature,
mannerisms and the way they move. And other characterization in film is
dialogue; characters in film could reflect themselves and give point from viewers
only with their style when their say and talk with other characters. And there are
some ways like characterization through internal and external action, and through
reaction of other characters become important thing in film and also influence
viewers in interpreting the characterization of certain character.
2
Rosenhaim, JR, Edward W. What Happen in Literature. (Chicago: The University of Chicago Press. 1960). P. 79.
3
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Characters are clearly different with characterization. If the characters are
all individuals or figures in the story, the characterization is the way how the author shows the figures. The author displays those characters through several
images such as dialogue, behavior, movement, and so on.
1. Characterization Through Appearance
Because most film actors project certain qualities of character the minute
they appear on the screen, characterization in film has a great deal to do with
casting. A major aspect of film characterization is revealed visually and
instantaneously. Although some actors may be versatile enough to project
completely different qualities in different roles, most actors are not. The minute
we see most actors on the screen, we make certain assumptions about them
because of their facial features, dress, physical build, and mannerisms and the way
they move. Our first visual impression may be proven erroneous as the story
progresses, but it is certainly an important means of establishing character.
2. Characterization Through Dialogue
Characters in a fictional film naturally reveal a great deal about
themselves by what they say. But a great deal is also revealed by how they say it. Their true thoughts, attitudes, and emotions can be revealed in subtle ways
through word choice and through the stress, pitch, and pause patterns of their
speech. Actors’ use of grammar, sentence structure, vocabulary, and particular
dialects (if any) reveals a great deal about their characters’ social and economic
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3. Characterization Through External Action
Although appearance is an important measure of a character’s personality, appearances are often misleading. Perhaps the best reflections of
character are a person’s actions. It must be assumed, of course, that real characters
are more than mere instruments of the plot, that they do what they do for a
purpose, out of motives that are consistent with their overall personality. Thus,
there should be a clear relationship between a character and his or her actions; the
actions should grow naturally out of the character’s personality.
4. Characterization Through Internal Action
There is an inner world of action that normally remains unseen and
unheard by even the most careful observer/listener. Yet the dimension of human
nature that this world embraces is often essential to a real understanding of a
character. Inner action occurs within characters’ minds and emotions and consists of secret, unspoken thoughts, daydreams, aspirations, memories, fears, and
fantasies. People’s hopes, dreams, and aspirations can be as important to an
understanding of their character as any real achievement, and their fears and
insecurities can be more terrible to them than any real catastrophic failure.
5. Characterization Through Reactions of Other Characters
The way other characters view a person often serves as an excellent
means of characterization. Sometimes, a great deal of information about a
character is already provided through such means before the character first
appears on the screen.4
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6. Characterization Through Contrast: Dramatic Foils
One of the most effective techniques of characterization is the use of foils – contrasting characters whose behavior, attitudes, opinions, lifestyle, physical
appearance, and so on are the opposite of those of the main characters.
7. Characterization Through Caricature and Leitmotif
In order to etch a character quickly and deeply in our minds and
memories, actors often exaggerate or distort one or more dominant features or
personality traits. This device is called caricature (from the technique used in cartooning). A similar means of characterization, leitmotif, is the repetition of a single phrase or idea by a character until it becomes almost a trademark or theme
song for that character. Because it essentially exaggerates and emphasizes
(through repetition), such a device acts very much like caricature.
8. Characterization Through Choice of Name
One important method of characterization is the use of names possessing
appropriate qualities of sound, meaning, or connotation. This technique is known
as name typing. Because a great deal of thought goes into the choice of names, they should not be taken for granted but should be carefully examined for the
connotations they communicate. The connotations of some names, such as Dick
Tracy, are rather obvious and clear: Dick is slang for detective; Tracy derives
from the fact that detectives trace criminals.5
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B. Feminism
Feminism is a theory, movement, epistemology, methodology and practices which yearned the truth. The word feminism originated from the France word
feminism in the nineteenth century, either as a medical term to describe the
feminization of male body, or to describe women with masculine traits.6 It means
feminism is something which concerned with issue gender difference, advocate
equality for women, and campaign for women’s right and interest.
