Afinada Aulia Agani, Triyono Lukmantoro

Marriage Women Select Careers: Indonesian Film Reception Analysis “Dua Hati Biru” (2024)

Introduction

Marriage women select careers: indonesian film reception analysis “dua hati biru” (2024). Analyze audience reception of "Dua Hati Biru" (2024), exploring young married women's choices between career and family amidst gender equality conflicts in Indonesian society.

Abstract

Film Dua Hati Biru (2024) lifts the drama's genre from the story of young women marrying and entering a conflicting reality of life and gender equality. The film forms the discussion room of both audiences and social media users. The study was intended to analyze the audiences' interpretation of the reception of family conflicts in the film, especially women who got married in their teen years. The study uses qualitative research methods with an encoding/decoding model reception approach and is a research phenomenon. Data is collected by conducting in-depth interviews, observations, and relevant library studies. Research shows the use of the Dua Hati Biru (2024) film audience as the dominant-hegemonic position and the dominant position. The dominant use of the audience is illustrated in the scene showing that women who marry young because they 'married by infants' then face conflicts and consequences that leave themselves with the choice to fully care for household or career affairs. Burial in a negotiating position occurred at scenes showing that caring for children and households was the wife's responsibility.

Review

The proposed study investigates the reception of the Indonesian film "Dua Hati Biru" (2024), focusing on how married women interpret its portrayal of young marriage, career choices, and gender equality. This is a highly pertinent and timely topic, especially within the context of contemporary Indonesian society, where discussions around women's roles, early marriage, and professional aspirations are increasingly salient. The film itself, described as a drama that "lifts the genre from the story of young women marrying and entering a conflicting reality," appears to serve as a strong cultural artifact for such an analysis, providing a rich "discussion room" for both audiences and social media users. Methodologically, the study adopts a qualitative approach utilizing an encoding/decoding model, which is well-suited for analyzing audience reception and interpretation. The researchers plan to gather data through in-depth interviews, observations, and relevant library studies, ensuring a comprehensive understanding of the audience's perspectives, particularly those of women who married in their teen years. The abstract's preliminary findings indicate the presence of "dominant-hegemonic" and "dominant" positions among the audience, exemplified by interpretations that link early marriage to conflicts regarding career versus household responsibilities. However, the phrasing "married by infants" needs clarification, as it likely refers to early or child marriage, and "Burial in a negotiating position" seems to be a significant typographical error that obscures the intended meaning of findings related to a "negotiating position" among audiences. Clarifying these terms would significantly enhance the readability and precision of the findings presented. Overall, this study promises to offer valuable insights into how Indonesian audiences, particularly young married women, engage with and make sense of media narratives surrounding complex social issues. By exploring the nuances of film reception through an encoding/decoding lens, the research has the potential to shed light on prevailing societal attitudes towards gender roles, marriage, and women's autonomy in career choices. Addressing the minor textual ambiguities within the abstract would strengthen the presentation of what appears to be a well-conceived and socially significant piece of research, contributing meaningfully to both media studies and gender studies in an Indonesian context.

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