SEKAR DIVA PARASDYA<fnref n="1" />

EDI SANTOSO<fnref n="2" />

MITE SETIANSAH<fnref n="3" />

REPRESENTATION OF VULNERABILITY
OF FEMALE WORKERS IN THE FILM
*SLEEP CALL* (2023) – A SEMIOTIC ANALYSIS

**Abstract.** Film is a projection of the realities that grow and develop in society. In the current industrial revolution era, film practitioners increasingly highlight societal problems, for example, those related to economic issues. The film *Sleep Call* (2023) depicts many societal problems, ranging from the current reality of vulnerability to the trap of online loans to meet economic needs to the issue of how women can experience multi-layered vulnerability due to economic problems. This research aims to analyze and describe the representation of female workers' vulnerability through the main character, Dina, a former flight attendant who is trapped in an online loan-debt cycle while caring for her sick mother. Using Roland Barthes' semiotic analysis, this research examines the denotative and connotative meanings in the film across its visual, verbal, and audio aspects. The results show that the film *Sleep Call* (2023) represents three main forms of vulnerability: economic vulnerability through online loan debt traps, social vulnerability through job stigmatization, and psychological vulnerability due to past

<footnote n="1">1 http://orcid.org/0009-0004-9203-3527, Universitas Jenderal Soedirman, Purwokerto, Indonesia, diva.parasdya@mhs.unsoed.ac.id</footnote>

<footnote n="2">2 http://orcid.org/0000-0001-8178-5740, Universitas Jenderal Soedirman, Purwokerto, Indonesia, edi.santoso@unsoed.ac.id</footnote>

<footnote n="3">3 http://orcid.org/0000-0002-7623-5581, Universitas Jenderal Soedirman, Purwokerto, Indonesia, mite.setiansah@unsoed.ac.id</footnote>
trauma and current circumstances. Roland Barthes' semiotic analysis of the film reveals how it serves not only as a reflection of social reality but also as a critical medium that addresses various issues in the contemporary socio-economic context. Theoretically, this research contributes to the development of gender representation studies in Indonesian film media. In practice, the findings of this research can inform policymakers in designing regulations to protect women workers.

**Keywords:** film analysis; female vulnerability; gender studies; media representation; workplace issues

# 1. Introduction

Films, as a form of mass media, serve not only as a medium for entertainment but also as a tool for propaganda, education, and the conveyance of cultural values within society (Gan, 2017). With their power to reach diverse social segments, filmmakers can influence or alter audience perceptions through the messages conveyed in films (Jayanti *et al.*, 2023; Sobur, 2009). Essentially, films are projections of realities that grow and develop within society (Asri, 2020; Wibowo, 2019). Filmmakers are increasingly addressing societal issues, such as economic challenges.

The film *Sleep Call* (2023) portrays various societal problems, including the current reality of individuals becoming entangled in online loans to meet economic needs and the layered vulnerabilities faced by women due to economic struggles. Through the main character, Dina, this film tells the story of a woman who becomes the family breadwinner and faces various forms of vulnerability as she is trapped in online loans.

Dina is a woman who serves as the family breadwinner. She works to support herself and cover her mother's medical expenses at a nursing home. In addition, Dina must pay off her debts, which ultimately trap her in a cycle of online loans. This situation led to her being fired from her previous job. Her superiors exploit Dina's powerless condition at the online lending company where she borrowed money. Dina is allowed to work at the company, but she must comply with all of her superior's orders. Dina experiences multiple instances of sexual violence by her superior, but she is unable to refuse or report the abuse due to her financial situation. Both Dina and her mother suffer from severe trauma due to the violence Dina endured from her father when she was a child.
Dina's mother also couldn't resist or report the abuse from her husband, as she believed her husband held too much power. At one point, Dina's mother even attempted suicide, urging Dina to join her in ending their lives. This traumatic experience led to Dina's mother being placed in a nursing home, as no other family member could care for her.

