Copyright © 2020, The Author(s). This article is distributed under a Creative Commons Attribution-ShareAlike 4.0 International license. The Indonesian Journal of Southeast Asian Studies Vol. 4, No. 1, July 2020, pp. 75-87 ISSN 2580-6580, E-ISSN 2597-9817 DOI: 10.22146/ikat.v4i1.53188 The Commodification of Female Sensuality in Indonesian Film Industry: Case Study of Warkop DKI Debby Dwi Elsha * Department of Communication Science, University of Technology Yogyakarta, Indonesia Andri Praseto Yuwono Department of Communication Science, University of Technology Yogyakarta, Indonesia Abstract This paper is an analysis of the process of commodification of female sensuality in an Indonesian- based film industry. Taking the case of Warkop DKI, a franchise film which continues commodifying comedy, social political criticism, and sexy women in generating profits since 1979. The commodification of female sensuality is displayed through stories, scenes, and shots which highlight parts of the female body as well as interactions between male and female characters that indicate sexual activities. However, in Warkop DKI Reborn: Jangkrik Boss! Part 1 and Part 2 which were released in 2017, the female sensuality was decreased. Applying qualitative method comprising from interviews, film observations and literature studies this paper found out that the presence of female producers does not play a great role in decreasing the use of female sensuality in those industry. Keywords: Film; female; sensuality; commodification; industry Introduction The film industry in Indonesia is growing after a long hiatus Various film genres are produced and get good responses from the public. The development of the Indonesian film industry cannot be separated from the increasing presence of women who contribute both on and behind the scenes. Several women who act as directors and producers are Nia Dinata, Mouly Surya and Lola Amaria. There are also women who play role only as producers or directors. Of course, the role of actress should not be forgotten because the presence of women on the screen is very important to observe. In horror films, the presence of many women is potrayed as a sensual and inviting figure. For example, in the films Arwah Goyang Jupe Depe/Arwah Goyang Karawang (2011) and Dendam Pocong Mupeng (2010), female sensuality is shown in scenes where female characters make intentional erotic movements, yet are not actually needed in delivering messages. This is intentional to arouse the sexual imagination of the male viewer (Winarno, 2013). * Corresponding email: debbyelsha@gmail.com