Indonesian Teen Romanticism: The Underlying Ideology of “Film Television” (FTV) During Covid-19 Pandemic from Gender Perspective

This research examines the underlying ideology(s) of a TV program called ‘Film Television’ (FTV). This TV program is on during the Covid-19 Pandemic. Specifically, using framing analysis and gender perspective approach as a methodology, this research analyses the ways in which these ideologies developed in FTV. Six prime samples of FTV were chosen, namely Laki-laki Buaya Darat, Cowok Gue IQ-nya Ancur Banget, Cowok Gue Pendek Bener, Pacar honorer, Ganteng-ganteng Medit, Pacar Gue Brondong. The findings reveal a thrust of twin-contrarian thrust of messaging. There are two embedded ideologies underlying the FTV. First, the FTV production house carries a patriarchal ideology by raising themes that discriminate against women through stereotypes against women that appear in the story. Second, the FTV production house carries the ideology of feminism, with themes that position women as super-ordinates. Women occupy a higher social class than men. This finding of twin-contrarian ideological thrust offers an important contribution to the gender theoretical vacuum of Indonesian TV as an example of Asian teen romanticism in national TV programming during a global crisis. It has conceptual implication on the repertoire of social science knowledge, especially sociology particularly research on womens body and beauty, sociology of gender and media, and sociology of family.


INTRODUCTION
In several studies, television and films have influenced changes in recipient behaviour and culture (Goldsmith 1972;Sadewo, Trilaksana, and Affandi 2007;Skrzypiec 1996). Television content is seen as an essential tool for promoting the new social order and is strategically used for its educational and cultural potential to mobilize and spread the image of women as producers of goods and a reproduction of the workforce. In the West, TV has also been shown to support gender stereotypes that are in line with the social expectations of men and women in specific periods (Ibroscheva and Stover 2020).
The structure of society is an order of various factors based on tradition and ethics, and these values are passed down from generation to generation. Most importantly, the pattern of society must be balanced, which is clearly impractical in our society because this tendency is seen in all aspects of our lives. Media is a vital institution, but it has not presented women positively. If we look at films, women are represented as objects and sex commodities in stereotypical roles. The representation of women in films creates inequality in society and instils a negative and inferior image of women in the minds of society (Manzoor, Rehma, and Rauf 2020).
Judith Butler criticizes feminism for considering feminism as a universal category of women. According to the category, women do not have a coherent and stable meaning. Therefore, according to her, we must discuss the idea of political representation in feminist policies. Besides, she opened the concept of identity and gender for discussion because, according to her, gender and identity categories do not speak of our inherent coherence. In Butler's view, gender is a norm so that it functions to regulate and normalize the subject. In this context, according to her, the gender category creates an abnormal and incomprehensible field. She reminds feminism about the exclusion policy because, for her, if feminism accepts the universal category of women, it might ignore women's different experiences (Butler 2004(Butler , 2011(Butler , 2015Holmes 2008). L i s t y a n i : I n d o n e s i a n T e e n R o m a n t i c i s m : T h e U n d e r l y i n g I d e o l o g y o f " F i l m T e l e v i s i o n " ( F T V ) D u r i n g C o v i d -1 9 P a n d e m i c f r o m G e n d e r P e r s p e c t i v e | 131 As stated by Josephson (1995) and the Indonesian Broadcasting Commission, television stations are required to provide information about shows based on the age of the viewers. Because each program has a different effect on each age; Television stations and film producers have entered age codes on every show (Grindstaff and Turow 2008). However, preliminary observations show that not all television stations in Indonesia consistently include this code. Second, there is no optimal code socialization. It means that the efforts of television stations to develop internal control in the family have not been successful.
This method is also getting more difficult when the family in the city community has experienced changes. It is always assumed that the care and assistance of children and adolescents when watching television is done by the parents or one of them. It follows the traditional concept of family institution. In this concept, the form and function of family members are described as a longterm family, with the father serving as the breadwinner, while the mother stays at home to do domestic work (Goldsmith 1972;Gracia 2015;Harrington and Bielby 2005).
However, before carrying out the identification and mapping, the research team must first analyze the ideology behind the thematic films and soap operas.
For this reason, researchers conducted a study of films and soap operas favored by teenagers. To study films and soap operas, researchers used framing analysis and gender perspective. From this analysis, the ideologies in films and soap operas can be dismantled. L i s t y a n i : I n d o n e s i a n T e e n R o m a n t i c i s m : T h e U n d e r l y i n g I d e o l o g y o f " F i l m T e l e v i s i o n " ( F T V ) D u r i n g C o v i d -1 9 P a n d e m i c f r o m G e n d e r P e r s p e c t i v e | 133  First public television demonstration Baird Source: (Burns 20007) Movies and television are like two sides of a coin. The presence of television cannot be separated from the invention of film. However, in its history, films had also moved apart from television when cinemas were established. This cinema, in its history, quickly replaced opera houses (Grindstaff and Turow 2008;Yang 2020). The process is more or less the same in Indonesia. Indonesian society, especially Batavia (the name of Jakarta before Indonesia's independence), L i s t y a n i : I n d o n e s i a n T e e n R o m a n t i c i s m : T h e U n d e r l y i n g I d e o l o g y o f " F i l m T e l e v i s i o n " ( F T V ) D u r i n g C o v i d -1 9 P a n d e

