Volume VII JURNAL Issue 3 Komunikasi November 2018 ISSN 2301-9816 Cigarette as a Tool for Representing Masculinity in Indonesian Left-Wing Films

Redi Panuju, Daniel Susilo & Harliantara

Abstrak/Abstract Tulisan ini membahas representasi maskulinitas dalam film-film sayap kiri Indonesia, yang dibuat sebelum dan sesu- dah reformasi 1998. Film sayap kiri adalah film yang menceritakan tentang politik pada tahun 1965 dan berfokus fokus pada kontroversi Partai Komunis Indonesia (PKI). Beberapa film sayap kiri memposisikan PKI dan simpatisannya sebagai dalang di balik kudeta tahun 1965, tetapi ada juga yang menempatkan tokoh dan simpatisan komunis sebagai korban kekejaman pihak lain. Penelitian ini mempelajari tiga film, yaitu Pengkhianatan G30 S PKI, Sang Penari, dan Jagal-Act of Killing. Metode yang digunakan dalam penelitian ini adalah analisis hubungan yang didasarkan pada konsep hubun- gan kekuasaan. Penelitian ini menemukan bahwa rokok digunakan sebagai representasi maskulinitas tokoh-tokoh klasik dalam film-film sayap kiri Indonesia. Dalam semua film ini, rokok menjadi alat stigmatisasi bagi orang lain. Dalam film Pengkhianatan G 30 S / PKI, rokok digunakan untuk mewakili maskulinitas tokoh-tokoh terkemuka PKI, khususnya DN Aidit. Dalam film Sang Penari, seorang tokoh sentral bernama Bakar digambarkan sebagai seorang provokator komunis yang tidak dapat berhenti merokok. Sebaliknya Jagal, menggambarkan Anwar Kongo, ketua organisasi massa Pemuda yang mengaku membantai lebih dari seribu komunis di Medan, dengan gambaran negatif. Kongo distigmatisasi oleh rokok yang selalu mengepul di mulutnya.

This article discusses the representation of masculinity in Indonesian left-wing films, which were made before and after the 1998 reform. Left-wing films are those which tell about the politics in 1965 and focus on the controversial Indonesian Com- munist Party (PKI). Some of the left-wing films position the PKI and its sympathizers as the masterminds behind a coup d’etat occurred in 1965, but there are also those which place communist figures and sympathizers as victims of the sav- agery of others. This research studies three films, namelyPengkhianatan G30 S PKI, Sang Penari, and Jagal-Act of Killing. The method used in this research is a relationship analysis that based on power relations concept. The research finds that cigarettes are used as a representation of masculinity of classical figures in Indonesian left-wing films. In all of these films, cigarettes become a stigmatizing tool for others. In the filmPengkhianatan G 30 S / PKI, cigarette is used to represent the masculinity of PKI’s leading figures, especially DN Aidit. In the filmSang Penari, a central figure named Bakar is described as a communist provocator who cannot cease wanting cigarette as well. On the contrary, the Jagal, portrays Anwar Congo, chairman of mass organization Pancasila Youth which claimed to slaughter more than a thousand communists in Medan, in a negative way. Congo is stigmatized by cigarettes that always billowed in his mouth. Kata kunci/Keywords:

