Analysis of Strong Female Characters in The Film I Am Rage (2023) Using Existentialist Feminism

Main Article Content

Nurdilah Nurdilah
Irma Rahmawati

Abstract

Existentialist feminism put forward by Simone de Beauvoir has become an important foundation in understanding the position of women in society and their representation in the media. In the context of the film I am rage (2023), this research aims to analyze strong female characters in the narrative, by applying key concepts from de beauvoir, such as ‘the other’ and the individual’s search for freedom. The film offers a complex depiction of women’s struggles and search for identity. amidst patriarchal norms. Through an analysis of the main characters, this research highlights how women are not only positioned as objects but also as active agents who confront and challenge restrictive social structures. By integrating de Beauvoir's theory, this finding suggests that despite progress in gender representation in film, the challenge of changing societal standards about women still needs to be faced. This study not only contributes to the understanding of feminism in the context of film, but also provides insight into the importance of representing women more authentically and diversely in the film industry.

Downloads

Download data is not yet available.

Article Details

How to Cite
Nurdilah, N., & Irma Rahmawati. (2025). Analysis of Strong Female Characters in The Film I Am Rage (2023) Using Existentialist Feminism. J-CEKI : Jurnal Cendekia Ilmiah, 4(5), 940–951. https://doi.org/10.56799/jceki.v4i5.10719
Section
Articles

References

Abbott. P. (2008). The Cambridge Introduction to Narrative. Inggris: Cambridge University Press

Baker, J., Lynch, K., Cantillon, s. and Walsh, J. (2009). Equality: Putting Theory Into Action. Res Publica, 13(1).

Beauvoir, S. de. (1949). Le Deuxième Sexe. Paris: Gallimard.

Bordwell, D., & Thompson, K. (2010). Film History: An Introduction (3rd ed.). McGraw-Hill Education.

Eagleton, T. (2008). Literary Theory: An Introduction (Anniversary ed.). Blackwell Publishing.

Ghaisani, F. A. (2020). Representasi Kritik Sosial Dalam Film Indonesia (Analisis Semiotika Kritik Sosial Dalam Film Slank Nggak Ada Matinya). Skripsi Thesis, Universitas Airlangga

Gill, R. (2007). Gender and the Media. Polity Press.

Hooks, b. (2000). Feminism Is for Everybody: Passionate Politics. South End Press.

Jensen, R. (2021). Getting Radical: Feminism, Patriarchy, and the Sexual-Exploitation Industries. Dignity: A Journal of Analysis of Exploitation and Violence, 6(2).

Mackey, M. (2011). Narrative Pleasures in Young Adult Novels, Films, and Video Games. Palgrave Macmillan.

McCombes, S. (2023). Survey Research/Definition, Examples & Methods.

McGowan, T. (2019). Emancipation After Hegel: Achieving a Contradictory Revolution. Columbia University Press.

Meyer, M. (2011). The Bedford Introduction to Literature (9th ed.). Bedford/St. Martin’s.

Mulvey, L. (1975). Visual Pleasure and Narrative Cinema. Screen, 16(3), 6–18.

Nurgiyantoro, B. (1995). Teori Pengkajian Fiksi. Yogyakarta: Gadjah Mada University Press.

Phelan, J. C. (2005). Geneticization of deviant behavior and consequences for stigma: the case of mental illness. J Health Soc Behav, 46(4), 307-322.

Pomerance, M. (2019). Virtuoso: Film Performance and the Actor's Magic. New York and London, Bloomsbury Academic pp. 347

Rahman, A. (2025). Feminisme dan Representasi Perempuan dalam Media. Jakarta: Pustaka Cendekia.

Smith, S. L. (2022). Inclusion in the director’s chair: Examining gender equity in top-grossing films. USC Annenberg Inclusion Initiative.

Sutopo, H. B. (2006). Metodologi Penelitian Kualitatif: Dasar Teori dan Terapannya dalam Penelitian. Surakarta: Sebelas Maret University Press.

Thompson, K. (2003). Storytelling in Film and Television. Harvard University Press.