According to Soenarjati Djajanegara the prime aim of feminist movement
is “(…) meningkatkan kedudukan dan derajat perempuan agar sama atau sejajar
dengan kedudukan serta derajat laki-laki.” Thus feminism’s aim is to have equal
right and position between men and women. The main objective of feminism is to
encourage the idea that women and men are totally different in biology but have
the same position and right.7
The feminist movements’ impact is widely known since 1960’s, not only for
women, but also widely to all societies of America. Feminist movement creates an
awareness of the societies about the inferiority of women situation. Many arenas
of the society give a great supports to increase women’s status. The movements
itself can be divided into three waves.
The first wave of feminist movement began in the 19th century, precisely in
1848. In that year, a convention was held in Seneca Falls, USA. The convention
tried to declare another version of the Declaration of Independent, which did not
6
Jane Pilcher and Imelda Imelda. Fifty Key Concepts in Gender Study. Trown Br Idge. Wiltshire: The Cromwell Press Ltd. 2004.
7
Soenarjati Djajanegara. Kritik Sastra Feminis. Jakarta: Gramedia Pustaka Utama. 2003. P. 4.
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represent the women aspiration that declared, ‘All men are created equal.’
Therefore, to bring the equality between men and women, the convention declare another version; ‘All men and women are equal’. This event is the first bar of
feminist movement and noticed in history as women great rebellion.8 Then, in
1963’s, there is a second wave of feminist movement. This second wave
movement is born by the publishing of The Feminine Mystique, written by Betty
Friedan.9 The second wave of the feminist movement conveys specific objections;
to try fighting the sexual discrimination, sexual insulting and getting a fairer
house job description. Finally, the movement of feminist rises into the third wave,
as known as “the rebirth of feminism”10 Which gives a new formulation to bring a
new concept of life for women.
Furthermore, the feminist movement gives a new concept in women life.
The feminist movement has good impacts in the world that showed from United Nation activities which made Women Decade in Copenhagen, Denmark and
conference in Nairobi, Kenya in 1985. As a result it is many countries used
equality of right and obligation in each society, even men and women.
C. Feminist Film Criticism
Feminism is a social movement which has had an enormous impact on film
theory and criticism. Cinema is taken by feminists to be a cultural practice
representing myths about women and femininity, as well as about men and
8
Ibid. p. 1. 9
Ibid. p. 10. 10
Judith Pole and Ellen Levine. Rebirth of Feminism. New York: Quadrangle Books. 1971. P. 194
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masculinity. Issues of representation and spectatorship are central to feminist film
theory and criticism. In the Rebirth of Feminist book, Haskell and Rosen said that the early feminist criticism was directed at stereotypes of women, mostly in
Hollywood films. Suc as fixed and endlessly repeated images of women were
considered to be objectionable distortions which would have a negative impact on
the female spectator. Hence, the call for positive images of women in cinema. 11
Feminist film critics work to raise our consciousness about the negative
images of women in film in order to denaturalize these images, to expose them as
cultural constructs, not mirror reflections of the way women really are. The first
feminist film critics took a sociological approach to the subject. The sociological
approach greatly contributed to an awareness of how restricted images of women
film often were, but it was limited. Academic feminist critics, influenced by
Semiology, the study of how meaning is produced in communication systems such as language, literature, and film, suggested a more sophisticated and nuanced
approach. For these critics, the argument that women are presented as negative
stereotypes or poor role models in film does not go far enough toward explaining
how Hollywood films reinforce the idea of women’s inferiority. What really
matters is not so much the type of woman the fictive character in the film
represents, but what she comes to signify within the whole textual system of the
film’s narrative.12
11
Anneke Smelik. Feminist Film Criticism. http://www.let.uu.nl/womens_studies/anneke/filmtheory.html. Accessed on August 05, 2010. 3:20 pm.
12
Marilyn Fabe , Closely watched film an introduction to the art narrative film technique,
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Feminist film critics argue that the apparatus of the cinema extends and
intensifies an enduring tradition in Western art, a tradition which the art historian John Berger sums up in his famous dictum: “Men act and women appear.” These
conventions of looking in film, which give activity to male characters and
passivity to female characters, are replicated on the level of a film’s plot. Male
characters are traditionally the heroes, the doers, the rescuers, or even the
psychotic killers, whereas the women are traditionally the hero’s reward, the
rescue or the victim.13
D. Deconstructive Criticism
Deconstruction is unthinkable without post-structuralism. Many of the
writers associated with post-structuralism14 are considered to have practiced
deconstruction.15 The same presuppositions are shared by both approaches. The purpose of the present section is to out line the specific characteristic of a
deconstruction approaches to literary analysis. The nation of deconstruction is
indissolubly linked to the named by Jacques Derrida.
