WOMAN LEADERSHIP REFLECTED IN PHYLLIDA LLOYD’S Woman Leadership Reflected In Phyllida Lloyd’s The Iron Lady Movie (2011): A Feminist Approach.
WOMAN LEADERSHIP REFLECTED IN PHYLLIDA LLOYD’S
THE IRON LADY MOVIE (2011):
A FEMINIST APPROACH
RESEARCH PAPER
Submitted as Partial Fulfillment of the Requirements
for Getting bachelor degree of Education
in English Department
by
DESI ANTRI ASTUTI
A320090152
SCHOOL OF TEACHER TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2013
ii
iii
iv
MOTTO
H a ppi n ess i s n o t h a vi n g w h a t yo u w a n t ,
bu t en jo yi n g w h a t yo u h a ve .
( D esi An w a r )
Th e best w a y t o fi n d yo u r sel f i s t o l o se yo u r sel f
i n t h e ser vi ce o f o t h er s.
( Ma h a t m a Ga n d h i )
D o n ’t ju st pl a n so m et h i n g
bu t d o so m et h i n g !
( Th e Resea r ch er )
v
DEDICATION
This research paper is dedicated to:
M y i n spi r a t i on a l wom a n i n t h e wor l d “I BU K”
a n d m y h er o “BAPAK”
M y bel oved si st er s “M ba k An a ” a n d “M ba k Li a ”
vi
ACKNOWLEDGMENT
Thanks to Allah SWT who always gives mercies and blessings to the
researcher with health and power to finish this research. Peace and salutation are
also given to our prophet Muhammad SAW who has guided us from the darkness
to the brightness. The success would not be achieved without the help and support
from many peoples during c onducting and finishing the research paper. Therefore,
the researcher wants to express her special gratitude and appreciation to the
following people:
1. Dr. Phil. Dewi Candraningrum, S.Pd, M. Ed., as the first consultant
who always gives guidance, advices, supports, discussion, and also
corrections, in conducting this research paper.
2. Drs. H. Abdillah Nugroho, M. Hum., as the second consultant for the
willingness in 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. Her beloved parents, Ibuk Ngadinah and Bapak Suyitno, the reason that
makes the resea rcher survive as the person who never gives up.
vii
5. Her beloved sisters, Mbak Ana and Mbak Lia, thanks for the support,
sacrifice, and the love.
6. Her brother in law, Abang Rio and Abang Didik, and her nieces Olel and
Aya, for all cutes, laughs, they have been making her life becomes
sweeter.
7. Her new family, Anis, Hani, Nisa, Arni, Riska, Nita, thanks for the love,
smile, laugh, tears, and the place for her to share everything.
8. Her great lovely friends, Niken, Nitta, Eza, Ayuk , Nisa, Relis, for the
meaningful friendship, sweet memory, and loyalty to grow up together.
9. All members of Gendhis Theatre , for togetherness, cooperation, and great
discussion partner.
10. Her partners in PPL SMP Muhammadiyah 1 Surakarta (SIMPON)
who has been the great friendship ever.
11. Ocha, Susy, and Deka, her new partners in conducting this research for
fighting together to complete this research paper.
12. Her dearest friends in English Department ’09 for all craziness,
togetherness, support, and beautiful moments during studying in UMS.
13. Her grateful moment in Griya Kupu Solo with Pritta, Mikhdad,
Wanda, Melva, Sarah, and Pritta’s family and all volunteers. They are
real butterfly in my life.
14. The Leppy, Prambors Radio, and the playlist which have been
accompanying her in every single day.
viii
15. 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 writer 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,
March 2013
Desi Antri Astuti
ix
TABLE OF CONTENT
TITLE..............................................................................................................
i
APPROVAL....................................................................................................
ii
ACCEPTANCE ..............................................................................................
iii
TESTIMONY .................................................................................................
iv
MOTTO...........................................................................................................
v
DEDICATION ................................................................................................
vi
ACKNOWLEDGMENT................................................................................
vii
TABLE OF CONTENT .................................................................................
x
LIST OF FIGURE..........................................................................................
xv
ABSTRACT .................................................................................................... xviii
CHAPTER I:
CHAPTER II:
INTRODUCTION
A. Background of the Study...................................................
1
B. Previous Study...................................................................
6
C. Problem Statement.............................................................
6
D. Limitation of Study ...........................................................
6
E. Objective of the Study .......................................................
6
F. Benefit of the Study ...........................................................
7
G. Research Method..............................................................
7
H. Research Paper Organization ............................................
9
UNDERLYING THEORY
A. Notion of Feminism.........................................................
x
10
B. Major Principle of Feminism...........................................
13
1. Women’s Position .......................................................
13
2. Women’s Right ...........................................................
14
3. Women’s Role .............................................................
15
4. Women’s Participation ................................................
15
C. Woman’s Leadership .......................................................
16
D. Type s of Leadership ........................................................
17
1. Transformational Leadership ......................................
17
a. The Model of Transformational Leadership .............
