COUNTER STEREOTYPE POTRAYED BY FEMALE CHARACTERS IN THOR: RAGNAROK (2017) PDF Free Download
1 / 59/59
100%
COUNTER STEREOTYPE POTRAYED BY FEMALE CHARACTERS
IN THOR: RAGNAROK (2017)
UNDERGRADUATE THESIS
BY:
YESSY SUKMA ARINDA
NIM 135110101111079
STUDY PROGRAM OF ENGLISH
DEPARTMENT OF LANGUAGES AND LITERATURE
FACULTY OF CULTURAL STUDIES
UNIVERSITAS BRAWIJAYA
2018
i
COUNTER STEREOTYPE POTRAYED FEMALE CHARACTERS
IN THOR: RAGNAROK (2017)
UNDERGRADUATE THESIS
Presented to
University of Brawijaya
in partial fulfillment of the requirements
for the degree of Sajarna Sastra
BY
YESSY SUKMA ARINDA
135110101111079
STUDY PROGRAM OF ENGLISH
DEPARTMENT OF LANGUAGE AND LITERATURE
FACULTY OF CULTURAL STUDIES
UNIVERSITAS BRAWIJAYA
2018
ii
DECLARATION OF AUTHORSHIP
Herewith I,
Name : Yessy Sukma Arinda
NIM : 135110101111079
Address : Jl. Anggrek Raya Blok C no. 455 Komplek Pinang Griya
Permai, Rt.11 Rw.6, Kelurahan Pinang, Kecamatan Pinang.
Ciledug, Tangerang.
Declare that:
1. This skripsi is the sole work of mine and has not been written in
collaboration with any other person, nor does it include, without due
acknowledgement, the work of any other person.
2. If at a later time it is found that this skripsi is a product of plagiarism, I am
willing to accept any legal consequences that may be imposed on me.
Malang, 26 November 2018
(Yessy Sukma Arinda)
NIM. 135110101111079
iii
This is to certify that the Sarjana thesis of Yessy Sukma Arinda has been
approved by the Board of Supervisor
Malang, 26 Desember 2018
Supervisor
Fredy Nugroho Setiawan, S.S., M.Hum.
NIK. 201201 860306 1 001
iv
This is to certify that the undergraduate thesis of Yessy Sukma Arinda has been
approved by the Board of Examiners as one of the requirements for the degree of
Sarjana Sastra
Henny Indarwaty, S.S., M.A
NIP. 2013 12 770503 2 001
Fredy Nugroho Setiawan, S.S.,M.Hum.
NIK. 201201 860306 1 001
Acknowledged by,
Head of Study Program Of English
Juliati, M.Hum.
NIP. 19720929 200604 2 001
Sighted by,
Head of Department of Languages and
Literature
Sahirudin. S.S., M.A., Ph.D
NIP. 19790116 200912 1 001
vi
ABSTRACT
Arinda, Yessy Sukma. 2018., The Potrayal of Female Characters Against the
Stereotypes in Thor: Ragnarok. Study Program of English, Department of
Languages and Literature, Faculty of Cultural Studies. Universitas Brawijaya.
Supervisor: Fredy Nugroho Setiawan, S.S., M.Hum.
Keywords: Film, Women Stereotypes, Counter Stereotype.
In many films, especially superhero-themed films, female characters are
usually stereotyped. They are potrayed to be too sensitive, more passive, timid,
weak, and in position of supporting roles. The existing stereotypes lead me to find
wether there is counter stereotype of female characters in film. I choose Thor:
Ragnarok as the object of the study. I use esixtentialist feminism as the approach
in finding the counter stereotype of female caharcters in the film. Film study is
used to analyze the images in the film.
In this research, I found that several female characters potray counter-
stereotype towards stereotypes of female characters in film. In addition, the
female characters who counter ther stereotypes are Hela, Scrapper 142 and
Grandmaster's general. Hela is potrayed as very strong woman both physically
and emotionally. Scrapper 142 and Grandmaster’s general are potrayed as brave
and strong woman. Female characters are independent and not passive. Women
are protrayed as strong subjects and having the important role in this movie. The
role of women in this movie who potrayed as a brave, active, and independent
characters proven the concept sparked by Jean Paul Sartre which is being in
herself (etre pour soi) which means that every individu has a freedom to decide
evertything in her life and capable to solve the puzzle of their life. Meanwhile the
potrayal of powerful female characters are proven the soncept of being for others
(etre pour les autres) which means that women are also being the subject and not
always as the object or known as the other sex.
vii
ABSTRAK
Arinda, Yessy Sukma. 2018., The Potrayal of Female Characters Against the
Stereotypes in Thor: Ragnarok. Study Program of English, Department of
Languages and Literature, Faculty of Cultural Studies. Universitas Brawijaya.
Supervisor: Fredy Nugroho Setiawan, S.S., M.Hum.
Kata kunci: Film, Stereotip Perempuan, Konter Stereotip
Dalam banyak film, terutama film-film yang bertema superhero, karakter
wanita biasanya distereotipkan. Mereka digambarkan terlalu sensitif, lebih pasif,
penurut, lemah, dan hanya berperan sebagai pemeran pendukung. Stereotip yang
ada membuat saya tertarik untuk melakukan penelitian dalam menemukan apakah
ada konter stereotip oleh karakter wanita dalam film. Saya memilih Thor:
Ragnarok sebagai objek penelitian. Saya menggunakan teori feminisme
esixtentialis sebagai pendekatan penelitian dalam menemukan konter stereotip
oleh karakter wanita dalam film tersebut. Studi film juga digunakan untuk
menganalisis gambar dalam film.
Dalam penelitian ini, saya menemukan bahwa beberapa karakter wanita berperan
melawan stereotip terhadap stereotip karakter wanita dalam film. Selain itu,
karakter wanita yang digambarkan sebagai konter stereotip adalah Hela, Scrapper
142, dan Jenderal Grandmaster. Hela digambarkan sebagai wanita yang sangat
kuat baik secara fisik maupun emosional. Scrapper 142 dan Jenderal Grandmaster
digambarkan sebagai wanita yang berani dan kuat. Karakter wanita juga
digambarkan independen dan tidak pasif. Perempuan digambarkan sebagai subjek
yang kuat dan memiliki peran penting dalam film ini. Peran wanita dalam film ini
yang digambarkan sebagai karakter pemberani, aktif, dan mandiri membuktikan
konsep yang dicetuskan oleh Jean Paul Sartre yaitu being for herself (etre pour
soi) yang berarti bahwa setiap individu memiliki kebebasan untuk memutuskan
segala hal dalam hidupnya. dan mampu memecahkan teka-teki hidup mereka.
Sementara itu, peran karakter perempuan yang kuat mebuktikan konsep being for
others (etre pour les autres) yang berarti bahwa perempuan juga mampu menjadi
subjek dan tidak selalu menjadi objek atau the other.
v
ACKNOWLEDGEMENTS
Alhamdulillahhirobbli ‘alamin. Praise to the almighty Allah SWT for the
mercy and the strength He gave to me so I can finally finish this thesis entitled
Counter Stereotype Potrayed by Female Characters Thor: Ragnarok (2017).
I would like to express my special gratitude and appreciation to Mr. Fredy
Nugroho Setiawan, S.S., M.Hum for his patience in supervising and his guidance
during the process of writing. As well as to Mrs. Henny Indarwaty, M.A for her
advices and crucial contribution to the improvement in completing this thesis.
I would like to express the countless thanks to my parents Yanuar Asfianto
and Umfaidah for their endless love and support. My brothers who always geve
me joyness Naufal abyan and Ilham Navis. May Allah give them the best of all.
Last but not least, I would like to give special thanks to M. Choirul Fadilah
for his countless motivation and support. Thanks to Dyta Rahmatina, Geby
Sellyna, Maharatih Rani, Inggit Milayanti, Sufika Fani, Arum Kusumaningtyas,
Lamer Riyanto for their contribution and happiness they brought to me. Special
thanks to UASB UB and Warkop DKI Malang for the experience. The writer
hopes that this writing will give contributions to the improvement of leraning
procees in english literature. All criticisms and suggestions will be appreciated.