In the modern era, awareness of gender equality between women and men has grown significantly. Women, previously confined to domestic roles, now actively participate in economic activities and public spheres (Syafruddin et al., 2022; Triana & Krisnani, 2018; Tuwu, 2018). This is evident in Indonesia's female labor force participation rate, which reached 53.41% in 2022 (Badan Pusat Statistik Indonesia, 2022). Although still relatively low, this figure has shown growth over the past five years. Many women now hold strategic positions in the workforce (Haris et al., 2019; Komari et al., 2023). Academically, much research focuses on gender mainstreaming (Subagya et al., 2013). This condition enables opportunities for women to fulfill their roles. Through empowerment initiatives, women can achieve economic independence and self-reliance (Purnama, 2018).

Women not only strengthen family and community economic resilience but also contribute to poverty reduction and sustainable economic growth (Mutmainah, 2020; Pahlevi & Jauhariyah, 2022; Setyawati & Priyo Siswanto, 2020). This underscores their pivotal role in development and economic improvement. However, women working in the public sector are often linked to the economic conditions of their households. Economic reasons and poverty are frequently cited as key factors (Aeni, 2019; Triana & Krisnani, 2018; Tuwu, 2018).

Working women can increase their income, but they may also face injustices (Aeni, 2019; Hana & Oktaviyanti, 2023). The injustices experienced by women in the workplace include violations of labor rights such as unilateral termination of employment, lack of severance compensation, denial of maternity leave, violations of maternity rights, wage discrimination based on gender, and sexual harassment (Shabrina, 2022; Tuwu, 2018). These injustices stem from power imbalances, policies that fail to accommodate women's needs, and patriarchal cultures that legitimize male dominance over women (Dwiyanti, 2014; Subagya et al., 2013; Suprihatin & Azis, 2020; Zulfa & Widaningrum, 2023).
According to Komisi Nasional Anti Kekerasan Terhadap Perempuan, workplace violence ranked third among various forms of violence against women, with 115 reported cases (Komisi Nasional Anti Kekerasan Terhadap Perempuan, 2023). The reported cases included sexual harassment and assault in private companies and the media industry (Catatan Tahunan Komnas Perempuan 2023, 2023). The impacts of sexual harassment experienced by victims include unsafe working conditions, disrupted work processes, psychological pressure, and decreased work productivity (Hanim, 2018; Novianti & Rakhmad, 2020).

This research analyzes and describes the representation of women workers' vulnerability in the film *Sleep Call* (2023), with the research question: How is the vulnerability of female workers represented in the film *Sleep Call* (2023)? The aim of this study is to describe the representation of female workers' vulnerabilities in the film *Sleep Call*.

## 2. Literature review

This literature review examines previous research on the vulnerability of female workers, economic empowerment, and gender discrimination in the workplace, as well as the use of semiotic analysis in the representation of women in film.

Research by Mamun and Hoque (2022) titled *The Impact of Paid Employment on Women's Empowerment: A Case Study of Female Garment Workers in Bangladesh* found that economically empowered and independent women have high confidence in their life choices (Mamun & Hoque, 2022). Conversely, Bosmans et al. (2023), in *Experiences of Insecurity Among Non-Standard Workers Across Different Welfare States: A Qualitative Cross-Country Study*, highlighted that non-standard workers in countries such as Belgium, Canada, Chile, Spain, Sweden, and the United States experience insecurity in health and welfare (Bosmans et al., 2023).

Furthermore, a study by Zulfa and Widaningrum (2023), titled *Analysis of the Capacity and Vulnerability of Women Seaweed Workers in Border Areas during the Covid-19 Pandemic Crisis*, found that female seaweed workers (mabbetang women) experienced vulnerabilities and capacities in conducting mabbetang activities during the Covid-19 crisis. The identified
vulnerabilities included limited access to health services, infrastructure, and capital, as well as the burden of dual responsibilities (Zulfa & Widaningrum, 2023).

A study by Hanim (2018), titled *The Role of Single Parent Women in Fulfilling the Economic Function of the Family (Case Study: Single Parent Women Workers at Tosyma Reflexology, South Jakarta)*, stated that women who serve as heads of households and primary breadwinners experience multiple vulnerabilities. These vulnerabilities include unmet economic needs, reduced interaction and disrupted communication with their children, and psychological problems that negatively impact family function fulfillment (Hanim, 2018). In line with this research, a study by Novianti and Rakhmad (2020) found that female workers can also experience gender-based vulnerabilities. Their research revealed that women working in the television industry, particularly at TVRI, have faced discriminatory treatment from male colleagues and supervisors. This treatment includes manifestations of inferiority, subordination, stereotypes, marginalization, and sexual harassment (Novianti & Rakhmad, 2020).