Film sayap kiri, rokok, maskulinitas, relasi kekuasaan, representasi

Left film, cigarettes, masculinity, power relations, representation Communication Science Faculty, dr. Soetomo Introduction University, Studies on masculinity are always associat- Semolowaru, Sukolilo, Surabaya 60118 ed with gender discourse. It is occasionally as- sumed as the opponent or the negation of femi- [email protected] nism. Thus, masculinity, as a product of human behaviour, is considered as a consequence of gen- der-related problem, which is the domination of male in everyday reality and signing system. Kurnia (2004: 17-36) states that in almost ev- ery time, gender discourse is dominated with crit- icisms of females’ inferiority compared to males’ inferiority. Such construction of females’ inferi- ority is also considered as the reflection of the reality that is embedded in patriarchial culture. In this patriarchial culture, women are consid- 246 Jurnal Komunikasi Indonesia Vol. VII, No.3, November 2018 ered as passive creatures and men’s subordinate. Damartoto (2010) mentions masculinity as Mass media largely contributes in strengthening a construction on maleness imposed on males. this stereotype. According to Novi, media’s role in Males were not born along with their masculin- this context is providing a platform where people ity naturally, but rather shaped by the culture. struggle for “signs”; media is the arena of seizing Things that determine male and female charac- signs reflecting something in particular. In other ters are perception on human culture. Generally, words, in media, struggles for sign seizing and traditional masculinity highly considers values gender domination always happen. such as strength, power, steadfastness, action, Sign seizing happens in all media. In televi- control, self-reliance, self satisfaction, male sol- sion, for example, constructing inferiority occurs idarity, and work. Some things between that in Indonesian soap operas where women are rep- considered as low are interpersonal relationship, resented as victims of males’ abuse (either ver- verbal ability, domestic life, tenderness, commu- bal or physical), harbringes of bad luck, mere nication, woman, and children. commodity (being sold), or objects that cannot Those values have been passed down from satisfy their husbands, leading to the practice of generation to generation through various mech- polygamy. In those soap operas, women are illus- anisms such as cultural heritage and informal trated as helpless, so there are no depictions of rules, mechanisms which enforce ideas that real females’ social, economic, or political struggles. men cannot cry, must look tough, strong, brave, In other words, women are creatures that accept and fierce. Great men are those who can conquer whatever “fate” brings. Following the women’s women’s heart, hence the polygamy. There are unconditional acceptance, then often come a “su- also arguments that consider male as protectors pernatural power” that punishes the men, such or state that a man is a real a man only if he is as lightning strikes, car accidents, or fatal ill- associated with cigarette (bolded by the author), nesses. Along with these “punishments”, the men alcohol, and violence (Donaldson, 1993: 1). then realizes all of his faults, then, in repentance, Studies on films discover narratives and por- apologizes to the mistreated women. This kind of trayals which position women as subordinates plot