Deconstruction who described by Jacques Derrida is aim to show
inappropriate of logic or rhetoric between explicitly was mentioned and implicitly
hidden by text. Ferdinand de Sassure had explicitly made verbal language priority
to written one.
13
. Ibid. p. 212. 14
Poststructuralism is the name for a movement in philosophy that began in the 1960s. It remains an influence not only in philosophy, but also in a wider set of subjects, including literature, politics, art, cultural criticisms, history and sociology. www.readysteadybook.com/article.Aspx?...whatispoststructuralism. Accessed on Jan 19th 2011, 20:03 pm.
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Language and writing are two distinct systems of signs; the second exists for the sole purpose of representing the first. The linguistic object is not both the written and the spoken forms of words; the spoken forms alone constitute the object. But the spoken word is so intimately bound to its written image that the latter manages to usurp the main role. People attach even more importance to the written image of a vocal sign than to the sign itself. A similar mistake would be in thinking that the more can be learned about someone by looking at his photograph than by viewing him directly (de Sassure: 24).16
Deconstruction is a philosophy applied to literary criticism, as well as to
criticism of the other arts, which began to gain popularity in the 1980s. The field
of deconstruction arose partially in reaction to the literary theories of
structuralism. Structuralism17 posited that when words could be understood within
the context of a society of readers, then one could point to the specific meaning of
a text.18 Structuralism is an ideology of substances, that us the structure itself.
Structural method was found by Sassure when he research language. Thus,
structuralism is identical with language. If the language seen in structural, it is assumed that language exist because the system of differences, and the essences
of this system is binary opposition. It refers to two mutually exclusive terms such
signifier/signified, speech/writing, langue/parole. The concept is one of
underlying tenets of structuralism. Deconstruction criticism basically is a critique
of structuralism.
16
Melani Budianta (2002), op.cit. 44. 17
Structuralism is a method of analyzing phenomena, as in anthropology, linguistic, psychology or literature, chiefly characterized by contrasing the elemental structures of the phenomena in a system of binary opposition. http://www.answers.com/topic/structuralism#ixzz1BUDWnIBz. (Accessed on Jan 19th 2011, 20:10 pm).
18
What is deconstruction? http://www.wisegeek.com/what-is-deconstruction.htm, (Accessed on Dec 28th 2010, 10:49 am)
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Deconstruction is an approach, which rigorously pursues the meaning of a
text to the point of exposing the supposed contradictions and internal oppositions upon which it is founded - showing that those foundations are irreducibly
complex, unstable, or impossible. Derrida shows that a text can be read as saying
quite different from what it appears to be saying, and that it may be reads as
carrying of significance or as saying many different things which are fundamental
at variance with, contradictory to and subversive of what maybe seen by criticism
as a single, stable ‘meaning’. Thus, a text may betray itself. Texts create only a
semblance of stable meaning. Where a text may appear to offer the reader options
(either/or), in fact, it offers not such choice (both/and), and remains ultimately
uncommitted, leaving the reader with no sense of closure.19 The kind of options
which text offers will often be in the form of apparent binary oppositions which
the text seems to distinguish.
In feminist theory which based on Sassure concept “signifier and signified”
meaning was produced by a different system. Correlates with this, we only know
the meaning of the word ‘woman’ by virtue of its contrast with the word ‘man’.
Related to this opposition between ‘man and woman’, deconstruction critic argues
that meaning is not oppositional in the way structuralisms assume. The feminism
critics borrow deconstruction techniques to integrate the phollocentrism tendency
in texts, discussing it, reversing it or finding out the alternative surpassing
dichotomy20 thinking approaches.
19
David Carter, op.cit, p. 111. 20
A dichotomy is a split into to part which is considered to be either contradictory or mutually exclusive. www.wisegeek.com/what-is-a-dichotomy.htm. (Accessed on Jan 19 2011, 20:14 pm)
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13
Furthermore, we can assume that dichotomy of signifier and signified in
structuralism of Sassurean, only utter one meaning. The words of ‘chair’ will produce the concept of chair in readers thought. The figure Veronica Franco in A
Destiny of Her Own film will produce the concept woman as figure of woman’s
movement based on the directed, Marshal Herskovitz, perception. On contrary,
deconstruction sees that the language does not have stable meaning. As a result
the concept of ‘chair’ will change depends on the context. The figure Veronica
Franco in A Destiny of her own film can be seen in different point of view, besides
feminist.