Furthermore, the study by Lamapaha et al. (2022), titled *The Social Reality Construction of Gender Discrimination Against Female Heads of Households in the Film Ola Sita Inawae (A Semiotic Analysis by Ferdinand de Saussure)*, explored gender discrimination faced by female heads of households as depicted in the film *Ola Sita Inawae*, using Ferdinand de Saussure's Semiotic Theory. The film's social reality depicts patriarchal culture and traditional customs that lead to various social problems. These problems limit women's freedom and violate the rights they should have, particularly for female heads of households (Lamapaha et al., 2022).

Unlike the research by Lamapaha et al. (2022), research by Jayanti et al. (2023) titled *Representation of the Meaning of Women in Self-Respect (Semiotic Analysis of the Film Imperfect by Ernest Prakasa)* used Roland Barthes' semiotic analysis to identify signs that depict women in self-respect. In line with this research, a study by Jayanti et al. (2023) suggests that the issues raised in this film are experienced by many women in Indonesia, where the prevailing beauty standards in society often cause women to lose their self-confidence (Jayanti et al., 2023).

Based on a review of previous research, it is clear that the forms of vulnerability experienced by women intersect. These vulnerabilities
include economic vulnerability for female heads of households, gender discrimination in the workplace, and limited access and participation in decision-making. Although research has examined the vulnerability of female workers and semiotic analysis in films, several gaps remain. Previous research has tended to focus on only one aspect of vulnerability, not yet exploring in depth the intersection between economic and gender vulnerabilities in the context of female workers. Additionally, previous studies using Roland Barthes' semiotic analysis in Indonesian cinema have focused more on cultural symbol analysis. However, applying Barthes' analysis to examine the intersections of economic and gender vulnerabilities in Indonesian films poses limitations. Furthermore, previous research has not comprehensively explored the connotative meaning systems and social myths surrounding the representation of female workers in film media.

Therefore, the researcher will explore this reality through a film and describe its representation in *Sleep Call* (2023). The theoretical approach used in this study differs from that of previous research, which employed Ferdinand de Saussure's Semiotic Theory. This study will utilize Roland Barthes' Semiotic Theory to analyze the connotative meaning system and the social myths surrounding the representation of female workers. It is hoped that this research will provide valuable insights for the broader community on the importance of fulfilling female workers' rights to ensure workplace justice.
<caption>Table 1</caption>

Literature Review

<table><thead><tr><td>Year</td><td>Authors</td><td>Research Focus</td><td>Method</td><td>Key Findings</td><td>Relevance to Current Study</td></tr></thead><tbody><tr><td>2018</td><td>Hanim</td><td>Single-parent women workers</td><td>Case Study</td><td>Economic vulnerability leads to layered impacts on family functions.</td><td>Demonstrates economic vulnerability patterns.</td></tr><tr><td>2020</td><td>Novianti and Rakhmad</td><td>Women in the television industry</td><td>Qualitative Analysis</td><td>Gender discrimination manifests in multiple forms, including sexual harassment.</td><td>Show workplace vulnerability patterns.</td></tr><tr><td>2022</td><td>Mamun and Hoque</td><td>Female worker empowerment</td><td>Qualitative Analysis</td><td>Paid employment has a significant positive impact on the economic, social, and psychological empowerment of women workers in the garment sector.</td><td>Demonstrates the impact of economic empowerment on women's welfare.</td></tr><tr><td>2022</td><td>Lamapha et al.</td><td>Gender discrimination in film</td><td>Saussure's Semiotics</td><td>Patriarchal culture influences the social construction of female heads of households.</td><td>Provides a film analysis perspective.</td></tr><tr><td>2023</td><td>Zulfa and Widaningrum</td><td>Women seaweed workers</td><td>Qualitative Analysis</td><td>Multiple vulnerabilities, including health access, infrastructure, capital, and dual burden.</td><td>Illustrates intersecting vulnerabilities.</td></tr><tr><td>2023</td><td>Jayanti et al.</td><td></td><td>Roland Barthes' semiotics</td><td>Women in self-respect go through several phases of self-acceptance.</td><td>Provides a film analysis perspective.</td></tr><tr><td>2023</td><td>Bosmans et al.</td><td>Non-standard workers' security</td><td>Qualitative Analysis</td><td>Health and welfare insecurity across different contexts.</td><td>Demonstrates universal vulnerability patterns.</td></tr></tbody></table>
### 3. Theoretical framework

