The film Setan Jawa by Garin Nugroho (2016, a silent film with cinematic-orchestral approach as well as the collaboration of various standards across arts disciplines, adapting many cultural narratives in the Javanese context. This film takes the narrative of devil pact, in which it also presents the Javanese wayang, one of which is the story of Drupadi. Drupadi is often a symbol of women’s loyalty and obedience to the universal law, which is marked by obedience to her husband and mother, even though this obedience actually contradicts her Self (I) concept; as revealed in the Mahabharata (India) version of the Drupadi narrative which seems heroic. Using textual analysis, research on the film examines the adaptation of Drupadi’s cultural narrative that is creatively transposed. The results show that there is a director’s personal code (idiolect) which positions women to have another representation offer that is different from a conventionally cultural narrative, even though within certain cultural values, from the point of view of social convention (sociolect), it still leaves questions about the question of the appropriateness of women’s representation. being creatively transposed in a film that seems to be shown to have the power to carry out its destiny not as a sub-ordinate.
Keywords: idiolect, creative transposition, Javanese devil films, women’s representation