THE PORTRAYAL OF GISELLE’S CHARACTER IN “ENCHANTED” MOVIE: A GENDER STEREOTYPE STUDY

Enchanted (2007) is a musical romantic comedy movie produced by Walt Disney Pictures that combine animated and live action scenes. The movie has interesting characters and plot to analyse. This study examines Giselle’s character in Disney’s Enchanted movie, the connection with gender-role stereotypes, and the moral values from the story. Data were collected by using library research method and analysed through structural approach and coded content analysis approach based on coding characteristics. Results showed that Giselle has more feminine than masculine characteristics that confirm the female gender-role stereotype. However, a twist at the climax of the story displaying her acquired masculine traits indicates the rise of modern female-gendered representation from Disney. Further studies are needed to investigate the development of the dynamic character related to Disney’s gender-role message and the influences to today society life.

universe. It is the expression of life issues, philosophy, and psychology. Literature is suitable as learning material since literary works can be used to develop the insight of nation thinking (Wardiman, 1998: 3). Literature, as an example of authentic language, also potentially plays a role in facilitating the learner's access to the English-using culture. Literature can lead to better cultural understanding of the target community, which is necessary for learning the target language (Kramsch, 1993). Therefore, the use of literature plays important roles in life.
Film is one of the most dominant media in literature today that gives many benefits in education and social life. It becomes the most popular literature product because it is produced in many genres, interesting with many colourful animation and special effects, easy and cheap to get. In addition, it offers moral values and often include language and culture content (Anggraeni et al., 2019). It also becomes one of the most easily accessible language products available as a learning media (Caixia, 2013). According to Montgomery (1992: 192), film is a kind of medium that ensures "easy intelligibility", which we could make the most of in language teaching. Students can use films to enhance their critical reading abilities by critically viewing film prior to studying literature such as novels, poems, short stories, plays (Golden, 2007). Furthermore, films can record culture and treat social or political issues and other aspects of societies to capture relationship difficult to be communicated by other means (Lorimer, 1995: 506).
Enchanted is a musical romantic comedy movie produced by Walt Disney Pictures that combine animated and live action scenes. The story tells about a classic fairy tale princess from the past who is thrown into a modern-day world an evil queen. The film is like no other classic Disney fairy tale because it mixes the elements of traditionally animated adventure and magic with the modern-day live action setting of New York City. In the real world, Princess Giselle begins to change her views on life and love after meeting a handsome lawyer, who later becomes her true love in real world. The story itself also contains many feminisms ideology as well as big representation of women.
Based on the definitions above, it can be concluded that film as literature media plays important role in studying language and its culture, thus making analysing film as the main reason for the topic of discussion in this research. The research purpose in this thesis is to analyse the portrayal of the main character Giselle in the Enchanted film. The research will focus on the characteristics and characterization of the main character or the female protagonist in the film.