becomes a stereotypical plot found attractive and men as dominants either in public or private by the audience. Television always chases for life. Bambang Aris Kartika (2015: 35-54), for ex- ratings and a high number of audience (Panuju, ample, discovers that a film entitled Soekarno 2017: 33). With a high rating, the media then can by Hanung Bramantyo is full of portrayals and get advertisement deals, financially benefitting representations of females’ position compared the media. Therefore, gender stereotype becomes to males’ in the context of power relation. This stronger and more embedded in the society be- portrayal shows how females in films are repre- cause the mass media tends to position them- sented as subaltern objects. The term subaltern selves as an industry. As an industry, its priority was first used in post-colonial theory to refer to is to get as much profit as possible, disregarding marginal and lower groups of people. This term its moral obligation. In print media, many adver- was formulated by Antonio Gramsci. Masculini- tisements illustrate patriarchal domination, in ty Hegemony in Soekarno Film stated that these which women are often used as means of repre- groups existed due to hegemony. Meanwhile, sentation which does not benefit the women. (In hegemony is defined as the domination of some printed media, many advertisements that illus- groups towards other groups with or without co- trates patriarchial domination, which appears ercion (Kartika, 2011). the woman’s usage as a product representation Spivak (cited in Kartika, 2015) states that that often not for woman. Indonesian women are positioned as subaltern, Therefore, women’s physique is often viewed as that is either as colonialists’ historiographical ob- a stimuli to attract attention. Panuju (2011: 24) ject or as subjects of resistance, while gender con- states that women are used in communication struction still positions males as the dominant process as a symbol of people’s prosperity. The fe- party. Such positioning appears in the depiction males’ body is then also used to signify harmony. of the hegemony of Japanese fascist soldiers Thus, in our political system, for example, women againsts Indonesian young women and also the is considered as a creature that needs to be pitied depiction of Soekarno’s actions toward his wife, and cannot compete in the the struggle for signs. Inggit Ganarsih, which is often associated with Such perspective is illustrated by the “quota” sys- power relations on domestic affairs. Gender-re- tem enforced in the country’s legislative body, lated injustice always involves woman facing sit- where quota for female councillors is much low- uational political hegemony and patriarchial pol- er than the one for male councillors (see Susilo, itics conducted by the men, with the objectives of 2016). acquiring women’s obedience and surrender. The problem of discourse on masculinity, that is Meanwhile, previous studies on masculinity its support for male privilege, is reinforced by the in film have also been conducted. An example is media which represents the privilege as just (Susi- a research by Syulhajji (2017: 1-11) on Talak 3 lo, 2017). In representing male power in “owning” film. Talak 3 is a drama film that was produced females’ body, masculinity acts as a symbol of con- by Hanung Bramantyo and Ismail Basbeth and trol and ownership (Susilo & Kodir, 2016). starred popular actors such as Vino G. Bastian,

