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"This comparative research focuses on how gender representation has changed over time in Disney films and looks at how temporal variations and narrative circumstances affect it. Furthermore, the study examines how the representation of male and female characters in "Wreck-It Ralph: Ralph Breaks the Internet" (2018) and "Cinderella" (2015) challenges or reinforces gender stereotypes. These films show women as strong and capable, in contrast to traditional portrayals that frequently show them as weak. This has an impact on the messages they convey about gender empowerment as a whole. As societal views on gender roles continue to evolve, this research attempts to offer insights into the changing landscape of gender representation in Disney animation and its implications for wider society conceptions of gender through qualitative analysis of the storylines, characterizations, and thematic components of the films.

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Penelitian komparatif ini berfokus pada bagaimana representasi gender telah berubah dari waktu ke waktu dalam film-film Disney dan melihat bagaimana variasi temporal dan keadaan naratif mempengaruhinya. Selain itu, studi ini mengkaji bagaimana representasi karakter laki-laki dan perempuan dalam "Wreck-It Ralph: Ralph Breaks the Internet" (2018) dan "Cinderella" (2015) menantang atau memperkuat stereotip gender. Film-film ini menunjukkan perempuan sebagai sosok yang kuat dan mampu, bertentangan dengan penggambaran tradisional yang sering menunjukkan mereka sebagai lemah. Hal ini mempengaruhi pesan keseluruhan yang mereka sampaikan tentang pemberdayaan gender. Seiring pandangan masyarakat tentang peran gender terus berkembang, penelitian ini mencoba menawarkan wawasan tentang perubahan lanskap representasi gender dalam animasi Disney dan implikasinya bagi konsepsi gender di masyarakat luas melalui analisis kualitatif dari alur cerita, karakterisasi, dan komponen tematik dari film-film tersebut."

"Throughout the years, scholars argue about the fidelity of adaptation works towards the original texts. However, we can see the adaptation works objectively if we see the original texts and the adaptation works autonomously. In this journal article, we can acknowledge how the concept of subversion in Roald Dahl's Fantastic Mr. Fox is represented from novel into film by Wes Anderson. This journal article focuses on textual analysis by using framework from George Bluestone. From the analysis, it is revealed that Dahl's concept of subversion is not drowned out by Anderson instead he deconstructs Dahl's idea of stealing. Hence, we can recognize that two different media have different way in delivering perception to the readers."

"Perilisan Lagu “Plastic Is Fantastic” (2021) karya Oli London, yang berbicara tentang fantasinya tentang operasi plastik, telah mendapat banyak kritik. Salah satu alasannya adalah karena video musiknya dirilis selama Pride Month, bulan ketika komunitas LGBTQ mengadvokasi hak-hak mereka untuk kesetaraan gender, diikuti oleh video dan tweet Oli London yang menyatakan transisi pasca operasinya ke "non-biner" dan "Korean". ”. Untuk menggali lebih dalam pernyataan ini, penelitian ini menggabungkan teori tiga dimensi Fairclough (2003) sebagai kerangka dan analisis semiotik Machin (2010) untuk menganalisis lirik lagu, visual, dan latar belakang sosial budayanya, sehingga berkontribusi pada studi Analisis Wacana Multimodal. Penelitian ini bermaksud untuk menyelidiki konstruksi gender dan identitas dalam lagu “Plastic Is Fantastic”, sistem kekuasaan yang mendasari, dan bagaimana sistem kekuasaan menumbangkan gender dan identitas Korea. Penelitian menunjukkan bahwa lirik dan visual berhubungan dengan identitas Korea karena penggunaan bahasa Korea dalam lirik dan penampilan serta perilaku androgini pemain di sepanjang video. Praktik-praktik ini menimbulkan masalah, terutama ketika aktivitas media sosial terkait operasi plastiknya dihebohkan oleh media massa karena ia secara konsisten menyamakan dan mengeksploitasi status transnya dengan kelompok minoritas lain, seperti orang Korea, LGBTQ, dan kelompok transrasial. Dengan demikian, subversi gender dan identitas hadir sejak produksi identitasnya dikomodifikasi.

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The release of Oli London's Plastic Is Fantastic (2021), which talks about his fantasy of plastic surgery, has been met with considerable criticism. One of the reasons is that his music video was released during Pride Month, a month when the LGBTQ community advocates for their rights for gender equality, followed by other videos and tweets declaring his post-surgery transition to "non-binary" and “Korean”. To dig deeper into this assertion, this study combines Fairclough's (2003) three-dimensional theory as the framework and Machin's (2010) semiotic analysis to examine the song lyrics, visuals, and its socio-cultural background, thereby contributing to the Multimodal Discourse Analysis studies. This study intends to investigate the construction of gender and identity in Plastic Is Fantastic, the underlying power systems present, and how the power systems subvert gender and Korean identity. Research shows that the lyrics and visuals are connected with Korean identity due to the usage of Korean in the lyrics and the performer's androgynous appearance and behavior throughout the video. These practices produced problems, especially when his plastic surgery-related social media activity was stirred up by mass media as he consistently equates and exploits his trans status with other minority groups, such as Koreans, LGBTQ, and transracial people. Thus, the subversion of gender and identity is present since the identity production is being commodified."