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Female Sexploitation in Indonesian Horror Films: Sundel Bolong

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Female Sexploitation in Indonesian Horror Films: Sundel Bolong Female Sexploitation in Indonesian Horror Films: Sundel Bolong (A Perforated Prostitute Ghost, 1981), Gairah Malam III (Night Passion III, 1996), and Air Terjun Pengantin (Lost Paradise – Playmates in Hell, 2009) Anggit Pangastuti A thesis submitted to Auckland University of Technology in partial fulfilment of the requirement for the degree of Master of Communication Studies 2019 School of Communication Studies Faculty of Design & Creative Technologies i Abstract This research explores the portrayal of female sexual exploitation (sexploitation) and representation in three Indonesian horror films: Sundel Bolong (A Perforated Prostitute Ghost, 1981), Gairah Malam III (Night Passion III, 1996), and Air Terjun Pengantin (Lost Paradise – Playmates in Hell, 2009). These films coincide with three significant political periods in Indonesia, namely: the New Order period; the Transition period; and the post- New Order period that shaped and reflects the present Indonesian society. The New Order was known as authoritarian and repressive with prevalent censorship; the Transition period was marked by unstable political and economic conditions; and Post-New Order has seen a shift toward democracy with more freedom of speech. This research utilises a qualitative research methodology with thematic and textual analysis. Drawing on Mulvey’s (1975) visual pleasure concept, the research shows that women are clearly represented as sexual objects to be savoured by heterosexual male viewers. In addition, this research uses Creed’s (1993) concept of the monstrous feminine to analyse female character representation in the three selected films, in their respective political and economic contexts, to compare a ‘good’ woman and a ‘bad’ woman according to Indonesian patriarchal society. The research finds that female characters are depicted as dependent, passive and helpless, which is associated with Indonesian ideals of womanhood during the New-Order and Transition periods. However, during the Post-New Order period, female representation has changed. The female character is depicted as a survivor who does not need a man’s support and protection. She is more independent, active and fierce; yet, she still cannot escape fully from society’s expectation for her to follow the patriarchal rule. Keywords: Sexploitation; Indonesian horror film; Sundel Bolong; Gairah Malam III; Air Terjun Pengantin; visual pleasure; monstrous feminine. ii Table of Contents Abstract ............................................................................................................................................... ii Table of Contents ............................................................................................................................... iii List of Figures ...................................................................................................................................... vi List of Tables ...................................................................................................................................... vii Attestation of Authorship ................................................................................................................ viii Acknowledgements ............................................................................................................................ ix Chapter 1 Introduction ........................................................................................................................1 1.1 Background ................................................................................................................................2 1.1.1 Female sexploitation in Western horror films and Indonesian horror films ..........................4 1.1.2 Female character representation in Indonesian horror films .................................................7 1.2 Indonesia: Political periodisation ...............................................................................................8 1.2.1 New Order period ...............................................................................................................9 1.2.2 Transition period .............................................................................................................. 11 1.2.3 Post-New Order period .................................................................................................... 13 1.3 Research questions and rationale ........................................................................................... 18 1.3.1 Research questions .......................................................................................................... 18 1.3.2 Rationale .......................................................................................................................... 19 1.4 Structure of the thesis ............................................................................................................ 22 Chapter 2 Literature Review ............................................................................................................ 23 2.1 Western horror films and Indonesian horror films ................................................................. 23 2.2.1 The horror film types ....................................................................................................... 27 2.2.2 The appeal of horror films ............................................................................................... 29 2.2 Sexual politics .......................................................................................................................... 30 2.2.1 Sexuality and censorship in Indonesian cinema .............................................................. 32 2.2.1 State ibuism in Indonesia ................................................................................................. 34 2.3 An introduction to feminist theories ...................................................................................... 35 2.3.1 Simone de Beauvoir (1953) – Woman as other ............................................................... 36 2.3.2 Laura Mulvey (1975) – Visual pleasure ............................................................................ 37 2.3.3 Julia Kristeva (1982) – Abjection ...................................................................................... 38 2.3.4 Carol J. Clover (2015) – Final girl ...................................................................................... 39 iii 2.3.5 Virginia Allen (1983) – Femme fatale ............................................................................... 40 2.3.6 Barbara Creed (1993) – Monstrous feminine ................................................................... 41 2.4 Conclusion ............................................................................................................................... 46 Chapter 3 Methodology ................................................................................................................... 47 3.1 Qualitative research methodology ......................................................................................... 47 3.2 Research methods .................................................................................................................. 49 3.2.1 Case study ........................................................................................................................ 49 3.2.2 Textual analysis ................................................................................................................ 50 3.3 Theoretical Framework ........................................................................................................... 52 3.4 Research Design ...................................................................................................................... 52 3.4.1 Sample .............................................................................................................................. 53 3.4.2 Data collection method .................................................................................................... 54 3.5 Limitations ............................................................................................................................... 54 3.6 Conclusion ............................................................................................................................... 55 Chapter 4 Analysis ............................................................................................................................ 56 4.1 Sundel Bolong (1981) .............................................................................................................. 58 4.1.1 Sundel Bolong (1981) in context ...................................................................................... 58 4.1.2 Sundel Bolong (1981) Narrative ....................................................................................... 60 4.1.3 Female sexploitation in Sundel Bolong (1981) ................................................................ 60 4.1.4 Female character representation in Sundel Bolong (1981) during the New Order period .................................................................................................................................................. 65 4.1.5 Sundel Bolong (1981) Conclusion ..................................................................................... 75 4.2 Gairah Malam III (1996) .........................................................................................................
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