WOMEN’S RIGHTS AND ROLES REFLECTED IN LARYSA KONDRACKI’S THE WHISTLEBLOWER MOVIE (2011): Women's Rights And Roles Reflected In Larysa Kondracki's The Whistleblower Movie (2011): A Feminist Approach.
WOMEN’S RIGHTS AND ROLES REFLECTED IN LARYSA
KONDRACKI’S THE WHISTLEBLOWER MOVIE (2011):
A FEMINIST APPROACH
RESEARCH PAPER
Submitted as Partial Fulfillment of the Requirements
for Getting Bachelor Degree of Education
in English Department
by:
IRA KARTIKA WATI
A320090119
SCHOOL OF TEACHER TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2013
APPROVAL
WOMEN’S RIGHTS AND ROLES REFLECTED IN LARYSA
KONDRACKI’S THE WHISTLEBLOWER MOVIE (2011):
A FEMINIST APPROACH
RESEARCH PAPER
by:
IRA KARTIKA WATI
A320090119
Approved to be Examined
by the Consultant Team
First Consultant
Second Consultant
Dr. Phil. Dewi Candraningrum, S.Pd, M. Ed.
ii
Drs. H. Abdillah Nugroho, M. Hum.
ACCEPTANCE
WOMEN’S RIGHTS AND ROLES REFLECTED IN LARYSA
KONDRACKI’S THE WHISTLEBLOWER MOVIE (2011):
A FEMINIST APPROACH
by :
IRA KARTIKA WATI
A320090119
Accepted and Approved by the Board of Examiners
School of Teacher Training and Education
Muhammadiyah University of Surakarta
On ……
1. Dr. Phil. Dewi Candraningrum, M.Ed.
NIK.772
(Chair Person)
( ……………………. )
2. Drs. Abdillah Nugroho, M.Hum.
NIK.589
(Member I)
( ……………………. )
3. Drs. M.Thoyibi, M.S.
NIK.410
(Member II)
( ……………………. )
Dean
Dra. N. Setyaningsih, M. Si.
NIK. 403
iii
TESTIMOI\TY
Herewitlr" the writer testifies that in this research, there is no plagiarism of the
previous studies which have been raised to get bachelor degree of Education in
Muhammadiyah Universrty
of
Surakarta Beside that there is no opinion or
masterpiece which has been written or published by the other writer-
Accordingly, if it is later proven that there are untrue statements in this testimony,
the writer
will
be responsible.
Surakarta" Juli 2013
IV
MOTTO
Just the knowledge that a good book is awaiting one at
the end of a long day makes that day happier.
(Kathleen Norris)
Success is never final.
(Sir Winston Churcill)
Before you assume, learn. Before you judge, understand.
Before you hurt, feel. Before you say, think.
(The Researcher)
v
DEDICATION
Thanks to ALLAH SWT
This research paper is dedicated to:
My beloved Mom and Dad for praying me forever
My beloved brother Hansen Mahendra
My beloved families and my lovely friends
vi
ACKNOWLEDGEMENT
First, the researcher would like to thank Allah SWT for His love and
blessing. The researcher has experienced very hard times in finishing this research
paper. The researcher does believe that He has given the researcher more strength
so that the researcher is capable of finishing it.
There are people who give contribution to the completion of her research
paper, and without their contribution it is likely impossible to do.So, the
researcher would like to thank to:
1. Dr. Phil. Dewi Candraningrum, S.Pd, M.Ed., as the first consultant, thank
for her great helpful guidance and attention from the very beginning up to the
completion of the research paper.
2. Drs. H. Abdillah Nugroho, M.Hum., as the second consultant, for his great
helpful guidance and giving the correction about the weakness of this research
paper.
3. All of the Lecturer in English Department of Muhammadiyah University of
Surakarta, for transferring the knowledge and giving guidance.
4. Librarian in Muhammadiyah University of Surakarta.
5. All lectures in Language Center Muhammadiyah University of Surakarta.
6. Her beloved parents, Ibuk Siti Juariyah and Ayah Sutardi, for praying and
support that make the researcher survive as the person who never gives up to
finish the researcher’s research paper.
vii
7. Her beloved handsome brother Hansen Mahendra, thanks for the support and
the love.
