SUPERWOMAN REFLECTED IN DAVID FINCHER‟S Superwoman Reflected In David Fincher‟S The Girl With The Dragon Tattoo Movie (2011): An Amazon Feminism Perspective.
SUPERWOMAN REFLECTED IN DAVID FINCHER‟S
THE GIRL WITH THE DRAGON TATTOO MOVIE (2011):
AN AMAZON FEMINISM PERSPECTIVE
RESEARCH PAPER
Submitted as a Partial Fulfillment of the Requirements
for the Getting Bachelor Degree of Education
in English Department
by
MIA MIDIANTI NURMALIA
A 320090294
SCHOOL OF TEACHER TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2013
ii
iii
iv
MOTTO
Never be ashamed of what you feel. You have the right to feel any emotion
that you want, and to do what makes you happy
(Demi Lovato)
Think before you speak is criticism’s motto; speak before you think,
creation’s
(E.M Forster)
Weakness on both sides is, as we know, the motto of all quarrels
(Voltaire)
If anything is worth doing, it’s worth overdoing
(Danny Bonaduce)
v
DEDICATION
Alhamdulillahi Robbil ‘Aalamiin, as Allah Mercy. I am gratefully
dedicated this research paper to:
Allah SWT, the Lord of the Universe,
My beloved parents, Suhadi and Miratun Sholikhah,
My beloved grandparents, Hidayat Sonhadji (alm) and
Rodhiyatun
My beloved brother, Fajar Dwi Midianto
My beloved friends and family
vi
ACKNOWLEDGMENT
Assalamu’alaikum wr. wb.
Glory to Allah SWT, the Almighty, the Lord of the universe, the supreme being.
The researcher is so grateful to Him for giving her all the kindness, protection, power and
love to complete this research as a partial fulfilment of the requirements for getting
Bachelor Degree of Education in English Department.
The researcher is fully aware that this work cannot be separated from other
people’s help and guidance. Therefore, in this opportunity, she would like to express her
gratitude and appreciation to:
1. Dra. Nining Setyaningsih, M.Si, the Dean of the School of Teacher Training and
Education of Muhammadiyah Unive rsity of Surakarta,
2. Titis Setyabudi, S.S., M.Hum., the Chief of English Department of Muhammadiyah
University of Surakarta,
3. Dr. Phil. Dewi Candraningrum, S.Pd., M.Ed, the first consultant who has given a
valuable guidance and suggestion during the completion of this research paper,
4. Drs. Abdillah Nugroho, M. Hum, the second consultant who has being a good
examiner in order to make the research paper better,
5. All of the lecturers of English Department, for precious knowledge given to her,
6. The researcher‟s beloved parents, Suhadi and Miratun Sholikhah, for their
amazing love, endless prayer, tireless support until today, and make her understand
vii
that Allah S.W.T is the highest aim of life and make her understand how to be a real
Moslem,
7. The researcher‟s beloved grandparents, Hidayat Sonhadji (alm) and Rodhiyatun,
for their amazing love, endless pray, tireless support until today, and make her
understand that Allah is the highest aim of life and make her understand how to be a
real Moslem,
8. The researcher‟s brother, Fajar Dwi Midianto, there are no words that can capture
the depth of the researcher’s gratitude for his support and togetherness,
9. The researcher‟s uncle and aunt, Asngadi and Suci Suryani, for her support and
endless prayer until today,
10. The researcher‟s beloved cousins, Hanavi Gobet and Alfiani Ulvah, for their
endless prayer and tireless support until today,
11. The researcher‟s beloved friends: Dila, Dina, Hesti, Octria, Desi, Devi, and Bestin,
thank you for their help in everything and for the jokes and togetherness,
12. The researcher‟s beloved partner in Sigur Rós Indonesia, Yusqi Muhamad, thank
you for his pray and support,
13. The researcher‟s beloved friends in Muse Indonesia: Shabrina, Renaldi and Eza,
thank you for their support and for the jokes and togetherness,
14. The team of S.C.O.P.E Drama Production 2012, thank you for their togetherness,
15. The team of “Modern English” HEL Exhibition 2012, thank you for their
togetherness,
16. The big family of the F Class „09 English Department, for unforgettable
togetherness and unique friendship,
viii
ix
TABLE OF CONTENT
COVER……………………………………………………………………………….
