CONSUMING GENDER AND DISABILITY IN INDONESIAN FILM

Novi Kurnia Departemen Ilmu Komunikasi Fisipol Universitas Gadjah Mada, Jalan Sosio Yusticia Bulaksumur Yogyakarta 55281, No. Hp. +628169413961, Email: [email protected]

Abstract This study aims to examine the film audience reception on gender and disabilities representation towards What We Don’t Talk About When We Talk About Love (Yang Tidak Dibicarakan Ketika Membicarakan Cinta, 2013). This film directed by a prominent Indonesian woman , , and produced in 2013. Such audience study is very important in the scholarship of women and Indonesian films dominated by studies on women representation in the film and women filmmakers. Employing reception analysis based on Stuart Hall’s work, this study involves six Indonesian students as informant of a series of in-depth interviews. The study finds that the personal experiences and knowledge of informants, as well as their film habits, butnottheir gender, influences their interpretation toward the issue of gender and disabilities in the film.

Keywords: gender, disability, film audience, reception, women director

Abstrak Penelitian ini bertujuan untuk mengetahui pemaknaan penonton film terhadap representasi gender dan kaum difabel yang terdapat dalam film What We Don’t Talk About When They Talk About Love (Yang Tidak Dibicarakan Ketika Membicarakan Cinta, 2013). Film ini disutradarai oleh salah satu sutradara perempuan terkemuka , Mouly Surya, dan diproduksi pada tahun 2013. Penelitian mengenai penonton film ini sangat penting dalam kajian perempuan dan film Indonesia yang didominasi oleh beragam penelitian mengenai representasi perempuan di film dan pekerja film perempuan. Dengan menggunakan analisis resepsi hasil karya Stuart Hall, penelitian ini melibatkan enam informan dari serangkaian wawancara mendalam. Hasil penelitian ini menunjukkan bahwa pengalaman dan pengetahuan pribadi serta kebiasaan menonton film informan, bukan gender, mempengaruhi pemaknaan mereka terhadap persoalan gender dan kaum difabel di film.

Kata kunci: gender, kaum difabel, penonton film, resepsi, sutradara perempuan

Introduction Those six quotes are the answers of six

“Love. Disabilities.Beautiful.” (Dara, informants I interviewed for a film reception interview, 12 September 2014) study when I asked them to spontaneously “Disabilities. Simple. Love. (Bagus, interview, mention three keywords regarding What 12 September 2014) They Don’t Talk About When They Talk “Poetic. Honest. Beautiful.” (Condro, About Love (shortly called Don’t Talk Love). interview, 19 September 2014) The film is the second one directed by Mouly “Unique. Different. Brave.” (Sinta, interview, Surya, a young female director who firstly 19 September 2014) won Citra award, ‘the Indonesian Academy “Beautiful. Realistic. Touching.” (Galih, Award’ for the best director for her first film, interview, 25 September 2014) Fiksi. (2008). Her newest film,Marlina the “Out of the box. Brilliant. Excellent.”(Dewi, Muderer in Four Acts (2017) goes to Cannes interview, 26 September 2014) Film Festival in 2017.

570 Novi Kurnia. Consuming Gender And Disability... 571

The reason why I asked the question is analysis of the audience towards women- to find out the theme which emerges from the directed films is an extension of my doctoral interpretation by the audience towards the research concerning women directors and film. Three popular words appeared, those their films in the context of the post-New are: ‘love’, ‘disabilities, and ‘beautiful’. Order Indonesian films, where I still have These chosen words could be interpreted not discussed the issues of audience. that the audience considers Don’t Talk Love In the midst of the growing studies on as a film about love among people with women and Indonesian cinema within this disabilities which is presented beautifully. last decade, this study, therefore, is expected The preceding explanation is parts to contribute to filling the particular gaps of the findings in my research, which on audience-related issues. This study will I will discuss in this paper. It aims to focus on two main objectives. The first is elaborate the experiences, understanding to carry out an examination in relation to and interpretation of the audience towards the women director as the film producer, the issues on dissablities, women as well which takes into account who they are and as the film language used by the director their position in the Indonesian cinema to deliver the messages of the film. This (Trimarsanto 2002: para 2; Sen 2005: para. 1; analysis is inseparable from the positions Chaiworaporn 2007: 53; Hughes-Freeland of the film and audience in the era of 2011: 418; Tatyzo 2011: 4; Michalik 2013: media convergence as mentioned by Lisa 20; Kurnia 2013: 33; Kurnia 2014: 87). Cartwright (2002: 7) that in the era of media Secondly, the research will analyse the films convergence, the audience consume films with scripts written by women, in regard to through various forms of media. Aside from various issues, including gender, ethnicity, that, by involving three women and men sexual identities, and polygamy (Kurnia informants, the extent to which the gender 2009: para 54; Imanjaya 2009: para. 13, difference influences the audience reception Moerdjiati 2009: 91; Sulistyani 2010: will also be interrogated. 160; Chin 2012: 138; Monteiro 2013: 57; I put this research as my ‘pilot project’ Paramaditha 2013: 92; Imanjaya & Citra in applying the reception method to gather 2013: 110, Sushartami, 2013:121). information from the informants as film To reach those objectives, this paper audience. I combine the Stuart Hall’s divided into several sections including encoding-decoding concepts as well as the introduction as the first section. In the feminist standpoint theory explained later second section, the research methodology in the section of research method. Despite will be explained, which includes an that the theories thelsemves are not new, explanation on the reception method, personally this particular application of with an elaboration on the data collection the theories would be something new for technique, data processing and analysis me. In my case, this study on reception employed in this research. The third section 572 Jurnal ASPIKOM, Volume 3 Nomor 3, Juli 2017, hlm 