8. Her great lovely friends, Niken (Ma’e), Niken (Juphe), Indri, and Tyas.
Thanks for the meaningful friendship, sweet memory, and loyalty to grow up
together.
9. Her beloved friends in English Department Muhammadiyah University of
Surakarta: Shevy, Sari, Putra, Frada, Tiwi, and Dino. Thanks for the time,
affection, laugh, smile, tears and the togetherness.
10. Tami, Riyan and Febri, her partners in conducting this research for fighting
together to complete this research paper.
11. All members of Oasis Theatre, for togetherness, cooperation, and great
discussion partner.
12. Her partners in PPL SMP Muhammadiyah 8 Surakarta who has been the
great friendship ever.
13. And others which cannot be mentioned one by one, who help the writer in
finishing the research paper and for all the big support and the prayer.
The researcher realizes that this research paper is still far from being perfect
and still needs many improvements; however, the researcher hopes this
research paper will give useful significance to readers.
Surakarta,
2013
Ira Kartika Wati
viii
TABLE OF CONTENT
TITLE ............................................................................................................
i
APPROVAL ..................................................................................................
ii
ACCEPTANCE .............................................................................................
iii
TESTIMONY ................................................................................................
iv
MOTTO ..........................................................................................................
v
DEDICATION ................................................................................................
vi
ACKNOWLEDGMENT ...............................................................................
vii
TABLE OF CONTENT ................................................................................
ix
LIST OF FIGURE ........................................................................................
xv
ABSTRACT ...................................................................................................
xix
CHAPTER I: INTRODUCTION
A. Background of the Study ....................................................
1
B. Previous Study ....................................................................
7
C. Problem Statement .............................................................
7
D. Limitation of the Study ......................................................
8
E Objective of the Study .........................................................
8
F. Benefit of the Study ............................................................
8
G. Research Method .................................................................
8
H. Research Paper Organization ..............................................
10
ix
CHAPTER II: UNDERLYING THEORY
A. Notion of Feminism ............................................................
11
B. Major Principles of Feminism ............................................
14
1. Women’s Position............................................................
14
2. Women’s Right ...............................................................
15
3. Women’s Role ................................................................
16
4. Women’s Participation ....................................................
16
C. Women’s Rights and Roles .................................................
17
1. Women’s Rights and Roles in Society ...........................
18
2. Women’s Rights and Roles in Education.......................
18
3. Women’s Rights and Roles in Work..............................
19
4. Women’s Rights and Roles in Politics ...........................
20
5. Women’s Rights and Roles in Economy .......................
21
D. Structural Elements of the Movie........................................
21
1. Narrative Element ..........................................................
21
a. Character and characterization ...............................
21
b. Setting ...................................................................
22
c. Plot .........................................................................
23
d. Point of View .........................................................
23
e. Theme.....................................................................
24
2. Technical Element ..........................................................
24
x
a. Mis-en-Scene ..........................................................
25
1). Set Dressing and Props ....................................
25
2). Costumes and Make-Up....................................
26
3). Lighting.............................................................
27
b. Casting ..................................................................
28
c. Cinematography .....................................................
29
1). Photographic Qualities of the Shot ...................
29
2). Framing of the Shot ..........................................
29
3). Duration of the Shot ..........................................
31
d. Sound .....................................................................
31
e. Editing ....................................................................
31
F. Theoretical Application ......................................................
32
CHAPTER III:
SOCIAL-HISTORICAL BACKGROUND OF THE
ENGLISH SOCIETY IN THE LATE OF 20TH CENTURY
A. Social Aspect ......................................................................
33
1. Social Class .................................................................
34
2. Family ..........................................................................
37
3. Social Relation .............................................................
38
4. Urbanization .................................................................
38
B. Economic Aspect ................................................................
38
1. Wealth Distribution ......................................................
39
2. Economic Activity .......................................................
39
xi
3. Financial Crisis ............................................................
40
C. Political Aspect ...................................................................
41
D. Science and Technology Aspect ........................................
42
1. Science .........................................................................
42
2. Technology...................................................................
43
E. Cultural Aspect ....................................................................
43
1. Art and Architecture .....................................................
44
2. Fads and Fashion ..........................................................
44
3. Language ......................................................................
45
4. Literature ......................................................................
45
F. Religious Aspect .................................................................
46
G. Women’s Condition ............................................................
48
H. Biography of Larysa Kondracki ..........................................
49
CHAPTER IV: STRUCTURAL ANALYSIS
A. Narrative Element ..............................................................
51
1. Character and characterization .....................................
51
a. Major Character ....................................................