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CHAPTER III RESEARCH FINDINGS
A. Character Analysis
The main character in this film named Veronica Franco. She comes from a
lower class family in Venice. Veronica was described as the lower class woman of
Venice in fifteenth century. The characteristic of Veronica Franco are complex. In
the beginning, Veronica is a simple woman who is a victim of circumstance and
environment. Before she is a courtesan, she was taught to be a passive woman,
and been a subject victim that occurred in her life.
This paper will focus on the development of Veronica’s characteristics
into feminist character. From the beginning, Veronica Franco is a usual woman
and always as a subject victim. Until her boyfriend cannot marry with her because his marriage is determined by her parents. Actually, at that time, their marriage is
like a contract, and for Marco’s family that comes from the honor family must
marry with the woman in same class. Veronica broken heart and must fulfill her
family needs. So, she becomes a courtesan. Here, the writer would analyze the
main character which changed to be an educated woman, decisive, independent
woman,confidence, struggle and courageous.
In this film Veronica Franco is also described as an educated woman. It
is shown when other women embroider, she prefers to read the book (see picture
below).
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The picture captured on 0:03:08 described that Veronica was different
with other women who lived in patrialchal world in Venice on 1683; even Venice
was the richest one in Europe and women were treated like property; very few of them were capable to read. What they did were only domestic chores just such as
when they ready get married, they were obligated only to stay of home and follow
whatever their husband wanted and Veronica was not one of them.
Veronica often absorbed in reading books. One time, her habit caused
Elena Franco, her aunt, to ask her to mind her manners, which she said that she
would be better for women. The dialogue below is captured on 0:06:40 and
described that Veronica has high spirit to further learning everything and she
believed that reading will lead her to know whatever she want to. She ignored her
aunt attention and warning, she keeps on reading, and only her mother or Paola
Franco who pay attention to her.
Elena Franco : Ladies have better things to do than
poison their minds with books.
Paola Franco : Such as.
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Maffeo Venier dislike Veronica’s poem which is published by his uncle
and he is afraid of Veronica until he cuts Veronica’s book of poems with his
sword. Below are the quotations narrated by him.
Maffeo Venier : Honestly, I didn't think Uncle
was still capable of getting it up. What did you do to him, to get him to publish this little pile of ditties? Won't give the time of day
to his own flesh and blood.
Marco Venier : She worked for it.
Maffeo Venier : I'll bet she worked for it.
What do you cost these days?
Veronica Franco : If your prick is as limp as your verse,
no price could purchase time enough.
Domenico Venier : Just making a point, Cousin.
Marco Venier : Very brave.
What point would that be?
Maffeo Venier : I'm sorry.
I'm sorry. I apologize.
That dialogues captured on 0:46:23. The describes that Veronica is an
educated and excellent woman. She does not only read the book but also write
book. Veronica has been appreciated by others because of her ability, efforts and
her hard work.
In this film, Veronica’s appearance is visualized as a decisive woman; a
decisive woman who has and can show the ability to make quick decision. In
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patriarchal society, a woman has no excuses to decide what she really wants, only
men who have the authority to control everything.
Women duty is only at stay of home and follow whatever their husbands.
Veronica is not that kind; she is a decisive woman. We can see it when Veronica
decides to be a courtesan. Everything she wants to be in existence is only her
decision.
Veronica refuses her mother wish to be a courtesan, but later she decides to
be a courtesan and without her mother’s pressure. Veronica begins to learn how to
become a good courtesan such as how to clean her body from head to toe, how to
conducgood attitudet, how to walk, how to eat properly, how to converse with
other people until how to satisfy her partner’s sex. Paola Franco, her mother, acts
as professional trainer for her to learn how to be a good courtesan.
When Marco requests her back to him, Veronica finds one way or another to avoid such request. She wants their relation to go no further beyond friendship,
and she states that she must give full attention and look after her family. (See
pictures below)
0:40:05
The picture describes that Veronica Franco firmly avoids Marco Venier.
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must to defray like you.”
Marco Venier :”I can defray your family.”
Veronica Franco : ”No, no money between us.”
Marco Venier : ”so, you want to life with this way?”
Veronica Franco :”I haven’t no choice. It’s the life that
given to me.”
And when Marco said to Veronica to make a confession that she uses the
black magic to save her life, she doesnot do it. Veronica make her decision. Here
is the quotation narrated by her.