570-587 will deal with research findings divided into: by the interraction between the researcher the description of the film Don’t Talk Love and the researched. Within these paradigms, mainly in its position as a ‘woman film’, the researcher will take a role as a facilitator, the conception regarding the film audience who bridge various subjectivities of social in general and specifically regarding the actors who become the participants in his/ six informants involved in this research, her research (Denzin & Lincoln 2000:19). which will be eventually related to who The reception analysis method offers they are and their media-related habits, the three significant points, as Klaus Bruhn understanding on the film in relation to the Jensen (1991) suggests, which are related representation of people with disabilities in to data collection, data analysis and data Don’t Talk Love and the interpretation of interpretation. The first point relates to a the audience towards the representation of data collection from the side of audience, people with disabilities in Don’t Talk Love as which can be carried out through interviews well as towards the film language from the (both individually and in groups); through aspect of cinematography. The final section obeservation (with various degree of will wrap up the analysis and discussion in intensity in the observational perticipation), this paper. and a critical analysis towards texts (over the existing documents and literature). The Research Method second point is regarding the analysis on the As preliminarily discussed, this journal’s interviews conducted for the public or the article is written based on my research film audience based on the message they towards audience of Don’t Talk Love with draw from their experiences watching films. the application of the reception method. The third point emphasizes that the reception This method serves as a practical approach analysis will not strictly distinguish between to analyse media audience, mainly in analysis and interpretation of the public producing and spreading meanings in social over their experiences in consuming media. contexts, where the audience is considered Klaus Bruhn Jensen (2002:161) states to be active in interpreting media text that there are two main data collection (Hagen & Wasko 2000: 8). According to Ido techniques in reception method: partisipating Prijana Hadi (2009:2), the reception method observation and interview which researcher focuses on how the audience as individual can choose or combine. Observation can consumes messages of media through their be used to captive informants or audience experiences as well as understand how the members’ responses to particular narratives messages are processed. and other content elements; while interview This reception method will employ can be utilized to gather informansts qualitative approach, and be within the “introspection, restrospection as well as interpretive and contructivist paradigms. As verbal recollection of their actions, which a result, in this method, the understanding on necessarily reproduce events from a current realities or research findings are produced perspective.” (Jensen 2002:161). Novi Kurnia. Consuming Gender And Disability... 573

In this research, I chose to employ an her collection of cinema tickets, some of in-depth interview method as the primary which she kept in her purse. She did not only data collection. An in-depth interview is frequently watch films on the cinema, but an interview method which is carried out also attended film festivals in Yogyakarta informally, which address open questions or Surakarta. She also had experience to be and sometimes allow spontanous ones to involved in the production of three short be asked. The interview was conducted films, as script continuity supervisor, DOP separately one to another, in order to capture and editor. in-depth personal experiences. I selected Informant 2, Bagus, a male and 23 year six informants in Yogyakarta which has old student was originally from Semarang, limited audience, as the film was screened Central Java. He looked a bit quiet. He only for three days in the public cinemas. stayed in a boarding house in the area of Meanwhile, several other screenings were Pogung Baru. Bagus was not active in carried out once each in Jogja-Netpac any organisation and has no experience Asian Film Festival at the end of 2013 and in attending any film workshop nor film in a limited screening organised by Sintesa production. He loves to watch films he magazine in Gadah Mada Univesity. The copied from internet booths or from his six informants consisted of three male friends. After watching those films, usually and female students from Communication he deleted those films from his private Studies Department, in the Faculty of laptop, due to the harddisk quota limit. Social and Political Sciences, Gadjah Mada Beside watching from his laptop, Bagus University. One requirement they needed also once watched a film in JAFF 2013. to fulfill was to have attended the class on Informant 3, Condro, a male student the subject of Film and Cinematography, and aged 23 was a photo model. He came to examine to what extent they understand from Yogyakarta, and lived with her parents the cinematographical aspects in Don’t Talk in the area of Banguntapan. He was active Love. In this study, pseudonyms was applied in the campus film organisation, Kine Klub to protect informantss confidentiality. Here Komunikasi UGM, and joined LA Indie are the description of the informants: Movie 2013 outside her campus. Desiring Informant 1, Dara, an expressive and to be a director, Condro consistently learnt veiled female student was born in Yogyakarta about film production by joining in short 22 years ago, and lived with their parents. film productions as director and assitant She was active in Kine Klub Komunikasi director. The latest work he was involved in UGM, a student film organisation, and once was a 80-minute long film the title of which attended a workshop on film production. he couldnot share. With a deep passion to She was a ‘movie-freaker’, who always films, he considered that films were the watched films she loved repeatedly. Her media he consumed most. He only watched infatuation to films could be seen from the films