THE HYBRIDIZATION OF MASCULINITY IN G-DRAGON’S CRAYON MOVIE VIDEO: A SEMIOTICS ANALYSIS Repository - UNAIR REPOSITORY
THE HYBRIDIZATION OF MASCULINITY IN G- DRAGON’S CRAYON MOVIE VIDEO: A SEMIOTICS ANALYSIS A THESIS By: Nur Fita Sari 121112076 ENGLISH DEPARTMENT FACULTY OF HUMANITIES UNIVERSITAS AIRLANGGA SURABAYA 2016 ii
THE HYBRIDIZATION OF MASCULINITY IN G- DRAGON’S CRAYON MOVIE VIDEO: A SEMIOTICS ANALYSIS A THESIS
Submitted as Partial Fulfillment of the Requirements for the Sarjana Degree of English Department Faculty of Humanities
Universitas Airlangga Surabaya
By: Nur Fita Sari
Student Number: 121112076 ENGLISH DEPARTMENT FACULTY OF HUMANITIES UNIVERSITAS AIRLANGGA SURABAYA
2016
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v This Thesis is dedicated to my Parents and Families
ACKNOWLEDGEMENT
First of all I would like to thank my God, Allah SWT as my Guardian to always bless and strengthen me in finishing my thesis eventhough there are many obstacles I have to deal with. Second, I would like to thank my family, especially my dearest mom, dad, and the cutiest little brother for their support and critics during the finishing of my thesis. Also, for my lovely grandmother, thank you for your prayers until I can finish my thesis on time.
I want to say thank you to my smartest woman I have ever met, my dear thesis advisor, Dra. Nur Wulan, P. Hd., who taught me to become a good researcher, and I hope my thesis would not disappoint you. A big thanks also shouts out for Mrs. Nurul Fitri Hapsari, M.A., for giving me a lot of advices in semiotics analysis.
The whole lots of thanks I would like to give to my dearest one in my entire college life and hoping until the rest of my life, Brian Fajar Mauladhika a.k.a Bear as all my college
‟s friends call him. Thank you for always accompany me in doing my thesis, thank you for your complains, and help me finish my thesis as we are having the same topic and theory. Thank you for your biggest support when I am at the lowest point, you always give me courage. I hope both of us would get the best score.
A bunch of thanks I would like to say to my very closest friends who always support me and give me all their best, for my dearest Silvia Rizky, Qurrota A‟yunin, Azmi Kartikasari, Tiya Kaycha Diba, Aulia Dian Safitri a.k.a Lullie, Zahrina Qurrota A‟yun and Novita Dewi Safitri. Without you, I am just a lazy girl who would not ever touch my thesis. See you on top my pretty ladies, I love you all.
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Surabaya, 5 January 2016 Nur Fita Sari viii ix
Live Fast Die Young
Norah Jones
TABLE OF CONTENTS
Inside Cover Page .................................................................................................... i Inside Title Page ..................................................................................................... ii Declaration Page .................................................................................................... iv Dedication Page ....................................................................................................... v Advisor Approval Page ......................................................................................... vi Examiner Approval Page ..................................................................................... vii Acknowledgement ............................................................................................... viii Epigraph ................................................................................................................ ix Table of Contents .................................................................................................... x List of Figures ..................................................................................................... xiii Abstract ............................................................................................................... xiv
CHAPTER 1: INTRODUCTION ........................................................................... 1
1.1 Backgroud of the Study ..................................................................................... 1
1.2 Statement of the Problem .................................................................................. 7
1.3 Objective of the Study ....................................................................................... 7
1.4 Significance of the Study .................................................................................. 7
1.5 Definition of Key Terms ................................................................................... 8
CHAPTER 2: LITERATURE REVIEW .............................................................. 10
2.1 New Man and New Lad .................................................................................. 10
2.1.1 New Man as Nurturer ............................................................................. 11
2.1.2 New Man as Narcissist ............................................................................ 12 x
2.1.3 New Lad .............................................................................................. ...13
2.2 Asian Masculinity ........................................................................................... 14
2.3 Semiotics ......................................................................................................... 17
2.3.1 Linguistic Message ................................................................................ 18
2.3.2 The Non-Coded Iconic Message ............................................................ 18
2.3.3 The Coded Iconic Message .................................................................... 18
2.3.4 Myth ....................................................................................................... 19