i
APPROVAL ………………………………………………………………………….
ii
ACCEPTANCE ................................................................................................................iii
TESTIMONY …………………………………………………………………........
iv
MOTTO ......................................................................................................................... v
DEDICATION ……………………………………………………………………….
vi
ACKNOWLEDGMENT ...........................................................................................
vii
TABLE OF CONTENT .............................................................................................
x
TABLE OF FIGURES ....................................................................................................xiii
ABSTRACT .................................................................................................................. xvii
CHAPTER I : INTRODUCTION ................................................................ ………
1
A.
Background the Study..................................................................
1
B.
Literature Review.........................................................................
6
C.
Problem Statement ......................................................................
7
D.
Objectives of the Study………………………………………….
7
E.
Limitation of the Study................................................................
7
F.
Benefits of the Study....................................................................
7
G.
Research Method .........................................................................
8
H.
Research Paper Organization.......................................................
10
CHAPTER II: UNDERLYING THEORY.................................................. ………. 11
A.
Notion of Amazon Feminism ................................... ………………11
B.
Major Principle in Amazon Feminism ………………………….. 12
12
x
13
13
1. Phyical Equality ..........................................................................
2. Female Power .............................................................................. 12
3. Heroism ........................................................................................13
C.
Superwoman ................................................. ………………............13
1. Notion of Superwoman ……………………………….................13
2. Aspects of Superwoman ………………………………................15
D.
Structural Element of the Movie………………………………….....17
1. Narrative Elements…………………………………………....
17
2. Technical Elements………………………………………......23
E.
Theoretical Application …………………………………………....31
CHAPTER III: SOCIAL-HISTORICAL BACKGROUND OF THE SWEDISH
SOCIETY AT THE EARLY TWENTY FIRST CENTURY ................
33
A.
Social-Historical Background .............................................................
33
B.
The Life of David Fincher ...................................................................
42
CHAPTER IV: STRUCTURAL ANALYSIS ...................................................................
46
A.
Narrative Elements ..............................................................................
46
1. Character and Characterization .....................................................
46
2. Setting ..........................................................................................
55
3. Casting .........................................................................................
59
4. Plot ..............................................................................................
60
5. Point of View .............................................................................
66
6. Theme ........................................................................................
67
B.
Technical Elements of the Movie ...................................................... 68