m i c f r o m G e n d e r P e r s p e c t i v e | 135
has been familiar with film since the early 20th century. Local stories, such as Loetoeng Kasaroeng (a Sundanese folklore tale from West Java, Indonesia), were brought to the big screen by the Dutch East Indies film producers (Gischa 2020 (Anon n.d.). Currently, almost every city has a local television station with local programs. In short, the development of television cannot be separated from the political economy interests of the government at that time.
In the digital era, television also follows technology. The first technology is cable television. Indovision is one of the first cable tv companies in Indonesia, followed by FIRST Media and Kompas Vision (Anon 2014).
Television in Teen Development. One of the economic advantages of television is advertising. Several researchers say television advertising has proven effective. Sociologically, according to Baudrillard, there is "dissolution of TV into life, dissolution of life into TV". This happens because of the simulacrum, which is an imitation of identity without an original, picked up or simulated on TV, then easily taken by humans and inserting it into their lives (Baudrillard 1981(Baudrillard , 1998Perry and Gane 1999). On the other hand, the reality of life is simplified in certain interests and raised on television and then accepted by the admirer as reality. In this state, it not only blurs the difference between reality and simulation, but is also a state in which simulation becomes more real than reality (Baudrillard 2009;Storey 2014  the case of diet studies (Goldsmith 1972;Padderud 1973;Skrzypiec 1996). Other influences are deviant behavior and social problems. In this case, television socializes crime excessively, thereby adding to excessive fear as well (Corcoran 2005;Lane and Meeker 2003).
In television, the exposure to the audience that has been concerned by some researchers in the last two decades has many forms. One of them is through soap operas and films. In its history, when people in Indonesia mentioned soap operas (electronic cinema), then the event was originally a soap opera. Soap opera is a play sponsored by a soap company. The nature of soap operas is entertaining.
On the sidelines of soap operas, the manager includes commercial advertisements (Grindstaff and Turow 2008;Moran and Keane 2006;Yang 2020

METHOD
This study combines two theoretical perspectives, namely ethnomethodology and gender. From an ethnomethodological perspective, the continuity in human action is framed by the order of values in society (Francis and Hester 2004;Garfinkel 1967;Have 2004;Lynch 1997;Watson 2009). The agility L i s t y a n i : I n d o n e s i a n T e e n R o m a n t i c i s m : of these actions is carried out unconsciously. A social scientist digs into these constellations to find the order of values that frames them. Meanwhile, from a gender perspective, the framing of the value order can be criticised as a form of inequality between sex and social class. Adherents of a gender perspective who are influenced by Marxian theory, such as Gramsci and Althusser, will sharply note that these constellations are a product of the hegemony of the inequality values offered by certain social classes (Banerjee 1995;Listyani, Sadewo, and Legowo 2018;Ryder et al. 2006).
Concerning FTV, the regularities can be observed through framing analysis.
Erving Goffman first initiated framing analysis. He argued that in social action, speech and spectacle, there is an ideology that can frame it (Goffman 1975(Goffman , 1987.
Ideology is a value order which for its adherents, is a provision or justification.
The unit of analysis in this research is FTV broadcast by Surya Citra

RESULT AND DISCUSSION
Production House as the Art Industry Ideology House. One of the wellknown production houses in Indonesia is Multivision Plus (MVP). Apart from producing films, this production house also produces soap operas and FTV. Even

FTV and feature films. Some of his drama soap operas have been made into bigscreen films, such as Losmen Bu Broto (Mrs Broto's inn) and Suami-Suami Takut
Istri (Husbands are afraid of wives). They also produced historical films such as
In the 2010s, there was a very tight competition between production houses in Indonesia, especially for television stations that were betting on their production. MD Entertainment had to face the MVP that first existed. More than that, they also face various production houses, such as Screenplay Production, Subscribers (connoisseurs) have reached 5.2 million people. This channel broadcasts its FTV which has been produced. Besides that, the FTV was also played back by SCTV and Vidio.com.

