Dwi Prasetyo, Tia Saraswati, Yahya Muhammed Bah

Body, Terror, and Gender: The Representation of Women in Contemporary Indonesian Horror Films

Introduction

Body, terror, and gender: the representation of women in contemporary indonesian horror films. Analyzes women's representation in Indonesian horror films (2017-2020) using feminist film theory. Explores the ambivalent female body, monstrous-feminine, and cultural anxieties.

Abstract

This article analyzed the representation of the female body in contemporary Indonesian horror films by drawing on feminist film theory and cultural studies frameworks. Focusing on four key films released between 2017 and 2020, Pengabdi Setan, Sebelum Iblis Menjemput, Kuntilanak, and Impetigore, the study examined how terror was constructed through visual, narrative, and symbolic strategies shaped by gender perspectives. Using a qualitative approach that combined textual and semiotic analysis, the findings revealed that the female body was portrayed ambivalently: both as a victim and as a source of power, referencing the concept of the monstrous-feminine. These representations were mediated through aesthetic techniques—such as camera angles, sound design, and lighting that shaped cultural meanings related to motherhood, sexuality, and social taboos. The study revealed that Indonesian horror films drew on local myths, spiritual beliefs, and socioreligious tensions to produce a distinctly Indonesian variant of the monstrous-feminine, which differed from its Western counterparts. While some films reproduced patriarchal norms by punishing transgressive female characters, others offered subversive narratives that positioned women as agents of revenge and resistance. This study contributed to global feminist film discourse by foregrounding the Southeast Asian context and highlighted the role of the horror genre in expressing contemporary cultural anxieties surrounding gender and the body in Indonesia.

Review

The article "Body, Terror, and Gender: The Representation of Women in Contemporary Indonesian Horror Films" offers a timely and insightful analysis of how the female body is depicted within a burgeoning regional cinema. Drawing effectively on feminist film theory and cultural studies, the authors meticulously unpack the complex and often ambivalent portrayal of women in selected Indonesian horror films from 2017-2020. The abstract clearly articulates the study's central argument: that the female body operates simultaneously as a site of vulnerability and formidable power, embodying the concept of the monstrous-feminine within a distinctly Indonesian cultural context. This dual focus on both theoretical depth and specific regional cinema makes for a compelling initial overview. The methodological approach, combining qualitative textual and semiotic analysis, appears robust for examining the visual, narrative, and symbolic strategies employed in constructing terror through gendered lenses. The selection of four prominent films—*Pengabdi Setan, Sebelum Iblis Menjemput, Kuntilanak*, and *Impetigore*—provides a strong and representative sample from the contemporary Indonesian horror landscape. The abstract details how the analysis goes beyond mere plot description, delving into aesthetic techniques such as camera angles, sound design, and lighting, to reveal how these elements mediate cultural meanings surrounding motherhood, sexuality, and social taboos. Crucially, the study identifies how local myths, spiritual beliefs, and socioreligious tensions are instrumental in shaping a unique Indonesian variant of the monstrous-feminine, distinguishing it from Western counterparts. This study makes a significant contribution to both global feminist film discourse and the growing scholarship on Southeast Asian cinema. By foregrounding the Indonesian context, it enriches our understanding of how gendered representations, particularly within the horror genre, are shaped by specific cultural anxieties and local socio-religious dynamics. The findings not only highlight the genre's capacity to reflect contemporary tensions surrounding gender and the body in Indonesia but also offer valuable comparative insights for scholars interested in transnational horror studies. The nuanced revelation that some films reproduce patriarchal norms while others offer subversive narratives positions this research as a critical benchmark for future investigations into gender, horror, and cultural identity in the region.

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