18
b. The Transformational Leadership Factors ...............
18
2. Transactional Leadership ............................................
20
a. The Model of Transactional Leadership ...................
20
b. The Transactional Leadership Factors ......................
21
E. Structural Element of the Movie .....................................
21
1. Narrative Element .......................................................
22
a. Character and Characterization .................................
22
b. Plot ............................................................................
22
c. Setting .......................................................................
24
d. Point of View ............................................................
24
e. Theme .......................................................................
25
2. Technical Element .......................................................
25
a. Mise-en-Scene...........................................................
25
b. Casting ......................................................................
28
xi
CHAPTER III:
c. Cinematography ........................................................
29
d. Sound ........................................................................
33
e. Editing.......................................................................
33
F. Theoretical Application ...................................................
35
SOCIAL BACKGROUND OF ENGLISH IN THE
EARLY TWENTY FIRST CENTURY
CHAPTER IV:
A. Aspect of Social Background..........................................
36
1. Social Aspect...............................................................
36
2. Cultural Aspect............................................................
39
3. Economic Aspect.........................................................
43
4. Political Aspect ..........................................................
44
5. Science and Technology Progression..........................
46
6. Religious Aspect .........................................................
47
B. Women’s Condition ........................................................
48
C. The Life of Phyllida Lloyd..............................................
51
STRUCTURAL ANALYSIS
A. Narrative Element ...........................................................
53
1. Character and Characterization ...................................
53
a. Major Character ........................................................
53
b. Minor Character ........................................................
59
2. Plot ..............................................................................
64
a. Exposition of the Beginning .....................................
65
b. Middle .......................................................................
65
xii
c. End ............................................................................
66
3. Setting………..............................................................
66
a. Setting of Time .........................................................
67
b. Setting of Place .........................................................
68
4. Point of View ..............................................................
70
5. Theme ..........................................................................
70
B. Technical Element ...........................................................
71
1. Mise-en-Scene .............................................................
71
a. Set Dressing and Props .............................................
71
b. Costumes and Make-Up ...........................................
73
c. Lighting .....................................................................
75
2. Casting .........................................................................
76
3. Cinematography ..........................................................
77
a. Photographic Quality of the Shot..............................
77
b. Framing of the Shot ..................................................
78
c. Duration of the Shot ..................................................
82
4. Sound...........................................................................
83
5. Editing .........................................................................
83
a. Axis of Action or the 180’ Line ................................
84
b. Establishing Shot ......................................................
84
c. A Reverse Shot .........................................................
85
d. Reestablishing Shot ..................................................
85
e. Match on Action .......................................................
86
xiii
CHAPTER V:
CHAPTER VI:
f. Cross Cutting .............................................................
86
C. Discussion ......................................................................
86
FEMINIST ANALYSIS
A. Feminist Perspective Analysis ...................................
92
1. Women’s Position .....................................................
92
2. Women’s Role ..........................................................
96
3. Women’s Participation .............................................
99
4. Women’s Right .........................................................
101
B. Woman’s Leadership Analysis ...................................
104
1. Characteristic of Woma n’s Leadership ....................
104
2. Transformational Leadership Style ..........................
108
C. Discussion...................................................................
113
CONCLUSION AND SUGGESTION
A. Conclusion..................................................................
117
B. Educational Implication..............................................
118
C. Suggestion ..................................................................
119
BYBLIOGRAPHY.........................................................................................
VIRTUAL REFERENCE..............................................................................
APPENDIX .....................................................................................................
SYNOPSIS ......................................................................................................
xiv
LIST OF FIGURE
Page
Figure 1: Young Margaret Thatcher............................................................
54
Figure 2: Old Margaret Thatcher.................................................................
54
Figure 3: Young Margaret Thatcher............................................................
54
Figure 4: Margaret Thatcher as Prime Education Minister......................