51
b. Minor Character .....................................................
55
2. Setting .........................................................................
62
a. Setting of Time.......................................................
62
b. Setting of Place ......................................................
63
3. Plot ...............................................................................
66
xii
a. Exposition ..............................................................
66
b. Complication ..........................................................
67
c. Climax ....................................................................
68
d. Resolution ..............................................................
69
4. Point of view ................................................................
69
5. Theme...........................................................................
70
B. Technical Element .............................................................
71
1. Mis-en-Scene ................................................................
71
a. Set Dressing and Props .........................................
71
b. Costumes and Make-Up .........................................
73
c. Lighting ..................................................................
75
2. Casting ........................................................................
78
3. Cinematography ...........................................................
81
a. Photographic Qualities of the Shot ........................
81
b. Framing of the Shot ................................................
82
c. Duration of the Shot ...............................................
86
4. Sound ...........................................................................
86
5. Editing ..........................................................................
87
a. Axis of Action the 180’ Line .................................
88
b. Establishing Shot....................................................
88
c. A Reverse Shot .......................................................
88
d. Reestablishing Shoot ..............................................
89
e. Match on Action .....................................................
89
xiii
f. Cross Cutting..........................................................
90
C. Discussion ..........................................................................
90
CHAPTER V: FEMINIST ANALYSIS
A. Feminist Perspective Analysis ...........................................
97
1. Women’s Rights ..............................................................
98
2. Women’s Roles ...............................................................
100
3. Women’s Position ...........................................................
104
4. Women’s Participation ....................................................
107
B. Women’s Rights and Roles Analysis .................................
110
1. Women’s Rights and Roles in Society ...........................
110
2. Women’s Rights and Roles in Education.......................
112
3. Women’s Rights and Roles in Work..............................
114
4. Women’s Rights and Roles in Politics ...........................
117
5. Women’s Rights and Roles in Economy .......................
119
C. Discussion ...........................................................................
120
CHAPTER VI: CONCLUSION AND SUGGESTION
A. Conclusion ........................................................................
125
B. Educational Implication .....................................................
126
C. Suggestion ..........................................................................
127
BIBLIOGRAPHY .........................................................................................
VIRTUAL REFERENCE .............................................................................
APPENDIX ....................................................................................................
SYNOPSIS .....................................................................................................
xiv
LIST OF FIGURE
Page
Figure 1: Kathryn Bolcovac ..........................................................................
52
Figure 2: Kathryn Bolcovac as American Police ........................................
52
Figure 3: Kathryn Bolcovac as International Police in Bosnia ..................
52
Figure 4: Raya Kochan ..................................................................................
54
Figure 5: Raya When She was Trapped in Women Trafficking. ..............
54
Figure 6: Madeleine Rees ..............................................................................
56
Figure 7: Madeleine Rees ..............................................................................
56
Figure 8: Luba ................................................................................................
57
Figure 9: When Luba was trapped in women trafficking ..........................
57
Figure 10: Viko Mezovic ................................................................................
58
Figure 11: Zlata Sehik ...................................................................................
58
Figure 12: Irka ...............................................................................................
59
Figure 13: Laura Leviana..............................................................................
59
Figure 14: Peter Ward ...................................................................................
60
Figure 15: Fred Murray ................................................................................
61
xv
Figure 16: Roman ...........................................................................................
61
Figure 17: Post-War Era in Bosnia ..............................................................
62
Figure 18: Post-War Era in Bosnia ..............................................................
62
Figure 19: Kyiv, Ukraine ...............................................................................
63
Figure 20: Lincoln, Nebraska US .................................................................