Theoretical Framework
Literature can be defined in many ways. Rainsford (2014, p. 8) provided various meanings of literature based on five categories. Based on the first category, form and content, literature is defined as a kind of writing in which the way that something is said matters as much as what is said; or where the way that something is said is part of what is said. The second is imagination and creativity, in which literature means writing that is not just the reporting of facts, but in which things are created or 'made up'. The third category, subjectivity, views literature as writing in which things, persons and events are described from a particular individualistic viewpoint, in a way that is different from an 'objective' understanding. In fourth category, artistry, literature is described as deliberately artistic writing, intended to take its place in an existing 'literary' tradition.
Whereas in the fifth category, greatness, the meaning of literature is a kind of writing that only a few especially talented people are capable of, but which is relevant and perhaps useful to other people and deserves their admiration. There are many forms and genres of literature. Literature has major forms like poetry, prose, drama, and other genres such as fiction, nonfiction, plays, and film (Ugondo, 2015: 192 Film is considered as a branch of literature because it complements literature. Since literature is a narrative art intent upon creating images and sounds in the reader's mind, then film is obviously literary, that is an extension of the older narrative arts. Basic elements of film are technically grouped into object placement, camera shot, and camera movement. Object placement elements include image, time, motion, sound, lighting, sequence, and composition.
Camera Shot Elements consist of medium shot, long shot, wide shot, close-up, medium closeup, extreme close-up, low angle, high angle, and Dutch angle. Camera movement elements are divided into two kinds, which are nonspatial movement of the camera (pan, tilt, pedestal, zoom) and the spatial movement of the camera (trucking, dolly crane) (Nwanwene, 2002in Ugondo, 2015. There are many definitions of character. According to Card (2010: 3, 5), a character is what he or she means to do, and part of a character's identity is what others say about him. Eder (2015: 73) stated that characters are identifiable represented beings with an inner life that exist as communicatively constructed artefacts. It means that characters are set apart from other elements of represented worlds (story worlds, or degases) by being ascribed an object-related inner life with perceptions, thoughts, motives, or feelings. Chatman (1978( in Weststeijn, 2004 Jurnal CULTURE (Culture, Language, and Literature Review), 9 (1), Mei 2022, 82-93, Copyright © 2022, Jurnal CULTURE (Culture, Language, and Literature Review), e-ISSN 2775-4618, p-ISSN 2355 85 57) in his open theory of character views characters as more or less autonomous beings, not as merely a function of the plot. Accordingly, when we encounter a character in a literary work or a film, we gradually construct a character by piecing together his or her personal qualities, which are inferred from all kinds of textual data: a character's name, his actions, thoughts and speech, what is said about him by the narrator or by other characters, etc.
Whereas Phelan (1989in Weststeijn, 2004 stated that character is a literary element composed of three components: the mimetic, synthetic and thematic. The mimetic component refers to how a character can be the image of a real and possible person. The synthetic component concerns the artificiality of character and stresses that character is a literary construct. The thematic component refers to how a character can be used to represent a certain idea, a group or a class within the semantic structure of the literary work. Gender refers to the social categories of male and female that are distinguished from one another by a set of psychological features and role attributes that society has assigned to the biological category of sex. For example, emotionality is a trait we ascribe to women, and competitiveness is a trait we ascribe to men. Personality and appearance are also related to the gender category. The content of gender categories is influenced by society, culture, and time (Helgeson, 2012: 3-4). Gender-role stereotypes are the features we assign to women and men in our society, features not assigned due to biological sex but due to the social roles that men and women hold.
It refers to our beliefs about the features of the biological or psychological categories of male and female and the cognitive component of our attitude toward sex (Helgeson, 2012: 9, 79).
Gender-role stereotypes can be defined by using personality traits or male and female characteristics, including coding characteristics formulated from previous studies on gender and animated film. England et al. (2011: 558-560) describes characteristics, which were identified as traditionally masculine or traditionally feminine according to past content analysis literature (Do Rozario 2004;Dundes 2001;Durkin 1985a;Hoerrner 1996;Klein et al. 2000;Leaper et al. 2002;Thompson and Zerbinos 1995). The coding characteristics contain the gendered characteristics of the prince and princess characters from Disney princess films, the performance of climactic rescues by the characters, and the romantic resolution for the prince and princess characters at the end of the movie.

Research Method
This type of research is descriptive qualitative research to reveal facts, events, and circumstances of phenomena contained in the object of film research resulting from the exploitation of literary works. Qualitative researchers study things in their natural settings, attempting to make sense of, or interpret, phenomena in terms of the meanings people bring to them (Denzin & Lincoln, 2011: 3 in Creswell, 2013. This research is conducted by using content analysis method. It is used by sociologists to analyse social life by interpreting words and images from documents, books, newspapers, films, arts, music, and other cultural products and media. For example, responses to open-ended questions are on the basis of content analysis (Hancock et al., 2009in Mohajan, 2018. The research data is in the form of speech, behaviour, context, which are displayed by the characters through visualization in the film. The procedure of data collection is done by observing repeatedly and noting the aspects in the film that are relevant to the purpose of the research.
The data in this study are collected by using library research method. The writer goes to libraries to collect data. The data consist of two kinds, which are primary and secondary data. The primary data are the pictures and dialogues taken from the movie, whereas the secondary data are the experts' opinions. The writer takes the frames of the movie and dialogues from the movie script to confirm the traits or characteristics of the main character.
The methods of approach used are structural approach and coded content analysis approach. In structural approach, the data are collected by using structural approach that focuses on the narrative structure or intrinsic elements of the movie as literary work.
First, the writer watches the Enchanted movie. Second, the writer identifies the intrinsic elements of the movie. The plot and the setting of the story are described. Third, the writer analyses the main character, Giselle. Then, a coded content analysis approach is used to identify and record each gendered behaviour or characteristic depicted in the films. The films' content was coded for the gendered characteristics of the prince and princess characters, the performance of climactic rescues by the characters, and the romantic resolution for the characters at the end of the movie (England et al., 2011: 558). This method enables the writer Jurnal CULTURE (Culture, Language, and Literature Review), 9 (1), Mei 2022, 82-93, Copyright © 2022, Jurnal CULTURE (Culture, Language, and Literature Review), e-ISSN 2775-4618, p-ISSN 2355 87 to gather information about the types of behaviours portrayed by the movies' main female and male characters, how often such behaviours are depicted, and how these connect to the characters' gender.

