Ilfa Maulana Almaarif Kadarisman, Lilik Herawati

Citra Perempuan dalam Film Gadis Kretek Karya Ratih Kumala: Feminis Marxis

Introduction

Citra perempuan dalam film gadis kretek karya ratih kumala: feminis marxis. Analisis citra perempuan dalam film Gadis Kretek karya Ratih Kumala menggunakan pendekatan feminis marxis. Mengungkap penindasan struktural dan relasi kuasa tak seimbang, serta upaya perlawanan perempuan.

Abstract

Penelitian ini menganalisis citra perempuan dalam film Gadis Kretek karya Ratih Kumala dengan menggunakan pendekatan feminis marxis. Penelitian ini berangkat dari permasalahan representasi perempuan yang berada dalam posisi subordinat akibat struktur sosial, politik, dan ekonomi yang berakar pada patriarki dan kapitalisme. Tujuan penelitian ini adalah mendeskripsikan bagaimana citra perempuan, khususnya tokoh Jeng Yah, ditampilkan melalui aspek fisik, psikis, sosial, politik, dan ekonomi dalam film. Metode penelitian yang digunakan adalah deskriptif kualitatif melalui teknik pengumpulan data berupa pencatatan adegan, dialog, dan konteks visual yang relevan. Hasil penelitian menunjukkan bahwa perempuan dalam film digambarkan menghadapi berbagai bentuk penindasan struktural, seperti pembatasan ruang gerak, dominasi keputusan laki-laki, eksploitasi ekonomi, serta tekanan sosial yang memengaruhi citra diri mereka. Temuan ini menunjukkan bahwa representasi perempuan dalam film Gadis Kretek memperlihatkan relasi kuasa yang tidak seimbang serta upaya perempuan dalam menghadapi ketidakadilan struktural. This study analyzes the representation of women in the film Gadis Kretek by Ratih Kumala using a Marxist feminist approach. The study originates from the issue of women’s subordination caused by social, political, and economic structures rooted in patriarchy and capitalism. The objective of this article is to describe how women—particularly the character Jeng Yah—are portrayed through physical, psychological, social, political, and economic dimensions in the film. This research employs a descriptive qualitative method, with data collected through the observation and documentation of relevant scenes, dialogues, and visual contexts. The findings indicate that women in the film experience various forms of structural oppression, including restricted mobility, male-dominated decision-making, economic exploitation, and social pressures that influence their self-image. These results reveal that the representation of women in Gadis Kretek reflects unequal power relations and highlights women's efforts to resist systemic injustices.

Review

This study undertakes a pertinent analysis of female representation in the film *Gadis Kretek*, a culturally significant work, through the critical lens of Marxist feminism. The research clearly articulates its grounding in the pervasive issue of women's subordination, attributing it to deeply entrenched patriarchal and capitalist structures within social, political, and economic spheres. The objective to meticulously describe the portrayal of women, specifically the central character Jeng Yah, across physical, psychological, social, political, and economic dimensions, is well-defined. The chosen descriptive qualitative methodology, relying on detailed textual analysis of scenes, dialogue, and visual contexts, appears robust and appropriate for achieving such an in-depth interpretive examination. The findings of this research offer valuable insights into the multi-faceted forms of structural oppression faced by women in the depicted narrative. The identification of issues such as restricted mobility, male-dominated decision-making, economic exploitation, and societal pressures effectively illustrates the unequal power dynamics at play and their profound influence on women's self-image and agency. By focusing on Jeng Yah's experiences, the study effectively demonstrates how these systemic injustices manifest at an individual level, while also highlighting women's commendable efforts to resist and navigate these challenging circumstances. This detailed exposition significantly contributes to understanding the complexities of gender representation within Indonesian media. In conclusion, this study presents a well-executed and insightful analysis that successfully applies a Marxist feminist framework to a significant cultural product. It provides a compelling examination of how cinematic narratives can reflect and comment on broader societal issues concerning gender, power, and class. The research not only elucidates the specific challenges faced by women within the world of *Gadis Kretek* but also implicitly encourages a critical perspective on similar real-world structures. This article undoubtedly makes a valuable contribution to the fields of feminist film studies, cultural analysis, and scholarship on Indonesian media.

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