in cinemas only at the beginning and 574 Jurnal ASPIKOM, Volume 3 Nomor 3, Juli 2017, hlm 570-587 the end of most years, as usually those two main folders, Asia and Barat ( times were when good films were released. films). He kept himself updated about the Regularly he attended film festivals, such as information regarding film festivals, for JAFF (2011-2013), FFD, and German Film example, JAFF (2010-2013) and French Festival. Aside from that, he also commonly Film Festival. One of his hobby was to read film articles on Totalfilm, Cinemags, collect film tickets since he was in the first and Empire. grade of junior high school in 2004. Informan 4, Sinta, a 22-year-old- Informant 6, Dewi, a 22 year old female female student came from Bali. She lived in and fair-skinned student was born in Bandar a boarding house in the area of Karangwuni. Lampung, and raised in Yogyakarta and still She seldom hung out with friends, and lived with her parents. Among her friends, preferred to spend most of her times in she was knowns as a person who prefers her own room. For her, films is the third to talk directly to the point in discussions, media she consumes most, after TV and avoiding flowery explanation. She was not internet. Usually she watched around one active in any organisation, film workshop, film a day. She usually copied films from or film production. Films are ranked as internet booths or from her friends. She was the fifth media she acceses most, after involved as a volunteer in JAFF 2011 and interner, TV, radio, and newspapers. She JAFF 2012, while in JAFF 2013 she joines loved to watch mini series she often copied fully as audience. She was also active in from internet booths or from her friends. campus film organisation (Kine Klub) and After being watched, if some films were joined in two film productions as Assistant considered as good, she would keep them Art Director and DOP. in her laptop based on different folders: Informant 5, Galih, came from Asia, Barat (West), Indonesia and Foreign. Yogyakarta. After having moved to several Dewi also joined some film screenings as cities in Indonesia (Padang, Lampung, audience in JAFF 2012 dan JAFF 2013. Jember, Banjarmasin), he stayed in Apart from the in-depth interviews Yogyakarta. This 22 year old male student with the six infomants, I also conducted an lived in the area of Godean, with his mother in-depth interview with Mouly Surya as the and his older brother, while his father worked director and Rama Adi as the producer of in . Galih had some experiences in Don’t Talk Love. Both informants provided several film productions as Assistant DOP, information concerning the issues related Assistant Director, and Assistant Sound. He to the idea of the story, the concept of also participated in LA Indie Movie 2011 cynematography employed in the film, workshop. He considered that films are the production process, as well as the process third media he consume most, after internet of film distribution and exhibition. and newspapers. In his laptop, he stored In addition to the in-depth interviews the films he thinks are good, divided into as already explained, this research also Novi Kurnia. Consuming Gender And Disability... 575 collected secondary data, which included the media. This research examines these film reviews and critiques about Don’t Talk three postions of the audience, in order to Love released on the media, especially contruct the meanings regarding women, online media. These documents were used different-ability and film language or to examine the responses towards the film, cinematographical aspect in Don’t Talk which include those from film critics, Love. audience, film festival circuits, both inside Furthermore, this research also applies and outside Indonesia. This documant the feminist standpoint theory to analyse analysis would also view to what extent how the gender differences affect the women’s issues and different-ability are reception process towards Don’t Talk discussed in the studies on women and Love. The central argument of the feminist Indonesian cinema. standpoint theory is that women and men The qualitative data in the forms of tend to develop different skills, attitude, the transcripts of the interviews with the ways of thinking, and understanding about informants were processed by categorizing life, as the results of their positions in the information based on the important socially-constructed groups. E.M. Griffin elements in the interview guide as previously (2012: 447) asserts that a standpoint is a explained. The documents collected would place where we can see the world around, also similarly categorized. Based on this so that whatever our viewponts are, the categorization, the data was processed and location of our viepoints tend to make our analysed, to answer the research question attention only to the things related to the with the employed theoretical framework. social landscape we experience, while To examine how the informants overlooking the other landscapes. The receive Don’t Talk Love, this research main point emphasized in this theory is applies the Stuart Hall’s concept of that the membership in a particular social encoding and decoding (Hall 1980), which group will shape perspectives, identities, consists of three individual interpretative and individual capability. A different social codes of audience in consuming media. position will allow a different standpoint, The first, the dominan/hegemonis code, is which reflects political awareness related to where the audience shows their positions social hierarchy, privilege and oppression to directly approve and accept whatever the (Wood 2009: 57-58). Meanwhile, accor­ media presents.The second is the negotiated ding to Julia T. Wood (2009:57-58) the code, where the audience combines their differences between men and women do not social experiences with their interpretation lie on their biological, moternal instincts, on the messages and ideology in the media. or female intitution, but on the cultural The third is the oppositional code, which treatment and expectation received by is when the audience confront or on the men and women from their counterparts contrary of the representations offeren by (in Griffin 2012: 450). In this context, the 576 Jurnal ASPIKOM, Volume 3 Nomor 3, Juli 