Semiotics is the study or method of analyzing signs. It involves the study of various types of signs, how these signs convey meaning, and how they relate to the humans who use them (Barthes, 2017). A sign is a human construction and can only be understood in the context of the humans who use it. Semiotics studies how humanity assigns meaning to things. To assign meaning means that objects do not only carry information, but also constitute a structured system of signs (Sobur, 2009).

In this study, Roland Barthes' semiotic theory is used to analyze the signs found in the film *Sleep Call* (2023). Barthes' semiotics emphasizes three key elements in understanding signs: denotative meaning, connotative meaning, and myth (Barthes, 1988; Jadou & Ghabra, 2021). Denotative meaning reveals the clear, visible meaning, also known as the literal or actual meaning. Connotative meaning reveals the deeper meanings embedded in signs. Meanwhile, myth refers to the beliefs that develop within society due to the influence of the culture and social norms surrounding certain concepts (Monanda & Wilyanti, 2023). This involves observing and interpreting the correlation between what is visibly apparent (denotative) and the deeper meaning within the signs (connotative) (Sobur, 2009).

In Roland Barthes' semiotic analysis, the researcher analyzes three types of signs: visual, verbal, and audio (Jadou & Ghabra, 2021). These signs will then be interconnected to derive their denotative and connotative meanings, ultimately leading to the identification of myths and ideologies (Barthes, 2017). The researcher chose Barthes' semiotic method because it is particularly suited for this cultural studies research and aids in analyzing the visual, verbal, and audio signs present in the film *Sleep Call* (2023). By applying this method, the researcher will be able to extract both denotative and connotative meanings, thereby revealing the myths and ideologies conveyed in *Sleep Call* (2023).
<figure><img src="image_1.png" /><figcaption>*Figure 1. Roland Barthes' Semiotic Analysis (West & Turner, 2007)*</figcaption></figure>

Figure 1 illustrates the three levels of meaning of the sign in Roland Barthes' semiotic theory. At the first level, denotation, a sign is formed through the relationship between the signifier – the physical form of the sign, which can be a word, image, sound, or symbol – and the signified – the concept or meaning referred to by the signifier – thus producing a direct, literal, and objective meaning (Jadou & Ghabra, 2021). Next, at the second level, connotation, the denotative sign that has been formed can become a new signifier, constructing another meaning. At this level, the meaning is deeper, no longer merely literal, but influenced by social, cultural, and emotional context (Barthes, 2017). At the third level, myth, the connotative meaning further develops into a representation of ideology that is alive and considered natural in society. At this level, signs are used to naturalize particular values or perspectives (Barthes, 2017; Jadou & Ghabra, 2021). Thus, Figure 1 demonstrates how a sign evolves from its basic meaning into a myth imbued with ideological significance.

**4. Methodology**

This study uses a descriptive qualitative research method. The result of this study is descriptive data in the form of written words from the observed objects (Moloeng, 2016). The research process involves important efforts such as formulating research questions and procedures, gathering specific data from the research object, analyzing the data inductively, and interpreting the data (Creswell, 2019). The object of this research is
the 2023 film Sleep Call, a production by IDN Pictures, directed by Fajar Nugros. The researchers chose *Sleep Call* (2023) because it is believed to effectively portray societal realities, particularly the vulnerabilities experienced by female workers due to economic issues. The data collection techniques in this study will involve observation and documentation. The research will be conducted by observing and analyzing the meanings and symbols present in the film *Sleep Call* (2023) (Creswell, 2019). The data analysis used in this study will employ Roland Barthes' semiotic analysis. In this research, Roland Barthes' semiotics aims to provide an understanding and a comprehensive view of the meanings (denotative and connotative) embedded in Sleep Call (2023) through the film's visual, verbal, and audio forms (Sobur, 2009).