63
Figure 21: Sarajevo, Bosnia, Herzegovina. ..................................................
64
Figure 22: Florida Bar ...................................................................................
64
Figure 23: Torture Place in Florida Bar ......................................................
64
Figure 24: Court .............................................................................................
65
Figure 25: Office of the High Commissioner for Human Rights for
Bosnia and Herzegovina ...............................................................................
65
Figure 26: Zenica Shelter ..............................................................................
66
Figure 27: Situation of Bosnia Post-War .....................................................
72
Figure 28: Grave ............................................................................................
72
Figure 29: Military .........................................................................................
73
Figure 30: Kathryn Bolcovac’s Costume as Police and Man’s Costume is
Army Uniform ................................................................................................
74
Figure 31: The Girl’s Costume is Sexy .........................................................
74
xvi
Figure 32: Kathryn Bolcovac’s Appearance ...............................................
75
Figure 33: Raya’s Appearance ......................................................................
75
Figure 34: Hard Intensity Appearance ........................................................
76
Figure 35: Soft Intensity Appearance ..........................................................
76
Figure 36: The Lighting Source from the Sun ............................................
76
Figure 37: The use of Fire to Lightening in the Night ................................
76
Figure 38: Yellow Color, Indoor Scene in the Night ...................................
77
Figure 39: Frontal Lighting ..........................................................................
78
Figure 40: Side Lighting ................................................................................
78
Figure 41: Back Lighting ...............................................................................
78
Figure 42: Under Lighting.............................................................................
78
Figure 43: Top Lighting ................................................................................
78
Figure 44: In the Night Appearance .............................................................
82
Figure 45: Long Shot Appearance ................................................................
82
Figure 46: Medium Shot Appearance ..........................................................
83
Figure 47: Close Up Appearance ..................................................................
83
Figure 48: Low-Angle Appearance ..............................................................
84
xvii
Figure 49: High-Angle Shot Appearance .....................................................
84
Figure 50: Eye-Level Shot Appearance .......................................................
85
Figure 51: Oblique Shot (Dutch Angle) .......................................................
85
Figure 52: Point-of-View Shot Appearance .................................................
86
Figure 53: Axis of Action Appearance .........................................................
88
Figure 54: Establishing Shot .........................................................................
88
Figure 55: A Reserve Shot .............................................................................
89
Figure 56: Reestablishing Shot .....................................................................
89
Figure 57: Match on Action Appearance .....................................................
90
Figure 58: Cross Cutting Appearance .........................................................
90
xviii
ABSTRACT
IRA KARTIKA WATI. A320 090 119. WOMEN’S RIGHTS AND ROLES
REFLECTED IN LARYSA KONDRACKI’S THE WHISTLEBLOWER
MOVIE (2011): A FEMINIST APPROACH. RESEARCH PAPER.
MUHAMMADIYAH UNIVERSITY OF SURAKARTA. 2013.
The major problem of this study how is women’s rights and roles reflected
in Larysa Kondracki’s The Whistleblower movie (2011). The study is intended to
analyze the movie based on structural elements and to analyze the movie based on
the feminist approach.
The object of this study is The Whistleblower movie by Larysa Kondracki.
This study belongs to descriptive qualitative research. There are two types in the
data source. First, the primary data is The Whistleblower movie that was released
in 2011 and the secondary data are books or any information relation to the
practice of women’s rights and roles that support the feminist approach. Both data
collected through library research and analyze by descriptive analysis using
Feminist approach.
Based on the analysis, the researcher draws the following conclusions.
First, based on the structural analysis of each element, it explains that the
character and characterization, casting, plot, setting, point of view, theme, miseen-scene, cinematography, sound, and editing are related to each other. Second,
based on the feminist analysis, the women’s rights, women’s roles, women’s
position, and women participation are reflected in Larysa Kondracki’s life. Third,
Larysa Kondracki fulfills the characteristic of women’s rights and roles that
showed in her role the women’s rights in society, education, work, politic, and
economy.
Keywords: Women’s Rights and Roles, The Whistleblower, Feminist Approach.
Consultant I
Consultant II
Dr.Phil. Dewi Chandraningrum, S.pd, M. Ed. Drs. H. Abdillah Nugroho, M. Hum.