2017, hlm 570-587 standpoint theory confirms that women are of her mother, who praises physical beauty, disadvantaged, while men advataged, so that presented in several scenes related to make- gender differences become critical issues. up and ballet course. This girl who is Despite the differences between men and waiting for her menstruation starts giving womed as discussed, Sandra Harding and attention to a new student in her school, Julia T. Wood (in Griffin 2012:450) remind Andhika (Anggun Priambodo). She closely that the notion about women as a monolithic befriends to Fitri (Ayushita Nugraha), who group should be avoided, since women is portrayed in contrast to Diana. Fitri is a do not have same standpoints, neither do brown-skinned, cunning girl with long curly men. In addition, Harding emphasizes hair. She is open, outspoken and expressive. that economic status, race and sexual She lost her vision since she was child. Fitri orientation are also parts of cultural identity, comes from a low-income family, living a which can draw other people with similar simple life. She has an older, able-bodied identity into a community or repudiate them boyfriend, who often makes use Fitri as out (in Griffin 2012:450). The feminist the object of his sexual desire. Fitri, who standpoint theory is commonly employed also believes that a doctor-ghost is hanging in communication studies. Julia T. Wood around the boarding house, is portrayed as a (in Griffin 2012:448) perceives that for young girl who is trying to explore her body, communication researchers, determining as well as her relationship with men. Beside the women’s standpoint seriously will show Diana and Fitri, the film also presents the the urgency to select topics women are character Edo (), the foster much concerned about. child of the lady who owns the canteen. Edo Result and Discussion is depicted as a man with hearing loss and Don’t Talk Love: Women’s Films and Women speech impairment. Edo, who looks sloopy, Directors has feeling for Fitri and tries hard and does Don’t Talk Love was screened for the anything to have Fitri’s sympathy. first time in 2013, in a prestigious film Totot Indarto (2013: para. 3), a film festival, Sundance Film Festival. This film critic, perceives that Don’t Talk Loveis also screened in International Film Festival characterized with the strong woman’s Rotterdam tells about the daily life of two perspective of Mouly Surya as the director. teenage girls with physical disabilities in He argues that this film is an ode for women a boarding school for people with special which can be only conveyed by the honesty needs. Diana (Karina Salim) is portrayed as a of its maker. The women’s perspective, as beautiful girl, fair-skinned and straight, long Indarto sees, is indicated by the slowly way haired. She is refined and simple-minded. the narrative is presented, which shows the She is a person with low vision. Diana is complexities as well as the simplicity of depicted as a girl coming from a wealthy women, which is illustrated by the strong family and being obedient to the willingness efforts Diana and Fitri make, in order to Novi Kurnia. Consuming Gender And Disability... 577 get the attention from the opposite sex; but writer, sees that Don’t Talk Lovenot only when they love someone, they hold onto conveys strong concerns on the issues their feelings. Meanwhile, according to of women and different-ability, but also Andreas D. Arditya (2013: para. 3), Mouly shows strength in its cynematography. Surya has managed to make Don’t Talk Rahman perceives Mouly has prominent Loveshow that the physical limitations of skills to play with the basic film elements the two main characters, on the contrary, many other directors seldom apply in a become the advantages. In this film, the film. Rahman argues that even though, as advantages they have are certainly different in many other communication media, the in real life, where physical limitations basic film elements are closely connected often become obstacles for people with to audio-visual sensory experiences, Mouly disabilities. In the other words, in Don’t questions those basic elements through Talk Love, for Diana, Fitri and Edo who the film characters who have visual and have physical impairments, their love life is hearing impairments. By separating audio not too different from the love life of many and visual, Mouly plays the focus on the other teenagers with abled-bodies, without images to become blur as how life is ‘heard’ any physical limitations. Responding to the by Diana and Fitri. Accordingly, when it is critique which sees Don’t Talk Love as an related to Edo, Mouly removes the hearing ode for women; the film director, Mouly element, so that suddenly the film becomes Surya, explains that: “From insight, indeed, mute, as how life is ‘seen’ by Edo. At these I live as a woman, so that the ideas sparked particular elements, Don’t Talk Love shows in my mind will be about women. But, I did its courage to dissolve with the physical not specifically make a film about women” conditions of the main characters, which (Mouly Surya, interview, 14 November become the strength of the characters, so 2014). does of the film. Rama Adi, the film producer as well With such strengths in Don’t Talk Love, as Mouly Surya’s husband, explained that Mouly Surya obviously has an important the film making took around a year; and role as a director-scriptwriter in the film. the initial intention to make this film was Her courage in making this film as her to present a teenage love story (Rama Adi, second work is not less than in directing interview, 14 November 2014). However, her first work, Fiksi, which was produced Mouly then decided to focus on the a story in 2008 and becomes the first about disabled teenagers, based on the directed by a woman. In this film Mouly experiences of Mouly’s relative who has does not only play with the film genre, but physical impairment but remains to have also relates the film narrative to the current characters like other teenagers in general. social condition of Indonesia, related to, for Apart from that, Lisabona Rahman example, identity, sexuality, and polygamy (2013: para. 6), a film programmer and a (Kurnia 2014: 206). 578 Jurnal ASPIKOM, Volume 3 Nomor 3, Juli 2017, hlm 570-587