68
xi
1. Mise-en-Scene .......................................................................... 68
2. Cinematography ....................................................................... 77
3. Sound ......................................................................................
81
85
4. Editing ..................................................................................... 82
85
5. Discussion .............................................................................
86
85
CHAPTER V : FEMINIST ANALYSIS ........................................................................ 90
88
A. Amazon Feminism Perspective ........................................................... 90
1. Physical Equality ............................................................................ 90
92
2. Female Power ................................................................................ 93
92
3. Heroism .......................................................................................
95
93
B. Superwoman Perspective ..................................................................
97
95
1. Superwoman Syndrome ................................................................. 102
97
2. Superwoman Squeeze .................................................................... 100
102
3. Superwoman Complex .....................................................................100
103
C. Discussion ..............................................................................................102
104
CHAPTER VI : CONCLUSIONS AND SUGGESTIONS ……………………………107
A. Conclusions ………………………………………………………….. 107
B. Educational Implication ………………………………………………110
C. Suggestion …………………………………………………………. 111
BIBLIOGRAPHY
VIRTUAL REFERENCES
APPENDIX
xii
TABLE OF FIGURES
1. Figure 1: Lisbeth’s Face ..............................................................................................47
2. Figure 2: Lisbeth’s Full Body .................................................................................... 47
3. Figure 3: Mikael’s Face ...............................................................................................48
4. Figure 4: Mikael’s Full Body ..................................................................................... 48
5. Figure 5: Henrik’s Face ...............................................................................................49
6. Figure 6: Henrik’s Full Body ......................................................................................49
7. Figure 7: Harriet/Anita’s Face .....................................................................................50
8. Figure 8: Harriet/Anita’s Full Body ........................................................................... 50
9. Figure 9: Martin’s Face ............................................................................................. 52
10. Figure 10: Martin’s Full Body ................................................................................... 52
11. Figure 11: Nils’ Face .................................................................................................. 53
12. Figure 12: Nil’s Full Body ......................................................................................... 53
13. Figure 13: Erika’s Face .............................................................................................. 54
14. Figure 14: Erika’s Full Body .................................................................................... 54
15. Figure 15: Stockholm, Sweden ...................................................................................55
16. Figure 16: A Street in Stockholm ...............................................................................55
17. Figure 17: Hedestad Train Station ............................................................................. 56
18. Figure 18: Hedestad ................................................................................................... 56
19. Figure 19: Millenium’s Office .................................................................................... 56
20. Figure 20: Millenium’s Room .................................................................................... 56
21. Figure 21: Henrik’s House ......................................................................................... 56
22. Figure 22: Henrik’s Room ......................................................................................
xiii
56
23. Figure 23: Lisbeth’s Room ......................................................................................... 57
24. Figure 24: Lisbeth’s Kitchen ..................................................................................... 57
25. Figure 25: Winter in Sweden ..................................................................................... 57
26. Figure 26: Winter in Hedestad ....................................................................................57
27. Figure 27: Daylight in Sweden ....................................................................................58
28. Figure 28: Daylight in Police Station ......................................................................... 58
29. Figure 29: Night in Stockholm ................................................................................... 58
30. Figure 30: Night in Hedestad ..................................................................................... 58
31. Figure 31: At the Archive Room ............................................................................... 69
32. Figure 32: At Mikael’s House .....................................................................................69
33. Figure 33: Dark Lighting .......................................................................................... 70
34. Figure 34: Bright Lighting ........................................................................................ 70
35. Figure 35: Frontal Lighting ....................................................................................... 71
36. Figure 36: Side Lighting .............................................................................................71
37. Figure 37: Back Lighting .......................................................................................... 72
38. Figure 38: Under Lighting ........................................................................................ 72
39. Figure 39: Top Lighting ............................................................................................ 72
40. Figure 40: Source Lighting from the Lamp ................................................................73
41. Figure 41: Source Lighting from the Sun ................................................................... 73
42. Figure 42: Yellow Lighting ........................................................................................ 74
43. Figure 43: Natural Lighting ...................................................................................... 74
44. Figure 44: Erika’s Make-Up ......................................................................................74
45. Figure 45: Martin’s Make-Up .................................................................................... 74
xiv
46. Figure 46: Lisbeth’s Make-Up ................................................................................... 74
47. Figure 47: Lisbeth’s Goth Make-Up ........................................................................... 74
48. Figure 48: Lisbeth’s Goth Costume ........................................................................... 76
49. Figure 49: Mikael’s Winter Costume ......................................................................... 76
50. Figure 50: Henrik’s and Martin’s Formal Costume .................................................... 76
51. Figure 51: Dark Lighting ............................................................................................ 78
52. Figure 52: Bright Lighting .......................................................................................... 78
53. Figure 53: Straight Angle ............................................................................................ 79
54. Figure 54: High Angle ................................................................................................ 79
55. Figure 55: Low Angle ................................................................................................. 79
56. Figure 56: Exteme Long Shot .................................................................................... 80
57. Figure 57: Long Shot ................................................................................................... 80
58. Figure 58: Medium Long Shot .................................................................................. 80
59. Figure 59: Medium Shot ............................................................................................. 80
60. Figure 60: Medium Close-Up ................................................................................... 80
61. Figure 61: Close-Up ................................................................................................... 80
62. Figure 62: Extreme Close-Up ..................................................................................... 81
63. Figure 63: Axis of Action 1 ......................................................................................... 83
64. Figure 64: Axis of Action 2 ......................................................................................... 83
65. Figure 65: Establishing Shot 1 ................................................................................... 83
66. Fgure 66: Establishing Shot 2 ................................................................................... 83
67. Figure 67: A Reverse Shot 1 ....................................................................................... 84
68. Figure 68: A Reverse Shot 2 ....................................................................................... 84
xv
69. Figure 69: Reestablishing Shot 1 ................................................................................. 85
70. Figure 70: Reestablishing Shot 2 ................................................................................ 85
71. Figure 71: Match on Action 1 ..................................................................................... 85
72. Figure 72: Match on Action 2 ..................................................................................... 85
73. Figure 73: Cross Cutting 1 .......................................................................................... 86
74. Figure 74: Cross Cutting 2 .......................................................................................... 86
xvi
ABSTRACT
MIA MIDIANTI NURMALIA, A. 320 090 294. SUPERWOMAN
REFLECTED IN DAVID FINCHER‟S THE GIRL WITH THE DRAGON
TATTOO MOVIE (2011): AN AMAZON FEMINISM PERSPECTIVE.