Marco Venier :”You must save yourself.”
Veronica Franco :”How?”
MarcoVenier :” Confess whatever foolishness
they put before you...
Veronica Franco :That I'm a witch?
Marco Venier : What does it matter what you say? would
be saying it. There is no honor with fools like these.
Marco Venier : God will forgive you.
Veronica Franco : If I give them my lie,
I give them my soul.
I'll lose everything I ever was. My love, my words, my heart.
Marco Venier : But you would live.
Veronica Franco :As someone else.
Marco Venier : I've let you go too many times.
Veronica Franco : I can't do it again.
Marco Venier : There is no choice.
I'll never see you again.
From the dialogues above the writer analysis that Veronica confesses, but
she didn’t accept the blamed as witch. She confessed everything she has done.
She tried to be honest with herself and accept her destiny. The dialogue above
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Eventhough, she faces a big problem; the curch gives a verdict that she is a witch
and send her to prison, she chooses to be an honest woman and denny the curch’s decision.
Veronica is not only a decisive woman, but also an independent woman; it
is clearly shown After Veronica has become a courtesan; she also has a sense of
strong confidence in herself. She gets her confidence after her relationship is cut
off and she felt broken; she has strong confidence becoming courtesan. She
refused Marco Venier who booked her up. She would not be too confident.
Marco Venier : ”We are so alike, you and me”.
We both know that love is inconvenient.
if not impossible.
So why not enjoy what little. we're allowed together?
Veronica Franco : “I'm all booked up”.
(disk 1, 0:35:25)
The quotations above describes that Veronica Franco has a strong
confidence and she can refuse Marco Venier, the man of whom she is in love
with. Again, it is one prove that Veronica is an independent woman.
When she makes decision, she also has self-confident. Although she was
blamed of using the black magic, but she still gives her answer confidently and
follows her own judgment. The statement below captured on 0:30:19 on disk two.
Maffeo Venier :”For each you learned his
unique favored touch...
...and enchanted him to believe he was the only man in the universe. How many per week”.
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woman who knew only about happy life. But, after she became a courtesan, she
began to be a mature woman. She began to learn her life and grew as an adult
woman. She could solve all her problems by herself. We can see of her maturity
in the end of the play where Veronica clearly, bravely and honestly told the truth
about herself. She was not crying at all, but solving all her problems toughly.
Veronica Franco ”I don’t pain my live. Such surrender is be mine.”
After Marco broke their love, Veronica tried to improve her life. She tried
to forget Marco, and by helping from her mother, she becomes a courtesan.
Veronica was struggling to learn everything which are needed to be a courtesan;
How to eat, how to walk, to read, to satisfy man’s desire.
Paola Franco :“the first secret of the high courtesan is you
must know the satisfaction to give the satisfaction. A beauty was a big supremacy that given God.”
“The high was the power of women and man. The way to walk was giving good impression in the first sight….”
Veronica got the proper life to be the courtesan. She even loves being a
courtesan when her mother tells her that she can go to the library to educate
herself, because a courtesan ia a well-educated woman in the world.
Veronica Franco :“we forbade to enter it, mother.”
Paola Franco :“The good women, can’t, but for the
courtesan, yes.”
“a courtesan was one of the educated woman in the world.”
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From the beginning, Veronica was very struggle to have a good life since
she is a poor woman.
Courageous is the ability to control fear when facing any danger, pain and
opposition. In additional, courageous also means the ability to give opinion and be
brave in facing risks. Veronica is courageous to speak out all the right things in
her mind.
When Veronica was blamed that she used the black magic to conquer all
men in Venice, she courageously speak out and elefend herself .
Veronica Franco : I confess I find more ecstasy
in passion than in prayer. I confess...
I confess I pray still... ...to feel the touch of my lover's lips... ...his hands upon me... ...his arms enfolding me.
The judge :Veronica, stop!
Her courageous being her freedom and she is finally release.
B. The Deconstruction of Veronica’s Feminist Characteristic
Veronica Franco’s character in A Destiny of Her Own film is a source text
which the writer tries to divide it into some part of analyzing to point out how the
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Veronica Franco is a very independent young woman. In A Destiny of Her
Own film it is clearly shown that she is not dependent to any man as generally
other women are; an unmarried woman is some extent dependent to either her
father or brother and she is not in that category.
Paola Franco : But your father...
...drank away your dowry.
Your brother must buy his posting. And I am too old. (Disk one, 0:17:48).