Mouly Surya is one of around 30 women the New-Order ciname remains, which directors who partake in mainstream film presents stereotypes of women in films production;and among those hundreds of (2010:160). women directors who produce sidestream The main different representation of films since the fall of the New Order. women in films written by women directors Quantitatively measured, the presence of lies on their subjectivities, in relation to how women directors surely shows a different they consider their position as directors, as landscape from the previous era of Indonesian women directors, and as women. For those cinema, which is mostly dominated by men who view that their identities as women directors. In regards to the film quality, their are important in making films, they tend to contribution gives a number of important position themselves as agents to voice up features (Kurnia 2014:207). The first, some women’s issues and/or frame their films in of the women directors show their awareness women’s perspective (feminist). Conversely, in relation to their identities as women, as those directors who consider that women’s an effort to ‘overcome’ patriarchal culture identities are not important to be presented in film production. Secondly, some of them will tend to adopt men’s perspective in their intentionally contruct different gender films (Kurnia 2014: 148). representation compared to the existing At this particular point it becomes stereotypes. Further, some of them do not apparent that identities of the directors as only elaborate gender issues in their films, women serve as a significant factor in raising but also the the issues related to religion, concerns on social issues in their films ethnicity and even different-ability, as framed by women’s perspective. Although, exemplified by Mouly Surya’s Don’t Talk as previously discussed, the director of Love. Don’t Talk Love admitted that she did not Considering films as cultural texts, the specifically produce a film with women as presence of women directors, particularly the main theme in the film, her identity as a those who are aware of their subjectivities woman has brought her to the theme about as women, brings about changes on how women and frame her film within women’s women are represented in the post-New perspective. Order Indonesian cinema. Women are no Internet generation: the audience in the era longer portrayed as objects, but they stand of media convergence as subject, where they are depicted as The interesting finding concerning active, progressive, liberal and empowered who are the film audience in this study is (Liestyaningsih 2009: 69; Puspa 2009:63). as consistent with what Lisa Cartwright Felicia Hughes Freeland (2011:440) argues (2002:7) argues, that in the era of media that the representations of women are now convergence, the audience consumed varied and complex. Nevertheless, it is films through other forms of media, such undeniable that some residual aspects from as TV, home video, DVD or internet. All Novi Kurnia. Consuming Gender And Disability... 579 the informants in this research used all 3 hours per day. those media, apart from going to cinema. Their proximity of all the informants to However, to watch films directly from the the internet was also connected to the other internet, they often found difficulties due activities they performed before and after to the long streaming process. As a result, watching films. All the informants would they consumed through internet indirectly, look up on the internet before they decided namely by watching downloaded films they what film they would watch. Dara, for copied from internet cafes or from their instance, would check as the media friends. This option to watch films were to obtain information regarding the film as considered as the cheapest way, compared well as to update the status of the film she to purchasing DVD or waited until some (would) watched. Dara also followed several TV channels screened the films, or went to well-known Indonesian film directors on cinema. Twitter, namely, , and One of the informants, Condro, even Fajar Nugros. The other two informants, stated that, ”I rarely buy DVD; I’d rather copy Bagus and Galih, always accessed Youtube them for free from internet cafes.” (Condro, to watch the trailers of the latest films Interview, 19 September 2014). Among released, before they made their decisions. all the informants, Condro was the one who Meanwhile Sinta and Dewi tended to be watched films the most. He considered films more flexible in locating information on the as the media she mostly access, compared internet. It could be through social media to any other media, including internet, radio, or news portals. Among the six informants, TV, magazine and newspapers. On average, Condro was the only who commonly read he watched two films in a day. Condro said reviews on films, either from magazines or that, “Films are the most perfect form of from online websites. art. It involves musics, architecture and After watching films, all the informants photography. I enjoy watching films, as it feels usually discussed the films they watched like I am travelling.” (Condro, Interview, 19 with their friends. This was a sort of habit, September 2014). since they often got assignments to review Unlike Condro, other informants put or to discuss films in their campus. Beside films as the media they mostly accessed obtaining information regarding films, four after the internet. Dara was internet addicted informants (Informant Dara, Sinta, Galih, who could spend 14 to 15 hours a day for Dewi) also often updated their statuses browsing on the internet. This was the on social media. Dara would also seek longest amount of time, compared to the for additional information about the films other informants. Three other informants she already watched. These informants (Condro, Sinta, Galih) spent their time admitted that they would uploaded a little around 5 to10 hours, while the other two note regarding the film they watched on (Dewi and Bagus) spent approximately 2 to their blogs or social media. 580 Jurnal ASPIKOM, Volume 3 Nomor 3, Juli 2017, hlm 570-587