247 Redi Panuju, Daniel Susilo & Harliantara , Cigarette as a Tool for Representing Masculinity in Indonesian Left-Wing Films

Laudya Cynthia Bella, and . Di- to consider in order for one to understand the rected in , Dapur Films and MD Pic- downfall of the regime and , tures released this film on February 4, 2016. This who blatantly denounced communism and the film tells a story of a relationship between a mar- PKI as the enemy of the nation. ried couple that wants to reconciliate. The couple, Abdullah (2012) states that the mass kill- Risa (played by Laudya Cynthia Bella) and Bagas ings of communists in 1965 left extraordinary (played by Vino G. Bastian), has to put in consid- social impacts in Indonesia and all of its social erable efforts to reconciliate as they know the dif- elements. Order, ethics, and norms in the soci- ficulties posed by the existing law.Talak means to ety were broken. Under the New Order, commu- divorce, and Talak 3 refers to the situation when a nism as an ideology and philosophy also shifted husband/wife asks for a divorce for the third time. in meaning; it was no longer a collection of ideas According to the law, once a husband/wife orders or philosophical school of thought anymore, but talak 3, he/she cannot immediately reconciliate if rather it represented everything bad and evil. they want to, unless if the wife marries and di- Therefore, the communism-related issues have vorces a new husband first. often been recycled from time to time in ideolog- Syulhajji (2017) concludes that masculinity ical competition. Mainly after the September portrayed in Talak 3 is divided into two types. 30, 1965 Incident (dubbed as G30S/PKI), when First is the traditional type of masculinity that a pro-communist group assassinated six Indone- highly values concepts such as strength, pow- sian army generals, and the regime change from er, strong physical appearance, toughness, and the Old Order to the New Order, communism has success. In this film, traditional masculinity is been portrayed in discourses as a dangerous ide- portrayed as men who has money, wife, and job ology. Moreover, after the Temporary Indonesian considered as “gentlemen’s job”. The second type People’s Consultative Assembly (MPRS) passed of masculinity type is new masculinity. Films TAP MPRS XXV/1966 (MPRS Determination No. produce new social standards for men, requiring 25 year 1966) that disbanded the PKI and pro- them to be aggressive and sensitive, combining hibited the spread of communism and Marxism the element of strength and sensitivity. New in Indonesia, the New Order regime enforced masculinity in film is represented through the tight censorship on mass media as the mass me- metropolitan lifestyle of urban society that lives dia had the ability to change public opinion and in developed cities. even trigger mass mobilization. Daniel Dhaki- This research focuses on the use of cigarette to dae, the writer of “State and its Jealousy towards represent masculinity in Indonesian films, which Press: An Ideological Review” (Siregar, 1997: 11), are divided into two: pre-Reformation films (be- argues that in 1974, military infiltrated the press fore 1998) and post-Reformation films (after organization to eradicate all PKI-related publish- 1998). This research finds a pre-Reformation ings. The New Order regime also tautologically film imbued with leftist ideology which consists circulated discourse on the latent dangers of com- a lot of smoking scenes, namely Pengkhianatan munism and the importance of commitment to G30S/PKI (Treachery of G30S/PKI). Meanwhile, practice Pancasila purely. Likewise, according to this research also finds post-Reformation left- Eriyanto (2000), in order to strengthen his power wing films that consist many smoking scenes, legacy, Suharto, in his every presidential speech namely Jagal – and Sang Pe- of always conveyed the same message (tautologi- nari (The Dancer). cally) about the latent danger of communism and Plenty of previous research discussed about its threat against Pancasila. His speeches were PKI and Film (Roosa, 2014; Nirwinastu & Ang- broadcasted live by all available television sta- graheni, 2018; Sambhi, 2016). They discuss about tions at that time. how communist represented as power, sub-ordi- Left-wing films during the New Order were nated, and part of abuse from military. This ar- marginalised, banned, and even annihilated. ticle would to challenge about representation of Pradityo (2017) states that during the New Or- masculinity on left-wing film who associated with der, left-wing films were “castrated”. Only one PKI and communism. left-wing film left that could be watched, while the remaining 30 left-wing films were annihilat- Literature Review ed. One of the remained film titled Violetta that Left-wing Films was produced in 1962, written by Bachtiar Sia- Left-wing films are those that narrate the sit- gian. He is also the one who directed this film, uation in 1965 and figures that were members of which starred by Fifi Young, Bambang Herman- Indonesian Communist Party (PKI) and/or sup- to, and Rima Melati. porters of socialism and/or communism ideology admirers, as well as other people that were in- Cigarette volved with these figures. Some of these left-wing According to an online Indonesian Language films were produced before 1998, when Suharto’s Dictionary, cigarette is tobacco rolls (approxi- New Order was in rule, while some films were mately as big as a pinkie finger) that are wrapped produced after the end of the New Order. The by nipa leaf or paper. If the rolls are wrapped by years leading to 1998 themselves are important nipa or sugar palm leaf, it is referred as kawung.