RESEARCH
PAPER.
MUHAMMADIYAH
UNIVERSITY
OF
SURAKARTA. 2013.
This study is aimed to show Lisbeth’s superwoman act in The Girl with the Dragon
Tattoo movie by using amazon feminism perspective. It is done by establishing two
objectives: the first is analyzing the movie based on its structural elements and the
second is analyzing the movie based on the amazon feminism perspective.
This research is descriptive qualitative research. Type of data of the study is text
and image taken from two data sources: primary and secondary. The primary data
source is The Girl with the Dragon Tattoo movie directed by David Fincher
released in 2011. While the secondary data sources are other materials taken from
books, journals, and internet related to the study. Both data are collected through
library research and analyzed by descriptive analysis.
The study comes to the following conclusions. First, based on the structural
analysis of each elements, it shows that the character and characterization, casting,
plot, setting, point of view, theme, mise-en-scene, cinematography, sound, and
editing are related to each other and form a unity. Second, based on the amazon
feminism perspective reflected in the character and characterization in physical
equality, female power, and heroism, a woman can act as a superwoman in her life.
Keywords: Superwoman, The Girl with the Dragon Tattoo, Amazon Feminism
Approach.
xvii
THE GIRL WITH THE DRAGON TATTOO MOVIE (2011):
AN AMAZON FEMINISM PERSPECTIVE
RESEARCH PAPER
Submitted as a Partial Fulfillment of the Requirements
for the Getting Bachelor Degree of Education
in English Department
by
MIA MIDIANTI NURMALIA
A 320090294
SCHOOL OF TEACHER TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2013
ii
iii
iv
MOTTO
Never be ashamed of what you feel. You have the right to feel any emotion
that you want, and to do what makes you happy
(Demi Lovato)
Think before you speak is criticism’s motto; speak before you think,
creation’s
(E.M Forster)
Weakness on both sides is, as we know, the motto of all quarrels
(Voltaire)
If anything is worth doing, it’s worth overdoing
(Danny Bonaduce)
v
DEDICATION
Alhamdulillahi Robbil ‘Aalamiin, as Allah Mercy. I am gratefully
dedicated this research paper to:
Allah SWT, the Lord of the Universe,
My beloved parents, Suhadi and Miratun Sholikhah,
My beloved grandparents, Hidayat Sonhadji (alm) and
Rodhiyatun
My beloved brother, Fajar Dwi Midianto
My beloved friends and family
vi
ACKNOWLEDGMENT
Assalamu’alaikum wr. wb.
Glory to Allah SWT, the Almighty, the Lord of the universe, the supreme being.
The researcher is so grateful to Him for giving her all the kindness, protection, power and
love to complete this research as a partial fulfilment of the requirements for getting
Bachelor Degree of Education in English Department.
