CONSTRUCTION OF MASCULINITY IN THE LITTLE RASCALS (1994)

• Main Author: Mulyani, Ani (Author)
• Format: Book
• Published: 2017-10-27.
• Subjects: Thesis; NonPeerReviewed
• Online Access: Link Metadata
• Notes: http://repository.upi.edu/31605/1/S_ING_1305392_Title.pdf; http://repository.upi.edu/31605/2/S_ING_1305392_Tale_Of_content.pdf; http://repository.upi.edu/31605/3/S_ING_1305392_Abstract.docx.pdf; http://repository.upi.edu/31605/4/S_ING_1305392_Chapter%201.docx.pdf; http://repository.upi.edu/31605/5/S_ING_1305392_Chapter%202.docx.pdf; http://repository.upi.edu/31605/6/S_ING_1305392_Chapter%203.pdf; http://repository.upi.edu/31605/7/S_ING_1305392_Chapter%204.pdf; http://repository.upi.edu/31605/8/S_ING_1305392_Chapter%205.docx.pdf; http://repository.upi.edu/31605/9/S_ING_1305392_Bibliography.pdf; http://repository.upi.edu/31605/10/S_ING_1305392_Appendix.pdf
• Keywords: PR English literature

Masculinity in film is constructed differently, mirroring its construction in the real life. The purpose of the study is to examine the construction of masculinity in The Little Rascals (1994) directed by Penelope Spheeris. Using qualitative method, the study employs theory of masculinity (Connell, 2005), film theory (Heintz & Stracey, 2006), and theory of characterization (Boggs & Petrie, 2008). The findings show that masculinity in the film is constructed through dialogues and shots. There are two prominent types of masculinity, hegemonic masculinity which is upheld by the main characters Spanky and his gang and complicit masculinity which is upheld by Alfalfa. However, both Spanky and Alfalfa move from one type of masculinity to another; thus strengthening the argument that masculinity construction in the film is fluid.----------Maskulinitas dalam film dikonstruksi dengan cara yang berbeda-beda, seperti halnya dalam kehidupan nyata. Tujuan dari penelitian ini ialah untuk meneliti konstruksi maskulinitas dalam The Little Rascals (1994) yang disutradarai oleh Penelope Spheeris. Dengan menggunakan metode kualitatif, penelitian ini memakai teori maskulinitas (Connell, 2005), teori film (Heintz & Stracey, 2006), dan teori karakterisasi (Boggs & Petrie, 2008). Temuan penelitian menunjukkan bahwa maskulinitas dikonstruksi melalui dialog dan shot. Terdapat dua tipe maskulinitas yang paling menonjol yakni, maskulinitas hegemoni yang dianut oleh Spanky dan kelompoknya dan maskulinitas komplisit yang dianut oleh Alfalfa. Namun, baik Spanky beserta kelompoknya dan Alfalfa berpindah dari satu tipe maskulinitas ke tipe maskulinitas lainnya; maka hal ini menguatkan argumen bahwa konstruksi maskulinitas dalam film ini sifatnya tidak tetap.