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"Toleransi adalah sikap yang sepatutnya diambil dalam hubungan antarmanusia yang sarat perbedaan untuk mencapai keharmonisan dan perdamaian. Meskipun begitu, sikap tersebut memang tidak semudah mengucapkannya. Toleransi adalah kemampuan yang harus dipelajari, bukan sifat naluriah manusia, yang cenderung terdorong untuk intoleran terhadap perbedaan yang dianggapnya sebagai ancaman. Intoleransi memang banyak terjadi di mana saja dalam hubungan antarbudaya dan antarmanusia. Anak-anak dan remaja tidak lepas dari masalah tersebut. Intoleransi dapat terjadi atas alasan apa pun, termasuk perbedaan kelas ekonomi, milieu dan orientasi seksual. Contoh kasus untuk ketiga masalah tersebut muncul dalam dua cerita karya Karen-Susan Fessel, "Und Wenn Schon!" dan "Steingesicht". Kedua karya tersebut masing-masing bercerita tentang seorang anak laki-laki dan perempuan yang merasa sengsara karena intoleransi yang mereka terima dari lingkungannya, yang sebaliknya membuat mereka sendiri jadi intoleran. ......Toleration is a stance that should be taken in human relations that is filled with diversity in order to achieve peace and harmony. Even so, the said stance is easier said than done, since the human nature is typically intolerant to differences that are considered as threats. Therefore, toleration is a learned ability beyond human instincts. Intoleration happens anywhere in human relations during childhood and adulthood. Intoleration could happen for any reason, such as differences in economic classes, milieus and sexual orientations. Exemplary cases of the aforementioned problems can be found in two stories by author Karen-Susan Fessel, "Und Wenn Schon!" and "Steingesicht". Those two stories are about a boy and a girl respectively who felt miserable because of the intolerance in their surroundings, which in turn made them intolerant as well."

"This thesis discusses the legal position of Creative Commons licenses in accordance with Indonesian copyright law as regulated in Law Number 19 of 2002. This research used prescriptive analysis and juridical normative by describing research and analyzing the issues. Indonesian private law uses open system for every party to make an agreement, as stipulated in Indonesian Civil Code in Article 1338 (I). The open system means that everyone is free to create an agreement as long it fulfills the requirements to make an agreement. Law Number 19 of 2002 regulates copyright in Indonesia including license agreement; however the implementing regulation of Article 47 of the law is yet to be available. Creative Commons license agreement is a tool for on-line sharing that conforms to the copyright concept as regulated in the TRIPs Agreement. Copyright disputes can be settled through three ways, out of court settlement (alternative dispute resolution) as regulated in Law Number 30 of 1999 on Arbitration and Alternative Dispute Resolution, private method through the Commercial Court or criminal procedure. The dispute between Susan Chang v Virgin Mobile, LLC, Virgin Mobile Pty and Creative Commons in the United States for the Northern District of Texas, Dallas Division, is the first case in which Creative Commons stands as one of the Defendants."

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Pemberdayaan perempuan sering digunakan dalam film untuk mengedepankan tokoh perempuan yang suara dan tindakannya sering tidak terlihat. Agensi, suara, dan kekuasaan adalah elemen yang saling terkait dalam membantu membentuk sosok perempuan yang berdaya. Film adaptasi The Chronicles of Narnia: Prince Caspian (2008) memakai pendekatan yang berbeda dalam menyampaikan cerita sehingga terdapat perbedaan yang siginifikan pada alur dan tokoh Susan Pevensie yang digambarkan lebih berdaya dalam film daripada di buku. Penelitian ini bertujuan untuk menunjukkan, bahwa meskipun di dalam film Susan ditampilkan lebih berdaya, film ini tidak sepenuhnya memberdayakan Susan. Masih ada penggambaran yang memosisikan Susan sebagai tokoh yang inferior. Dengan menggunakan teori agensi oleh Trites (1997), teori representasi oleh Hall (1997), dan unsur-unsur analisis film oleh Bordwell dan Thompson (2013), penelitian ini akan mengidentifikasi perbedaan penggambaran Susan dibandingkan tokoh laki-laki dan memeriksa agensi, suara, dan kekuatannya dalam buku dan film. Hasil penelitian menunjukkan bahwa pemosisian Susan di dalam film tidak terlalu jauh berbeda dari pemosisian Susan di dalam buku. Ia tetap diposisikan sebagai tokoh yang lebih rendah daripada tokoh laki-laki. Dengan demikian, meskipun film menggambarkan Susan sebagai tokoh perempuan yang berdaya melalui perubahan alur dan representasi visualnya, film masih jatuh ke dalam perangkap stereotip gender. Beberapa mise-en-scène dalam film masih mewakili sistem patriarki dalam penggambaran stereotip gendernya yang kontraproduktif dengan upaya film tersebut untuk memberdayakan Susan.

 

 

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Women empowerment is often used in films to bring forward female characters whose voices and actions are often put in the background. Agency, voice, and power are inter-connected elements in helping to shape an empowered female figure. The film adaptation of The Chronicles of Narnia: Prince Caspian (2008) takes a different approach in delivering the story which results in significant differences in the plot and Susan Pevensie’s character who is portrayed to be more empowering in the film than in the novel. This research aims to show that although in the film Susan is portrayed to be more empowering, it still does not fully empower Susan. There are several depictions that position Susan as an inferior character. By using agency theory by Trites (1997), representation theory by Hall (1997), and elements of film analysis by Bordwell and Thompson (2013), this research aims to identify the differences in Susan’s depictions compared to the male characters and analyze her agency, voice, and power in the novel and film of The Chronicles of Narnia: Prince Caspian. The result shows that Susan’s positioning in the film is not so much different from her positioning in the novel. She is still positioned as a character who is inferior to the male characters. Although Susan is portrayed as an empowered female character through the changes of the plot and her visual representation, the film still falls into the trap of gender stereotyping. Some mise-en-scène in the film still represent the patriarchal system in its gender stereotyped portrayal which is counterproductive to the effort of the film to empower Susan.

 

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