For the purpose of analysis, this study uses signs found in scenes from the film *Sleep Call* (2023). Within a single theme about the vulnerability of working women, there may be several signs across different scenes. Signifer 1, 2, etc., refers to the first, second, etc., signs found in several scenes that depict the theme of working women's vulnerability. This marker includes visual elements, dialogue, symbols, and situational context that consistently appear across various scenes and will be analyzed through denotative, connotative, and mythical meanings based on Roland Barthes' semiotic theory.

The conceptual framework for this study begins with the release of Sleep Call, a 2023 production by IDN Pictures, directed by Fajar Nugros. The film portrays several societal issues, including the current reality in which individuals are vulnerable to online loans to meet their economic needs, as well as how women can experience multiple layers of vulnerability due to economic challenges. The researcher will then select scenes from the film that reflect the vulnerability experienced by female workers. These selected scenes will be examined through Roland Barthes' Semiotic theory, analyzing the signs of denotation, connotation, and myths. Based on this analysis, the study will reveal how the vulnerability of female workers is represented in *Sleep Call* (2023). The analytical procedure in this study follows these steps:

1. Scene selection: selecting several scenes relevant to the representation of working women's vulnerability. The scene focuses on the vulnerability experienced by female workers in the film *Sleep Call* (2023).
2. Sign categorization and thematic grouping: grouping the signs found in scenes according to the similarity of types of vulnerability experienced by female workers. Then naming the thematic groups.

3. Signifier identification: identifying signs that appear in scenes to be categorized according to the predetermined theme of female workers' vulnerability.

4. Scene description: providing detailed descriptions of each scene containing the markers to be analyzed.

5. Semiotic analysis: analyzing the denotative and connotative meaning of each signifier. Revealing the social myths contained in the representation of each marker.

6. Conclusion: concluding the representation of working women's vulnerability in the film *Sleep Call* (2023) based on the analysis of signifiers found across various scenes.

# 5. Results and discussion

## 5.1. Film Scene Analysis of Sleep Call (2023)

Roland Barthes' semiotic analysis in this research is focused on the representation of women workers' vulnerability in the film *Sleep Call*. As an analytical framework, Barthes' semiotic theory is applied to identify three levels of meaning: 1) denotative (what appears), 2) connotative (cultural and personal meanings), and 3) myth (ideological values). This section analyzes key scenes that depict the various forms of vulnerability experienced by female characters in the film.

### Theme 1

*Double Burden: Supporting a Sick Mother*. This scene depicts the conflict of women's dual roles: working while caring for a sick mother. Visual and verbal cues indicate emotional stress, gestures of exhaustion, and dialogue that expresses the dilemma between family responsibilities and work.

*Signifier 1*: Mother Dina holds a sunflower in her wheelchair. Mother Dina mistakes Dina for Bella, Dina's friend. Mother Dina feels that
Dina has been visiting her less frequently. Then Dina, mistaken for Bella, replies that she cannot visit her mother because she is busy working to cover her mother's medical expenses. Mother Dina validates this response, acknowledging that Dina is a good child and a hard worker.

*Signifier 2:* Dina is putting all the money from her wallet into an envelope and writing "mother's medical expenses" on the front. Narration (Dina's voice): "The medical and hospital costs made me eventually have to leave behind what I've always wanted to fight for."

*Signified:* The sunflower in this scene symbolizes courage and resilience. It signifies that Dina and her mother have faced numerous challenges in their lives. This scene portrays Dina as a working woman who must also financially support her sick mother. Dina also expresses her feelings, revealing that she has sacrificed her dream of becoming a flight attendant in order to work and provide for her family.

*Myth:* Women's workforce participation is often portrayed as a result of economic pressure. Women's contribution to earning income is frequently seen as an additional effort to improve the family's welfare. However, the role of women as the primary breadwinners challenges this view. Their position as the backbone of the family demonstrates women's capability to shoulder economic responsibilities.