Figure 1. FTV-producing production house in Indonesia
Source: Compiled from various sources (https://id.wikipedia.org/wiki/multivision_plus and company website) L i s t y a n i : I n d o n e s i a n T e e n R o m a n t i c i s m :

T h e U n d e r l y i n g I d e o l o g y o f " F i l m T e l e v i s i o n " ( F T V ) D u r i n g C o v i d -1 9 P a n d e m i c f r o m G e n d e r P e r s p e c t i v e | 139
On the official website, Screenplay Production and SinemArt were founded with almost the same goal: to fill content on television. SinemArt was established much longer, namely in 2003. SinemArt is specialised as a production house that produces films on television and feature films. SinemArt has produced more than 150 films for television and 20 films. SinemArt initially collaborated with MNC Media to broadcast its products, including the RCTI station. However, then it transferred to EMTEK in 2017. Together with Screenplay Production, SinemArt filled the needs of FTV and soap operas on SCTV. The Screenplay Production has been established in 2010 and has been part of EMTEK since its inception. Due to being part of Surya Citra Media, Screenplay Production is based in the SCTV Building. As a result, all production to supply programs on SCTV.
The establishment of StarVision was due to the declining condition of widescreen films. Meanwhile, the world of television is increasing rapidly. When calculated by Kharisma Jabar Film, StarVision has produced more than 150 titles for the big screen. One of the characteristics of the films produced by StarVision is a comedy, but it is full of meaning. Starvision has produced several comedy films that are quite popular, such as Cek Toko Sebelah, Imperfect: Karier, Cinta dan Timbangan. Meanwhile, StarVision also produces 97 series soap opera titles.
Some of them are big-screen films that are processed into serial soap operas, such as Heart and Cek Toko Sebelah. Besides the big screen and serial soap operas, the production house also produces FTV which is broadcast by SCTV and RCTI facultatively.
In collaboration with several television stations, including SCTV, this production house has won awards.  (Van Dijk 2008, 2012. Within the package, there are two structures, namely the core frame and condensing symbols. The first structure is the organizational centre of the idea elements that help the communicator pinpoint the core issue. Whereas the second structure contains two substructures, namely framing devices and reasoning devices (Gamson et al. 1992;Gamson and Modigliani 1989).

Source: Primary Data (2020)
The central idea in FTV is about romance or teenage romantic life.
Framing device that can be described in this research include; (1) Use of Metaphors. Metaphorical framing devices. It means that the assumption that men should have higher dignity and honour than women is expressed by the fact that men are always positioned to be more prosperous, successful entrepreneurs, handsome, liked by many women and female helpers. Women have always been objects, captured from body and beauty. Women cannot be successful without the help of men. Women are also depicted as never having a better position or job than men. The educational background of women is not higher than that of men. A woman with her beauty can change her fate if she gets a soul mate with a rich man.
Reasoning device in FTV that researchers can identify in this study are (1) Roots (cause-and-effect). Roots in this film are depicted with women as important parties and have the role as the subject.
The moral claims used by FTV are depicted by the depiction of women in a binary position, namely that women are considered to be very valuable, fought for, then married. However, it is impliedly the opposite.
(3) Consequences (effects or consequences of the frame). The consequence obtained from the frame in FTV is that women are always dependent on men, women's position is always lower than men (sub-ordinate). FTV shows that women cannot replace men's positions and roles. Researchers found that gender relations in FTV were represented by discriminating against women. character who is played like a man who has a bad character. The male stereotype that is raised is that the ideal man is a man who must be physically tall, must be more intelligent than his partner (women), men are identical to playboys, like to tease women and are not satisfied with only one partner (female).

2.
MD The framing and reasoning device that appears is a picture of a female character as the ideal wife in the eyes of a husband or man. Husbands are played as men who are allowed to look for other women because their wives have flaws in the eyes of their husbands.