Malang, 26 December 2018
Yessy Sukma Arinda
viii
TABLE OF CONTENTS
TITLE PAGE .............................................................................................. i
DECLARATION OF AUTHORSHIP ...................................................... ii
SUPERVISOR’S APPROVAL .................................................................. iii
BOARD OF EXAMINERS’ APPROVAL ................................................ iv
ACKNOWLEDGEMENT .......................................................................... v
ABSTRACT ................................................................................................. vi
ABSTRAK ................................................................................................... vii
TABLE OF CONTENTS ............................................................................ viii
LIST OF FIGURES .................................................................................... x
CHAPTER I INTRODUCTION
1.1 Background of the Study ................................................................... 1
1.2 Problem of the Study ......................................................................... 5
1.3 Objective of the Study ....................................................................... 5
CHAPTERII REVIEW OF RELATED LITERATURE
AND RESEARCH METHOD
2.1 Theoretical Framework ..................................................................... 6
2.1.1 Women Stereotype in Film ...................................................... 6
2.1.2 Feminism................................................................................... 8
2.1.3 The Second Wave of Feminism................................................. 12
2.1.4 Simone de Beauvoir: Existentialist Feminism........................... 14
2.1.5 Film studies .............................................................................. 17
2.1.5.1 Mise-en-scene ............................................................. 17
2.1.5.2 Setting and Performance ............................................. 18
2.1.5.3 Dialogue...................................................................... 19
2.2.5.4 Cinematography........................................................... 19
ix
2.2 Previous Studies ................................................................................ 20
2.3 Research Method ............................................................................... 21
2.3.1 Research Design ....................................................................... 21
2.3.2 Data Source .............................................................................. 22
2.3.3 Research Procedure .................................................................. 22
CHAPTER III FINDING AND DISCUSSION
3.1 The Potrayal of the Female Characters Countering Stereotype of being
Sensitive .................................................................................................. 23
3.2 The Potrayal of Female Characters Countering Stereotype of being
Submissive and Passive............................................................................... 28
3.3 The Potrayal of Female Characters Countering Stereotype of being Less
Courages and Less Brave............................................................................ 32
3.4 The Potrayal of Female Characters Countering Stereotype of being
Weak........................................................................................................... 36
3.5 Potrayal of Female Charactes countering Stereotype of always being
Supporting Role.......................................................................................... 42
CHAPTER V CONCLUSION AND SUGGESTION
4.1 Conclusion ........................................................................................ 44
4.2 Suggestion ......................................................................................... 45
REFERENCES ............................................................................................ 46
x
LIST OF FIGURES
Figure Page
3.1.1 Thor is sad ............................................................................................ 29
3.1.2 Hela is fine ........................................................................................... 29
3.1.3 Skurge turned away his face ................................................................ 30
3.1.4 The crying woman ............................................................................... 31
3.1.5 Skurge feeling pity ............................................................................... 31
3.1.6 Hulk sad after fight .............................................................................. 32
3.2.1 Hela gave her axe to Skurge ................................................................ 34
3.2.2 Skurge accepted Hela’s axe ................................................................. 34
3.2.3 Scrapper 142 in control, Banner just sit ............................................... 36
3.3.1 Grandmaster’s general leading the fight .............................................. 37
3.3.2 Hela announcing her arrival ................................................................. 38
3.3.3 Hela killed everyone ............................................................................ 38
3.3.4 Scrapper 142 is using her weapon ....................................................... 39
3.3.5 Scrapper 142 catched Thor .................................................................. 42
3.4.1 Hela is destroying Thor’s hammer ....................................................... 42
3.4.2 Hela beats Thor .................................................................................... 43
3.4.3 Hela strucked by Thor’s lightning ....................................................... 43
3.4.4 Scrapper 142 vs Loki ........................................................................... 45
3.4.5 Scrapper 142 is holding a weapon ....................................................... 45
x
CHAPTER I
INTRODUCTION
1.1 Background of The Study
According to Cardwell (1996), a stereotype is an overgeneralized belief
about a particular group or class of people. A stereotype can be positive but create
more negative effect. A negative stereotype will usually lead to discrimination
against a person or a group, including to women. Women are stereotyped of
being weak, helpless, powerless and victimized.
Post-modern feminists believe that the stereotype of women is then raised
by the media industry. Simone de Beauvoir's feminist-structuralist approach has
inspired Ortner (1974) in judging that universal subordination of women is their
distinctive impact and function in the traditions and cultures inherent in society.
Women are regarded as caregivers and people who raise children. Women are also
always identified in the domestic realm. In different positions, gender hierarchy
places men as powerful, always triumphant, never weeps, and is only publicly
responsible, not domestically. These stereotypes are sometimes used in potraying
fictional character in fiction or movies.
Movies can promote stereotypes that can communicate gender roles,
appearances, and acts of violance that are acceptable in society. Men and
women have significantly different preferences for the majority of movie genres.
Animation, comedy, drama, and romance were considered as “female” genres,
while action, adventure, erotic, fantasy, history, horror, science fiction, thriller,
war, and Western were considered as “male” genres. Action, adventure, erotic,
fantasy, horror, mystery, science fiction, war, and Western genres were more
strongly preferred by men than by women (Dolan, 2017). But only romance and
drama were more preferred by women. The remaining genres were equally
popular among men and women. As Smith (2008) states:
No one can argue that viewing agin and again an imbalanced
fictional “world” where females are often underrepesented or
unmotivated... Females take up half the spacein society, yet... they
appear much less frequently than do males. Nevertheless when they
do make it... their potrayals can undermine their presence by being
“hyperactive” or “hypersexual” and/or passive.
The role of women is usually only as a supporting role of the main
character or victim in the film. Male and female characters are potrayed
differently. Male are more often highly aggressive (Milkie, 1994) while female
are more compassionate, nurturing, and understanding (Calvert, Kondla, Ertel,
Meisel, 2001).
In addition to being stereotyped, women characters in particular are rarely
important to a movie’s plot; they are merely cliched set decorations. When females
are shown in media, they are sometimes potrayed as non-essential or passive
characters (Dietz, 1998; Haninger&Thompson, 2004; Ivory, 2006). This result may
suggest to viewers that women are less important, knowledgeable, and capable
than men and less likely to be a hero. Women are also potrayed as only a sex
object with attractive and seductive look. According to Wood (1994, p.32):
Typically men are potrayed as active, adventurous, powerfull,
sexually aggressive, and largely uninvolved in human relationship.
Just as consistent with cultural views of gender are depictions of
women as sex objects who are usually young, thin beautiful,
passive, dependent, and often incompetent and dumb.
In Fifty Shades of Gray (2015), for example women are portrayed as
no more than sex objects from a rich man. The main female character of this
movie is beautiful, thin, and passive and she does what the main male
character says to do. In superhero movies, in which the main cast are
dominated by men, women are only positioned as helpless characters or
victims. Female characters are more likely to have mentor than males and
majority of females characters work in a team rather than alone, for
example, the main female characters in Charlie’s Angel (2000).
Superhero movies have grown in popularity especially in recent
years and attract a large number of viewers. According to
Boxofficemojo.com, six of the top 30 grossing films of all the time are
superhero movies. Superhero films are action oriented and often depict
individuals with extraordinary evildoers and their depiction may
communicate ideas about a wide range of societal norms and values,
including those relating to masculinity and femininity. In the superhero
movie, the main characters and the heroes are male, but in recent female
characters are also becoming main characters. One of the example is
Wonder Woman in 2017, Although she is the main character, she works in
team and assisted by two men. Another example is Poison Ivy in Batman
and Robin (1997), she is portrayed as a seductive villain and still she
defeated by the strength of Batman and Robin.