NIK. 772
NIK. 589
Dean,
Dra. N.Setyaningsih, M. Si
NIK. 403
xix
KONDRACKI’S THE WHISTLEBLOWER MOVIE (2011):
A FEMINIST APPROACH
RESEARCH PAPER
Submitted as Partial Fulfillment of the Requirements
for Getting Bachelor Degree of Education
in English Department
by:
IRA KARTIKA WATI
A320090119
SCHOOL OF TEACHER TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2013
APPROVAL
WOMEN’S RIGHTS AND ROLES REFLECTED IN LARYSA
KONDRACKI’S THE WHISTLEBLOWER MOVIE (2011):
A FEMINIST APPROACH
RESEARCH PAPER
by:
IRA KARTIKA WATI
A320090119
Approved to be Examined
by the Consultant Team
First Consultant
Second Consultant
Dr. Phil. Dewi Candraningrum, S.Pd, M. Ed.
ii
Drs. H. Abdillah Nugroho, M. Hum.
ACCEPTANCE
WOMEN’S RIGHTS AND ROLES REFLECTED IN LARYSA
KONDRACKI’S THE WHISTLEBLOWER MOVIE (2011):
A FEMINIST APPROACH
by :
IRA KARTIKA WATI
A320090119
Accepted and Approved by the Board of Examiners
School of Teacher Training and Education
Muhammadiyah University of Surakarta
On ……
1. Dr. Phil. Dewi Candraningrum, M.Ed.
NIK.772
(Chair Person)
( ……………………. )
2. Drs. Abdillah Nugroho, M.Hum.
NIK.589
(Member I)
( ……………………. )
3. Drs. M.Thoyibi, M.S.
NIK.410
(Member II)
( ……………………. )
Dean
Dra. N. Setyaningsih, M. Si.
NIK. 403
iii
TESTIMOI\TY
Herewitlr" the writer testifies that in this research, there is no plagiarism of the
previous studies which have been raised to get bachelor degree of Education in
Muhammadiyah Universrty
of
Surakarta Beside that there is no opinion or
masterpiece which has been written or published by the other writer-
Accordingly, if it is later proven that there are untrue statements in this testimony,
the writer
will
be responsible.
Surakarta" Juli 2013
IV
MOTTO
Just the knowledge that a good book is awaiting one at
the end of a long day makes that day happier.
(Kathleen Norris)
Success is never final.
(Sir Winston Churcill)
Before you assume, learn. Before you judge, understand.
Before you hurt, feel. Before you say, think.
(The Researcher)
v
DEDICATION
Thanks to ALLAH SWT
This research paper is dedicated to:
My beloved Mom and Dad for praying me forever
My beloved brother Hansen Mahendra
My beloved families and my lovely friends
vi
ACKNOWLEDGEMENT
First, the researcher would like to thank Allah SWT for His love and
blessing. The researcher has experienced very hard times in finishing this research
paper. The researcher does believe that He has given the researcher more strength
so that the researcher is capable of finishing it.
There are people who give contribution to the completion of her research
paper, and without their contribution it is likely impossible to do.So, the
researcher would like to thank to:
1. Dr. Phil. Dewi Candraningrum, S.Pd, M.Ed., as the first consultant, thank
for her great helpful guidance and attention from the very beginning up to the
completion of the research paper.
2. Drs. H. Abdillah Nugroho, M.Hum., as the second consultant, for his great
helpful guidance and giving the correction about the weakness of this research
paper.
3. All of the Lecturer in English Department of Muhammadiyah University of
Surakarta, for transferring the knowledge and giving guidance.
4. Librarian in Muhammadiyah University of Surakarta.
5. All lectures in Language Center Muhammadiyah University of Surakarta.
6. Her beloved parents, Ibuk Siti Juariyah and Ayah Sutardi, for praying and
support that make the researcher survive as the person who never gives up to
finish the researcher’s research paper.
vii
7. Her beloved handsome brother Hansen Mahendra, thanks for the support and
the love.