The researcher is fully aware that this work cannot be separated from other
people’s help and guidance. Therefore, in this opportunity, she would like to express her
gratitude and appreciation to:
1. Dra. Nining Setyaningsih, M.Si, the Dean of the School of Teacher Training and
Education of Muhammadiyah Unive rsity of Surakarta,
2. Titis Setyabudi, S.S., M.Hum., the Chief of English Department of Muhammadiyah
University of Surakarta,
3. Dr. Phil. Dewi Candraningrum, S.Pd., M.Ed, the first consultant who has given a
valuable guidance and suggestion during the completion of this research paper,
4. Drs. Abdillah Nugroho, M. Hum, the second consultant who has being a good
examiner in order to make the research paper better,
5. All of the lecturers of English Department, for precious knowledge given to her,
6. The researcher‟s beloved parents, Suhadi and Miratun Sholikhah, for their
amazing love, endless prayer, tireless support until today, and make her understand
vii
that Allah S.W.T is the highest aim of life and make her understand how to be a real
Moslem,
7. The researcher‟s beloved grandparents, Hidayat Sonhadji (alm) and Rodhiyatun,
for their amazing love, endless pray, tireless support until today, and make her
understand that Allah is the highest aim of life and make her understand how to be a
real Moslem,
8. The researcher‟s brother, Fajar Dwi Midianto, there are no words that can capture
the depth of the researcher’s gratitude for his support and togetherness,
9. The researcher‟s uncle and aunt, Asngadi and Suci Suryani, for her support and
endless prayer until today,
10. The researcher‟s beloved cousins, Hanavi Gobet and Alfiani Ulvah, for their
endless prayer and tireless support until today,
11. The researcher‟s beloved friends: Dila, Dina, Hesti, Octria, Desi, Devi, and Bestin,
thank you for their help in everything and for the jokes and togetherness,
12. The researcher‟s beloved partner in Sigur Rós Indonesia, Yusqi Muhamad, thank
you for his pray and support,
13. The researcher‟s beloved friends in Muse Indonesia: Shabrina, Renaldi and Eza,
thank you for their support and for the jokes and togetherness,
14. The team of S.C.O.P.E Drama Production 2012, thank you for their togetherness,
15. The team of “Modern English” HEL Exhibition 2012, thank you for their
togetherness,
16. The big family of the F Class „09 English Department, for unforgettable
togetherness and unique friendship,
viii
ix
TABLE OF CONTENT
COVER……………………………………………………………………………….
i
APPROVAL ………………………………………………………………………….
ii
ACCEPTANCE ................................................................................................................iii
TESTIMONY …………………………………………………………………........
iv
MOTTO ......................................................................................................................... v
DEDICATION ……………………………………………………………………….
vi
ACKNOWLEDGMENT ...........................................................................................
vii
TABLE OF CONTENT .............................................................................................
x
TABLE OF FIGURES ....................................................................................................xiii
ABSTRACT .................................................................................................................. xvii
CHAPTER I : INTRODUCTION ................................................................ ………
1
A.
Background the Study..................................................................
1
B.
Literature Review.........................................................................
6
C.
Problem Statement ......................................................................
7
D.
Objectives of the Study………………………………………….
7
E.
Limitation of the Study................................................................
7
F.
Benefits of the Study....................................................................
7
G.
Research Method .........................................................................
8
H.
Research Paper Organization.......................................................
10
CHAPTER II: UNDERLYING THEORY.................................................. ………. 11
A.
Notion of Amazon Feminism ................................... ………………11
B.
Major Principle in Amazon Feminism ………………………….. 12
12
x
13
13
1. Phyical Equality ..........................................................................
2. Female Power .............................................................................. 12
3. Heroism ........................................................................................13
C.
Superwoman ................................................. ………………............13
1. Notion of Superwoman ……………………………….................13
2. Aspects of Superwoman ………………………………................15
D.
Structural Element of the Movie………………………………….....17
1. Narrative Elements…………………………………………....
17
2. Technical Elements………………………………………......23
E.
Theoretical Application …………………………………………....31
CHAPTER III: SOCIAL-HISTORICAL BACKGROUND OF THE SWEDISH
SOCIETY AT THE EARLY TWENTY FIRST CENTURY ................
33
A.
Social-Historical Background .............................................................
33
B.
The Life of David Fincher ...................................................................
42
CHAPTER IV: STRUCTURAL ANALYSIS ...................................................................