248 Jurnal Komunikasi Indonesia Vol. VII, No.3, November 2018

If klembak is added into the tobacco, it is referred Text in this research includes text in real con- as klembak. If cloves is added to the tobacco, it is text, which is the transcripted narrative of dia- referred as kretek. logues and interpreted text from the film’s visual Types of cigarette are often classified into aspect. Through this analysis, it will gather the kretek cigarette, filter cigarette, and cigar. Ciga- structure of films and the intention of the film rette as the symbol of masculinity is often debat- makers to present cigarette in the films. ed due to its negative effects on health (Swasti- kawara, et al, 2018). Results Film with 1965 Background Masculinity Nurjanah (2015, September 29) wrote six films Masculinity is one of males’ considerations to associated with G30S/PKI. The first film,Pengkh - smoke. Teenage boys often assume that by smok- ianatan G30S/PKI, was directed and written ing, they can become a real man; they become by Arifin C. Noer and historian Nugroho- Noto an aggressive, independent, macho, and strong susanto. It was awarded 7 nominations in 1984 masculine figure through smoking. As stated . This film, which later by Brigham in Komalasari (2000), smoking is became mandatory for people to watch on every a symbol of maturity, strength, leadership, and September 30 for 13 years, teaches the public to attractiveness toward the opposite sex. Males hate communist and all of its attributes. The con- also assume that smoking makes them part of veyed story is the dark history of September 30, people who reject society’s conventional norms, 1965, with the government’s version of the vio- strengthens their membership in the group, sym- lence occurred on that day narrated. bolises their freedom from authority’s rules, and The second film, the Year of Living Dangerous- makes them more mature than other teenagers ly, is starred by Mel Gibson, who plays the role of in general (Azalia, 2017). a journalist posted in Indonesia. The title was tak- en from Soekarno’s independence commemoration Methods speech in 1964. This film was banned in Indonesia This research is explorative; it sorts through until 1999 when Suharto was dethroned after 32 and selects Indonesian left-wing films produced years of his rule. Even though it tells the back- between 1970 and 2018 that contain story or ground of September 30, 1965 movement, the film scenes about cigarette smoking behavior. The se- was made in Australia and the Philippines. lected films are the films that narrate the back- The third film, Shadow Play, is a documenta- ground of the tumults occurred in the 1965s, ry that is quite comprehensive in illustrating the where the 30 September Movement took place, situation during the1965 movement. Not only it and the milestone of anti-communism movement tells about Indonesia’s then internal politics, it by Indonesian Armed Forces (ABRI), especially also explains about the influence of internation- the forces under Suharto’s commando. After that, al affairs at that time on Indonesia. Released in Suharto took over the Indonesian government 2003 and directed by Chris Hilton with the help until 1998. of Linda Hunt and Pramoedya Ananta Toer, this The aforementioned year-span contains the back- film tells another side of the 1965 movement. ground of the domestic situation under the New Or- The fourth film, 40 Years of Silence: An Indo- der (1966-1998), that tended to be authoritarian and nesian Tragedy, is a documentary directed by an- repressive, and the Reformation era (1998-2018), thropologist Robert Lemelson. The film portrays that tends to be democratic and liberal. individual impacts left by the 1965 movement. This research uses narrative analysis method. The film was made between 2002 and 2006 in According to Ida (2014: 147), narrative analysis Java and Bali, two regions which were most af- aims to understand how a story or a storyline is fected by the movement. This film tells the per- made or structured. This analysis uses three con- spective of victims of communist purge, during cepts, namely story, plot, and genre. Story is the which 500,000 people were murdered, which chronological sequence of events or the meaning followed the 1965 movement. The film was first of the events. Meanwhile, plot is anything that aired in the US in 2009 and in Indonesia as well, explicitly shown films. Lastly, genre is types of although in a very limited manner. films classified into action, horror, comedy, and The fifth film, the Act of Killing (Jagal), is set drama films. in the middle of the 1965 tragedy. Directed by At the analysis level, this research uses Fou- Joshua Oppenheimer, the film smashes the pre- cault’s concept of power relation which empha- vailing public perspective on the tragedy. This sizes power, a term that has to be focused on by documentary narrates the stories of individuals researchers in the field of discourse analysis. who slaughtered alleged communists at that time Power determines and constructs realities, and and how these individuals committed the mur- it is created subjectively under the intention of ders. This film strickly potrays the mass power domination; it focus on power that encir- of PKI’s supporters in Indonesia as an act of her- cles discourse area (Ida, 2014: 112). In analyzing oism that was agreed upon by the society. political power relation, it focuses on contestation The sixth film, the Look of Silence (Senyap), in seizing public opinion (Panuju, 2002: 1-24). is a documentary which complements the fifth