Such findings confirms that film show their sufferings.In this film, they can live their love life just the way we do, live their daily consumption is a practice which cannot life just like us, listen to the newest musics, and be separated from other media, especially feel the same as we do. It is just a coincidence that they have different physical bodies.”(Dewi, internet. This shows that film is not interview, 26 September 2014). an autonomous media, but it requires Unlike Dara and Condro, Galih stated connection to other media (Carwright that Don’t Talk Love represented disability 2002:7). not in tragical ways, as those characters Perfection In imperfection : understanding with disabilities are portrayed to develop Disabilities relationships and friendships as usually In analysing the representation of youth other people do, and they are happy with with disabilities in Don’t Talk Love, after their lives. He interprets that the focus of watching the film, the six informants stated this film is on the love life of its characters. that they found that their knowledges about The second group was the informants in disability had been increased, so had their the position as negotiated reading towards empathy towards people with disabilities, the representation of people with disabilities despite the different standpoints they had. in this film. They combined their personal The first group was the informant and social exeriences and their interpretation who posited themselves in the position on the messages and ideology of the media. of dominant-hegemonic reading. They In this group, Bagus said that, considered that the limitation and ”They live in an environment where people with imperfection of the characters with disabilities commonly live in, so they feel treat- ed as humans. They have their own world, but disabilities in the film were not the main they also can feel what the other people feel, focus of the film, but their perfection as such as love, affection, and attention.” (Bagus, interview, 12 September 2014). ordinary people. Dara, for example, stated The third group is the one in the that: position to oppositional reading code. It ” Because of Don’t Talk Love, I have come to was represented by Dewi. She tended to know that they are just like us, having dreams and future goals. Their physical limitations do reject the representation offered by Don’t not limit their dreams. They are the special God creatures, while we are just the ordinary ones.” Talk Love. She stated that those people (Dara, interview, 12 September 2014) with disabilities are depicted as accepted On another side, Condro perceived that by their environment, because they all have in Don’t Talk Love disability just serves as a limitations. Dewi added that these kind of context, because the real love is about their characters are just fictitious and impossible independence and struggle to reach their to exist in real life. This understanding is loves. Dewi also viewed similar things, as caused by the fact that personally Dewi she stated: did not have experiences related to people “Don’t Talk Love shows that people with dis- with disabilities in her social environment, abilities can live independently. If we watch on including in her family, schools and society. TVs in our country, people with disabilitieshave to be really pitied, are invited to talkshows, wto Apart from that, the films that represents Novi Kurnia. Consuming Gender And Disability... 581 people with disabilities are limited. These to look after properly. Dara regarded Diana two reasons were the backgrounds Dewi to as a character who is ‘so woman’, which agree on the word ‘normal’ and ‘not normal’ means that Diana is so concerned about to identify the people with disabilities. The her physical appearance. Dara perceived reasoning she presented was that physically that the issue of menstruation as brought the people with disabilities can be considered in this film shows the sensitivity of Mouly as not-normal. Dewi’s views was on the Surya as a woman director, as in the case opposite of Dara who stated that what of Diana, menstruation is an achievement people considered as normal condition was and can serve as a ticket to enter a romantic just because most people were similarly like relationship (tiket pacaran). Similarly, that condition; while those “normal people” the first menstruation Diana is looking were not necessarily better. forward, according to Bagus, “...is a sign The interpretation over the representation of maturity; so that if she has been mature, of the people with disabilities among these she is allowed to have a love relationship.” informants were more influenced by their (Bagus, interview, 12 September 2014). knowledges and their social experiences Similarly, Condro chose a term of ‘maturity towards people with disabilities, so that the gate’ (gerbang kedewasaan), while Sinta, gender aspect tended to be having no effects. Galih and Dewi called it “a sign of maturity Women listen, men gaze: understanding (tanda kedewasaan).” All the six informants women agree that the Diana’s first menstruation is This section discusses to what extent necessary to be symbolised, as it becomes the informants understood women’s issues a sign for Diana as a mature woman in the through the characters of Diana and Fitri film. in Don’t Talk Love. In giving responses Responding to the portrayal of Diana regarding Diana, all the informants were in who make the first move to approach a young the position of dominant-hegemonic code, man she expects to be her boyfriend boy, by accepting the representation of Diana all the informants considered that Diana’s offered in Don’t Talk Love. Dara, Sinta, Galih move is something acceptable, as what and Dewi considered that Diana is portrayed Dewi said:”Diana is a quiet girl and obedient as a beautiful girl who is obedient to her to her parents. Diana is also courageous to mother; and she is taught to be willing to make s first move approaching a man; and it sacrifice herself for the sake of her beautiful is something acceptable”. (Dewi, interview, physical appearance. This is presented 26 September 2014). through several scenes where her mother These informants understand Diana’s tries to dress her up and her efforts related move without criticizing that it is considered to the ballet course. Meanwhile, according as taboo when a woman makes a first move to Bagus, Diana is represented as