Giselle's Physical Appearance
The physical appearance of Giselle's real character matches Disney's animated version with the beauty of a princess. In both cartoon and real character, Giselle is portrayed as a beautiful young woman with a slim body, fair skin, long wavy strawberry-blonde hair that reaches below her back, and large blue-green eyes. She shares similar features of other princess characters like having big eyes, long hair, different eye and hair colours, their hair being neatly tied, and wearing proper and beautiful dresses (Azmi et al., 2018). Her attractive physical appearance confirms the Mo Xu's (2021) study on stereotypical features portrayed by Snow White, Cinderella, and Aurora characters.

Giselle's Personalities Traits
The initial personality traits of Giselle are a combination of the other classic Disney princesses' traits. Director Kevin Lema described her as about 80% Snow White with some traits borrowed from Cinderella and Sleeping Beauty, although her spunkiness comes from Ariel of The Little Mermaid (Disney Wiki, n. d.). Giselle's character is dynamic because her personality traits are developed in the story. She has many innate traits that are inherited from her animated character and remain in the story, such as romantic, cheerful, affectionate, trusting, and optimistic. Her naivety slowly disappears as she learns a lot of things in the real New York and explore more human emotions. She also becomes brave when she tries to save Robert from Narissa.

Comparing Chaaracter's Types and Traits of Giselle to Gender Stereotypes
Giselle has a combination of several character types. She is the innocent because she retains her pure-hearted nature while facing the cynical people in modern New York. She is also the optimist. On the other side, Giselle becomes the nurturant. At the first time, Morgan follows Giselle as a role model because of her princess-like attitude, but then she looks like a nurturing mother for Morgan as they have spent time together. She is the homemaker, which is displayed when she cleaned up Robert's apartment and prepared breakfast for him and her daughter. In addition, she is the brave heart for she acquires brave trait when she behaves and The Portrayal of Giselle's Character in "Enchanted" Movie: A Gender Stereotype Study (Rizqia Lutfi Kurnia Dewi, Ahmad Muhid, Didit Kurniadi) 88 reacts to the situation where Robert is kidnapped and taken by the Dragon Narissa to the top of the tower.
Giselle has almost all the feminine characteristics, although she becomes masculine at the end of the story. Compared to Coding Characteristics described by English et al. (2011: 559-560), Giselle matches the feminine characteristics such as:

Physically Attractive
Giselle has princess-like appearance that fits her animated-version character. She has beautiful big blue-green eyes, fair skin, slim body, and long wavy hair. Also, she always wears dress like a princess.

Submissive
It means allowing herself to be controlled by others, meekly obedient or passive. Giselle is submissive. In Andalasia, she was controlled by Prince Edward and happily-ever-after love view, so that she received Edward's proposal. When Narissa turned into the beast, Giselle was afraid and hid behind Robert's back.

Emotional
Giselle is expressive and easily shows her feelings. She naively cried in Robert's office and was angry at him. She showed her love to Morgan and Pip in the restaurant. She stared at Robert with love while dancing in the ballroom, and she looked deeply sad when she saw him and Nancy kissing there.

Affectionate
Giselle is light-hearted and cheerful. She also has sincerity, compassion and sympathy for others. For example, she naively gave money to an old woman sitting on a bench. She showed her affection to Morgan so that Morgan kissed her after reading her bedtime story. She also helped Robert fix his relationship with Nancy and encouraged him to show love to her by dancing while singing That's How You Know song and sending Nancy a flower bouquet.

Nurturing
As she grows in emotions and view of life, she becomes nurturing figure of mother for Morgan. She read her bedtime stories. They also shopped and go to beauty salon together like other moms and their daughters do.

Sensitive
In the real world, Giselle was exposed to more human feelings and became sensitive.
She easily showed sympathy to others. She felt sadness in no-happily-ever-after real world, anger, love, and broken heart.