Gotowa bibliografia na temat „Charlie's angels”

<p><em><span lang="EN-US">Film is a medium for delivering messages through moving images. However, often in film narratives, there is a point of view of the dominance of male characters as subjects and active characters while women as passive characters or objects. Thus, women are often seen as a group that is vulnerable to violence, both sexual and symbolic violence. This article aimed to find a woman's point of view in Charlie's Angels, where women are seen as the dominant subject and not a vulnerable group. This research employed a descriptive-qualitative research method with primary and secondary data sources. The primary data was the Charlie's Angels film, while the secondary data was supporting documents such as books and articles. Data collection techniques employed documentation techniques. The data analysis technique applied Roland Barthes Semiotics to find denotations, connotations, and myths in film scenes to explore their meaning. In addition, this study used Tseelon's theory which states that in the film, there is a woman's point of view that rejects the notion that women are considered sexual objects formed from the point of view of men. The results of this study indicated that the Charlie's Angels film transparently applied a female perspective, made women's roles more dominant than men's, and negated the concept of women as sexual objects from the male point of view</span></em></p><p>Film merupakan media penyampai pesan melalui gambar bergerak. Namun, sering kali dalam narasi film, terdapat sudut pandang dominasi tokoh laki-laki sebagai subjek dan tokoh aktif, sementara perempuan sebagai tokoh pasif atau objek. Sehingga, perempuan seringkali dipandang sebagai kelompok yang rentan dengan kekerasan, baik kekerasan seksual maupun simbolik.<strong> </strong>Artikel ini bertujuan menemukan sudut pandang perempuan dalam film <em>Charlie’s Angels </em>yang mana perempuan dipandang sebagai subjek yang dominan dan bukanlah kelompok yang rentan. Penelitian ini menggunakan metode penelitian deskriptif-kualitatif dengan sumber data primer dan sekunder. Data primer yang digunakan ialah film <em>Charlie’s Angels</em>, sedangkan data sekunder berupa dokumen pendukung, seperti buku penunjang dan artikel. Teknik pengumpulan data menggunakan teknik dokumentasi. Teknik analisis data menggunakan Semiotika Roland Barthes untuk menemukan denotasi, konotasi, mitos dalam adegan-adegan film dalam teks, sehingga dapat digali maknanya. Selain itu, penelitian ini menggunakan teori Tseelon yang menyatakan jika dalam film terdapat sudut pandang perempuan yang menolak adanya kepercayaan jika perempuan dianggap sebagai objek seksual yang dibentuk berdasar sudut pandang laki–laki. Hasil penelitian ini menunjukkan bahwa film <em>Charlie’s Angels </em>secara transparan menggunakan perspektif perempuan dan membuat peran perempuan menjadi lebih dominan daripada laki-laki, serta meniadakan konsep perempuan sebagai objek seksual dari sudut pandang laki-laki.</p>

The recent films Charlie's Angels and Josie and the Pussycats, filmic remakes of 1970s television series, and furthermore of each other, may be indicative of a new direction for film, which is precisely the direction of television. These new films serve as indexes of each other and of the popular culture from which they have been compiled. As remakes become more common and films rely ever more on our familiarity with other forms of mass media, the vast cultural-industrial complex Theodor Adorno denounced a half-century ago seems to be at its most effective.

Charlie's Angels (2019) is considered a feminist film, dedicated to promoting women's empowerment and gender equality related discourse. Don't Call Me Angel is the theme song of Charlie's Angels, co-performed by Ariana Grande, Miley Cyrus and Lana Del Rey, which advocates women's control over the body, eliminating gender stereotypes, bold self-expression as well as encouraging sisterhood. This article critically discusses the construction of female images in this pop music video from a postfeminist perspective, which means that this study adopts a qualitative method of social semiotics to draw conclusions by sorting out some scenes, lyrics and performances of Don't Call Me Angel. Firstly, some of the objectified female and sexual expression scenes in this music video reflect complex postfeminist emotions. Secondly, the music video retains the characteristics of the classic Hollywood action movies' femme fatale when constructing female images, especially highlighting the pornographic femininity and the masculinity of violent female images.

The study entitled Women's Language Features on Utterances of Charlie's Angels Movie seeks to examine women's language features and the reasons of using the features by the three main women character. The data was taken from the utterances of the Charlie's Angels (2019) movie. The researchers used Lakoff's hypothesis to investigate women's language features. Lakoff (1975) suggested ten language features for women, but this analysis only found nine features in this movie, namely lexical hedges or fillers, intensifiers, tag question, emphatic stress, rising intonation on declaratives, avoidance of strong swear words, super polite forms, empty adjectives, and hypercorrect grammar. The findings indicated that intensifiers appeared to be the most prominent attribute utilized among the three main women’s characters in the movie (45.4%), and the least feature is the tag question (1.81%). Regarding the reasons for using Women's Language Features as the most frequent feature in this movie, the feature occurs when the speakers try to give a strong opinion or persuade the other person. Furthermore, the reason of tag question occurs in this movie because to convenience the hearer about what the speaker’s said.

