Marginalisasi Perempuan dalam Film Kosong: Analisis Wacana Kritis Norman Fairclough

Abstract

Technological developments have also developed the representation of the phenomenon of women's marginalization in the media. Media as a messenger has a variety of discourses that can be reviewed with the discourse analysis approach. This research aims to describe the marginalization of women in the film No One Inside and analyze the three dimensions of the film based on Fairclough's theory. This research utilizes qualitative method. Data collection techniques are simak and documentation. The data that has been identified and classified based on Suumers & Mitakou’s marginalization theory is then analyzed based on Fairclough’s theory of critical discourse analysis. The results of this research are: (1) There are cultural, autonomy, health, and domestic marginalizations experienced by women in No One Inside film; (2) Micro: (a) Representation found marginalization that occurred is represented through vocabulary in the form of 28 dictions and 3 metaphors, as well as grammar in the form of 17 process forms and 5 participants forms. (b) Relationship, showing the relationship of the informants who are equal to producers and consumers, but not equal to the marginalizing parties. (c) Identity shows that the producer sides with the informants who is identified as victims. Audiences are constructed to side with the victims and against the perpetrator; (3) Meso: (a) Text production, showing producers have tendencies to raise the voices of marginalized groups, as well as the theme of freedom and individual rights as a reflection and education for society. (b) Text consumption, showing the text succeeds in creating awareness about rights and social issues to the audience; and (4) Macro: (a) Situational level, showing the existence of social phenomena in the form of stigmatization, voice neglect, and social pressure on people who do not have children as a trigger for the emergence of discourse. (b) Institutional level, showing organizations and producers have continuity in realizing innovations and spreading thoughts to enrich people's views. (c) The social level shows that the movie No One Inside emerges as a resistance to the patriarchal culture that dominates in Indonesia.