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"Tesis ini adalah untuk meiihat bagaimana film Desperaie Housewives (DI-IW) menggambarkan tokoh-tokoh utama wanita kelas menengah Amerika, dan mencari akar masalah yang menyebabkan para tokoh ibu rumah tangga dalam Elm tersebut desperate, serta ada tidaknya "backlash" yang disinyalir Oleh Susan Faludi dalam bukunya. Kajian ini menggunakan tinjauan posfeminis untuk menganalisis gambaran tokoh, dan metode dekonstruksi untuk mcncari akar masalah dari desperation pada para tokoh utama wanita, sekaligus dilihat juga backlash dalam iilm DI-IW. Hasil penelitian menunjukkan bahwa tokoh-tokoh utama wanita dalam film DHW ini mewakili gambaran wanita posfemlnis yang menerima sebagian nilai-nilai tradisional sekaligus menggunakan nilai-nilai tbminisme. I-Iasil analisis juga mcnunjukkan penyebab desperalion pada pam tokoh wanita yakni domngan hati yang tidak dapat dikendalikan oleh para tokoh wanita dalam DHW, Serta terdapat backlash terhadap feminisme dan kritik terhadap tmdisionalisme dalam film ini. ......The purpose of this study is to see how the movie, Desperare Housewives (DI-IW) constructs an image of American middle class women. This thesis also tries to search for thc main cause of desperation as experienced by the women in DHW, and analyzes if Susan Faludi's "backlash" toward feminism is depicted in this movie. This research takes a post feminism perspective in analyzing the characters. The deconstruction method is used to search for the main cause that caused the desperation of DI-IW‘s main characters; and the backlash toward feminism as well. The conclusion is that the characters represent the image of post feminist women, and that the main cause of their desperation is their unresmtined impulse. This research also shows that a backlash toward feminism is portrayed in the movie, as is criticism of Uaditionalism."

"ABSTRACTEven after the rise of Indonesian feminist film directors by the likes of Nia Dinata, Mira Lesmana, Mouly Surya, Nan T Achnas and Lola Amaria, the Indonesian moviegoers still flocked into badly written teenage romance dramas. This paper interrogates the way romance and femininities have been shaped within the cinematic representation in London Love Story 2, Promise and Dear Nathan. It is concluded that the Indonesian romance teenage dramas are entrenched with masculine power and dominance spectacles in which the feminine heroines have been treated as passive objects of desire whose agency and subjectivities are being stripped away. Using feminist literature on post feminist romance cinema, the heroines in these films have mostly been constructed as independent, smart and seemingly agentive at first, but nevertheless pursued romantic, traditional, heterosexual relationships saturated with masculine control and dominance. This paper shows that post feminist popular culture has transpired globally and morphed into transnational post feminism that influenced the production and consumption of such text in Indonesia."

"Penelitian ini membahas mengenai tanda dan makna yang terdapat dalam sembilan video klip lagu hip-hop duo SXTN. Tanda-tanda yang terdapat dalam video klip direpresentasikan melalui unsur-unsur aktivitas, seksualitas, dan juga visualisasi warna merah muda. Dari analisis unsur-unsur tersebut, diketahui bahwa ia mengandung ideologi feminis (post-feminist). Selain itu, untuk menunjang analisisnya, penulisan ini juga menggunakan teori semiotik dan metode semiologis. Melalui penelitian ini dapat disimpulkan bahwa unsur-unsur yang terdapat dalam sembilan video klip lagu SXTN dalam aspek aktivitas (mengonsumsi cannabis, berpesta), seksualitas (gestur, atribut pakaian), dan visualisasi warna merah muda (pencahayaan dalam video klip, atribut) mencerminkan identitas diri personel grup SXTN, yang dipandang dalam konteks ideologi post-feminisme.......This paper discusses about the signs and meanings that was contained within nine Video clips of Hip-Hop duo SXTN. The signs were represented through the elements of activities, sexuality, and also visualization of colour pink. Through the analysis of those elements, it is noticeable that the video clips contain the ideology of feminism (Post-Feminism). In order to support the analysis, this paper uses semiotic theory and semiology. From this research paper, we can conclude that the elements within the nine music video clips of SXTN, from the aspects of activities (cannabis consumption, partying), sexuality (gesture, attributes), and visualization of colour pink (lighting, attributes) shows the identities of rappers from Hip-hop duo SXTN, that was seen from the ideology of Post-Feminism."