249 Redi Panuju, Daniel Susilo & Harliantara , Cigarette as a Tool for Representing Masculinity in Indonesian Left-Wing Films film, the Act of Killing. If the Act of Killing tells to censor any contents that might be Marxist or the perspectives of the killers, the Look of Silence communist. In the case of Indonesia’s national narrates the perspectives of the victims. In the broadcasting, television content was controlled film, Adi, brother of one of the 1965 purge’s vic- by the state through the Indonesian Department tims, met the people allegedly took part in killing of Information, Film Censorship Board, and var- his brother, who had been accused as a member ious policies on news embargo. of the PKI. This film, which was directed by Op- Therefore, it is not surprising that people had penheimer as well, is often shocks the people, de- negative views on communism and its disciples. picting the violence committed toward our own Moreover, even after the New Order collapsed in people. The Look of Silence won the 2014 Venice 1998, such negative views have remained strong. Film Festival in the Grand Jury Prize category. Even in the current President Jokowi’s adminis- According to Heryanto (2017, October 22), tration, communism is still prohibited, when he there are films discussing the 1965 tragedy that was accused of supporting the PKI, Jokowi lam- were released after the 1998 Reformation. These basted the accusation, saying that, “If the PKI films include Puisi Tak Terkuburan, Gie, Sang appears, just beat them!” (http://nasional.kom- Penari, and Surat dari Praha. These films illus- pas.com/read/2017/05/17/16433321/jokowi.kalau. trate leftists as antagonists: smart but sly and pki.nongol.gebuk.saja) deceptive, innocent but stupid, and lost, having It can be concluded that the preaviling pub- bad luck such as married with a leftist, getting lic opinion in the society still considers the PKI scholarship by the government, and involved left- negatively. It is not surprising, thus, that film ist art group such as Lekra. producers, including the investors who fund the Heryanto argues that there is a connection films, portrayed the PKI, its ideology, and its between film and the social reality. In the anal- supporters negatively in their films. Heryan- ysis above, Heryanto explicitly mentions that to implicitly states that the connection between film’s strongest connection is with the providers films and investors is influenced by politics and of capital that funds the film. Those providers or power. Because of that, Heryanto questions the investors, in funding films, adopt an economic intentions of many institutions who gave awards perspective, seeing film merely as an industry or for films depicting the left-wing films negatively. commodity to be traded (watched). While watch- It appears that Heryanto implies state’s inter- ing films, people, according to Heryanto, relates vention in award-giving events. to their favorite things. Film as a text cannot deflect from its role as an Meanwhile, during the New Order, leftist instrument of power which can divide people into ideology was totally marginalised. For instance, opposing groups. Text represents certain ideal people that wanted to apply for a job, especially reality which not all people agree on. Therefore, as a public servant, must be free from any asso- mobilization and regulation on discourse are of- ciations with the left-wing politics. People were ten in line with cultural text in constructing real- required to have a letter stating that they were ities (Littlejohn & Foss, 2009: 222) not associated with the PKI. The police then la- belled the letter as “Letter of Good Behaviour” Three Films: Same Narratives, Different Ways of because during the New Order, communism was Expression considered “not good”. Students in schools and Three films that will be studied in this research universities were required as well to attend ideo- are Pengkhianatan G30S/PKI, the Act of Killing logical debriefing through P4 (Pedoman Pengha- (Jagal), and The Dancer (Sang Penari). All of yatan dan Pengamalan Pancasila or Guidelines, these films depict the same occurrence, namely Appreciation, and Implementation of Pancasi- the chaos that happened in the 1965 where the la). The seminar was mandatory also for people PKI started to gather mass supporters and killed working in the mass media, including the editors Indonesian generals. The murder was considered in chief. For the editors, the P4 Seminar was tak- by the then military regime as PKI’s treachery en into a more intensive level which was named to conduct a coup d’etat. Based on this reason, as “Manggala” level. During the seminar, people the military, under the commando of General Su- were indoctrinated in a special “educational pro- harto, crushed PKI’s officers, sympathizers, and gram” held by the National Resilience Institution even their offsprings. Meanwhile, human rights (Lemhanas). activists, as depicted in the Act of Killing, per- Domestic politics had divided public opinion ceived this purge as pure thuggery. on the New Order regime. At the internal level In these three films, scenes of prominent fig- of the government, communism was constructed ures smoking are frequently featured. The map- as evil and the enemy of the nation. Meanwhile, ping of masculinity representation in those films figures involved in the New Order regime- con follows two perspectives. First, smoking scenes sidered themselves as good and noble, claiming in the films are intended to label and connotate themselves as the regime that conducted Pan- the smoking figures as bad, evil, and unsure; casila purely and responsibly. Panuju (2017: thus, by smoking, the figures are badly stigma- 67-89) illustrates how countries with this kind tized. Smoking scenes in this context dubbed as of perspective granted themselves the authority primary scenes. Meanwhile, according to the sec-