54
Figure 5: Young Denis Thatcher...................................................................
57
Figure 6: Old Denis Thatcher.......................................................................
57
Figure 7: Albert Roberts................................................................................
59
Figure 8: Beatrice Roberts ............................................................................
60
Figure 9: Carol Thatcher...............................................................................
61
Figure 10: Airey Neave ..................................................................................
62
Figure 11: Gordon Reece ...............................................................................
63
Figure 12: Geoffrey........................................................................................
64
Figure 13: The Poster of Margaret Thatcher..............................................
67
Figure 14: Ireland’s Crisis.............................................................................
67
Figure 15: The Time Newspaper...................................................................
67
Figure 16: Margaret Thatcher at Shop ........................................................
68
Figure 17: Dining Room ................................................................................
69
Figure 18: Bedroom .......................................................................................
69
Figure 19: House of Common .......................................................................
69
xv
Figure 20: Number 10 Downing Street ........................................................
70
Figure 21: The Time Newspaper...................................................................
72
Figure 22: The Book “NORMA” ..................................................................
72
Figure 23: The Car .........................................................................................
72
Figure 24: A Set of Tableware ......................................................................
73
Figure 25: Margaret’s Costume in Daily Life .............................................
73
Figure 26: Young Margaret Thatcher Formal Clothes..............................
73
Figure 27: Old Margaret That cher Appearance .........................................
74
Figure 28: Margaret Appearance in Parliament.........................................
74
Figure 29: Margaret as Prime Minister.......................................................
74
Figure 30: Formal Clothes.............................................................................
74
Figure 31: The Jewelry ..................................................................................
74
Figure 32: Margaret Thatcher Make-Up Appearance ...............................
74
Figure 33: Robert’s Grocer (Outdoor Scene)..............................................
75
Figure 34: The Use of Lamps in the Dining Room......................................
75
Figure 35: The Use of Lamps in Bedroom...................................................
75
Figure 36: The Past Time Appearance .........................................................
78
Figure 37: Long Shot Appearance ................................................................
78
Figure 38: Medium Shot Appearance ..........................................................
79
Figure 39: Close-Up Appearance..................................................................
79
Figure 40: Low-Angle Shot Appearance ......................................................
80
Figure 41: High-Angle Shot Appearance .....................................................
80
Figure 42: Eye -Level Shot Appearance.......................................................
81
xvi
Figure 43: Bird’s -Eye View...........................................................................
81
Figure 44: Oblique Shot (Dutch Angle) .......................................................
82
Figure 45: Point-of-View Shot Appearance .................................................
82
Figure 46: Axis of Action Appearance .........................................................
84
Figure 47: Establishing Shot Appearance....................................................
84
Figure 48: A Reverse Shot Appearance .......................................................
85
Figure 49: Reestablishing Shot Process........................................................
85
Figure 50: Match on Action Appearance .....................................................
86
Figure 51: Cross and Cutting Process ..........................................................
86
xvii
ABSTRACT
DESI ANTRI ASTUTI. A320 090 152. WOMAN LEADERSHIP
REFLECTED IN PHYLLIDA LLOYD’S THE IRON LADY MOVIE (2011):
A FEMINIST APPROACH. RESEARCH PAPER. MUHAMMADIYAH
UNIVERSITY OF SURAKARTA. 2013.
The major problem of this study is how woman leadership are reflected in
Phyllida lloyd’s The Iron lady movie (2011). The study is aimed 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 Iron Lady movie by Phyllida Lloyd. This study
belongs to descriptive qualitative research. There are two types of data source.
First, the primary data is The Iron Lady movie that was released in 2011 and the
secondary data are books or any information relation to the practice of woman
leadership that support the feminist approach. Both data are collected through
library research and analyzed by descriptive analysis.
Based on the analysis, the researcher draws the following conclusions. First,
based on the structura l analysis of each element, 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. Second, based on
the feminist analysis, the woman’s position, woman’s role, woman’s right, and
woman’s participation are reflected in Margaret Thatcher’s life. All of them
involved in the process of Margaret Thatcher becoming a leader. Third, Margaret
Thatcher fulfills the characteristic of woman leadership that can be considered as
transformational leader.
Keywords: Woman Leadership, The Iron Lady, Feminist Approach
Consultant I
Consultant II
Dr. P hil. Dewi Candraningrum, S.P d, M.Ed.
