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Matapena: Jurnal Keilmuan Bahasa, Sastra, dan Pengajarannya
ISSN 2621-9050 (Print), Volume 6 Nomor 2 Desember 2023, ISSN 2621-9042 (Online)
384
Terakreditasi peringkat 6 berdasarkan SK Menristek/Brin Nomor 200/M/KPT/2020
THE ICONICITY OF WOMEN IN INDONESIAN HORROR FILMS: A SEMIOTIC
RESEARCH OF POSTERS FROM 2022-2023
Fadia Finta Fatikhasari, Moh Atikurrahman
Indonesian Literature Study Program, State Islamic University of Sunan Ampel Surabaya
fadiafinta@gmail.com, atiqurrahmann@gmail.com
Received, 11 Juli 2023
Accepted, 4 Agustus 2023
Published, 31 Desember 2023
Abstract
This article aimed to investigate the sign system in Indonesian horror film posters throughout
the years 2022-2023. Over the past two years, an intriguing trend emerged in relation to horror
films in Indonesia, wherein iconicity involving women became the representamen of the sign
system within a film poster. The research methodology used was qualitative description, with
Indonesian horror films from the years 2022-2023 serving as the data source. To comprehend
the meanings encapsulated within the latest Indonesian horror film posters, Charles Sanders
Peirce's paradigm on signs was adopted as a reference to understand the research material –
the Indonesian horror film posters from 2022-2023. The research results showed that the
representation of meaning in the Indonesian horror film posters from 2022-2023, which were
employed as icons within their posters, centered around women. In terms of color selection for
the letters in the posters, the use of red was notable, symbolizing the color of blood.
Keywords: poster, women, Indonesian horror films, Peirce
IKONITAS PEREMPUAN DALAM TAYANGAN HOROR INDONESIA: TELAAH
SEMIOTIKA PADA POSTER FILEM 2022-2023
Abstrak
Tujuan dari penelitian ini untuk menelaah system tanda pada filem horor Indonesia antara
2022-2023. Metode penelitian yang digunakan adalah metode penelitian deskripsi kualitatif.
Sumber penelitian dari poster filem horor Indonesia tahun 2022-2023. Untuk mengetahui
makna yang terkandung dalam poster filem horor Indonesia tahun 2022-2023 menggunakan
analisis semiotika Charles Sanders Peirce. Dari hasil penelitian ini adalah representasi
mengenai makna dari poster filem horor Indonesia tahun 2022-2023 yang dijadikan ikon dalam
posternya adalah perempuan. Dari segi pemilihan warna pada huruf-huruf dalam poster
menggunakan warna merah yang mewakili sebagai identitas warna darah.
Kata kunci: poster, perempuan, filem horror Indonesia, Peirce
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Matapena: Jurnal Keilmuan Bahasa, Sastra, dan Pengajarannya
ISSN 2621-9050 (Print), Volume 6 Nomor 2 Desember 2023, ISSN 2621-9042 (Online)
385
Terakreditasi peringkat 6 berdasarkan SK Menristek/Brin Nomor 200/M/KPT/2020
INTRODUCTION
Posters have become one of the effective
communication media and continue to be
extensively utilized in the global film
industry, including in Indonesia.
Communication through posters
necessitates the involvement of a complex
semiotic system. The interpretation of signs
in a film poster (including horror film
posters in Indonesia, which are the subject
of this research material) is closely related
to visual communication design. A poster is
a component of art and design with its own
style, movement, and trends, inseparable
from the technology and lifestyle of a
particular era (Adi, 2007). Among all the
elements of a work, the film poster serves
as the first foundation (if not the primary
one) for potential viewers before they
ultimately decide whether to watch a film
or not. Therefore, creating a film poster or
cover aims to provide a glimpse or a part of
the content within the work. This article
intends to examine horror film posters in
Indonesia with the purpose of
understanding the underlying aspects
behind the massive iconicity of women in
Indonesian horror films over the past two
years.