Among the many films containing negative stereotype about women, the
third sequel of Thor presented the different perspective, deconstructing the
aforemoentioned stereotypes about women. Thor: Ragnarok is a 2017
American superhero film based on the Marvel Comics character Thor, produced
by Marvel Studios and distributed by Walt Disney Studios Motion Pictures. It is
the sequel to 2011's Thor and 2013's Thor: The Dark World, and the seventeenth
film in the Marvel Cinematic Universe (MCU). The film is directed by Taika
Waititi from a screenplay by Eric Pearson and the writing team of Craig
Kyle and Christopher Yost, and the casts are Chris Hemsworth as Thor
alongside Tom Hiddleston, Cate Blanchett, Idris Elba, Jeff Goldblum, Tessa
Thompson, Karl Urban, Mark Ruffalo, and Anthony Hopkins. In this movie Thor,
the main character, along with two other superheroes are not able to defeat the
power of Hela. There are some characters that countering the stereotype about
women in the movie. The appearance of Hela and Scrapper 142 is the main
discussion but, some of female supporting roles also discussed. Hela and Scrapper
142 are capable to countering the stereotype of female being too sensitive,
passive, timid, and weak. Hela’s appearance in this movie is also countering the
stereotype of women being just a supporting role in the movie. Therefore, I
interested to analyze the counter stereotype potrayed by female characters in this
movie.
1.2 Problem of the Study
Based on the background of the study above, I have one main problem of
the study as the focus of the research, which is, how does the counter stereotype
of female characters potrayed in Thor:Ragnarok 2017?
1.3 Objective of study
Related to the problem of the study stated as before, the objective of the
study is to analyze how does the counter stereotype of female characters potrayed
in Thor:Ragnarok 2017.
CHAPTER II
REVIEW OF RELATED LITERATURE
2.1 Theoretical Framework
This subchapter will present the review of related theories and references to
analyze the object of the study.
2.1.1 Woman Stereotypes in Film
Women are stereotyped as a weak, obedient, and other feminine
characteristics. The characters and roles have been constructed for a long time,
socially, culturally, and religiously. Simone De Beauvoir said (2011,p.20),
passivity which is an essential characteristic of a "feminine" woman is a
characteristic that develops in her from a young age. Thus, female feminine
characteristics have been created and constructed continuously since a long time,
it always considered to be identical with women. These views of stereotyping are
so strongly embedded in women that ultimately generate much gender inequality.
As a result of these stereotypes, women often become victims of violence, sexual
abuse, education and the opinions of women are also often considered as
unimportant things.
When women are presented as an independent, active and competitive
individuals, it is often described as not her nature, such as abandoning husbands
and children, cheating husbands, and abandoning family that lead to divorce. In
this case women are assumed to have responsibility for mass culture and all the
effects (Strinati, 2007, p.218). Therefore, in other words, women are required to
sacrifice their happiness as individuals for the happiness of the people around
them. This reality is continuously constructed both socially and culturally. If there
is a tendency of women to deviate from the constructed roles, people said she has
damaged the constructed social systems and created disharmony.
Stereotypes that exist in this gender perspective then bring the term of
masculinity and femininity. Masculinity that reflects aggressive, strong,
courageous, and leading attitude is always identified with men, while femininity
reflecting being gentle, affectionate, obedient and emotional are always identical
with women. Yet as a principle, femininity should not only be owned by women
and masculinity is not only owned by men (Fakih, 1996, p.101). That two
stereotypes attached to each of these sexes can be exchanged, for it is not the
nature since their birth but that are both socially and culturally constructed.
Although it is not specifically concerned with the relationship between
popular cultural transmission and intergender interaction, the critical sociology of
the Frankfurt School offers further support for the notion that what popular culture
potrays as “real” influences what people perceive to be real. According to
Habermas (1989, p. 302-303):
...the electronic media-first film and radio later-television
permates and dominates the language of everyday
communication... it transform the authentic content of modern
culture into the sterilized and ideologically effective stereotype
of mass culture which merely replicates what exists... it uses up
a culture cleansed of all subersive and transceding elements for
an encompassing system of social control, which is spread ove
individuals, in part reinforcing their weakened internal
behavioral controls, in part replacing them.
The quotation above shows that media and film is one of the important
factors that influence social life. Everything that is showed in mass media is able
to provide new opinions as well as perspectives on things. The perspective of
women from media perspective are continuously making valid assumptions about
women and make it difficult to change.
Movies can promote stereotypes that can communicate gender roles,
appearances, and acts of violance that are acceptable in society. The role of
women in movies is usually only as a supporting role of the main character or
victim in the film. Male and female characters are potrayed differently. Male are
more often highly aggressive (Milkie, 1994) while female are more
compassionate, nurturing, and understanding (Calvert, Kondla, Ertel, Meisel,
2001). These result may suggest to viewers that women are less important,
knowledgeable, and capable than men and less likely to be a hero.
2.1.2 Feminism
Feminism can simply be interpreted as a women's movement demanding
the equality of social, political, and economic rights with men. Marry E.
Hawkesworth said that feminism is a range of political movements, ideologies,
and social movements that share a common goal: to define, establish, and achieve
political, economic, personal, and social equality of sexes (2006, p.25-27).
Although the movement has been buzzing since the late 18th century, the practice
of discrimination against women still continues until this day in every joint of life,
including the film industry.
The uneven representation of women then created the feminist movement
in the media. At the start of the movement, feminists focused their attention on
women's depictions in films, where women often got oppressed roles. At first
feminists asserted the application of male-gazes that consistently placed women as
'complementary,' passive and marginal objects. Male gaze occurs when men
project their fantasies on female objects, which are placed as 'objects' with strong
visual appearances that give erotic impression. Men look at women; women watch
themselves being looked at (John Berger, 1972, p.47). In war movies genre,
women often contribute as nurses, wives who abandoned by husbands, then re-
affirm women's feminine roles.
Film feminist theory is influenced by the second wave feminism and the
development of feminine studies. Feminist scholars began to pick up clues from
emerging technologies in the motion picture movement. The first feminist’s
efforts in the early 1970s of America, generally based on the theory of sociology
and focus on the function of female characters in the narrative or genre of films
and about stereotypes. Such as the reflection of society's view of women in film.
The work of Rosen, Popcorn Venus: Women, Movies, and the American Dream
(1973), and Molly Haskell, From Reverence to Rape: the Treatment of Women in
Movies (1974) analyzed how women are portrayed in a movie. The study is linked
to a wide historical context and stereotypical portraits of women displayed as
subjects or objects, and the amount of duration given for the appearance of
women in film. Feminist theorists such as Dow try to fully explain the strategies
used by rhetoric to communicate feminist ideology that can attract women to use
their efforts and gain public legitimacy. Tuchman (1978) observed that, the media
generally represent the wrong thing about women. Even symbolic annihilation
also occurs here, as Boyd-Barret and Newbold (1995) point out about the
reflection hypothesis that the media reflect the dominant values that exist in the
social aspects of society.
In its development, there are some diversity of feminist thinking appears.
As explained by Rosemarie Tong in her book Feminist Thought, there are at least
eight diversities in feminism. One of them is liberal feminism, it believes that
freedom and equality are based on the rationality and autonomy of each
individual. Women are rational beings who are also equal to men, therefore
women should get the equal rights; such as equal opportunities in getting the same
education, employment and wages, as well as in social and political life. Liberal
feminism believes that is necessary to struggle through the legal approach by
reforming the existing system in order for women to have equal rights with men.
according to Tong (2010, p.69) states that gender-specific laws are better than
gender-neutral laws in ensuring equality between the sexes. After that, there is
also marxism and socialist feminism. Rosemarie Tong (2010, p.139) stated that
the difference between marxist and socialist feminism is emphasizes issues rather
than substance. Marxist feminism sees that the problem of women's oppression
lies in the class matter that causes the different functions and roles of women.
Such oppression takes place through political, social and economic structures that
are closely related to the capitalist system. Meanwhile, socialist feminism
emphasizes gender oppression rather than class oppression as one of the causes of
women's oppression. Socialist feminism is in line with Marxist feminism, they
believes that the liberation of women in gender equality depends on the abolition
of capitalism, but they argue that capitalism can not be destroyed unless
patriarchy are also destroyed because they believe that women's oppression is
caused by patriarchal ideology.