Neng supir aku
The framing and reasoning device that is raised is through a romantic comedy title, a female character is shown with a subordinate character, with low education, comes from a low economic class, then her socioeconomic status is lifted because she is side by side with a man who is shown as L i s t y a n i : I n d o n e s i a n T e e n R o m a n t i c i s m :  The framing and reasoning device that appears is that men have a superordinate position even though they do not have a high socio-economic class.

Source: Primary Data (2020)
The "Subconscious" of Indonesian Society. Representation reflects the construction of the existing social reality and how the media should present society's state. The media as a bridge of information must be neutral in representing reality and not present reality with its construction (İnceoğlu 2020;Krijnen 2020;Tahir 2010). The media heavily influence the representation of reality. Media attitudes that depend on market tastes form stereotypes that are gender-biased towards women increasingly developing in society (Kiran 2018;Maheshwar et al. 2017;Pagán-Rodríguez 2014;Rueda, Hoffman, and Grytza. 2019;Whitney and Wartella 2015). Based on the framing analysis that has been done, the researchers found two hidden ideologies behind FTV, namely: the ideology of patriarchy and the ideology of feminism.

Source: Primary Data (2020)
The texts produced by the media are not texts that exist in a vacuum without meaning, let alone just a reflection of reality. Text produced by media is the result of media construction in seeing reality. The media seem to help the audience define reality according to people's attitudes and behavior from the text.
The media have the power to shape a new culture and perspective in society.
People who are submissive and passive to the information presented by the media will perceive stereotypes as something common and indeed something that does not deviate (Buriro and Syed 2020;Ibroscheva and Stover 2020;Rasool 2020;Wahid, Muhammad, and Burfat n.d.). In Foucault's framework, the existence of power is important because it determines and constructs the existence of subjectively created realities for the interests and purposes of domination or dominating power (Allen 2000;McHoul and Grace 1993;McLaren 2002).
Based on the description in the previous discussion, this research reveals that there are two hidden ideologies in FTV. First, the FTV production house carries a patriarchal ideology by raising themes that discriminate against women through stereotypes against women that appear in the story. Second, the FTV production house carries the ideology of feminism, with themes that position women as super-ordinates. Moreover, the research finds that there are gender relations contestations produced by FTV production houses that fall into gender dualism. Both tendencies point to the extremes of the gender construction of women and men in films. L i s t y a n i : I n d o n e s i a n T e e n R o m a n t i c i s m : T h e U n d e r l y i n g I d e o l o g y o f " F i l m T e l e v i s i o n " ( F T V ) D u r i n g C o v i d -1 9 P a n d e m i c f r o m G e n d e r P e r s p e c t i v e | 145 The dualism of gender relations produced by FTV further strengthens inequality in gender relations in society. The audience internalizes this idea of twin contrarian ideologies through films. A particular group of films emphasize the superiority of men over women. On the other hand, some films emphasize the superiority of women over men. Consequently, the films produced by FTV strengthens the tension of gender relations in society. These films do not voice equal gender relations, but on the contrary, strengthen the dualism between poles unequally. Therefore, it is necessary to have a perspective on gender relations representing duality in the film that overcomes the dualism. It is a perspective that overcomes the superiority of men or women, also a perspective that tries to position men and women fairly, equally, and empower one another through films.
The duality here is interpreted as a perspective behind which there is an ideological interest to bridge two perspectives that mutually negate one another in reading the reality of gender relations in film and society.

CONCLUSION
The research results on Indonesian teen romanticism shows that behind FTV during the Covid-19 pandemic, there are two hidden ideologies: First, the FTV production house carries a patriarchal ideology by raising themes that discriminate against women through stereotypes of women that appear in the story. Second, the FTV production house carries the ideology of feminism, with themes that position women as super-ordinates. Women occupy a higher social class than men. Women determine their own lives, and even women have power over men. Women in previous FTV shows were often represented by various stereotypes and men with their dominance. Through FTV, it can be seen how gender violence in the media has become a saleable commodity. It appears that reality of gender relations in FTV. Theoretically, these two approaches can help researchers uncover the ideology that underlies the films that tell about the romance of Indonesian teenagers. Although, in the end, the two approaches experienced dualism, the two poles of interpretation were opposite. This perspective requires an interpretation of the duality of gender relations which includes and transcends both dialectically in overcoming the dualism. With this duality, researchers can better understand, reveal, and liberate the social reality in the future.