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All Journal CALL Journal of English Language Teaching and Literature (JELITA) Saksama: Jurnal Sastra
Lili Awaludin
UIN Sunan Gunung Djati Bandung
Arts Humanities Education Languange, Linguistic, Communication & Media

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VOICE AND FREQUENCY IN QUENTIN TARANTINO’S PULP FICTION MOVIE SCRIPT Sandy Agung; Dadan Rusmana; Lili Awaludin
CALL Vol 2, No 1 (2020): CALL
Publisher : Universitas Islam Negeri Sunan Gunung Djati

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/call.v2i1.8748

Abstract

This research discusses the narrative discourse structure in Quentin Tarantino’s Pulp Fiction movie script. Pulp Fiction (1994) Pulp Fiction is known as one of the best crime and drama genre movie. Pulp Fiction directed by Quentin Tarantino. Quentin Tarantino and Roger Avery wrote the script. The movie presented many drops of blood, fights, and gun in the scenes. This movie also provides us with many “nigga” words. The researcher used Gerrard Genette’s narrative discourse theory. This study was conducted into two research problem; 1. What are the kinds of voice that consist in Quentin Tarantino’s Pulp Fiction movie script? 2. What are the kinds of frequency that consists in Quentin Tarantino’s Pulp Fiction movie script? The result of this research shows that in this movie there are two kinds of voice. Moreover, there are some data that show frequency that exist in Quentin Tarantino’ Pulp Fiction movie script.
REFUTATION OF LAURA MULVEY'S 'MALE GAZE' THEORY IN FILM LITTLE WOMEN (2019) Virgiena Salsabila; Lili Awaludin; Hasbi Assiddiqi
Saksama: Jurnal Sastra Vol 1, No 2 (2022): Saksama
Publisher : Fakultas Adab dan Humaniora UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (810.409 KB) | DOI: 10.15575/sksm.v1i2.23899

Abstract

Film, along with other literary works such as books, poetry and theater, is one of the mediums used in the contemporary day to communicate messages to society. Greta Gerwig adapted the film Little Women (2019) from the novel Little Women (1868) by Louisa May Alcott. This film shows a breakthrough over the prejudice and discrimination towards women in 19th-century cinema. The subject of female gaze has received attention since, up to this point, women have frequently only been shown as passive narrative objects, or even as the principal sexual objects in movies. Analyzing by comparing Laura Mulvey's theory regarding female gaze and male gaze through the phenomena contained in the film Little Women, which narrates the lives of five young women during their adolescent years. The image of women in the film Little Women does not appear as an object but a subject, the characters in the film Little appears strong, ambitious and optimistic. Little Women proves that Mulvey's theory of the patriarchal world is neither permanent nor obligatory.
IRONY AS REPRESENTATION OF RACIAL SEGREGATION IN AUGUST WILSON’S “FENCES” Ihya Aditya Fahmi Maarif; Andang Saehu; Lili Awaludin
Saksama Vol 1, No 1 (2022): Saksama
Publisher : Saksama

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (717.961 KB)

Abstract

Irony is figurative language that is frequently employed in literary works as a way to add interest to the text. Irony is a figure of speech employed in a sentence so that the intended meaning is different from the real meaning of the word, according to various dictionaries. One of the historical occurrences in the United States was racial segregation, which was intended to be a diplomatic separation between white society and African American society but instead supplied the same level of discrimination. Considering how the history of discrimination is depicted in play through figurative language: irony, the researcher conducted a study that focused on August Wilson's play entitled Fences (1984). This study used the theory of irony from Perrine (1994), to analyze the types of irony found in Fences and several sources of journals and history books to describe the history of racial segregation in the United States of America that occurred. This study uses a descriptive qualitative method, and the main data is the script of the drama Fences. The research result showed the type of irony in this playscript are able represent the racial segregation in United States. In conclusion, Wilson as a playwright effectively used irony in almost every round of his drama and this irony was also able to describe the situation of racial segregation that had occurred in United States.
MALE ROMANCE FORMULA IN FORREST GUMP MOVIE (1994) Vidi Rutsyamsun; Lili Awaludin
Saksama: Jurnal Sastra Vol 2, No 1 (2023): Saksama
Publisher : Fakultas Adab dan Humaniora UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/sksm.v2i1.24837

Abstract

This journal investigates how Forrest Gump's portrayal of disability in romantic relationships. To investigate how the main character, Forrest Gump, and his partner, Jenny, encountered difficulties in forging a love relationship because of Forrest's disabilities, the researcher employed a qualitative technique with a narrative analytic method. The study sought to investigate how the movie deals with disability difficulties while presenting the ideal romance formula. The study also discovered that the Forrest Gump movie adheres to Janice Radway's ideal romance formula while adapting it to the disability setting. The individuals' personalities are given more depth by this extra complexity, which also advances the story as a whole. The Forrest Gump movie accurately, tenderly, and meaningfully shows romantic connections between individuals with impairments, according to the study. Forrest's intellectual impairment isn't the main focus of his persona; rather, it's only one facet of who he is. The movie demonstrates that Forrest is a loving, kind, and sympathetic individual who is able to develop lasting connections despite his impairment. Jenny's reaction to Forrest's impairment is honestly portrayed in the movie, and she first has second thoughts about dating him. She comes to see, nevertheless, that Forrest's impairment is only one aspect of him and does not characterize him as a person as their relationship progresses.
Ms. Marvel: Marvel’s New Model of Islam’s Representation in Popular Culture Anisa Hanifah; Lili Awaludin; Hasbi Assiddiqi
JELITA Vol 5 No 1 (2024): Journal of English Language Teaching and Literature (JELITA)
Publisher : STKIP Muhammadiyah Barru

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56185/jelita.v5i1.544

Abstract

This research aims to examine the Ms. Marvel (2022) film series as Marvel's new model in representing Islam throughout popular culture's advancement. Ms. Marvel, known as Kamala Khan, is the first Muslim superheroine character to have her own series at Marvel. This research investigates how the creation and development of this character reflects an invention in the representation of religion and diversity in an entertainment industry that is generally dominated by Western narratives. The research method employed a descriptive qualitative analysis utilizing a cultural studies approach to discern Islam’s representation in Ms. Marvel (2022). Supported by representation and ideology theories, this research would not only examine the impact of Ms. Marvel's character on the general perception of Islam in popular culture but also analyze how the entertainment industry in its entirety may serve as a means to construct a more inclusive perception of religious diversity. The results of this research are intended to offer deeper insights into characters' roles such as Ms. Marvel in reimagining representations of Islam in popular culture and to contribute towards readers' comprehension of the entertainment industry's power through inclusive narratives. Therefore, Ms. Marvel as Marvel's new model in representing Islam may change the negative stereotypes and people's perceptions of Islam.
Co-Authors Andang Saehu Anisa Hanifah Dadan Rusmana Hasbi Assiddiqi Ihya Aditya Fahmi Maarif Sandy Agung Vidi Rutsyamsun Virgiena Salsabila