In this study, I will use the theory of existentialist feminism by Simone
De Beauvoir in her book entittled The Scond Sex, because it is considered as the
most appropriate theory in answering the problem of the study. De Beauvoir was
much inspired by Jean Paul Sartre in stating the existential feminism theory. In
her book, Tong(2010, p. 255-256) describes the theory proposed by Sartre that
human existence is divided into three which are being in herself, being for herself
and being for others. Beingfor herself means that an individu is has freedom to
decide her life and capable to solve the puzzle in her life. While being for others is
the interest of social relationships in which people are subjecting each other. It
then influenced De Beauvoir’s thoughts. She states that a person can be a subject
and an object and everyone can expresses themselves freely and object the others.
Subjects and objects can not be united because the presence of objects can
threaten the existence of the subject. The subject here is the man, while the object
is a woman or referred to as the second sex. As the object is a threat to the subject,
then the woman is threat to the man, so men should subordinate woman in case if
they want to be free (Tong, 2010, p. 262). According to De Beauvoir, man sees
themselves as subjects who can risk their life in a war, they see women as the
objects who can only give a life. If women are not controlled by men, as time goes
by women will be the subjects and men be the objects. In Thor: Ragnarok 2017
this theory is the most suitable to analyze the counter stereotype of female
characters potrayed by Hela and Scrapper 142.
2.1.3 The Second Wave of Feminism
The categorization of three waves of feminism was first carried out by
Rosemarie Tong, a feminist who has produced many books on the theory of
feminism, including her famous book Feminist Thoughts (1990). In the history
and development of the feminism theory, in order to facilitate the mapping of
theories of feminism, there are three major waves of feminism groups. These three
waves of feminism have their own characteristics that follow the history of the
development of human thought. However, the writer only focuses on the second
wave of feminism where Simone de Beauvoir sparked the theory of existentialist
feminism. The second wave of feminist thinking relates to the efforts of women to
move from practical activities to more theoretical activities. The problem faced by
the early movement of feminism was to try to influence other new leftists, both
men and women, to see the importance of oppressive factors against women. This
effort requires a theory that can explain the origin and widespread oppression of
women, which is also accepted in different societies, historically.
Early radical feminists have argued that the oppression of women is the
most basic form that requires theoretical explanations that go beyond and different
from the Marxist theory itself. Whereas other theorists consider the element of
Marxism necessary, especially the concept of "dialectical materialism", meaning
analytical method that focuses on how humans act to satisfy the needs of the
social structures change in time (Arivia, 2003, p. 120). This limitation mostly
because the concept of "production". Feminists themselves have argued that the
notion of "production" is not only the provision of food and material, but also in
human care (Nickholson, 1997, p. 2). This is important to emphasize because the
first argument applies to the condition of men while the second argument is very
closely related to the lives of women where she spends more time caring for his
family.
The second wave of feminism more focuses on the differences between
women and men elaborated in various ways. According to Arivia (2003, p. 121),
mentioning that there are three major orientations needed to be noted. First is the
understanding that women and men are basically the same. The perception that
two sexes are different can cause the oppression of women. The second form is
gynocentrism, which is a tendency to describe differences between men and
women in a neutral understanding that emphasizes the advantages of each sex.
Meanwhile, the third form, as proposed by Hartstock and Collins, there are
differences in other particularities found in women. This second wave, sparked a
feminist theory, called existentialist feminism.
2.1.4 Simone de Beauvoir: Existentialist Feminism
A well known figure in the theory of existentialist feminism is Simone de
Beauvoir. Beauvoir saw the issue of women's oppression starting with the
reproductive burden in the female body. According to her, people consider
women as only Tota mulier in utero which means that "women are the womb"
(Beauvoir, 2011, p.13). This statement clearly distinguishes the differences
between men and women. Whereas gender differences cannot be seen only from
the biological side but must also be viewed from a cultural perspective. Starting
from the explanation of biological data, Beauvoir tries to explain how difficult it
is for a woman to be herself, how then she becomes what is called "the other sex".
The problem of “the other” began when women started to believe that she
was a creature that needed to be protected because of "weakness" in her body. She
started to think that she could not live without a man, especially if she strongly
believed that she was created from a male rib. Therefore, many women define
themselves based on men's opinions and seek the blessing of what they want to do
based on references from men. Which in turn ultimately makes men feel as
absolute subjects while women are objects or “the other” (Nickholson, 1977,
p.13).
In explaining the basic theory of women, Simone de Beauvoir is inspired
by Jean-Paul Sartre's existentialism theory. Sartre states that there are three modes
of "Being" in humans, that is, being in herself (etre en soi), being-for-herself (etre
pour soi) and being-for-others (entre pour le autres). In the first two concepts, the
way to be entre en soi used to discuss non-human objects because it is
unconscious. In the concept of entre pour soi, this concept is contrary to the first
concept. Entre pour soi has a relationship because he is aware. This concept
introduced about the characteristics of humans who have action activities in which
the concept of nothingness is introduced. According to Sartre, this concept can
only be done by humans. Acting activities that contain the concept of nothingness
are the same as freedom (Sartre, 1956, p.28). Therefore, according to him, humans
must be responsible for themselves.
Sartre's philosophy which is very influential on feminism is entre pour les
antres (being for others). He describes the relationships between humans. For
Sartre, every relationship between humans basically comes from conflict. Conflict
is the essence of intersubjective relations. In the encounter between the subject or
consiousness, the activity needs to take a place, which means that each party
maintains their decency. Each of them maintains his world (what they believed)
and tries to incorporate the awareness of others in his world. So that there is an
attempt to objectify others. In terms of relations between men and women, men
objectify women and make women as "the other". Thus men claim themselves as
an absolute identity and women as others, or men as subjects and women as
objects (Tong, 1998, p. 201).
Based on the explanation of the theoretical framework of Simone de
Beauvoir who was also inspired by Jean-Paul Sartre about existentialist feminsim,
the writer will use this theory in this study. Existentialis feminism theory is
suitable to analyze the problem of the study because this theory sees the
relationship between human and can show the counter stereotype of female
characters potrayed by Hela and Scrapper 142 in Thor:Ragnarok.
2.1.5 Film studies
Film is categorized as a literary work that is popular nowadays. Film is
does not only served as an entertainment, film also functions as mass media to
represent the reality in society. According to Habermas (1989, p. 302-303):
...the electronic media-first film and radio later-television
permates and dominates the language of everyday
communication... it transform the authentic content of modern
culture into the sterilized and ideologically effective
stereotype of mass culture which merely replicates what
exists... it uses up a culture cleansed of all subersive and
transceding elements for an encompassing system of social
control, which is spread ove individuals, in part reinforcing
their weakened internal behavioral controls, in part replacing
them”.
As a popular culture, the study about film appears. For the example is
Studying Film book by Nathan Abrams, Ian Bell, and Jan Udris. There are some
aspects in film studies that I will be use, which are mise-en scene, dialogue, and
cinematography.
2.1.5.1 Mise-en Scene
Mise-en scene is one of the most important aspects in a film. It has various
elements within a frame, interacting to create meaning and tell a story. According
to Henderson (1976,p.315), “Mise-en scene is an expression used to describe the
design aspect of a theatre or film production, which essentially means “visual
themes” or “telling story” both in visually artful ways. The elements include
setting, props, custom, performance, lightning, and color. But I will only use two
of those elements which are setting and performance to conduct the research.
2.1.5.2 Setting and Performance
Setting is all about the tine and place which the film’s story occurs. Every
setting can show the situation, place, including all of the other additional factors
such as the climate, people, social structure, custome, and behavior in a film. The
viewers respond more to films with a more attuned sense of setting which can lead
a strong impression. According to Abrams (2001,p. 93-95)., “the setting provides
the space in which all the other elements of mise-en scene scene situated. The
setting is like props and costume, set up expectations for the viewers and can
instantly produce meanings, it signifies certain things”.
On the other hand, performance is the actor’s mannerism, expressions,and
movement. Abrams (2001,p.94) mentioned about performance in his book entitled
studying film,
“...The way an actor moves can indicate confidence,
uncertainly, panic, friendliness. The actor’s facial
expression may show fear, anger, happiness, sadness. In
addition, to these examples of body language or non-
verbal communication, and to the clear differences in the
speech patterns of different actors, a performance may
have a particular effect because of what the actors has
previously done in other films.”