In that situation, her mother indirectly asks her to pay for all her family
expenditure. Paola Franco, “It is you ...who must support us now” (disk one,
0:17:57). Veronica decides to follow her mother’s suggestion to bear all her
family’s expenses by being a mistress.
However, the writer does not discuss further Veronica’s characters as an
independent and decisive young woman who is different from common other
women by then; obedient and powerless. We would easily note this by reading the
text once again; we will easily find her contrasting characteristic.
When Veronica sees that her relation with Marco Venier only a quite
slim possibility due to their different social status—she only belongs to a lower
class compared to that of Marco Venier— she finally decides to be a courtesan.
Marco Venier : I must marry...
...according to my station and my family's wealth.
My marriage must be a marriage of state.
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(Disk one, 0:15:25).
According to her mind that only by this way, becoming a courtesan, may enable her to live together with Marco Venier. At first, Veronica keeps
refusing Marco, and seems to have no interest in him, but finally, Veronica sets
her mind to abandon her courtesan status as suggested by Marco Venier. Marco
Venier, “Stay with me for as long as we have” (disk two, 0:04:00). Veronica
leaves her status as a mistress and cancels appointment from those who have
booked her. Franco, “Cancel my appointments, please” (disk two, 0:04:30).
Below the pictures when Veronica is no longer being a mistress.
0:04:24 0:04:30
The picture above displays the situation when Veronica returns the coins
she has received from one of her guests. The other accompanying picture taken at
0:04:30 portrayed the situation when Veronica requests her guests to cancel all appointments to book her. Veronica doesnot only leave her courtesan status but
also return everything which she has received from everyone who has ever
booked her. From the picture and text above, it turns out that Veronica remains to
be dependent and obedient to Marco Venier. It is quite unexpectedly and contrary
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Veronica stated that she has no other alternatives while she has to bear all
of her family’s expenditure. Veronica Franco, “I have no choice. This is the life I
was given” (disk two, 0:00:37). In the clause ‘I have no choice’ indicated that
‘being a mistress’ is not the choice of her own heart; it is because her family’s
condition that has urged her to becomes a mistress.
Furthermore, the writer specifies the other side of Veronica’s quality, her
decisive. It is obvious in the previous analysis that Veronica is somewhat different
from other women in her days. In patriarchal society, a woman has no excuses to
decide what she really wants, being men and only men who have the authority to control everything.
In these film visuals, there are some points of her decisive that raise
question. She something doesnot make decision by herself. Veronica becomes a
courtesan by her mother’s order although at the first time she refuses her mother’s
order. Paola Franco,”...who must support us now .Look at these hands. Soft. Too
soft, for a scullery maid, or working the winery (disk one, 17:55:00). She becomes
a courtesan to fulfill their family needs. Here,it is clearl that Veronica is following
other wants.
Furthermore, when Veronica leaves as a courtesan, she doesnot make
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is Marco Venier. Marco Venier asks Veronica to leave her as a courtesan and to
start living with him. Marco Venier, “Stay with me for as long as we have” (disk two, 0:04:00). Veronica accepts Marco Venier’s order to leave her status.
Moreover, Veronica cancels all other appointment with men. Veronica follows
whatever Marco Venier suggests and wants. The explanation above shows that
Veronica has a different character from the previous one.
From the analysis above we get the result that Veronica changes into new
characteristic of Veronica is not a fully decisive and independent woman.
Although she appears different different from other girls, seems to know what she
wants, it is her mother and her boyfriend who drives her to do things. It is her
mother who makes Veronica to take a decisive to be a courtesan and it is arco who
(44)
CHAPTER IV
CONCLUSION AND SUGGESTION
A. Conclusion
In this research, the writer analyzes the main female character in A Destiny
of Her Own. Taken in Venice in the year of 1683 tells the story of the life of
Veronica being a poor woman in a patriarchal society.
This film displays various kinds of characteristics of veronica: having
profer education, good in making decision, independent, confident and courage.
Good education is proven by her love of reading books more than embroidery
work; good decision and her independency is displayed when she makes her mind
to became a courtesan while her courage is shown she sharply expressed her
status that she is not at all a witch as is suspected.
However, the writer finds out that Veronica is not real independent young
woman; it is proven that she depends on men to feed herself and her family. When
she decides to stop being courtesan she continue her dependence to Marco. In
respect of decisive, when Veronica decided to become and leave courtesan it is no
really her decision.
