| dc.description.abstract | This study examines the representation of sexual violence within power relations as portrayed in the film “Penyalin Cahaya” (Photocopier), using Norman Fairclough's Critical Discourse Analysis (CDA) approach. The film was chosen because it explicitly highlights that sexual violence is not merely a physical act, but part of a structured power system embedded within social institutions such as universities and student organizations. Moreover, Wregas Bhanuteja’s film portrays the patriarchal culture involving perpetrators, educational institutions, and victims. Sociologically, the patriarchal practices reflected in the film’s discourse include male domination in social structures, systems that do not side with victims, silencing of women's voices, pressure to remain silent, and the social construction of female sexuality. This research aims to uncover how the discourse of power operates to silence victims, perpetuate perpetrators’ dominance, and shape the social meaning of sexual violence. It employs a descriptive qualitative method through Fairclough’s three-dimensional analysis: text analysis, discourse practice, and sociocultural practice. Data were collected through observations of narratives, dialogues, and visuals in the film, supported by literature studies related to power relations, gender, and patriarchal culture. The findings reveal that sexual violence in “Penyalin Cahaya” does not stand alone, but is embedded within a network of institutional, cultural, and linguistic power relations. The film’s representation of sexual violence serves as a form of social critique against systems that protect perpetrators and marginalize victims' voices. This study demonstrates that discourse in visual media can be a site for the concentration of meaning, resistance, and the revelation of hidden power. | en_US |