At each moment of the film, actors’ performance are keyed to the
narrative. Performance by the extras are typically less expressive than
performance by the actors potraying the central characters. Performance details
will serve to create and sustain a director’s overall vision.
2.1.5.3 Dialogue
Dialogue is a written or spoken conversational exchange between two or
more people. There are two forms of dialogue that used in a film. Either the words
are spoken by the actors on screen or the words are spoken by the actors off
screen. The dialogue is also important in the movie because it literary and
theatrical form that depicts such an exchange and support the plot of a film.
2.1.5.4 Cinematography
Cinematography is the way of capturing photographic image in order to
make a movie. Cinematography related to composition, lightning, and camera
motion. Abrams (2001, p. 98) said, “if mise-en scene refers to what is placed in
front of camera, then cinematography is the recording of a movie image”. There
are some elements in cinematography, one of it is shot size. Shot size is the way
of the camera capturing the image. According to Berger (2000, p.34), there are
four techniques of shooting picture in movies, which are: 1. Medium shot, is a
shot that showing most of the subject’s body; 2. Close up shot, in close up shot the
subject occupies most of the frame, allowing very little observation on the
environment. It preffered when emphasizing someone’s emotion; 3. Long shot, it
used to emphasize a sweeping location around the subject; 4. Full shot, a full shot
displays the character from head to toe without showing much of his
surroundings. The shooting techniques helped the writer to undersatnd about each
image appears in a film.
Film study is necessary fo this study. The use of film study in this study is
to assist the writer in analyzing the findings through cinematography, mise en-
scene, also setting and performance. Film studywill help me to understand the
meanings of each findings in this study.
2.2 Previous Studies
Previous study is a review to the previous research related to the current
research theme. One of it is the thesis of Hilda Nur Ainun under the title of The
Spirit of Feminism Against Women Negative Stereotypes in Veronica Roth’s
Divergent (2015). This research focused to analyze the potrayal of female
character. Countering negative stereotypes that exist in the society. The study
reveals that the female characters in Divergent novel do not fit the negative
stereotypes that are labelled on them. She uses the sociological approach and
feminism theory to analyze data which are mainly about the struggle of female
characters in society.
Another thesis that has been reviewed is a thesis by Arga Brahmaditya
under the title of Countertypes of Male and Female in The Movie Her by Spike
Jonze (2015). He used qualitative approach in analyzing the problem of the study.
He used conversation, monologue, and scene between characters of the movie Her
as the main data. His study reveals that there are several traditional gender
stereotypes such as for men to be: less sensitive, focus on thougness, and objectify
sex. While as for women to be: inexperienced, passive, and dependent. Those
stereotypes are being countered through the depiction of the characters in the
movie.
The difference that distinguishes this thesis from previous studies are the
object studied and the approach also theory that are different from previous
studies. Research on the Counter Stereotype potrayed by Female Characters in
Thor: Ragnarok has never been done before. This research will use qualitative
descriptive approach and Existentialist Feminism Theory by Simone De Beauvoir.
2.3 Research Method
2.3.1 Research Design
For the beginning, in this research I chose qualitative approach for the
research. The reason why I chose qualitative approach because the results of this
study do not require valid data in the form of tables and numbers, but the quality
of the data’s result. I will uses exixtentialist feminism theory by Siomone De
Beauvoir in analyzing the counter stereotype potrayed by female characters in
Thor: Ragnarok. In addition, I will use film study consisting of mise-en scene
analysis, setting and performance analysis, and also cinematography analysis to
collect the data from this movie.
2.3.2 Data Sources
The data source of this research is the Thor: Ragnarok movie. The data included
the dialogues and also the scenes of the movie showing the counter stereotype
potrayed by female characters in Thor: Ragnarok.
2.3.3 Research Procedure
There are some steps to conducted this research, they are:
1. Selecting the material
I choose the movie Thor: Ragnarok as the material to analyse because it
presented the indication of counter stereotype by female characters in Thor:
Ragnarok.
2. Collecting the data
I used the dialogues of the movie in textual form and collect conversation
that contain the counter stereotype evidence. I also analyse the setting and
performace that to conduct the research of potrayal of female characters
towards the stereotypes. To complete the analysis, I also evaluate scenes that
show counter stereotype potrayed by female characters in Thor: Ragnarok
using film study analysis.
3. Analyzing the data
In this part, the movie is watch several times to validate the data. In
analysing the data, I use a qualitative research and existentialist feminism
theory by Simone De Beauvoir. In adittion, I also uses film study analysis to
find out how counter stereotype of female character potrayed in Thor:
Ragnarok.
4. Making Conclusion
The writer generating conclusion after summarized the discussion of the data
into the conclusion.
CHAPTER III
FINDINGS AND DISCUSSION
In this chapter, I present the analysis of counter stereotype potrayed by the
characters in Thor: Ragnarok. The main problem from this movie is how do the
characters potrayed as the counter stereotype in this movie. Detailed explanation
about the finding will be divided into six sub-chapters The first sub is the potrayal
of the characters countering stereotype of being too sensitive. The third sub
chapter is the potrayal of female characters countering stereotype of being
submissive and passive. The fourth sub chapter is the potrayal of female
characters countering stereotype of being less courages and less brave. The fifth
sub chapter is the potrayal of female characters countering stereotype of being
weak. And the sixth sub chapter is the potrayal of female characters countering
stereotype of always being supporting role in a movie.
3.1 The Potrayal of Female Characters Countering Stereotype of being too
Sensitive
Women in films are usually portrayed as someone with a sensitive nature.
Even though sensitive is not a negative traits but, too sensitive is sometimes
stereotyped to a women. Women are stereotyped as emotional and too sensitive.
According to Tyson (2006), emotional (irritational) is having feelings that are
easily excited and openly displayed; not endowed with the power of reason. The
woman is stereotyped as a person who is easily happy, easily sad, irritable, and
can not hide her feelings. In this film, the stereotype does not potrayed by Hela.
Figure 3.1.1 Thor is sad Figure 3.1.2 Hela is fine
(Source: Thor: Ragnarok (2017), minutes 00:22:17 and minutes 00:23:14)
The shooting technique in figure 3.2.1 uses a close up shot, Close-up shot
according to Abrams (2001, p. 99) is "Typically a Close-up will concentrate our
attention ... ", we can see that Thor's detailed face is sad. Thor sad because of his
father's death. In figure 3.2.2 Hela comes with a thin smile on her face. She then
said "So, he's gone. That’s a shame, I would’ve liked to see that ”. In contrast to
Thor who showed an expression of sadness, Hela looked just fine and the death of
Odin did not affect her emotions at all. In this case Thor is more emotional than
Hela, making this as the evidence in countering the stereotype of female
characters being too sensitive.
I also found things that indicated evidence in countering stereotypes of
female characters being too sensitive. At 00:34:06 Hela killed all Asgard warriors
who oppose her. But Skurge felt uneasy.
Figure 3.1.3 Skurge turned away his face
(Source: Thor: Ragnarok (2017), minutes 00:34:38)
In the figure above that uses close up shots, it is very detailed that Skurge
turned his face away. This happened after Hela killed the last remaining Asgard
soldier. Hela then said "Oh Ive misses this. Still it’s a shame. Good soldiers dying
for nothing, all because they could not see the future. Let 's go see my palace ".
Skurge can't hide the emotion of sadness and guilty from his face, while Hela
looks fine without feeling guilty after killing many people. The same thing was
found at 01:36:41 when Hela gathered all the remaining Asgard people and forced
them to tell her where is the Bifrost's sword, Skurge, who at that time had become
Hela's executioner, feeling guilty to execute a woman.
Figure 3.1.4 The crying woman | Figure 3.1.5 Skurge feeling pity
(Source: Thor: Ragnarok (2017), minutes 01:36:44 & minutes 01:37:04 )
This then becomes the second evidence in countering stereotypes of
female characters being too sensitive. Skurge in this film is described as someone
who has a conscience and guilty feelings. In some scenes he captured turning his
face as a sign of dissagreement in Hela's decision.
In the next scene where there is a fight between Thor and Hulk also
indicates that the male character in this film is described as emotionally sensitive.
