MASKULINITAS TENTARA DALAM SINEMA PASCA ORDE BARU; ANALISIS NARATIF DOEA TANDA CINTA (2015) DAN I LEAVE MY HEART IN LEBANON (2016)

Hary Ganjar Budiman, Aquarini Priyatna Priyatna, R.M. Mulyadi

ABSTRACT
Artikel ini membincangkan tentara dan maskulinitas melalui film Indonesia kontemporer. Dua film dianalisis dalam penelitian ini, yaitu Doea Tanda Cinta (2015) dan I Leave My Heart in Lebanon (2016). Mengacu pada paradigma kajian budaya yang dikemukakan oleh Stuart Hall, penelitian ini mencoba menempatkan film sebagai teks/wacana budaya yang perlu untuk dianalisis. Metode yang digunakan adalah metode kajian film yang menganalisis unsur sinematik dan naratif (histoire dan discourse). Melalui artikel ini dapat diketahui bahwa representasi maskulinitas tentara dalam film Indonesia kontemporer cenderung dinamis. Film Doea Tanda Cinta merepresentasikan model maskulinitas normatif yang diasosiasikan dengan hegemoni terhadap perempuan. Film ini mengangkat ideologi patriarki. Film I Leave My Heart in Lebanon merepresentasikan model maskulinitas laki-laki peduli (caring masculinity) yang tidak hegemonik terhadap perempuan.

This article discusses the army and masculinity through contemporary Indonesian films. Two films were analyzed in this study, namely Doea Tanda Cinta (2015) and I Leave My Heart in Lebanon (2016). Referring to the cultural study paradigm put forward by Stuart Hall, this study attempts to place film as a cultural text / discourse that needs to be analyzed. The method used is a film study method that analyzes cinematic and narrative elements (histoire and discourse). Through this article, it can be seen that the representation of army masculinity in contemporary Indonesian films tends to be dynamic. Doea Tanda Cinta film represents a model of normative masculinity associated with hegemony towards women. This film elevates patriarchal ideology. I Leave My Heart in Lebanon film represents a caring masculinity model that is not hegemonic to women.

KEYWORDS
army, film, representation, masculinities.

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