NIK. 772
Drs. H. Abdillah Nugroho, M. Hum.
NIK. 589
Dean,
Drs. H. Sofyan Anif, M.S i.
NIK. 547
xviii
THE IRON LADY MOVIE (2011):
A FEMINIST APPROACH
RESEARCH PAPER
Submitted as Partial Fulfillment of the Requirements
for Getting bachelor degree of Education
in English Department
by
DESI ANTRI ASTUTI
A320090152
SCHOOL OF TEACHER TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2013
ii
iii
iv
MOTTO
H a ppi n ess i s n o t h a vi n g w h a t yo u w a n t ,
bu t en jo yi n g w h a t yo u h a ve .
( D esi An w a r )
Th e best w a y t o fi n d yo u r sel f i s t o l o se yo u r sel f
i n t h e ser vi ce o f o t h er s.
( Ma h a t m a Ga n d h i )
D o n ’t ju st pl a n so m et h i n g
bu t d o so m et h i n g !
( Th e Resea r ch er )
v
DEDICATION
This research paper is dedicated to:
M y i n spi r a t i on a l wom a n i n t h e wor l d “I BU K”
a n d m y h er o “BAPAK”
M y bel oved si st er s “M ba k An a ” a n d “M ba k Li a ”
vi
ACKNOWLEDGMENT
Thanks to Allah SWT who always gives mercies and blessings to the
researcher with health and power to finish this research. Peace and salutation are
also given to our prophet Muhammad SAW who has guided us from the darkness
to the brightness. The success would not be achieved without the help and support
from many peoples during c onducting and finishing the research paper. Therefore,
the researcher wants to express her special gratitude and appreciation to the
following people:
1. Dr. Phil. Dewi Candraningrum, S.Pd, M. Ed., as the first consultant
who always gives guidance, advices, supports, discussion, and also
corrections, in conducting this research paper.
2. Drs. H. Abdillah Nugroho, M. Hum., as the second consultant for the
willingness in 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. Her beloved parents, Ibuk Ngadinah and Bapak Suyitno, the reason that
makes the resea rcher survive as the person who never gives up.
vii
5. Her beloved sisters, Mbak Ana and Mbak Lia, thanks for the support,
sacrifice, and the love.
6. Her brother in law, Abang Rio and Abang Didik, and her nieces Olel and
Aya, for all cutes, laughs, they have been making her life becomes
sweeter.
7. Her new family, Anis, Hani, Nisa, Arni, Riska, Nita, thanks for the love,
smile, laugh, tears, and the place for her to share everything.
8. Her great lovely friends, Niken, Nitta, Eza, Ayuk , Nisa, Relis, for the
meaningful friendship, sweet memory, and loyalty to grow up together.
9. All members of Gendhis Theatre , for togetherness, cooperation, and great
discussion partner.
10. Her partners in PPL SMP Muhammadiyah 1 Surakarta (SIMPON)
who has been the great friendship ever.
11. Ocha, Susy, and Deka, her new partners in conducting this research for
fighting together to complete this research paper.
12. Her dearest friends in English Department ’09 for all craziness,
togetherness, support, and beautiful moments during studying in UMS.
13. Her grateful moment in Griya Kupu Solo with Pritta, Mikhdad,
Wanda, Melva, Sarah, and Pritta’s family and all volunteers. They are
real butterfly in my life.
14. The Leppy, Prambors Radio, and the playlist which have been
accompanying her in every single day.
viii
15. 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 writer 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,
March 2013
Desi Antri Astuti
ix
TABLE OF CONTENT
TITLE..............................................................................................................
i
APPROVAL....................................................................................................
ii
ACCEPTANCE ..............................................................................................
iii
TESTIMONY .................................................................................................
iv
MOTTO...........................................................................................................
v
DEDICATION ................................................................................................
vi
ACKNOWLEDGMENT................................................................................
vii
TABLE OF CONTENT .................................................................................
x
LIST OF FIGURE..........................................................................................
xv
ABSTRACT .................................................................................................... xviii
CHAPTER I:
CHAPTER II:
INTRODUCTION
A. Background of the Study...................................................
1
B. Previous Study...................................................................
6
C. Problem Statement.............................................................
6
D. Limitation of Study ...........................................................
6
E. Objective of the Study .......................................................
6
F. Benefit of the Study ...........................................................
7
G. Research Method..............................................................
7
H. Research Paper Organization ............................................
9
UNDERLYING THEORY
A. Notion of Feminism.........................................................
x
10
B. Major Principle of Feminism...........................................
13
1. Women’s Position .......................................................
13
2. Women’s Right ...........................................................
14
3. Women’s Role .............................................................
15
4. Women’s Participation ................................................
15
C. Woman’s Leadership .......................................................
16
D. Type s of Leadership ........................................................
17
1. Transformational Leadership ......................................
17
a. The Model of Transformational Leadership .............