At minutes 01:08:29, Thor was angry and kicking stuff around him. This then
triggered a fight between him and Hulk.
Figure 3.1.6 Hulk sad after fought with Thor
(Source: Thor: Ragnarok (2017), minutes 01:09:24)
Hulk: Thor sad.
Thor: Shut up.
Hulk: Thor sad. (Hitting Thor).
Thor: I’m not sad. You idiot. I’m pissed off! Angry! I lost my father. I lost
my hammer.
Hulk: Whinning and crying. Cry like baby.
Thor: You’re not even listening. (Kicking stuff).
Hulk: Dont kick stuff! (throwing stuff).
Thor: You’re being a really bad friend!
Hulk: You bad friend!
Thor: You know what we called you?
Hulk: No.
Thor: We call you the stupid Avenger.
Hulk: You’re a tiny Avemger!
Thor: You know what? Earth does hate you.
(Source: Thor: Ragnarok (2017), minutes 01:08:03)
In the figure above, Thor is trying to calm the sad Hulk over Thor's words.
In the dialog above, Thor and Hulk fight emotionally by throwing stuff and
mocking each other. This thing then becomes the evidence of male characters
countering the stereotype of being less sensitive.
In this film, women are not stereotyped into someone who is too sensitive
and emotional. Because of some evidence I found the opposite. As well as the
modes of human sparked by Sartre, being for herself (etre pour soi) where the
women are free to have their own decision without needing the opinion or
permission from men. They can show they feeling openly without being too
exaggrated. The women can show their ability to control their own feelings.
3.2 The Potrayal of Female Characters Countering Stereotype of being
Submissive and Passive
According to Sartre, in etre pour soi concept, the characteristic of human
is introduced by the concept of nothingness. The activity of the human being
which addopted the concept of nothingness is same as the freedom. Man is
condemned to be free. By that, human must have responsible for themselves. In
this third sub chapter I will discuss the potrayal of female characters in countering
the stereotype of being submissive and passive. The definition of submissive is
ready to conform to the authority or will of others; meekly obedient or passive
(Tyson, 2006). Meanwhile the notion of passive is accepting what happens or
what people do without trying to change anything or trying to oppose them
(Winclaw, 2011). These two characteristicsin many films, are often stereotyped in
women as obedient and passive. This stereotype does not appeared to women in
this film.
As we can see in the first evidence in the minutes 00:23:42 where Hela
first met Thor and Loki. Hela greeted and insisted the to kneel in front of her.
Hela said "Kneel. Before your queen ". Regardless of the possible strength of
Thor and Loki, Hela openly subjected herself and tried to tear Thor and Loki
away. In this first evidence, Hela indicated that she was not submissive or
obedient to others, but she told others to obey her. More than that, there is ta
relation of this evidence with the concept of being for others (etre pour les
autres). Conflict is the core of intersubjective relation, which means, everytime
the subject or the conciousness meet, each party is defending their world and
trying to put in their conciousness to others. Hela showed that she can be the
subject, just as the men.
The next evidence which indicates counter stereotypes of being
submassive and passive is at the minute 00:32:18. Hela said "Our destiny is to
rule over the others and I'm here to restore that power. Kneel before me and rise to
the ranks of my great conquest ". Hela comes back to Asgard to complete her
mission after she is free from alienation and imprisoned by Odin. Hela returned to
master nine realms which had been reconciled in the nine realms peace agreement.
I concludes that Hela freely and explicitly made the decision to regain nine
realms in front of the warriors of Asgard. She made the decision on herself and
not coercion from anyone. This evidence is the proof of etre pour soi concept.
Hela is free to make her own decision.
Figure 3.2.1 Hela gave her axe to Skurge | Figure 3.2.2 Skurge accepted
Hela’s axe
(Source: Thor: Ragnarok (2017), minutes 01:00:44)
Hela: Tell me about yourself, Skurge.
Skurge: Well, me dad was a stonemanson. Me mum was...
Hela: Right, yeah, I’ll just stop you there. What I meant was, what’s your
ambition?
Skurge: I just want a chance to prove myself.
Hela: Recognition. When I was young every great king has an executioner.
Not just to execute people, but also to execute their vision. But mainly to
execute people. Still, it was a great honor. I was odin executioner. And
you shall be my executioner.
(Source: Thor: Ragnarok (2017), minutes 00:59:57)
As explained before, men will usually claim themselves as an absolute
identity and women as the other, or it can be said that men are subjects while
women are objects. Hela subjected herself and objected Skurge. Figure 3.3.1 Hela
gives her axe and makes Skurge as her executioner. Then in Figure 3.3.2 Skurge
accepts the offer. In the conversation above, Hela used to be an object from Odin
because she was Odin executioner, but now she is the subject and objectifies
Skurge by asking him as her executioner. Skurge did not attempt to objectifie
Hela, because he knows that Hela's strength was greater than his strength. In the
relationship between Hela and Skurge, this proves that in this film Hela is able to
break the stereotype about the notion of women as the other (etre pour les autres).
In this film Hela is able to make herself as an absolute subject. However, although
Hela made Skurge an executioner, Hela was not really helped by Skurge or
anyone else but herself. Hela raises her dead warriors by using the eternal flames,
a secret weapon locked in the basement of the Asgard palace.
At the minute 01:32:17 when Thor is trying to escape from Sakaar with
Scrapper 142 and Hulk indicates the next evidence.
Figure 3.3.3 Scrapper 142 on control, Baner just sit
(Source: Thor: Ragnarok (2017), minutes 01:32:17)
In the figure above, Scrapper 142 is controlling her spaceship and Banner
is just sitting and watching her. Scrapper showed that female characters are not
passive and can control the situation. Then, Scrapper 142 fights against Sakaar's
warrior and helping Thor to escaped from the planet. This evidence proof etre
pour soi concept. Scrapper 142 is capable to take the control freely and she is
responsible with her choice.
In the discussion in this sub-chapter, I found several scenes showing the
counter stereotypes of female characters being submissive and passive. The nature
of Hela who was described as a superior and Scrapper 142 who took quite a lot in
the battle, proved that the female character in this film is potrayed as someone
who is not easily obedient and passive. The evidences in this sub-chapter are also
capable to proof etre pour soi concept sparked by Sartre.
3.3 The Potrayal of Female Characters Countering Stereotype of being Less
Courages and Less Brave
The next stereotype about women is less courages and less brave. Women
are portrayed as someone who does not have courage and must be protected.
Women are stereotyped as timid. According to Ricciardelli and Williams (1995),
timid is showing a lack of courage or confidence; easily frightened. In this movie,
there are three characters who countering stereotype of being less courages and
less brave. These evidence is proof of etre pour soi when women are capable to
take their decision freely and responsible of their own life. First is Grandmaster’s
General.
Figure 3.4.1 Grandmaster’s general leading the fight
(Source: Thor: Ragnarok (2017), minutes 01:34:29)
The figure above is Grandmaster's general. Although in this films she only
has a few roles, but her presence is vital for Grandmaster. I can say that she was
the Grandmaster's executioner. On various occasions she always accompanied
Grandmaster. Even more interestingly, in battle, Grandmaster had never been
involved in a direct fight. Instead of Grandmaster, her general, a woman leads
various battles. This indicates that the female general of Grandmaster was a brave
woman. She dared to fight for the Grandmaster and dared to lead the Sakaar army.
This then makes the evidence in counter stereotype of female characters being
less courages and less brave.
Next is the main villain in this film, Hela. In each of her appearance in this
film, Hela fights alone. Hela is brave to say what she wanted without being afraid
at all. At the beginning of the film, which is in the minutes 00:23:46 Hela
challenges Thor and Loki to kneel before her, then Hela easily destroys Thor's
hammer. In minutes 00:31:52 Hela explains who she is.