8. Her great lovely friends, Niken (Ma’e), Niken (Juphe), Indri, and Tyas.
Thanks for the meaningful friendship, sweet memory, and loyalty to grow up
together.
9. Her beloved friends in English Department Muhammadiyah University of
Surakarta: Shevy, Sari, Putra, Frada, Tiwi, and Dino. Thanks for the time,
affection, laugh, smile, tears and the togetherness.
10. Tami, Riyan and Febri, her partners in conducting this research for fighting
together to complete this research paper.
11. All members of Oasis Theatre, for togetherness, cooperation, and great
discussion partner.
12. Her partners in PPL SMP Muhammadiyah 8 Surakarta who has been the
great friendship ever.
13. And others which cannot be mentioned one by one, who help the writer in
finishing the research paper and for all the big support and the prayer.
The researcher realizes that this research paper is still far from being perfect
and still needs many improvements; however, the researcher hopes this
research paper will give useful significance to readers.
Surakarta,
2013
Ira Kartika Wati
viii
TABLE OF CONTENT
TITLE ............................................................................................................
i
APPROVAL ..................................................................................................
ii
ACCEPTANCE .............................................................................................
iii
TESTIMONY ................................................................................................
iv
MOTTO ..........................................................................................................
v
DEDICATION ................................................................................................
vi
ACKNOWLEDGMENT ...............................................................................
vii
TABLE OF CONTENT ................................................................................
ix
LIST OF FIGURE ........................................................................................
xv
ABSTRACT ...................................................................................................
xix
CHAPTER I: INTRODUCTION
A. Background of the Study ....................................................
1
B. Previous Study ....................................................................
7
C. Problem Statement .............................................................
7
D. Limitation of the Study ......................................................
8
E Objective of the Study .........................................................
8
F. Benefit of the Study ............................................................
8
G. Research Method .................................................................
8
H. Research Paper Organization ..............................................
10
ix
CHAPTER II: UNDERLYING THEORY
A. Notion of Feminism ............................................................
11
B. Major Principles of Feminism ............................................
14
1. Women’s Position............................................................
14
2. Women’s Right ...............................................................
15
3. Women’s Role ................................................................
16
4. Women’s Participation ....................................................
16
C. Women’s Rights and Roles .................................................
17
1. Women’s Rights and Roles in Society ...........................
18
2. Women’s Rights and Roles in Education.......................
18
3. Women’s Rights and Roles in Work..............................
19
4. Women’s Rights and Roles in Politics ...........................
20
5. Women’s Rights and Roles in Economy .......................
21
D. Structural Elements of the Movie........................................
21
1. Narrative Element ..........................................................
21
a. Character and characterization ...............................
21
b. Setting ...................................................................
22
c. Plot .........................................................................
23
d. Point of View .........................................................
23
e. Theme.....................................................................
24
2. Technical Element ..........................................................
24
x
a. Mis-en-Scene ..........................................................
25
1). Set Dressing and Props ....................................
25
2). Costumes and Make-Up....................................
26
3). Lighting.............................................................
27
b. Casting ..................................................................
28
c. Cinematography .....................................................
29
1). Photographic Qualities of the Shot ...................
29
2). Framing of the Shot ..........................................
29
3). Duration of the Shot ..........................................
31
d. Sound .....................................................................
31
e. Editing ....................................................................
31
F. Theoretical Application ......................................................
32
CHAPTER III:
SOCIAL-HISTORICAL BACKGROUND OF THE
ENGLISH SOCIETY IN THE LATE OF 20TH CENTURY
A. Social Aspect ......................................................................
33
1. Social Class .................................................................
34
2. Family ..........................................................................
37
3. Social Relation .............................................................
38
4. Urbanization .................................................................
38
B. Economic Aspect ................................................................
38
1. Wealth Distribution ......................................................
39
2. Economic Activity .......................................................
39
xi
3. Financial Crisis ............................................................
40
C. Political Aspect ...................................................................
41
D. Science and Technology Aspect ........................................
42
1. Science .........................................................................
42
2. Technology...................................................................
43
E. Cultural Aspect ....................................................................
43
1. Art and Architecture .....................................................
44
2. Fads and Fashion ..........................................................
44
3. Language ......................................................................
45
4. Literature ......................................................................
45
F. Religious Aspect .................................................................
46
G. Women’s Condition ............................................................
48
H. Biography of Larysa Kondracki ..........................................
49
CHAPTER IV: STRUCTURAL ANALYSIS
A. Narrative Element ..............................................................
51
1. Character and characterization .....................................
51
a. Major Character ....................................................