2.4 Related Studies ................................................................................................ 19
CHAPTER 3: METHOD OF THE STUDY ......................................................... 23
3.1 Research Approach ......................................................................................... 23
3.2 Data Source ..................................................................................................... 24
3.3 Technique of Data Collection ......................................................................... 25
3.4 Technique of Data Analysis ............................................................................ 25
CHAPTER 4: ANALYSIS .................................................................................... 27
4.1 Finding ............................................................................................................ 27
4.1.1 Linguistic Message of Crayon‟s Lyric ................................................... 27
4.1.2 The First Selected Scene of Crayon Movie Video ................................. 32
4.1.3 The Second Selected Scene of Crayon Movie Video ............................ 52
4.1.4 The Third Selected Scene of Crayon Movie Video ............................... 62
4.2 Interpretation ................................................................................................... 73
4.2.1 Dominant Masculinity Form Represented in Crayon Movie Video ...... 73
4.2.2 The Ambivalence of Masculinity in G- Dragon‟s „Crayon‟ ................... 76
4.2.3 The Representation of Masculinity by G-Dragon in
„Crayon‟ .............. 79 xi
CHAPTER 5: CONCLUSION .............................................................................. 82
5.1 Conclusion ...................................................................................................... 82
5.2 Suggestion for Further Research ..................................................................... 83 WORKS CITED ................................................................................................... 84
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LIST OF FIGURES
Figure 1.1 ................................................................................................................ 2Figure 1.2 ................................................................................................................ 4Figure 4.1 .............................................................................................................. 32Figure 4.2 .............................................................................................................. 34Figure 4.3 .............................................................................................................. 38Figure 4.4 .............................................................................................................. 42Figure 4.5 .............................................................................................................. 42Figure 4.6 .............................................................................................................. 52Figure 4.7 .............................................................................................................. 53Figure 4.8 .............................................................................................................. 54Figure 4.9 .............................................................................................................. 57Figure 4.10 ............................................................................................................ 59Figure 4.11 ............................................................................................................ 62Figure 4.12 ............................................................................................................ 62Figure 4.13 ............................................................................................................ 63Figure 4.14 ............................................................................................................ 65Figure 4.15 ............................................................................................................ 72xiii
ABSTRACT
Nowadays, the form of masculinity is shifting from the more patriarchal to the more pro-feminist masculinity since men nowadays pay more attention to their appearance. Korean male artists always wear make-up on their face and color their hair like female does. Today‟s form of masculinity could be nurturing and narcissist. This study aims to examine how masculinity is represented by Korean male artist. This study also explores the intersection between New Lad theory and New Man theory in K-Pop movie video represented by G-Dragon. In this study, the author uses qualitative approach to gain a deeper analysis from the data in descriptive words. Qualitative approach matches very well with this study because the author would use in-depth analysis by using semiotics by Roland Barthes to gain the data from the movie video. From the data, the author uses purposive sampling which are the three selected scenes of the movie video entitled Crayon by G-Dragon. From the study, the author finds that New Lad form of masculinity is more dominant in this movie video than the New Man masculinity. In the movie video, G-Dragon looks so rebellious and does violence towards women. In some scenes, it is clearly seen that he shows his masculine skills more than his fashion styles. Therefore, even though Korean male artists always pay attention to their appearance like most of women, it does not mean that they treat women well. In this study, it is proven that female is still being dominated by male. Keywords: masculinity, new man, new lad, k-pop, gender
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