Figure 3.3.2 Hela announcing her arrival in front of Asgard’s warriors |
Figure 3.3.3 Hela killed everyone who opposed her
(Source: Thor: Ragnarok (2017), minutes 00:31:42)
In the figure above, Hela stood alone in front of thousands of Asgard
wariors to explain who she is and the purpose of her return to Asgard. She said,
"I'm Hela, Odin firstborn, the commander of legions of Asgard, the rightful heir of
the throne, and the goddes of death". The thing to note is when Hela mentioned
that she was Commander Legions of Asgard. She proved that women were able to
lead thousands of warriors who were dominated by men. Hela also firmly stood in
front of thousands of Asgard warriors who, at that moment, were seen opposing
her presence. In figure 3.3.3 Hela managed to defeat all the soldiers who opposed
her. She defeated them all alone without being helped by anyone. In addition to
being independent, she also has remarkable strength.
The last one is Scrapper 142. Scrapper 142 is a member of Valkyrie.
Valkyrie is an elite force from Asgard formed by Odin. In their glorious time, the
Valkyrie was sent to defeat Hela who eventually killed them all and only left
Scrapper 142. Therefore Scrapper 142 left Asgard and living in Sakaar. In this
film, Valkyrie is portrayed as a brave figure. The initial appearance of Scrapper
142 was at minute 00:28:52 where she was in conflict with a local people who
tried to eat Thor. At first Thor was very grateful to her, but it turned out that
Scrapper 142 actually caught Thor for sale to grandmaster.
Figure 3.3.4 Scrapper 142 is using her weapon | Figure 3.3.5 Scrapper 142
catched Thor.
(Source: Thor: Ragnarok (2017), minutes 00:28:52)
Figure 3.3.4 uses the zoom out shot to get an overall image of Scrapper
142 and implies her brave action. Scrapper 142 bravely challenges people who
want to eat Thor. In the figure above there is evidence that Scrapper 142 dared to
fight many men to get Thor. This shows evidence in countering stereotypes of
female characters being less courages and less braves. In addition, at 01:33:36
when the Scrapper 142 spaceship was destroyed by an alien ship, Scrapper 142
managed to get out and jump onto a ship driven by Thor. Thor asked her to enter
the ship butshe refused and chose to fly to enemy ships and destroy them.
Scrapper's courage 142 was evidence in the scene.
The evidence in this sub chapter showed that women are also courages and
brave. They are dare to take the risks and fights for their mission. Women can
proof that they are also capable to solve the problem of their own life.
3.4 The Potrayal of Female Characters Countering Stereotype of being Weak
The issue of "the other" begins when women started to believe that they
are creatures that need to be protected because of "weakness" in their bodies
(Arivia, 2003, p. 122). Women then began to believe that she could not live
without a man, especially when she believed that women were created from male
ribs. Therefore, women then define themselves based on men's opinions and not
vice versa. De Beauvoir sees the oppression of women starting with the
reproductive burden on the female body. Marx then emphasized that gender
differences are not only seen from the biological side, but also from the cultural
side (Arivia, 2003). Women in many films are potrayed as weak and need
protection. But in this film the character of Hela and Scrapper 142 countering the
stereotype that said above.
The first evidence is at minute 00:20:25 when the conversation between
Thor and Odin happens.
Odin: I failed you. It is upon us, Ragnarok.
Thor: No. I’ve stopped ragnarok. I put an end to Surtur.
Odin: No. It has already begun. She’s coming. My life was all that held
her back. But my time has come. I cannot keep her away any longer.
Thor: Father, who are you talking about?
Odin: Goddes of death, Hela. My first born. Your sister.
Thor: Your what?
Odin: Her violent appetites grew beyond my control. I couldn’t stop her so
I imprisoned her. Locked her away. She draws her strength from Asgard
and once she gets ther, her powers will be limitless.
Thor: Whatever she is, we can stop her together. We can face her together.
Odin: No, we won’t.
(Source: Thor: Ragnarok (2017), minutes 00:20:25)
In the conversation between Thor and Odin above, Odin explained that he
actually has a child who even Thor and Loki did not know. That was due to Odin's
fear of Hela's power which might destroy peace in the entire universe. Odin also
explained that Hela's strength was so powerful and the only thing that could hold
Hela longer in prison was his own life. Hela's strength comes from Asgard and
when she returns there, her strength will be limitless. Thor, who later convinced
his father that they could defeat Hela if they were together as team denied by
Odin. He said that the time to leave had arrived. For this reason, it is now the
mission for Thor and Loki to prevent the destruction of Asgard in the hands of
Hela. In the conversation above, it can be concluded that Hela's strength was so
great that Odin felt doubtful that Ragnarok could be prevented. At minute 12:24:
06, Hela even easily destroys Mjolnir, Thor's hammer.
Figure 3.5.1 Hela destroyed Thor’s hammer.
(Source: Thor: Ragnarok (2017), minutes 00:24:18)
The figure above uses a close up shot which clearly shows when Hela is
holding the hammer thrown by Thor and easily destroying it with one hand. Loki
who finally fear for Hela decides to flee to Asgard, but Hela managed to follow
them behind and then the fight was unavoidable. In a fairly fast time Hela was
able to ward off various attacks carried out by Thor and Loki who then made them
both thrown from Bifrost and wasted into Sakaar.
Loki and Thor were subsequently involved in a discussion which debated
Thor's ambitions to reclaim Asgard from Hela's power. At minute 00:47:22, Loki
said to Thor, "our sister destroyed your hammer like a piece of glass. She’s
stronger than both of us. She’s stronger than you (Thor). You don't stand a
chance”. As what we know in this film, Mjolnir is Thor's hammer, his main
weapon in defeating his enemies, yet Hela easily destroyed his hammer. Everyone
is affraid of Hela’s super power. Even the main character in this film, Thor must
give up his main weapon destroyed by Hela.
Hela's strength is recognized by everyone who knows her. At minute
01:07:11 Heimdall tried to evacuate all Asgard people from the threat of Hela's
massacre, who was angry at that time because Heimdall stole a sword which was
the key to the bifrost. Heimdall said to Thor "Hela is Ravenous. If I let her leave
(Asgard), she’ll consume nine realms and all the cosmos”. At minute 01:11:17
Scrapper 142 who once tried to defeat Hela said, "If Hela's back, then Asgard
already lost". No one can defeat Hela, even Odin. Because what Odin did was just
holding Hela, not defeating her.
Until in the end of this film, none of the people or superheroes in this film
beat Hela with a direct fight. In the end, Hela can be defeated by making the
Asgard’s apocalypse happened, the thing that Thor wants to prevent. Ragnarok
itself is a prophecy of destruction or apocalypse day of Asgard caused by Surtur, a
devil. At minute 1:57:13 Surtur said to everyone, "I'm Asgard Doom". Hela is
invincible, by anyone, except by the prophecy itself.
Figure 3.5.2 Hela beats Thor | Figure 3.5.3 Hela strucked by Thor’s lightning.
(Source: Thor: Ragnarok (2017), minutes 01:45:58)
Thor: You’re late.
Loki: You’re missing an eye.
Scrapper 142: This isn’t over.
Loki: Hit her (Hela) with a lightning blast.
Thor: I just hit her with the biggest lightning blast in the history of
lightning. It did nothing.
Scrapper 142: We just need to hold her until everyone’s on board.
Thor: It won’t end there. The longer Hela’s on Asgard, the more powerful
she grows. She’ll hunt us down.
(Source: Thor: Ragnarok (2017), minutes 01:51:34)
In the conversation above, the writer concluded that Thor's strength was
not powerful enough to defeat Hela even with the greatest lightning he had ever
made in history. Hela's strength makes Thor run out of time, he finally made the
most absurd action to defeat Hela and save his people by realizing Ragnarok, the
destruction of Asgard. That great sacrifice was the only way he could do to defeat
Hela because everything he tried to defeat Hela was in vain. Thor and everyone
who helped him could not defeat Hela who only fought alone.
By the evidence that I mentioned above, Hela countering the stereotype of
female characters being weak. Hela potrayed as a powerful character in this
movie. She proved that not all female characters potrayed as a weak character.
Beside Hela, there is also Scrapper 142. Since the first time of her
appearance of this movie, she potrayed as a thoughful woman. As Baner (Hulk)
said at the first time he saw Scrapper 142 in minute 01:23:52 “What are those
things on her eyes? Are those people that she killed? She’s so beautiful and strong
and courages”. The statement confirms that the physical appearance potrayed by
Scrapper 142 makes her look beautiful and strong.