a shy girl, or express her love first. The similarity in who perceives her body as something she has the informant’s responses made sense, as 582 Jurnal ASPIKOM, Volume 3 Nomor 3, Juli 2017, hlm 570-587 they had sufficient knowledge regarding not hold the remote anymore. So, I sees that gender issues in their social experiences in Edo also gives his body, but he asks for their family, so that they believed that the Fitri’s body in return.” (Dara, interview, 12 social construction of women and men can September 2014). be exchanged. Bagus shared similar response, ”Fitri In giving responses related to Fitri, the six is the ruler over her body. But, as her informants shared different interpretations, boyfriend has seized Fitri’s heart, so, well, which were divided into several categories. he can touch her then.” (Bagus, interview, The first category was hegemonic- 12 September 2014). A bit different from dominant code. This group accepted the what these informants, Galih added an characterisation of Fitri as portrayed in Don’t aspect of ‘morality’ in relation to the sexual Talk Love. The informants in this group intercourse by Fitri and Edo, by saying were Condro, Sinta, and Dewi. Condro and that, ”Fitri is a reckless girl, short-sighted, Dewi considered that Fitri is portrayed as a delinquent, a typical of teenage girls who young, energic, and beautiful girl who has often hang out outside their houses.” (Galih, high curiosity and opportunities to explore Interview, 25 September 2014). Galih also her self. This argument was not far different mentioned that in his interpretation, Fitri from what Sinta perceived who saw that the is portrayed as a naive girl who does not film represents Fitri looks happy with Edo know that all those things should be done as a person she like. Conversely, according within marriage. Despite his interpretation, to her, in front of her boyfriend who has no Fitri and her boyfriend are forced to have physical limitations, Fitri is portrayed to be the sexual intercourse; viewed from their unhappy and as if she becomes an obedient expression when they do it and the way girl. they do it which do not face each other. The second group was the informants Meanwhile, Galih saw that the sexual with the position of negotiated code. Dara intercourse between Fitri and Edo involves considered that Fitri is a girl with high desires, so it is depicted that they face each sexual desire. According to Dara, “ Fitri other. is explosive-tempered, likes to try new From the preceding discussion, it things and obsessive.” (Dara, interview, can be drawn that the understanding 12 September 2014). Dara explained that of the informants on women’s issues Fitri’s obsession to find a person who makes through the character Diana and Fitri is her comfortable causes Fitri to be a sexual not automatically related to the gender object of her boyfriend or Edo. Dara sees identity of the informants. The three male that the film shows how Fitri loses her informants involved in this research are control over her own body, as she said,”If a raised in a family which flexibly arranges girl has surrendered her body, well, it means household chores, without distinguishing she has no more control. She is off, she does between female and male tasks. Similar Novi Kurnia. Consuming Gender And Disability... 583 things also occur in the families where the used by Mouly Surya, and he argues that, female informants are raised; the ‘modern’ ” the camera moves patiently, following families which allow their parents to work the world of the people with disabilities, shows the gender equality back home. slowly and fumbling.” (Condro, interview, To balance gazing-hearing: understanding 19 September 2014). film language According to Condro, this particular Regarding the film language in Don’t technique then followed by an effective Talk Love, this research shows several editing process and wise lighting as well as groups of audience. The first group was the a play on gazing-hearing has become a brave one in the position of dominant-hegemonic and wise decision in its cinematography, as reading, who agreed on all the film language it is risky but succesful. Another informant, employed by Mouly Surya as the director. Galih, argued that,”the cinematography The extremest statement came from Dara, in this film is nice, well-composed, well- who spontaneous states,”My eyes is getting connected, and not confusing.” (Galih, pregnant.Its cinematography, it’s just so interview, 25 September 2014). Galih felt beautiful. I am melting.” (Dara, interview, that the filming is smoothly done and not 12 September 2014). Dara spontanously rushing. The editing is refined and also said that the filming is ‘so heavenly’, as it done smoothly, not jumping. The lighting is plays with the composition, shady colouring well-controlled, so that the film can deliver and detailed focus. Dara saw that the its message to the audience, especially the editing is neatly done, although it does not audience can feel the position of the people distinguish between the colours for real life with disabilities through the effects of mute and imagination in the film. The lighting, and blur. as Dara viewed, is natural, which suits the The second group consisted of the idealism of the director who play with the informants with the position of negotiated logics of gazing-hearing with the effects reading in interpreting the film language of mute and blur, in order to encourage in Don’t Talk Love. Bagus who learnt the audience to empathize and exchange only in university considered positions with the character with disabilities that the filming and editing chosen for in this film. This effect can be seen as a this film is not too different from many deliberate effort of the director to present independent films, which tend to take long- the world of the people with disabilities to shot filming with common editing technique. the audience’s sensory experiences, to sense He viewed that he could not assess much, what the people with disabilities feel. This especially related to the lighting technique detailed review came up because Dara was in this film, as his experiences in watching a person who enjoy film festival and works this film was not obtained from a cinema, as an -maker. Similar to but in a class