The study entitled Women's Language Features on Utterances of Charlie's Angels Movie seeks to examine women's language features and the reasons of using the features by the three main women character. The data was taken from the utterances of the Charlie's Angels (2019) movie. The researchers used Lakoff's hypothesis to investigate women's language features. Lakoff (1975) suggested ten language features for women, but this analysis only found nine features in this movie, namely lexical hedges or fillers, intensifiers, tag question, emphatic stress, rising intonation on declaratives, avoidance of strong swear words, super polite forms, empty adjectives, and hypercorrect grammar. The findings indicated that intensifiers appeared to be the most prominent attribute utilized among the three main women’s characters in the movie (45.4%), and the least feature is the tag question (1.81%). Regarding the reasons for using Women's Language Features as the most frequent feature in this movie, the feature occurs when the speakers try to give a strong opinion or persuade the other person. Furthermore, the reason of tag question occurs in this movie because to convenience the hearer about what the speaker’s said.

This research is a pragmatic study of the use of negative politeness strategies. This study aims to identify negative politeness strategies used by characters in films and to analyze why characters in films use negative politeness strategies in their speech. This study will use a qualitative method in utilizing the study of negative politeness strategies by describing the problem as clearly as possible. The data will be taken from a film called Charlie's Angels 2019. The theory that will be used in this research is the theory proposed by Brown and Levinson's negative politeness strategy in 1992. The results of this study conclude that there are ten strategies proposed by Brown and Levinson as a way to direct, does not assume or presuppose, and does not force and fulfill the other wishes of the listener. The negative politeness strategy has several sub-strategies that have different goals. They use strategies related to the context of the conversation and the situation.

This study was focused on determine the types of use slang language style. The types of slangs were analyzed from “Charlie’s Angels” movie. Theories used in this research were Sumarsono (2007) about the types of slang language style and Zhou & Fan (2013) about the functions of slang language. This study was conducted using a descriptive qualitative method.This research is the kind of content analysis study based on the way to do qualitative research. The way to collects the data are; downloading movie, watching movie and downloading movie subtitle. The data were from a movie entitled “Charlie’s Angels” in the year of 2019 with action-comedy genre.After conducting the analysis, this study showed that there were four types of slang language style from six types of slang language. They were clipping, creative, uses the existing words and metaphor. Creative was found as the most dominant types of slang language style in the movie with 10 data (40%), metaphor with 7 data (28%), uses the existing words with 5 data (20%) and clipping with 3 data (12%). Finally, the reseacher hopes that this study will be useful for the future improvement of studying literature, especially about slang language style

Various gender-biased films still place women as weak and only occupy tasks in the domestic sphere. There is still a public perception that women cannot carry out significant tasks in the public sector. This study aims to represent girl power and the resistance to female domestication through film media based on these problems. This study uses a qualitative method of John Fiske's semiotic analysis, including the code level of reality, representation, and ideology. The study results show that the power of women in the Charlie's Angel (2019) movie has intellectual abilities. They can become a leader, fighting negative stereotypes of society by maximizing the power of skills possessed, including self-defense, disguise, shooting, and a programmer who can hack security. The women in this film prove their resistance to women's domestication by working in the public sector, namely in an international-scale investigative security organization called the Townsend Agency.

Jurnalistul britanic Charlie Ottley este, de aproape un deceniu, unul dintre cei mai perseverenți ambasadori ai imaginii României în lume. Fascinat de frumusețea și naturalitatea țării noastre, Charlie face emisiuni de televiziune, scrie editoriale și reportaje pentru cele mai prestigioase canale media din lume, necontenind să laude măreția și sălbăticia munților Carpați sau biodiversitatea. Născut în urmă cu 49 de ani la Winchester, în Anglia, Charlie a devenit prieten al României după de a colindat lumea în lung și-n lat spre a descoperi frumuseți. Mereu a fost omul încercat de focul cunoașterii și a căutat să descopere părțile frumoase ale națiilor. Dublu licențiat al Universității din Bristol, în teologie și filosofie, Charlie Ottley și-a încercat norocul și în jurnalism, absolvind și facultatea de profil de la City University din Londra. După un scurt stagiu la Londra, a ajuns șeful biroului de corespondenți de la Los Angeles al grupului media World Entertaiment News Network. Acum, Charlie Ottley scrie constant pentru The Dail Mail, Food and Travel Magazine şi Vanity Fair. În urmă cu două decenii și-a făcut propria televiziune, Forge TV, filmând reportajele pe care le făcea pentru Daily Express. A călătorit prin lume producând o serie de emisiuni culinare spectaculoase. Astfel, a descoperit ”aromele” mâncărurilor din Chile (Flavours of Chile), Columbia, Peru, Mexic, Spania, Grecia, Scoția sau Africa de Sud. Succesul seriei, difuzată pe Travel Channel, a asigurat o nouă serie bazată pe partea culinară şi de călătorii, intitulată Flavours of Chile. În următorii 12 ani a realizat serii similare în Peru, Spania, Mexic, Scoţia, Africa de Sud, Columbia şi Grecia. În 2011, Charlie Ottley a venit pentru prima oară în România cu același scop de a descoperi tradiția culinară și de natura. A fost fascinat și de atunci își canalizează eforturile pentru a ajuta la păstrarea bogăţiilor naturale ale României. A realizat celebra seriei de reportaje televizate, Wild Carpathia, difuzată în 110 ţări şi tradusă în 11 limbi. În vara lui 2017, Charlie Ottley a prezentat ultimul episod din Wild Carpathia la sediul ONU din New York, fiind aplaudat la scenă deschisă de reprezentanţii a 193 de ţări şi sute de personalități mondiale prezenți la acel eveniment. La finalul anului trecut, ambasadorul României sălbatice și-a cumpărat o casă în Bran și intenționează să o transforme într-un veritabil loc de pelerinaj al prietenilor englezi care, la rândul lor, vor deveni – asemenea lui Charlie – ”reprezentanți diplomatici” ai României.