It is not just the physical appearance which make Scrapper 142 look
strong, her physical strength also indicates the evidence in countering stereotype
of female characters being weak. At minutes 00:28:52 where she was in conflict
with a local people who tried to eat Thor. At first Thor was very grateful to her,
but it turned out that Scrapper 142 actually caught Thor for sale to grandmaster. In
that scene Scrapper 142 is able to show its physical strength by defeating local
people. Scrapper 142 is actually the only person of the Valkyrie elite force that
survived. Valkiyrie itself is a female elite force formed by Odin, created to defeat
Hela but they lost. Scrapper 142 was very good at fighting because she was an
elite Asgard force. To be a warrior, of course, it requires great physical strength
and good body resistance. Scrapper 142 is fulfilling that conditions.
Figure 3.5.4 Scrapper 142 vs Loki | Figure 3.5.5 Scrapper is holding weapon
(Source: Thor: Ragnarok (2017), minutes 01:20:14 & minutes 01:34:14)
In figure 3.5.3 Scrapper 142 is fighting with Loki. With her strength she
was able to hold back and defeat Loki. In the next figure Scrapper 142 is
directing a weapon on the spaceship. With the evidence that has been found,
Scrapper 142 also has indications in countering the stereotype of female
characters being weak.
According to Tyson (2006), weak is lacking the power to perform
physically dimanding tank; having little physical strength or energy. In this film,
female characters have extraordinary strength. They are described as strong and
able to protect themselves and others. Women in this film are described as being
independent and not only responsible for domestic realm but also publicy.
3.5 Potrayal of Female Charactes countering Stereotype of always being
Supporting Role
Movies can promote stereotypes that can communicate gender roles,
appearances, and acts of violance that are acceptable in society. The role of
women in movies is usually only as a supporting role of the main character or
victim in the film. Women characters in particular are rarely important to a
movie’s plot; they are merely cliched set decorations. When females are shown in
media, they are sometimes potrayed as non-essential or passive characters (Dietz,
1998; Haninger&Thompson, 2004; Ivory, 2006). In this movie women potrayed as
an essential and non passive characters. The vital women characters in this movies
are Hela and Scrapper 142.
Hela of course is essential character in this movie. Her role is undoubtable.
She is the main villain in this movie or we can say that she is the main point of this
movie. The potrayal of Hela is tottaly different from the stereotype that oftenly
discriminated to women. Hela is strong, emotionally stable, brave, and
independent.
In the other hand, Scrapper 142 is indeed not the main character in this
film. But the role she plays is vital. Without her help, Thor might never be
escaped from Sakaar. Same as Hela, she potrayed as a strong woman, brave and
courages, and also independent but she is in the good side different from Hela
who is a villain.
The evidences that I found in this movie is countering the stereotypes of
female characters always being supporting role. The role of Hela in this movie is
important and she is not the supporting role of the main character. Meanwhile
Scrapper 142 is a supporting role, but without her this movie might not be that
interesting. And also the appearance of female characters in this movie is
countering some of the negative stereotypes about women in movie.
CHAPTER IV
CONCLUSION AND SUGGESTION
This chapter presents conclusion and suggestion dealing with the findings
from Thor: Ragnarok. I write the conclusion from previous chapter and give the
suggestion for the next researcher.
4.1 Conclusion
The stereotypes that are formed and trusted by the community have been
constructed for a long time. through media, especially films, the stereotypes are
survive and increasingly trusted by many people. Stereotypes that are usually
found in films about women are women who are more narcissistic, women are
more sensitive, women are more passive, women are timid, women are weak, and
women are only supporting roles in films. however, in this film women are seen
as the counter stereotypes of what was mentioned above. In this film some male
characters also countering the stereotype of male characters such as brave.
Female characters who countering the stereotypes about women are Hela,
Scrapper 142 and Grandmaster's general. They are portrayed differently from the
stereotype that often found in the movie. Hela is potrayed as very strong woman
both physically and emotionally. Scrapper 142 is potrayed as a brave and strong
woman same as Grandmaster's general. The female characters are independent
and not passive.
From the evidence found in this film, the spirit of feminism carried by
female characters in this film. In line with the Beauvoir theory which states that
women are not always objects or the other sex but also capable to become
subjects. As conscious beings, women are able to think and solve the puzzles in
their own lives and free to make decisions in their lives.
4.2 Suggestion
In this study, the writer only focused on the third sequel of Thor. Thor
itself is part of the Marvel Cinematic Universe. The films of MCU are usually
always at the top ranks of box office. That’s why the more viewers, the more
influenced people. The writer suggests for further researcher to find another
feminism spirit in MCU films. It would be interesting if other researcher were
able to analyze the problems and find the pattern of the MCU film’s problem.
Researchers also suggests conducting research on why female superheroes in the
MCU were portrayed in such a way of dress and almost the same look.
1
REFERENCES
Abrams, Nathan., Bell, Ian., & Udris, Jan., (2001). Studying Film. New York:
Oxford University Press Inc.
Arivia, Gadis., (2003). Filsafat Berpespektif Feminis. Jakarta: Yayasan Jurnal
Perempuan.
Beauvoir, S. D., (2011). The Second Sex. (Sheila Malovany, Constance Borde-
Chevallier). Random House Inc. (Original work published in 1949).
Berger, Arthur, A. (2000). Media and Communication Research Methods: an
Introduction to Qualitative and Quantitative approachses. Sage.
Berger, J. (1972). Ways of Seeing. Penguin UK.
Boyd, O. & Newbold, C. (1995). Approaches to Media. Bloomsburry Academic.
Calvert, S. L., Kondla, T., Ertel, K.. Meisel, D, (2001). Young adult’s
Perspections and Memories of Televised Women Hero. Sex Roles: A
Journal of Research.
Card, Claudia. (2003). The Cambridge Companion to Simone De Beauvoir.
Cambridge University Press.
Cardwell, M. (1996). Dictionary of Psychology. 1st Ed. London: Fitroy Dearborn
Publishers.
Dietz, T. L. (1998). An Examination of Violence and Gender Role Potrayals in
Video Games Implications for Gender Socialization and Aggressive
Behavior. Sex Roles: A Journal of Research.
Dolan, J. Eric. (2017). Study: gender Stereotype About Movie Preferences are
Mostly Accurate. Retrieved on March 3, 2018 from
www.psypost.org/2017/05/study-gender-stereotype-movie-preferences-
mostly-accurate-49019.
Fakih, Mansour. (1996). Menggeser Konsepsi Gender dan Transformasi Sosial.
Yogyakarta: Pustaka Belajar.
Gauntlett, D. (2002). Media, Gender, and Identity. Psychology Press.
Habermas, J. (1989). The Structural Tranformation of The Publich Sphere an
Inquiry Inti a Category of Bourgeois Society (T. Berger & F. Lawrence.
MIT Press). (Original work published in 1962).
Hanninger, K., & Thompson, K. M. (2004). Content and Ratings of Teen-Rated
Video Games. Journal of the American Medical Association.
Hawkesworth, Mary, E. (2006). Globalization and Feminist Activism. Rowman
2
and Littlefield.
Henderson, Brian. (1976). “The Long Take”, in Movies and Methods: An
Anthology. Ed. Bill Nichols. Berkeley: University of California Press.
Ivory, J. (2006). Still a Man’s game: Gender Representation in Online Reviews of
Video Games. Mass Communication and Society.
Milkie, M., A.(1994). Social World Approach to Cultural Studies Mass Media
and Gender in the Adolescent Peer Group. Journal of Contemporary
Ethnography.
Nickholson, Linda. The Second Wave: A Reader in Feminist Theory. Great Britain
Routledge.
Strinati, Dominic. 2007. Popular Culture: Pengantar Menuju Teori Budaya
Populer. Yogyakarta: Jejak
Tuchman, G. (1978). Making News: A Study in the Construction of Reality. The
Free Press, New York.
Tong, Rosemarie. (2010). Feminist Thought: a More Comprehensive
Introduction. 3rd Ed. Charlotte: University of Carolina.
www.boxofficemojo.com, retrieved on March 3, 2018.