in campus, not set like in a Dara, Condro accepted the film language cinema. Nevertheless, he loved the play on 584 Jurnal ASPIKOM, Volume 3 Nomor 3, Juli 2017, hlm 570-587 gazing-hearing employed by Mouly, so that place among other media she mostly he could understand the world of the people accesses. Rather than watched films, Dewi with different-abilities, who are unable to connected more to the internet, watches TV see and to hear. programs, listens to radio programs, and The other informant under this category reads newspapers. was Sinta, who said that the cinematography Although the six informants had similar in Don’t Talk Love has nothing special, formal educational background and already including its editing and lighting. However, took the subject of film and cinematography, similar to Bagus, Sinta was impressed with but their personal experienced related the play of gazing-hearing employed in to their habits in consuming media, film this film, as the audience also can feel the references and their active involvement in limitations experienced by the characters film production and film festival caused with disabilities in the film. differences in regard to their interpretation The third group consists of Dewi who towards the film language or the aspect wass in the position of oppositional reading. of cinematography in Don’t Talk Love. She considered the filming, editing and Meanwhile, their gender differences does lighting in Don’t Talk Love do not offer not affect their interpretation. something special. Instead, those are not Conclusion as good as other wide-screen films. Unlike To understand, read and interpret Don’t the other five other informants, she could Talk Love, the six informants as the film not follow the effects of mute and blur, and audience in this study assigned the film- felt confused why those techniques should consuming process as an integral parts be employed in this film. The reason was, of the other media-consuming prosses, Dewi, argued that the most important aspect especially the consumption of the internet. in the film is not its cinematography. This In this case, the film audience partake not is understandable, as for her, it is not the only as active audience, but also interactive cinematography aspect which affect her audience, as they process their experiences decision to watch some films, but the actor from consuming films to be a status on social or actrees starring the films, as for her media or a note on their blog. Meanwhile, “star is the best”, and then followed by the in consuming Don’t Talk Love it is appears story. Even she admitted that her reason to that the theme about disabilities becomes watch this film was because her idol film the most influential theme for them, which star, Nicholas Saputra, plays in this film. encourages them to feel the posistion of Her answers made sense since she was not the people with disabilities through their active in any film organisation, workshop experiences in watching the film. The theme or film production; although she obtained about women and cinematography become knowledges about films and cinematography the secondary themes in interpreting Don’t in her study. Film was ranked in the fifth Talk Love. With the selected informants Novi Kurnia. Consuming Gender And Disability... 585 who tend to be homogenous, this research Rama Adi who participated in the research. shows that gender differences tend to Such appreciation also goes to my research be insignificant. This is understandable, assistants: Eka Noviastini Primasari dan because there is no standpoint considered Ajeng Devita Martian. to be monolithic, owned only by women References audience. As an effort to read the film Arditya, A. (2013). Love Through All directed by women, although all the Senses, . Retrieved informants do not express it explisitly, the from http://www.thejakartapost.com/ understanding about women’s perspective— news/2013/04/28/love-through-all- which is also employed to understand the senses.html (April 28, 2014) people with different-abilities—indirectly Cartwright, Lisa. (2002). Film and the digital also cause meanings for the audience as in visual studies: film studies in the era well as for Mouly Surya as the director. convergence. Journal of Visual Culture. Nevertheless, as a researcher who employ Vol 1 (1): 7-23. the reception method for the first time, I Chaiworaporn, A. (2007). Munculnya sineas feel that the concept of decoding-encoding perempuan di Korea Selatan dan Asia Tenggara. In S Eric, Kandang dan with the three positions of audience tends gelanggang: sinema Asia Tenggara to make my reading towards the audience’s Kontemporer. Jakarta: Yayasan Kalam. interpretation towards Don’t Talk Love Chin, G.V.S. (2012), Imagined Subjects, losing its fluidity; and it cannot express the Gender and Nation in Dinata’s Love for dynamic interaction actually occured during Share, Journal of International Women’s the interviews. Therefore, for the future Studies, Volume 12 No 3, July 2012. research regarding women and (Indonesian) Denzin, N.K. & Lincoln, Y.S. (2000). The film especially about films directed by Sage Handbook of Qualitative Research women needs to employ a deeper analysis, (Third edition). Thousand Oaks: Sage for example using ethnographical method, Publications. so that not only the understanding, reading Griffin, E.M. (2012). A First Look at th and interpretation of the film meaning can Communication Theory 8 edition. New York: McGraw-Hill. be collected, but more importantly the way they consume the film. Hadi, I. P. (2009). Penelitian Khalayak dalam Perspektif Reception Analysis, Jurnal Acknowledgement Ilmiah SCRIPTURA, Vol 2, No 1, Januari This paper is writed based on a 2009: 1-7. research grant funded by Departemen Hagen, I. & Wasko, J. (2000). ‘Introduction: Ilmu Komunikasi, Faculty of Social and Consuming Audiences? Production and Reception in Media Research’ Political Sciences, Universitas Gadjah in I. Hagen & J. Wasko, Consuming Mada. The author wishes to thank all Audiences? Production and Reception in informants (Dara, Bagus, Condro, Sinta, Media Research. Hampton Press: New Galih, Dewi) as well as Mouly Surya and Jersey. 586 Jurnal ASPIKOM, Volume 3 Nomor 3, Juli 2017, hlm 570-587

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