儿童电视节目《四伯郎》中的女性湮灭

Mazda Radita Roromari
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摘要

自2006年起,《思博郎》在Trans7播出,并获得了各种儿童友好节目的奖项。然而,这部剧从来没有以女孩为主角,限制了女性或女孩的形象。《司伯郎》的内容成为其生产者的话语再现。本研究通过阐述银幕对女孩和妇女的象征性湮灭来回顾《四伯郎》中的女性话语。本研究采用Norman Fairclough的批判性话语分析方法,从文本、话语实践和社会实践三个维度进行分析。本研究分析了Trans7公众号上传至YouTube的《司伯朗》整集。本研究使用的视角框架是Gaye Tuchman的象征性湮灭。文本分析表明,妇女或女孩缺席。它们的出现是有限的,只出现在家庭领域,这也是一种庸俗化的形式。女性化的话语实践、母性的话语实践、家庭生活文化的话语实践、狩猎采集社会的劳动分工等话语实践影响着司伯朗的内容。银幕上对女性的湮灭和角色的限制表明,司伯朗是由男权话语形成的。这种说法倾向于消除和限制妇女在社会中的作用。研究人员需要检视女性在电视或其他媒体儿童节目中的话语,以鼓励印尼媒体的性别平等。
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WOMEN'S ANNIHILATION IN KIDS TV SHOW “SI BOLANG”
Si Bolang has aired in Trans7 since 2006 and achieved various awards as a kids-friendly show. However, this show never showed a girl as its main character and limited the appearance of women or girls. The contents of Si Bolang become a discourse representation of its producer. This research reviewed the women's discourse in the Si Bolang by elaborating on the screen's symbolic annihilation of girls and women. This research used Norman Fairclough's critical discourse analysis method to analyze through three dimensions: text, discourse practice, and social praxis. This research analyzed the full episode of Si Bolang uploaded on YouTube by the official account of Trans7. The perspective framework used in this research is the symbolic annihilation of Gaye Tuchman. The text analysis shows that there are absences of women or girls. They have a limited appearance and only appear in the domestic realm, which is also a form of trivialization. There are discourse practices of femininity, mothering, the culture of domesticity, and the division of work in the hunting-gathering society that influence Si Bolang's content. Women's annihilation and role restriction of women on the screen shows that Si Bolang formed from patriarchal discourse. This discourse tends to eliminate and limit women's role in society. Researchers need to review women's discourse in TV or other media kids' shows to encourage gender equality in Indonesia's media.
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