250 Jurnal Komunikasi Indonesia Vol. VII, No.3, November 2018 ond perspective, smoking scenes, which in this as Suharto and Umar Khayam as Soekarno. In perspective are called secondary attribute, are the 1984 Indonesian Film Festival, this fi lm was meant to merely demonstrate masculinity, (in awarded 7 nominations and grabbed the presti- coincidence, it appears that all females in these gious Piala Citra award as the fi lm with the best fi lms do not smoke) such as aggressiveness, ma- scenario. In the 1985 Indonesian Film Festival, chismo, independence, rebellion, strength, lead- this fi lm achieved the special award of Piala An- ership, and charm. temas as the best selling fi lm at that time. Ac- cording to Thomas Barker (2011), the awards Masculinity Representation in Pengkhianatan were the combination of festivals and country’s G30S/PKI interest. This fi lm was produced in 1984 and directed by Arifi n C Noor. It starred Amaroso Katamsi Table 1. Smoking as the Masculinity Representation through Cigarette In Pengkhianatan G30S/PKI

251 Redi Panuju, Daniel Susilo & Harliantara , Cigarette as a Tool for Representing Masculinity in Indonesian Left-Wing Films

Masculinity Representation in the fi lm of Jagal – and Chinese were accused of being involved in G30S. The Act of Killing In a year, with the help of western countries, more Jagal is a documentary fi lm by Joshua Oppen- than a million of “communist” were slaughtered.” heimer. This fi lm highlights the purge of com- munists that was conducted by a group of peo- Cigarette is also dominant in this fi lm. Table ple claiming as anti-PKI. Jagal received various 2 summarizes some masculinity representation awards, such as the Best Documentary Film by using cigarette in the fi lm. the British Academy Film and the 2013 Televi- sion Arts Awards (BAFTA). The fi lm was nomi- th Masculinity Representation in Sang Penari nated as the Best Documentary Film on the 86 Sang Penari (The Dancer) is an Indonesian fi lm . Meanwhile, Jagal’s sequel, produced in 2011 and directed by Ifah Infansyah. Senyap (The Look of Silence), was released in Adapted from the popular novel named Ronggeng 2014. This fi lm focuses on right-wing paramili- Dukuh Paruk (1982), this fi lm received four Piala tary organization Pemuda Pancasila (PP). After Citra awards. The story is about the arrival of Ba- TNI declared the PKI as the mastermind behind kar to Paruk village to infl uence the villagers to join the September 30, 1965 movement, Anwar Congo the communist party. By joining the party, their acted as an executioner that killed more than 100 bad economic condition is promised to improve. PKI’s sympathisers by his own hands in Medan Regardless, different with the previous fi lms that in a year. illustrate the situation in 1965 at the surface level, This fi lm starts with following narration: this fi lm focuses more on cultural humanism aspect “1965: by taking advantage on G30S military opera- and the political map at that time. Cigarettes are ti on as the alibi, General Suharto toppled President considered as important to explain something. The Soekarno. Soekarno’s supporters, communist party following is the summary of masculinity represen- members, labours and farmers union, intellectuals, tation through cigarette in Sang Penari.

252 Jurnal Komunikasi Indonesia Vol. VII, No.3, November 2018

Table 2. Masculinity Representation through Cigarette use in Jagal

253 Redi Panuju, Daniel Susilo & Harliantara , Cigarette as a Tool for Representing Masculinity in Indonesian Left-Wing Films

Pengkhianatan G30S/PKI, according to Adhi bunga dance performed by the Gerwani when Joko Kuncoro (2013: 5), is relatively more com- torturing the generals. prehensive in retelling the story of the PKI, com- Therefore, this fi lm is intended to propagate the pared to other similar fi lms, by involving PKI’s New Order’s preferred ideology and strengthen its elements such as Gerwani and Pemuda Rakyat power and legitimacy. Cigarette is an instrument when the G30S movement occurred. In this fi lm, that is used as a tool to stigmatize the PKI and naked female members of Gerwani performing a other Indonesians that were involved in the 1965 dance called harum bunga while torturing kid- movement. Figures that were alleged as the mas- napped generals are depicted. The six methods terminds of the movement such as DN Aidit are of Gerwani’s torture includes cutting the victims’ mostly portrayed as badly behaved by smoking body using razors, poking eyes, and cutting their continuously in every meeting. Scene 21:01 even genitals. Pengkhianatan G30S/PKI illustrates shows Aidit’s persistent smoking until his face is the “cruelty in Lubang Buaya” through sinister clouded by cigarette smoke. Such representation dialogues such as “just kill him”, “cut his meat”, is reinforced in scenes 33:21 and 42:43 where Aidit “hit his head”, or “cut his tongue and hands” (Mc- always holds a cigarette in his hand while plan- Gregor, 2005). This docu-drama fi lm is the most ning the kidnapping and/or killing of the Gener- effective medium to spread and defend the myth als Council members. Power relations that want about “communist cruelty”. Just as the monu- to be connected inter-scene is that Aidit is an evil ment, this fi lm also creates the “complete ver- fi gure, affi rmed by his smoking habit. In the soci- sion” of G30S coup effort, including the harum ety, smoking is considered bad because of its bad