## Theme 2

*Verbal Abuse from the Boss.* This scene highlights a power dynamic through the use of harsh or demeaning verbal language by a superior. The analysis focuses on word choice, intonation, dominant gestures, and the victim's nonverbal responses that indicate an unequal position within the workplace hierarchy.

*Signifier:* In this scene, Bayu, as the manager, is giving a morning briefing to the workers. Bayu instructs the workers to practice different
facial expressions – smiling and frowning – while talking to clients or potential clients. Several times, Bayu scolds the workers who fail to do it correctly, using harsh words such as "angry, like you're yelling at your illegitimate child" and "your smile is not pure enough, Nur. You're acting all holier-than-thou." However, when Bayu addresses Dina, his tone softens, saying, "Your smile is a bit less sweet, Bella, good."

*Signified:* During the morning briefing, it is evident that Bayu uses degrading language towards the female workers. Meanwhile, Bayu treats Dina differently due to personal feelings. Bayu is also seen making gestures that invade personal space.

*Myth:* In the workplace, women often experience various forms of violence, ranging from harsh words and unpleasant treatment to rules or policies that disadvantage them. This occurs due to the deeply ingrained societal view that perceives women as inferior to men.

## Theme 3

*Dina Harassed by Debt Collectors.* The scene depicts the intimidation and psychological pressure the female character experiences from debt collectors. Audio cues include loud tones of voice, verbal threats, and coercive dialogue.

*Signifier:* Dina is receiving a call from a debt collector. While crying, Dina explains that she is unable to pay the debt because she has just paid for her mother's medical expenses. The debt collector responds harshly, using vulgar language and threatening to spread Dina's number to others.

*Signified:* Dina explains that her circumstances forced her to take online loans, and now she is unable to repay them. Dina was eventually fired from her previous job as a flight attendant. Dina's helplessness becomes a vulnerability that allows her superiors to exploit her for their personal satisfaction.
**Myth:** Economic difficulties and the vulnerable position of women are interlinked in an endless cycle. When women face financial hardship, they are often forced to accept various unfair situations. The pressure to meet basic needs makes it difficult for them to resist or fight against the unjust treatment they receive.

## Theme 4

*Pressure from the Boss Due to Dina's Helplessness.* This scene depicts abuse of power within the workplace hierarchy, where a superior exploits a subordinate's economic vulnerability. Visual cues include a closed setting (private office), positioning that reflects a power imbalance, and intimidating body language contrasted with the victim's submissive posture. Verbal cues involve commands that enforce compliance and implicit threats to job security.

**Signifier:** Mr. Tommy calls Dina into his office because she defied Bayu's orders. Mr. Tommy says that Dina should be able to follow Bayu's instructions, even if it means doing anything necessary. Dina should be grateful for having been given the job to pay off her debts. Mr. Tommy also tells Dina that she must obey Bayu. As he moves closer to Dina, Mr. Tommy instructs her not to tell anyone about the special treatment she is receiving. Dina can only comply with his orders and apologize.

**Signified:** Mr. Tommy exploits Dina's helplessness for his own pleasure. Dina, feeling powerless due to her growing debt, is unable to resist the sexual harassment she faces from her superior.

**Myth:** When facing workplace harassment, many women choose to remain silent for fear of losing their jobs. Especially if the perpetrator is a superior or a colleague, they feel too intimidated to report the incident.
## Theme 5

**Double Burden: Women Workers and Motherhood.** The scene depicts the conflict of fulfilling dual roles as a worker and a mother.

*Signifier 1:* Bella and Dina are chatting in the office pantry. Bella invites Dina to join a birthday party for Mr. Tommy. Bella persuades Dina to come, explaining that this is an opportunity for her to hang out again, just like before she had a child and got married. Dina feels that she doesn't need to attend, as there will be many other friends there, so Bella won't be lonely. Dina expresses that Bella has distanced herself from her after having a child and getting married. Bella explains that she hasn't had the chance to visit Dina's mother because she unexpectedly had a child, then quickly got married, and feels trapped in this new situation.

*Signifier 2:* Bella and Dina meet at a café. Bella apologizes to Dina for interrupting their conversation to take care of her child. Bella says that her husband cannot take care of the child.

