This paper explores the struggles, goals, and motivations of the women characters in The Hunger Games Trilogy. In detail, the study employs Elaine Showalter’s Feminist theory to reveal the women characters’ categories in terms of three stages: feminine, feminist and female. In the study, some of the women characters living in the dehumanized society of Panem have attained the last stage of feminism which is the female stage. However, other women characters are not able to fulfill their goals. Still, due to the women characters’ demand to change the system, they start an uprising. For example, the main character, Katniss Everdeen, contributes to the collapse of the ruling government in power as she accepts being the Mockingjay, the symbol of revolution. Another woman character to exemplify such a noble act is Johanna Mason who becomes part of the rebellion and survives the war against the unjust ruling of the Capitol. These women characters are slivers of light amidst the chaos. In conclusion, it is discovered that women characters play pivotal roles in society. This suggests that women characters recognize their power to accelerate societal advancement. For this dystopian trilogy, in particular, women become symbols of hope.

Penelitian ini bertujuan untuk membandingkan komik Filipina dari adaptasi filmnya. Secara khusus, ini mengeksplorasi bentuk dan konten dalam Pedro Penduko (1954) dan adaptasi film, Pedro Penduko, Episode II: The Return of the Comeback (2000) menggunakan Pendekatan Formalistik dalam kritik sastra. Studi tersebut menyoroti elemen-elemen seperti karakter, simbol, dan tema. Singkatnya, karakter dalam komik tersebut mencontohkan identitas orang Filipina. Namun, versi filmnya memberikan kelegaan komik. Melihat simbol-simbolnya, komik tersebut menggunakan jimat yang umum digunakan dalam budaya Filipina. Film, di sisi lain, menampilkan sarana promosi yang ajaib. Tema dalam komik berkisah tentang isu-isu penting seperti identitas dan budaya, sedangkan film menyangkut kepentingan diri sendiri. Diketahui bahwa bentuk komik berkontribusi pada rasa seni Filipina yang luar biasa. Namun, adaptasi filmnya kurang memiliki kualitas yang sama. Tuntutan akan keluaran visual yang signifikan datang dari penonton yang berharap untuk melihat seni visual yang tidak hanya merupakan karya seni yang menguntungkan tetapi juga relevan secara sosial dan mengarah pada promosi nasionalisme. Kata kunci: Komik Komersial Film Formalisme Seni Visual ABSTRACT Key word: Komiks Commercial Film Formalism Visual ArtThis study intended to compare Filipino komiks from its film adaptation. In particular, it explores the form and content in Pedro Penduko (1954) and the film adaptation, Pedro Penduko, Episode II: The Return of the Comeback (2000) using the Formalistic Approach in literary criticism. The study highlights the elements such as characters, symbols, and themes. In brief, the characters in the komiks exemplify Filipino identity. However, the film version provides comic relief. Looking at symbols, the komiks used an amulet common to Filipino culture.The film, on the other hand, showcases a magical promotional vehicle. The theme in the komiks is concerned with issues as noteworthy as identity and culture, while the film spectacles self-interest. It was discovered that the komiks form contributes to a great sense of Filipino art. However, its film adaptation lacks the same qualities. The demand for significant visual outputs come from an audience who hope to see visual arts that are not just profitable works of art but are socially relevant and geared towards the promotion of nationalism.

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The understanding of a folk narrative lies in the underlying principles that govern its composition. This study focuses on structures and culture found in the folk narratives of Sama, an indigenous group in Island Garden City of Samal, Philippines. The paper uses the theory on narratology by French-Lithuanian literary theorist, Algirdas Julien Greimas, and cultural theory by Bronislaw Malinowski to analyze the selected Sama folk narratives. The study reveals that the ten (10) Sama folk narratives collected do not completely follow the theory on narratology of Greimas. This is because the theories used are foreign and the folk literature collected are of local origin. Regardless of this, the study shows that Sama folk narratives reflected the ways of their people. Consequently, Sama folk narratives exemplify their cultural practices. They present social, economic, political, and religious practices. The leaders from the Sama folk were requested to validate the cultural texts gathered for this study. This research highlights the structure of Sama literature and illustrates Sama’s cultural heritage by gathering and analyzing their folk narratives so that the rest of the population (the new generation) could have the chance to experience their culture and appreciate it. Also, the researcher further emphasizes the relevance of gathering and using local literature to prevent it from vanishing into oblivion.