46
A.
Narrative Elements ..............................................................................
46
1. Character and Characterization .....................................................
46
2. Setting ..........................................................................................
55
3. Casting .........................................................................................
59
4. Plot ..............................................................................................
60
5. Point of View .............................................................................
66
6. Theme ........................................................................................
67
B.
Technical Elements of the Movie ...................................................... 68
68
xi
1. Mise-en-Scene .......................................................................... 68
2. Cinematography ....................................................................... 77
3. Sound ......................................................................................
81
85
4. Editing ..................................................................................... 82
85
5. Discussion .............................................................................
86
85
CHAPTER V : FEMINIST ANALYSIS ........................................................................ 90
88
A. Amazon Feminism Perspective ........................................................... 90
1. Physical Equality ............................................................................ 90
92
2. Female Power ................................................................................ 93
92
3. Heroism .......................................................................................
95
93
B. Superwoman Perspective ..................................................................
97
95
1. Superwoman Syndrome ................................................................. 102
97
2. Superwoman Squeeze .................................................................... 100
102
3. Superwoman Complex .....................................................................100
103
C. Discussion ..............................................................................................102
104
CHAPTER VI : CONCLUSIONS AND SUGGESTIONS ……………………………107
A. Conclusions ………………………………………………………….. 107
B. Educational Implication ………………………………………………110
C. Suggestion …………………………………………………………. 111
BIBLIOGRAPHY
VIRTUAL REFERENCES
APPENDIX
xii
TABLE OF FIGURES
1. Figure 1: Lisbeth’s Face ..............................................................................................47
2. Figure 2: Lisbeth’s Full Body .................................................................................... 47
3. Figure 3: Mikael’s Face ...............................................................................................48
4. Figure 4: Mikael’s Full Body ..................................................................................... 48
5. Figure 5: Henrik’s Face ...............................................................................................49
6. Figure 6: Henrik’s Full Body ......................................................................................49
7. Figure 7: Harriet/Anita’s Face .....................................................................................50
8. Figure 8: Harriet/Anita’s Full Body ........................................................................... 50
9. Figure 9: Martin’s Face ............................................................................................. 52
10. Figure 10: Martin’s Full Body ................................................................................... 52
11. Figure 11: Nils’ Face .................................................................................................. 53
12. Figure 12: Nil’s Full Body ......................................................................................... 53
13. Figure 13: Erika’s Face .............................................................................................. 54
14. Figure 14: Erika’s Full Body .................................................................................... 54
15. Figure 15: Stockholm, Sweden ...................................................................................55
16. Figure 16: A Street in Stockholm ...............................................................................55
17. Figure 17: Hedestad Train Station ............................................................................. 56
18. Figure 18: Hedestad ................................................................................................... 56
19. Figure 19: Millenium’s Office .................................................................................... 56
20. Figure 20: Millenium’s Room .................................................................................... 56
21. Figure 21: Henrik’s House ......................................................................................... 56