*Sign 3:* When the news of Mr. Tommy's death reaches the office employees, Mona cries because she has lost her job and is worried about the future of her child.

*Signified:* Bella is having a child out of wedlock, which is why she has to get married quickly. Bella feels that life after marriage and having a child has made her less free than before. In contrast to Bella's situation, Mona is a single mother who must support her child.

*Myth:* Many women bear dual roles within the family. In addition to working to meet economic needs, they still face domestic responsibilities, such as caring for the house and children.
## Theme 6

*Women's Powerlessness and Lack of Authority.* The scene portrays women's powerlessness in decision-making.

*Signifier 1:* Ibu Dina says she is powerless because Dina's father holds significant authority.

*Signifier 2:* Ibu Dina pours insecticide into two glasses and asks young Dina to drink it with her. Young Dina throws the glass she's holding away and hugs her mother.

*Signified:* Ibu Dina experiences domestic violence from her husband, Dina's father. Throughout the years, Ibu Dina has remained silent. When she could no longer bear it, she chose to commit suicide together with Dina. However, Dina prevented her and comforted her. This incident caused deep trauma for both Dina and her mother.

*Myth:* Women, as heads of households and primary breadwinners, face not only economic burdens but also significant psychological pressure.

## 5.2. Identification of female workers' vulnerabilities

Based on Roland Barthes' semiotic analysis of scenes in the film *Sleep Call* (2023), three main forms of vulnerability can be identified: economic, social, and psychological, as shown in Figure 2. These three forms of vulnerability are interconnected and impact the lives of female characters in the films. Economic vulnerability is evident in online debt traps and the double burden borne by female characters, especially Dina, the family breadwinner. Social vulnerability appears in the form of workplace harassment, verbal violence, and unequal power relations. Psychological vulnerability emerges as a result of past trauma and pressure from various parties.
<figure><img src="image_2.png" /><figcaption>**Figure 2.** Representation of Female Workers’ Vulnerability
(Source: authors’ own elaboration)</figcaption></figure>

The film shows how these vulnerabilities reinforce one another, creating a cycle difficult for female characters to break. The significance of these findings underscores the importance of policies that protect women workers and strengthen social support systems for those in vulnerable positions.

The vulnerability of female workers is depicted through the violence they experience in the workplace. Women in the work environment often face complex forms of violence, including verbal, non-verbal, and structural violence (Eriyanti, 2017). Psychological and economic factors play a significant role in maintaining the cycle of violence. The majority of women choose to remain silent in the face of discrimination and harassment due to fear of professional consequences. The position of the perpetrator – whether a superior or a colleague – further complicates the process of reporting and resolving conflicts (Novianti & Rakhmad, 2020; Suprihatin & Azis, 2020).

Powerlessness and poverty have a reciprocal relationship in the context of women's experiences. Limited access to economic resources and opportunities to participate in productive activities push women into a state of dependence (Aeni, 2019; Triana & Krisnani, 2018; Tuwu, 2018). The lack of social and economic capital forces them to accept various forms of injustice as survival strategies. This unequal social structure creates a cycle of poverty and vulnerability. Women who lack adequate skills and
resources become further marginalized in the patriarchal economic system (Eriyanti, 2017; Jondar et al., 2022). They are forced to accept low-paying jobs, poor working conditions, and are at risk of facing various forms of exploitation (Shabrina, 2022; Tuwu, 2018). The fundamental transformation needed to break this cycle of discrimination involves systemic changes in education, economic opportunities, and cultural understanding of gender equality (Hadiyanti et al., 2023; Junaidi & Pynanjung, 2023).

Bella is a close friend of Dina's. Although their relationship grew distant after Bella had a child and got married, due to her busy schedule caring for her child and household, Bella feels she cannot do whatever she wants freely because of her responsibilities as a mother and wife. Meanwhile, there is a character named Mona, an employee at the online loan company where Dina and Bella work. Mona is a single mother who works to support her child. This job is Mona's only source of livelihood.