In the world of filmmaking, productions
involve many individuals, commonly
referred to as a production team. However,
the one orchestrating everything is still a
single person, the director. There are
numerous directors, yet their approaches
vary during film creation as a distinctive
hallmark of each. In Indonesia, film genres
encompass comedy, horror, drama, action,
and more. The genres most favored by
Indonesians include drama, horror, and
drama films. Notably, horror films capture
a significant portion of interest among the
younger and adult audience. During the
1970s, Indonesian horror films were closely
associated with local legends or folklore,
whereas the 2000s took on an urban legend
theme (Van Heeren, 2012). Among these,
'Leak,' a horror film released in 1981,
stands out as it represents the mystical
world of Bali.
The portrayal of women in horror films is
predominantly characterized by negative
attributes (Lasty, 2020). As women are
portrayed as eerie, cruel, weak, and
tormented, the depiction of women in these
horror films can reflect the dimensions of
societal life. The emergence of these female
ghosts stems from cultural contexts of the
past, as each roaming spirit undoubtedly
carries its own peculiarity related to its
demise. Among the countless horror films
within the realm of cinema, the dominant
female antagonists, reminiscent of the past
and notably recognized among the
community, such as Suzanna. The female
ghost characters often emerge with chilling
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Matapena: Jurnal Keilmuan Bahasa, Sastra, dan Pengajarannya
ISSN 2621-9050 (Print), Volume 6 Nomor 2 Desember 2023, ISSN 2621-9042 (Online)
386
Terakreditasi peringkat 6 berdasarkan SK Menristek/Brin Nomor 200/M/KPT/2020
attributes in Indonesian horror films, like
“kuntilanak,” “sundel bolong,” and
“siluman.” (Kusumaryati, 2011). Tidak
hanya di Indonesia saja melainkan negara
lainnya juga.
There have been several previous studies
that the researcher discovered, aimed at
avoiding duplication. A study conducted by
(Larasati & Adiprasetio, 2022) explored the
representation of female ghost inequality in
horror films from 1970 to 2019. In this
research, an overall mapping of Indonesian
horror films was carried out, followed by an
analysis of three criteria: the gender of the
main protagonist, the gender of the primary
ghost, and the gender of the director in
horror films. Therefore, this research
delved into how the genre configuration in
representing humans and children from
1970 to 2019 had evolved. The research
findings indicated that the representation of
female employees as ghosts could
historically justify levels of severity. In this
context, horror films often portrayed
realistic depictions of real-world events,
addressing previously taboo subjects and
exploring various themes.
Moving forward, the subsequent study is
being conducted by (Mawaidi, 2020), who
is examining the research object of a
collection of short stories by Intan
Paramaditha titled "Sihir Perempuan"
(Women's Sorcery). In this research, the
study is presenting the portrayal of female
ghosts in the collection of short stories
"Sihir Perempuan," utilizing a feminist
framework. In contrast to the previous
study, this research employs Cixous' theory
that unveils aspects of feminism. Cixous
states that the written outcomes of women
about femininity tend to produce a greater
effect of coherence than men’s. The
research findings indicate a paradox in the
construction of femininity as carried out by
Intan Paramaditha. In the attempt to
construct femininity, female ghosts are
depicted as legends within the realm of
patriarchal cultural influence. The presence
of female ghosts delves into the exploration
of the physical and psychological aspects of
these spectral women.
The subsequent research is being conducted
by (Isnaini, 2022), also using Indonesian
horror film posters released between 2010
and 2015. This study aimed to examine
Indonesian horror film posters that were
related to women's sensuality and highlight
the portrayal of women within feminist
discourse. The theory employed in this
research was the feminist literary theory,
which sought to reposition women in their
rightful place within a patriarchal society's
framework using signs and symbols. This
research shared a common element in terms
of the chosen research object, namely
Indonesian horror film posters. However, it