B. Suggestion
In analyzing film, it is always interesting for the writer to explore the film,
all aspect of film; sound, character, dialogue, visual form etc, because there are
(45)
2
The researcher should use the appropriate theory or approach in order to
have comprehension of the film it self. In this thesis, the writer uses theory deconstruction viewed from Jacques Derrida concept to reveal the main
character’s deconstruct in A Destiny of Her Own film by using another approach
or theory in analyzing it, and they can focus on the some aspects in the film that
(46)
Grenz, Stanley J, A Primer on Postmodernism. Translator, Wilson Suwanto (Michigan: Willian B. Eerdmans Publishing Co, 1996)
Budianta, Melani, Teori Sastra Sesudah Strukturalisme: dari Study Teks ke Study
Wacana Budaya (Jakarta: PPKB-LPUI, 2002),
Edward, Rosenhaim JR, What Happen in Literature. Chicago: The University of Chicago Press. 1960.
Boggs, Joseph M. and Dennis W. Petrie. The art of watching film. California: Mayfield Publishing Company. 1999.
Pilcher, Jane and Imelda Imelda, Fifty Key Concepts in Gender Study. Trown Br Idge. Wiltshire: The Cromwell Press Ltd. 2004.
Djajanegara, Soenarjati, Kritik Sastra Feminis. Jakarta: Gramedia Pustaka Utama. 2003.
Pole, Judith and Ellen Levine, Rebirth of Feminism. New York: Quadrangle Books. 1971.
Fabe, Marilyn, Closely watched film an introduction to the art narrative film technique, London: university of California press, 2004.
Carter, David, Literary Theory, (Great Britain: Pocket Essentials, 2006),
WEBSITE
Scot, Alex, Derrida’s Of Grammatology, www.angelfire.com/md2/timewarp/derrida.html accessed on January 17th 2011.
Anonymous, Definition of Phallogocentrism,
www.wordiq.com/definition/Phallogocentrism accessed on Jan 19th 2011.
Asmarani, Ratna, Pendekatan Feminis Dekonstruktif-Kultural,
http://staff.undip.ac.id/sastra/ratna/2009/07/21/pendekatan-feminis-dekonstruktif-kultural/. Accessed on Jan 3 2011. Smelik, Anneke, Feminist Film Criticism.
(47)
http://www.let.uu.nl/womens_studies/anneke/filmtheory.html. Accessed on August 05, 2010.
www.readysteadybook.com/article.Aspx?...whatispoststructuralism. Accessed on Jan 19th 2011.
http://www.answers.com/topic/structuralism#ixzz1BUDWnIBh. Accessed on Jan 19th 2011.
What is deconstruction? http://www.wisegeek.com/what-is-deconstruction.htm,
accessed on Dec 28th 2010.
Anonymous, Definition of Dichotomy, www.wisegeek.com/what-is-a-dichotomy.htm. accessed on Jan 19 2011.
(1)
she also depends on man–guests—on their money to book her by using her beauty. Paola Franco, “Beauty is manifestation of the divine” (disk one, 0:19:23).
Veronica stated that she has no other alternatives while she has to bear all of her family’s expenditure. Veronica Franco, “I have no choice. This is the life I was given” (disk two, 0:00:37). In the clause ‘I have no choice’ indicated that ‘being a mistress’ is not the choice of her own heart; it is because her family’s condition that has urged her to becomes a mistress.
Furthermore, the writer specifies the other side of Veronica’s quality, her decisive. It is obvious in the previous analysis that Veronica is somewhat different from other women in her days. In patriarchal society, a woman has no excuses to decide what she really wants, being men and only men who have the authority to control everything.
In these film visuals, there are some points of her decisive that raise question. She something doesnot make decision by herself. Veronica becomes a courtesan by her mother’s order although at the first time she refuses her mother’s order. Paola Franco,”...who must support us now .Look at these hands. Soft. Too soft, for a scullery maid, or working the winery (disk one, 17:55:00). She becomes a courtesan to fulfill their family needs. Here,it is clearl that Veronica is following other wants.
Furthermore, when Veronica leaves as a courtesan, she doesnot make her decision by herself. There is another person that influenced her decision, that
(2)
is Marco Venier. Marco Venier asks Veronica to leave her as a courtesan and to start living with him. Marco Venier, “Stay with me for as long as we have” (disk two, 0:04:00). Veronica accepts Marco Venier’s order to leave her status. Moreover, Veronica cancels all other appointment with men. Veronica follows whatever Marco Venier suggests and wants. The explanation above shows that Veronica has a different character from the previous one.
