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Abstrak :
ABSTRACT
Tulisan ini membahas tentang representasi perempuan berbahaya atau femme fatale sebagai bentuk kekerasan simbolik terhadap perempuan. Femme fatale menjadi sosok arketipe yang umum dalam berbagai aspek kehidupan manusia, mulai dari legenda, literatur, seni lukis hingga industri perfilman.Melalui metode analisis wacana, peneliti berusaha menjelaskan penggambaran femme fatale dalam ketiga film Indonesia, yaitu Kala, Pintu Terlarang dan Rumah Dara. Hasil penelitian menunjukkan bahwa penggambaran merugikan akan perempuan sebagai femme fatale yang disubordinasi, dinaturalisasi dan dilanggengkan dalam industri kultural dapat menjadi bentuk kekerasan simbolik terhadap perempuan. Dominasi maskulin dan misrecognition menjadi elemen kunci dalam melahirkan kekerasan simbolik terhadap perempuan.

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ABSTRACT
This article discusses the representation of dangerous women or femme fatales in films as a form of symbolic violence against women. Femme fatale has been a familiar and recurring archetype in society, across from myth, literature, painting and film industry. Through discourse analysis method, this research reveals the representation of femme fatales within 3 Indonesian films, ldquo Kala rdquo , ldquo Pintu Terlarang rdquo and ldquo Rumah Dara rdquo . The result of this thesis shows that the subordinated, naturalized and recurring harmful representation of femme fatale in cultural industry is a form of symbolic violence against women. Both masculine domination and misrecognition are key elements to produce symbolic violence against women.

Abstrak :
Skripsi ini membahas tentang bagaimana tokoh utama Rachel Stein dikonstruksi sebagai femme fatale dalam film Zwartboek 2006 . Penelusuran konstruksi femme fatale dilakukan melalui pembahasan struktur naratif yaitu tokoh, latar, dan alur. Dengan pembahasan ketiga unsur naratif tersebut, diharapkan akan terungkap konstruksi femme fatale pada Rachel Stein. Dengan naratologi film, bukan saja perspektif penceritaan dan apa yang menjadi fokus utama dalam film dapat diungkap, tetapi juga dapat diperlihatkan bagaimana strategi sinematografis dapat memperlihatkan hal itu. Hasil analisis menunjukkan bahwa kaitan antara ketiga unsur naratif di atas sangat berperan dalam menjadikan Rachel Stein sebagai femme fatale. Dengan hadirnya tokoh bawahan, peran Rachel Stein lebih menonjol. Pengambilan latar perang dan masa sesudah perang di Israel memperlihatkan kekontrasan pribadi Rachel Stein. Pemakaian sorot balik sebagai alur utama menonjolkan peran Rachel Stein sebagai tokoh yang mempengaruhi jalan cerita. Pemanfaatan strategi sinematografi juga mempunyai peran yang besar dalam menjadikan tokoh Rachel Stein sebagai femme fatale, terutama keberpihakan kamera dalam mengangkat tokoh utama. ......This thesis discusses how the main character Rachel Stein was constructed as a femme fatale in the film Zwartboek 2006. The search for femme fatale construction is done through the discussion of narrative structure of characters, setting, and plot. With the discussion of the three elements of the narrative, it is expected to reveal femme fatale construction on Rachel Stein. With film naratology, not only the storytelling perspective and what the main focus in the film can be revealed, but it can also be shown through cinematographic strategy. The results of the analysis show that the relationship between the three elements of the above narrative is instrumental in making Rachel Stein as a femme fatale. With the presence of subordinate characters, Rachel Stein 39 s role is more prominent. War and postwar warfare in Israel demonstrates Rachel Stein 39 s personal contrast. The use of flashback as the main plot accentuates the role of Rachel Stein as a character that influences the storyline. Utilization of cinematographic strategy also has a big role in making Rachel Stein figures as femme fatale, especially partial cameras in lifting the main character.

Abstrak :
Abstrak
This essay constitutes the first step in solving an enigma of Indonesian letters, one that is little noticed but unfathomable: the absence of crime fiction from the canon of the national literature. This is surprising for two reasons, the widespread popularity of crime in popular culture, both literature and film, and the g high esteem that the genre is held in other East Asian national traditions (Japan; Thailand; South Korea). This paper argues that contemporary Indonesian writers would be well advised to familiarize themselves with the various strands of crime fiction, in particular the American variant known as Noir, and adopt these traditions to local conditions. When Noir is examined closely, the attentive student will realize that the political and aesthetic concerns of American Noir writers are essentially those of Indonesian authors the social depredations of neo-colonialism and the traumatic effects of international Cold War politics.