Political Transformation in Indonesian Literature Filmisation: an Ecranisation Study on Lintah and Melukis Jendela Short Stories into Mereka Bilang, Saya Monyet! Film by Djenar Maesa Ayu in Hutcheon’s Postmodernism Perspective*)

Oleh: Suseno WS

Mereka Bilang, Saya Monyet! (later on abbreviated to MBSM) is a film raised up from two short stories, they are Lintah and Melukis Jendela. A uniqueness in such transformation is two stories becoming a story. The result of such transformation is a postmodern film and full of significant changes. This research entitled “Political Transformation of Indonesian Literature Filmization: An Ecranisation Study on Lintah and Melukis Jendela Short Stories into Mereka Bilang, Saya Monyet! Film by Djenar Mahesa Ayu in Hutcheon’s Postmodernism Perspective” tries to describe and to exploit existing changes in the transformation and to study ideological-political aspects from those changes as well. Ecranisation theory expressed by Eneste (1991) shows that filmization always emerges changes. Ecranisation is also meant by changing process. The changes might happening in ecranisation is reducing or cutting, adding, and varied changes as well. This theory is used to find out the changes emerging in work transformation becoming material object in this research. By Hutcheon’s postmodernism perspective, this research then continues to study ideological-political aspects in existing representation. The results of this research are, first, the presentation of significant changes in the transformational work including the changes of main character’s childhood into adulthood, the creation of new characters, the changes of characters’ characteristics, the changes of story setting, and plot. Second, these transformations produce a postmodern film. The postmodernity of the film presents in its fragmented plot and the dualities of main characters’ characteristics. Third, MBSM film, through its postmodernism representation, is a counter to power domination from the stronger toward the weaker. Fourth, MBSM film proclaims voices of ideology: an ideality breakthrough, a norm breakthrough, and an escape from a haunted past burden. Fifth, MBSM film is a response of ‘cosmopolitan literature’ discourse. MBSM, with its representation, has uttered that normality or ideality is cultural product, which is occasionally used for labeling and perpetuating domination and power. Therefore, an acceptance toward different way of seeing so that there are no polarizations of ideal-not ideal and of right-wrong is necessary.

Keywords: transformation, ecranisation, filmization, ideology, and post-modernism politic, fragrant literature.

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      *) This work is A Thesis presented to the board of examiners in partial fulfillment of requirement for Magister Degrees in Literary Studies at Gadjah Mada University by Suseno, January 2010.
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    1. Pingback: TRANSFORMASI POLITIS FILMISASI SASTRA INDONESIA: KAJIAN EKRANISASI CERPEN LINTAH DAN MELUKIS JENDELA KE DALAM FILM MEREKA BILANG, SAYA MONYET! KARYA DJENAR MAESA AYU DALAM PERSPEKTIF POSMODERNISME HUTCHEON *) « COGITO ERGO SUM

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