51
b. Minor Character .....................................................
55
2. Setting .........................................................................
62
a. Setting of Time.......................................................
62
b. Setting of Place ......................................................
63
3. Plot ...............................................................................
66
xii
a. Exposition ..............................................................
66
b. Complication ..........................................................
67
c. Climax ....................................................................
68
d. Resolution ..............................................................
69
4. Point of view ................................................................
69
5. Theme...........................................................................
70
B. Technical Element .............................................................
71
1. Mis-en-Scene ................................................................
71
a. Set Dressing and Props .........................................
71
b. Costumes and Make-Up .........................................
73
c. Lighting ..................................................................
75
2. Casting ........................................................................
78
3. Cinematography ...........................................................
81
a. Photographic Qualities of the Shot ........................
81
b. Framing of the Shot ................................................
82
c. Duration of the Shot ...............................................
86
4. Sound ...........................................................................
86
5. Editing ..........................................................................
87
a. Axis of Action the 180’ Line .................................
88
b. Establishing Shot....................................................
88
c. A Reverse Shot .......................................................
88
d. Reestablishing Shoot ..............................................
89
e. Match on Action .....................................................
89
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f. Cross Cutting..........................................................
90
C. Discussion ..........................................................................
90
CHAPTER V: FEMINIST ANALYSIS
A. Feminist Perspective Analysis ...........................................
97
1. Women’s Rights ..............................................................
98
2. Women’s Roles ...............................................................
100
3. Women’s Position ...........................................................
104
4. Women’s Participation ....................................................
107
B. Women’s Rights and Roles Analysis .................................
110
1. Women’s Rights and Roles in Society ...........................
110
2. Women’s Rights and Roles in Education.......................
112
3. Women’s Rights and Roles in Work..............................
114
4. Women’s Rights and Roles in Politics ...........................
117
5. Women’s Rights and Roles in Economy .......................
119
C. Discussion ...........................................................................
120
CHAPTER VI: CONCLUSION AND SUGGESTION
A. Conclusion ........................................................................
125
B. Educational Implication .....................................................
126
C. Suggestion ..........................................................................
127
BIBLIOGRAPHY .........................................................................................
VIRTUAL REFERENCE .............................................................................
APPENDIX ....................................................................................................
SYNOPSIS .....................................................................................................
xiv
LIST OF FIGURE
Page
Figure 1: Kathryn Bolcovac ..........................................................................
52
Figure 2: Kathryn Bolcovac as American Police ........................................
52
Figure 3: Kathryn Bolcovac as International Police in Bosnia ..................
52
Figure 4: Raya Kochan ..................................................................................
54
Figure 5: Raya When She was Trapped in Women Trafficking. ..............
54
Figure 6: Madeleine Rees ..............................................................................
56
Figure 7: Madeleine Rees ..............................................................................
56
Figure 8: Luba ................................................................................................
57
Figure 9: When Luba was trapped in women trafficking ..........................
57
Figure 10: Viko Mezovic ................................................................................
58
Figure 11: Zlata Sehik ...................................................................................
58
Figure 12: Irka ...............................................................................................
59
Figure 13: Laura Leviana..............................................................................
59
Figure 14: Peter Ward ...................................................................................
60
Figure 15: Fred Murray ................................................................................
61
xv
Figure 16: Roman ...........................................................................................
61
Figure 17: Post-War Era in Bosnia ..............................................................
62
Figure 18: Post-War Era in Bosnia ..............................................................
62
Figure 19: Kyiv, Ukraine ...............................................................................
63
Figure 20: Lincoln, Nebraska US .................................................................
63
Figure 21: Sarajevo, Bosnia, Herzegovina. ..................................................
64
Figure 22: Florida Bar ...................................................................................
64
Figure 23: Torture Place in Florida Bar ......................................................