18
b. The Transformational Leadership Factors ...............
18
2. Transactional Leadership ............................................
20
a. The Model of Transactional Leadership ...................
20
b. The Transactional Leadership Factors ......................
21
E. Structural Element of the Movie .....................................
21
1. Narrative Element .......................................................
22
a. Character and Characterization .................................
22
b. Plot ............................................................................
22
c. Setting .......................................................................
24
d. Point of View ............................................................
24
e. Theme .......................................................................
25
2. Technical Element .......................................................
25
a. Mise-en-Scene...........................................................
25
b. Casting ......................................................................
28
xi
CHAPTER III:
c. Cinematography ........................................................
29
d. Sound ........................................................................
33
e. Editing.......................................................................
33
F. Theoretical Application ...................................................
35
SOCIAL BACKGROUND OF ENGLISH IN THE
EARLY TWENTY FIRST CENTURY
CHAPTER IV:
A. Aspect of Social Background..........................................
36
1. Social Aspect...............................................................
36
2. Cultural Aspect............................................................
39
3. Economic Aspect.........................................................
43
4. Political Aspect ..........................................................
44
5. Science and Technology Progression..........................
46
6. Religious Aspect .........................................................
47
B. Women’s Condition ........................................................
48
C. The Life of Phyllida Lloyd..............................................
51
STRUCTURAL ANALYSIS
A. Narrative Element ...........................................................
53
1. Character and Characterization ...................................
53
a. Major Character ........................................................
53
b. Minor Character ........................................................
59
2. Plot ..............................................................................
64
a. Exposition of the Beginning .....................................
65
b. Middle .......................................................................
65
xii
c. End ............................................................................
66
3. Setting………..............................................................
66
a. Setting of Time .........................................................
67
b. Setting of Place .........................................................
68
4. Point of View ..............................................................
70
5. Theme ..........................................................................
70
B. Technical Element ...........................................................
71
1. Mise-en-Scene .............................................................
71
a. Set Dressing and Props .............................................
71
b. Costumes and Make-Up ...........................................
73
c. Lighting .....................................................................
75
2. Casting .........................................................................
76
3. Cinematography ..........................................................
77
a. Photographic Quality of the Shot..............................
77
b. Framing of the Shot ..................................................
78
c. Duration of the Shot ..................................................
82
4. Sound...........................................................................
83
5. Editing .........................................................................
83
a. Axis of Action or the 180’ Line ................................
84
b. Establishing Shot ......................................................
84
c. A Reverse Shot .........................................................
85
d. Reestablishing Shot ..................................................
85
e. Match on Action .......................................................
86
xiii
CHAPTER V:
CHAPTER VI:
f. Cross Cutting .............................................................
86
C. Discussion ......................................................................
86
FEMINIST ANALYSIS
A. Feminist Perspective Analysis ...................................
92
1. Women’s Position .....................................................
92
2. Women’s Role ..........................................................
96
3. Women’s Participation .............................................
99
4. Women’s Right .........................................................
101
B. Woman’s Leadership Analysis ...................................
104
1. Characteristic of Woma n’s Leadership ....................
104
2. Transformational Leadership Style ..........................
108
C. Discussion...................................................................
113
CONCLUSION AND SUGGESTION
A. Conclusion..................................................................
117
B. Educational Implication..............................................
118
C. Suggestion ..................................................................
119
BYBLIOGRAPHY.........................................................................................
VIRTUAL REFERENCE..............................................................................
APPENDIX .....................................................................................................
SYNOPSIS ......................................................................................................
xiv
LIST OF FIGURE
Page
Figure 1: Young Margaret Thatcher............................................................
54
Figure 2: Old Margaret Thatcher.................................................................
54
Figure 3: Young Margaret Thatcher............................................................
54
Figure 4: Margaret Thatcher as Prime Education Minister......................
54
Figure 5: Young Denis Thatcher...................................................................
57
Figure 6: Old Denis Thatcher.......................................................................