22. Figure 22: Henrik’s Room ......................................................................................
xiii
56
23. Figure 23: Lisbeth’s Room ......................................................................................... 57
24. Figure 24: Lisbeth’s Kitchen ..................................................................................... 57
25. Figure 25: Winter in Sweden ..................................................................................... 57
26. Figure 26: Winter in Hedestad ....................................................................................57
27. Figure 27: Daylight in Sweden ....................................................................................58
28. Figure 28: Daylight in Police Station ......................................................................... 58
29. Figure 29: Night in Stockholm ................................................................................... 58
30. Figure 30: Night in Hedestad ..................................................................................... 58
31. Figure 31: At the Archive Room ............................................................................... 69
32. Figure 32: At Mikael’s House .....................................................................................69
33. Figure 33: Dark Lighting .......................................................................................... 70
34. Figure 34: Bright Lighting ........................................................................................ 70
35. Figure 35: Frontal Lighting ....................................................................................... 71
36. Figure 36: Side Lighting .............................................................................................71
37. Figure 37: Back Lighting .......................................................................................... 72
38. Figure 38: Under Lighting ........................................................................................ 72
39. Figure 39: Top Lighting ............................................................................................ 72
40. Figure 40: Source Lighting from the Lamp ................................................................73
41. Figure 41: Source Lighting from the Sun ................................................................... 73
42. Figure 42: Yellow Lighting ........................................................................................ 74
43. Figure 43: Natural Lighting ...................................................................................... 74
44. Figure 44: Erika’s Make-Up ......................................................................................74
45. Figure 45: Martin’s Make-Up .................................................................................... 74
xiv
46. Figure 46: Lisbeth’s Make-Up ................................................................................... 74
47. Figure 47: Lisbeth’s Goth Make-Up ........................................................................... 74
48. Figure 48: Lisbeth’s Goth Costume ........................................................................... 76
49. Figure 49: Mikael’s Winter Costume ......................................................................... 76
50. Figure 50: Henrik’s and Martin’s Formal Costume .................................................... 76
51. Figure 51: Dark Lighting ............................................................................................ 78
52. Figure 52: Bright Lighting .......................................................................................... 78
53. Figure 53: Straight Angle ............................................................................................ 79
54. Figure 54: High Angle ................................................................................................ 79
55. Figure 55: Low Angle ................................................................................................. 79
56. Figure 56: Exteme Long Shot .................................................................................... 80
57. Figure 57: Long Shot ................................................................................................... 80
58. Figure 58: Medium Long Shot .................................................................................. 80
59. Figure 59: Medium Shot ............................................................................................. 80
60. Figure 60: Medium Close-Up ................................................................................... 80
61. Figure 61: Close-Up ................................................................................................... 80
62. Figure 62: Extreme Close-Up ..................................................................................... 81
63. Figure 63: Axis of Action 1 ......................................................................................... 83
64. Figure 64: Axis of Action 2 ......................................................................................... 83
65. Figure 65: Establishing Shot 1 ................................................................................... 83
66. Fgure 66: Establishing Shot 2 ................................................................................... 83
67. Figure 67: A Reverse Shot 1 ....................................................................................... 84
68. Figure 68: A Reverse Shot 2 ....................................................................................... 84
xv
69. Figure 69: Reestablishing Shot 1 ................................................................................. 85
70. Figure 70: Reestablishing Shot 2 ................................................................................ 85
71. Figure 71: Match on Action 1 ..................................................................................... 85
72. Figure 72: Match on Action 2 ..................................................................................... 85
73. Figure 73: Cross Cutting 1 .......................................................................................... 86
74. Figure 74: Cross Cutting 2 .......................................................................................... 86
xvi
ABSTRACT
MIA MIDIANTI NURMALIA, A. 320 090 294. SUPERWOMAN
REFLECTED IN DAVID FINCHER‟S THE GIRL WITH THE DRAGON
TATTOO MOVIE (2011): AN AMAZON FEMINISM PERSPECTIVE.
RESEARCH
PAPER.
MUHAMMADIYAH
UNIVERSITY
OF
SURAKARTA. 2013.
This study is aimed to show Lisbeth’s superwoman act in The Girl with the Dragon
Tattoo movie by using amazon feminism perspective. It is done by establishing two
objectives: the first is analyzing the movie based on its structural elements and the
second is analyzing the movie based on the amazon feminism perspective.
This research is descriptive qualitative research. Type of data of the study is text
and image taken from two data sources: primary and secondary. The primary data
source is The Girl with the Dragon Tattoo movie directed by David Fincher
released in 2011. While the secondary data sources are other materials taken from
books, journals, and internet related to the study. Both data are collected through
library research and analyzed by descriptive analysis.
The study comes to the following conclusions. First, based on the structural
analysis of each elements, it shows that the character and characterization, casting,
plot, setting, point of view, theme, mise-en-scene, cinematography, sound, and
editing are related to each other and form a unity. Second, based on the amazon
feminism perspective reflected in the character and characterization in physical
equality, female power, and heroism, a woman can act as a superwoman in her life.
Keywords: Superwoman, The Girl with the Dragon Tattoo, Amazon Feminism
Approach.
xvii