From the analysis above we get the result that Veronica changes into new characteristic of Veronica is not a fully decisive and independent woman. Although she appears different different from other girls, seems to know what she wants, it is her mother and her boyfriend who drives her to do things. It is her mother who makes Veronica to take a decisive to be a courtesan and it is arco who makes Veronica to stop being courtesan.
(3)
1
CHAPTER IV
CONCLUSION AND SUGGESTION
A. Conclusion
In this research, the writer analyzes the main female character in A Destiny of Her Own. Taken in Venice in the year of 1683 tells the story of the life of Veronica being a poor woman in a patriarchal society.
This film displays various kinds of characteristics of veronica: having profer education, good in making decision, independent, confident and courage. Good education is proven by her love of reading books more than embroidery work; good decision and her independency is displayed when she makes her mind to became a courtesan while her courage is shown she sharply expressed her status that she is not at all a witch as is suspected.
However, the writer finds out that Veronica is not real independent young woman; it is proven that she depends on men to feed herself and her family. When she decides to stop being courtesan she continue her dependence to Marco. In respect of decisive, when Veronica decided to become and leave courtesan it is no really her decision.
B. Suggestion
In analyzing film, it is always interesting for the writer to explore the film, all aspect of film; sound, character, dialogue, visual form etc, because there are thousands of ideas and massage that share through the film.
(4)
2
The researcher should use the appropriate theory or approach in order to have comprehension of the film it self. In this thesis, the writer uses theory deconstruction viewed from Jacques Derrida concept to reveal the main character’s deconstruct in A Destiny of Her Own film by using another approach or theory in analyzing it, and they can focus on the some aspects in the film that the writer doesn’t analyze yet to get broader comprehension of the film.
(5)
BIBLIOGRAPHY
Al-Fayyadl, Muhammad, Derrida, ed. Goenawan Mohamad (Yogyakarta: LKiS Yogyakarta, 2005),
Grenz, Stanley J, A Primer on Postmodernism. Translator, Wilson Suwanto (Michigan: Willian B. Eerdmans Publishing Co, 1996)
Budianta, Melani, Teori Sastra Sesudah Strukturalisme: dari Study Teks ke Study Wacana Budaya (Jakarta: PPKB-LPUI, 2002),
Edward, Rosenhaim JR, What Happen in Literature. Chicago: The University of Chicago Press. 1960.
Boggs, Joseph M. and Dennis W. Petrie. The art of watching film. California: Mayfield Publishing Company. 1999.
Pilcher, Jane and Imelda Imelda, Fifty Key Concepts in Gender Study. Trown Br Idge. Wiltshire: The Cromwell Press Ltd. 2004.
Djajanegara, Soenarjati, Kritik Sastra Feminis. Jakarta: Gramedia Pustaka Utama. 2003.
Pole, Judith and Ellen Levine, Rebirth of Feminism. New York: Quadrangle Books. 1971.
Fabe, Marilyn, Closely watched film an introduction to the art narrative film technique, London: university of California press, 2004.
Carter, David, Literary Theory, (Great Britain: Pocket Essentials, 2006),
WEBSITE
Scot, Alex, Derrida’s Of Grammatology,
www.angelfire.com/md2/timewarp/derrida.html accessed on January 17th 2011.
Anonymous, Definition of Phallogocentrism,
www.wordiq.com/definition/Phallogocentrism accessed on Jan 19th 2011. Asmarani, Ratna, Pendekatan Feminis Dekonstruktif-Kultural,
http://staff.undip.ac.id/sastra/ratna/2009/07/21/pendekatan-feminis-dekonstruktif-kultural/. Accessed on Jan 3 2011.
(6)
http://www.let.uu.nl/womens_studies/anneke/filmtheory.html. Accessed on August 05, 2010.
www.readysteadybook.com/article.Aspx?...whatispoststructuralism. Accessed on Jan 19th 2011.
http://www.answers.com/topic/structuralism#ixzz1BUDWnIBh. Accessed on Jan 19th 2011.
What is deconstruction? http://www.wisegeek.com/what-is-deconstruction.htm, accessed on Dec 28th 2010.
Anonymous, Definition of Dichotomy, www.wisegeek.com/what-is-a-dichotomy.htm. accessed on Jan 19 2011.