64
Figure 24: Court .............................................................................................
65
Figure 25: Office of the High Commissioner for Human Rights for
Bosnia and Herzegovina ...............................................................................
65
Figure 26: Zenica Shelter ..............................................................................
66
Figure 27: Situation of Bosnia Post-War .....................................................
72
Figure 28: Grave ............................................................................................
72
Figure 29: Military .........................................................................................
73
Figure 30: Kathryn Bolcovac’s Costume as Police and Man’s Costume is
Army Uniform ................................................................................................
74
Figure 31: The Girl’s Costume is Sexy .........................................................
74
xvi
Figure 32: Kathryn Bolcovac’s Appearance ...............................................
75
Figure 33: Raya’s Appearance ......................................................................
75
Figure 34: Hard Intensity Appearance ........................................................
76
Figure 35: Soft Intensity Appearance ..........................................................
76
Figure 36: The Lighting Source from the Sun ............................................
76
Figure 37: The use of Fire to Lightening in the Night ................................
76
Figure 38: Yellow Color, Indoor Scene in the Night ...................................
77
Figure 39: Frontal Lighting ..........................................................................
78
Figure 40: Side Lighting ................................................................................
78
Figure 41: Back Lighting ...............................................................................
78
Figure 42: Under Lighting.............................................................................
78
Figure 43: Top Lighting ................................................................................
78
Figure 44: In the Night Appearance .............................................................
82
Figure 45: Long Shot Appearance ................................................................
82
Figure 46: Medium Shot Appearance ..........................................................
83
Figure 47: Close Up Appearance ..................................................................
83
Figure 48: Low-Angle Appearance ..............................................................
84
xvii
Figure 49: High-Angle Shot Appearance .....................................................
84
Figure 50: Eye-Level Shot Appearance .......................................................
85
Figure 51: Oblique Shot (Dutch Angle) .......................................................
85
Figure 52: Point-of-View Shot Appearance .................................................
86
Figure 53: Axis of Action Appearance .........................................................
88
Figure 54: Establishing Shot .........................................................................
88
Figure 55: A Reserve Shot .............................................................................
89
Figure 56: Reestablishing Shot .....................................................................
89
Figure 57: Match on Action Appearance .....................................................
90
Figure 58: Cross Cutting Appearance .........................................................
90
xviii
ABSTRACT
IRA KARTIKA WATI. A320 090 119. WOMEN’S RIGHTS AND ROLES
REFLECTED IN LARYSA KONDRACKI’S THE WHISTLEBLOWER
MOVIE (2011): A FEMINIST APPROACH. RESEARCH PAPER.
MUHAMMADIYAH UNIVERSITY OF SURAKARTA. 2013.
The major problem of this study how is women’s rights and roles reflected
in Larysa Kondracki’s The Whistleblower movie (2011). The study is intended to
analyze the movie based on structural elements and to analyze the movie based on
the feminist approach.
The object of this study is The Whistleblower movie by Larysa Kondracki.
This study belongs to descriptive qualitative research. There are two types in the
data source. First, the primary data is The Whistleblower movie that was released
in 2011 and the secondary data are books or any information relation to the
practice of women’s rights and roles that support the feminist approach. Both data
collected through library research and analyze by descriptive analysis using
Feminist approach.
Based on the analysis, the researcher draws the following conclusions.
First, based on the structural analysis of each element, it explains that the
character and characterization, casting, plot, setting, point of view, theme, miseen-scene, cinematography, sound, and editing are related to each other. Second,
based on the feminist analysis, the women’s rights, women’s roles, women’s
position, and women participation are reflected in Larysa Kondracki’s life. Third,
Larysa Kondracki fulfills the characteristic of women’s rights and roles that
showed in her role the women’s rights in society, education, work, politic, and
economy.
Keywords: Women’s Rights and Roles, The Whistleblower, Feminist Approach.
Consultant I
Consultant II
Dr.Phil. Dewi Chandraningrum, S.pd, M. Ed. Drs. H. Abdillah Nugroho, M. Hum.
NIK. 772
NIK. 589
Dean,
Dra. N.Setyaningsih, M. Si
NIK. 403
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