254 Jurnal Komunikasi Indonesia Vol. VII, No.3, November 2018

Table 3. Masculinity Representations through Cigarette in Sang Penari

255 Redi Panuju, Daniel Susilo & Harliantara , Cigarette as a Tool for Representing Masculinity in Indonesian Left-Wing Films

impacts on health. Bad things are very effective Pengkhianatan G30S/PKI and Jagal, mean- to denounce someone. It is different with scene while, convey a contrasting message. It can be 03:10:21 that depicts Suharto leading a meeting said that Jagal is the antithesis of previous fi lms in a clean and neat environment without any ash- about the PKI. If in Pengkhianatan G30S/PKI tray visible. Ikhsan (2013) states that smoking is PKI’s supporters are depicted as evil, in Jagal, a dangerous activity for the body as cigarettes con- New Order’s sympathisers are the ones consid- tain 200 out of 4000 unhealthy elements. People ered as abusers of human rights. Hidayatullah that have the habit of smoking usually fi nds it dif- (2017) characterizes types of violence in Jagal, fi cult to cease their addiction. Most young smokers starting from intimidation, blackmail, cutting, aged 14-17 years old only smoke because of peer hitting head, to decapitation. If in Pengkhianatan pressure without knowing the negative impacts of G30S/PKI the antagonists are the communists, smoking. Pengkhianatan G30S/PKI follows this particularly PKI’s prominent fi gures such as DN way of thinking: Smoking is dangerous, and as Aidit, in Jagal, the antagonist is Anwar Congo, a PKI members smoke, then the PKI is dangerous. New Order’s supporter from the Pemuda Pancas- In this context, masculinity is represented ila (PP) mass organization. Meanwhile, the com- through cigarette and smoking habit as bad. munists are portrayed as victims. As Strength, aggressiveness, leadership, and confi - an antagonist in this fi lm, Anwar Congo, is also dence are characteristics that are reinforced by depicted as a fi gure with smoking habit.. smoking habit, which coincides with illegal ac- tivity. Masculinity in this fi lm is interpreted as Conclusion something negative in regard to the PKI. Smok- Smoking as the representation of masculin- ing is part of strengthening the PKI’s stigmatized ity occurs in three fi lms that discuss confl icts image. surrounding the PKI. Through smoking habit, The representation of masculinity through cig- men are portrayed as strong, macho, brave, ag- arette is also conducted in Sang Penari. Through gressive, or prestigious in these fi lms. However, the role of Bakar, smoking is represented as an in this fi lm, masculinity is associated with bad activity that shows the bourgeois lifestyle, name- fi gures instead, either communist or anti-com- ly tidy clothes, imported manufactured cigarettes, munist fi gures. PKI’s prominent fi gure DN Aidit, and gas lighters. Paruk villagers are fascinated which was accused of masterminding the 1965 with Bakar’s appearance, so a lot of them decides movement in Pengkhianatan G30S/PKI, for in- to join the PKI. In this fi lm, PKI members tend to stance, is portrayed as evil with scenarios detail- smoke when they are conducting something bad. ing his plan of killing generals on September 30, In contrast, ordinary citizens smoke when they 1965. In the fi lm, Aidit is characterized with his conduct social activities which strengthen their smoking habit. The same method of represen- community, as illustrated by scenes at 24:14 and tation using cigarette is also conducted in Sang 31:09. Penari, particularly through the role of Bakar,

256 Jurnal Komunikasi Indonesia Vol. VII, No.3, November 2018 a smoker PKI activist that is urban and stylish ative representation of masculinity is produced as illustrated by his imported cigarette and gas by the respective film makers. Pengkhianatan lighter. G30S/PKI and Sang Penari that were produced Meanwhile, in Jagal, the representation of and made by New Order’s supporters tend to por- masculinity focuses on Anwar Congo, the founder trays communists as threats against the nation. of right-wing paramilitary group named Pemu- Therefore, cigarettes are used to strengthen the da Pancasila who admitted of killing thousands image of PKI as cruel, evil, et cetera. On the oth- of communists in Medan within one year. Congo er hand, Jagal, that was made and supported by perceives his act of killing as heroic. Like Aidit the left-wing, portrays communists as the vic- and Bakar, Congo is also portrayed as a heavy tims of New Order’s supporters’ brutality. Again, smoker in Jagal. Almost all smoking scenes in cigarettes are used as a tool to strengthen the this film involves Congo. negative image of the regime’s supporters. In the perspective of power relation, this neg-

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