In this section, the vulnerability of female workers is depicted through the dual burden they face. Poverty drives women to work, triggering complex gender inequalities (Chandra & Fatmariza, 2020). Difficult economic conditions force women to bear a double burden that is disadvantageous. Women, whether as housewives, single parents, or primary breadwinners, face significant challenges in balancing economic and domestic demands (Eku & Adam, 2021; Komari et al., 2023). This double burden includes the responsibility of earning a living while managing household chores and caring for children. Without family support, this burden can negatively impact women's well-being and quality of life (Eku & Adam, 2021).

In their study of the film Sleep Call (2023), the researchers present an analysis and interpretation of the collected data. Roland Barthes' semiotic analysis in this study reveals various representations of the social realities faced by women in both work and personal life (Setiawan et al., 2020). By using an analytical approach that examines signs at the denotative and connotative levels, this research successfully identifies how the film portrays the complexity of roles and challenges faced by female workers in contemporary society (Habibah & Mazaya, 2023; Putri et al., 2023). At the denotative level, the film portrays the daily life of women who bear dual roles, facing various forms of violence at work, and struggling with economic difficulties. Meanwhile, at the connotative level, it reveals a deeper meaning behind these representations, showing the power
imbalance, the impact of the patriarchal system, and the structural vulnerabilities that women face in the socio-economic context.

Through myth analysis, this study reveals how *Sleep Call* (2023) challenges various stereotypes and dominant views about women's roles in society. The film demonstrates that women's involvement in the workforce is not merely an effort to earn additional income, but is often a primary responsibility for supporting the family. Additionally, the film explores how forms of violence and exploitation against women in the workplace still frequently occur and tend to remain hidden due to various structural factors.

The results of Roland Barthes' semiotic analysis in this study emphasize how the film functions as a medium that reflects and critiques social reality, particularly the issues faced by women in the contemporary socio-economic context. As Gan (2017) argues, films not only serve as entertainment media but also as a means of propaganda, education, and the conveyance of cultural values within society (Gan, 2017). Through denotative and connotative analysis, this study reveals how the examined film effectively conveys the realities of working women, with their various complexities.

Film, as a mass media product, can reach diverse social segments and influence its audience's perspectives. This is reflected in the study's findings, which demonstrate that the film offers a critique of the social system that perpetuates gender inequality. Through visual representations and the narrative, the film not only portrays surface-level issues but also invites viewers to understand and reflect on the roots of the challenges women face in society.

**6. Conclusion**

Through Roland Barthes' Semiotic analysis, this research finds that women's contributions in the professional sphere are not merely an effort to earn extra income but often serve as the family's main economic support. This is often linked to economic factors, where poverty is a driving force that "forces" women to work. The lack of social and economic capital forces them to accept various forms of injustice as a survival strategy.
This is in line with previous research that highlighted the economic vulnerability of female heads of households as well as gender discrimination in the workplace. However, this study offers novelty by revealing how these vulnerabilities are represented through the system of sign in film, particularly at the levels of connotation and myth as explained in Barthes' semiotics. The findings of this study provide a deeper understanding of how film media can serve as a medium for critiquing and questioning the social structures that perpetuate gender injustice. Film is not just a passive space for representation but an active instrument capable of uncovering the dynamics of social issues experienced by women in various aspects of life.

Through Roland Barthes' semiotic analysis, it is revealed that the representation of women in the film not only reflects the existing social reality but also has the potential to encourage critical awareness about the importance of social change to create a more just and equitable environment for women, both in the context of work and personal life. The findings of this research reinforce the understanding of film's strategic role in shaping social awareness and promoting a shift in societal perspectives. As a mass media product with a broad reach, film not only serves as a mirror reflecting social reality but also as an instrument with the potential to drive social transformation towards a more just and equitable society, particularly in the context of gender relations and socio-economic justice.

This study has several limitations that should be acknowledged. The study focused primarily on the film's content without exploring audience reception or the filmmakers' intentions, which could provide additional layers of understanding about how these representations impact public perception. Furthermore, the film's cultural specificity may limit the generalizability of the findings to other cultural contexts where gender dynamics and workplace structures differ. Future research should investigate how different audiences interpret and respond to the representation of workplace gender dynamics in films like *Sleep Call* (2023), with a particular focus on how these cinematic portrayals might influence public understanding of gender issues and shape societal attitudes toward female workers' vulnerability in professional environments.
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