57
Figure 7: Albert Roberts................................................................................
59
Figure 8: Beatrice Roberts ............................................................................
60
Figure 9: Carol Thatcher...............................................................................
61
Figure 10: Airey Neave ..................................................................................
62
Figure 11: Gordon Reece ...............................................................................
63
Figure 12: Geoffrey........................................................................................
64
Figure 13: The Poster of Margaret Thatcher..............................................
67
Figure 14: Ireland’s Crisis.............................................................................
67
Figure 15: The Time Newspaper...................................................................
67
Figure 16: Margaret Thatcher at Shop ........................................................
68
Figure 17: Dining Room ................................................................................
69
Figure 18: Bedroom .......................................................................................
69
Figure 19: House of Common .......................................................................
69
xv
Figure 20: Number 10 Downing Street ........................................................
70
Figure 21: The Time Newspaper...................................................................
72
Figure 22: The Book “NORMA” ..................................................................
72
Figure 23: The Car .........................................................................................
72
Figure 24: A Set of Tableware ......................................................................
73
Figure 25: Margaret’s Costume in Daily Life .............................................
73
Figure 26: Young Margaret Thatcher Formal Clothes..............................
73
Figure 27: Old Margaret That cher Appearance .........................................
74
Figure 28: Margaret Appearance in Parliament.........................................
74
Figure 29: Margaret as Prime Minister.......................................................
74
Figure 30: Formal Clothes.............................................................................
74
Figure 31: The Jewelry ..................................................................................
74
Figure 32: Margaret Thatcher Make-Up Appearance ...............................
74
Figure 33: Robert’s Grocer (Outdoor Scene)..............................................
75
Figure 34: The Use of Lamps in the Dining Room......................................
75
Figure 35: The Use of Lamps in Bedroom...................................................
75
Figure 36: The Past Time Appearance .........................................................
78
Figure 37: Long Shot Appearance ................................................................
78
Figure 38: Medium Shot Appearance ..........................................................
79
Figure 39: Close-Up Appearance..................................................................
79
Figure 40: Low-Angle Shot Appearance ......................................................
80
Figure 41: High-Angle Shot Appearance .....................................................
80
Figure 42: Eye -Level Shot Appearance.......................................................
81
xvi
Figure 43: Bird’s -Eye View...........................................................................
81
Figure 44: Oblique Shot (Dutch Angle) .......................................................
82
Figure 45: Point-of-View Shot Appearance .................................................
82
Figure 46: Axis of Action Appearance .........................................................
84
Figure 47: Establishing Shot Appearance....................................................
84
Figure 48: A Reverse Shot Appearance .......................................................
85
Figure 49: Reestablishing Shot Process........................................................
85
Figure 50: Match on Action Appearance .....................................................
86
Figure 51: Cross and Cutting Process ..........................................................
86
xvii
ABSTRACT
DESI ANTRI ASTUTI. A320 090 152. WOMAN LEADERSHIP
REFLECTED IN PHYLLIDA LLOYD’S THE IRON LADY MOVIE (2011):
A FEMINIST APPROACH. RESEARCH PAPER. MUHAMMADIYAH
UNIVERSITY OF SURAKARTA. 2013.
The major problem of this study is how woman leadership are reflected in
Phyllida lloyd’s The Iron lady movie (2011). The study is aimed 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 Iron Lady movie by Phyllida Lloyd. This study
belongs to descriptive qualitative research. There are two types of data source.
First, the primary data is The Iron Lady movie that was released in 2011 and the
secondary data are books or any information relation to the practice of woman
leadership that support the feminist approach. Both data are collected through
library research and analyzed by descriptive analysis.
Based on the analysis, the researcher draws the following conclusions. First,
based on the structura l analysis of each element, 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. Second, based on
the feminist analysis, the woman’s position, woman’s role, woman’s right, and
woman’s participation are reflected in Margaret Thatcher’s life. All of them
involved in the process of Margaret Thatcher becoming a leader. Third, Margaret
Thatcher fulfills the characteristic of woman leadership that can be considered as
transformational leader.
Keywords: Woman Leadership, The Iron Lady, Feminist Approach
Consultant I
Consultant II
Dr. P hil. Dewi Candraningrum, S.P d, M.Ed.
NIK. 772
Drs. H. Abdillah Nugroho, M. Hum.
NIK. 589
Dean,
Drs. H. Sofyan Anif, M.S i.
NIK. 547
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