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This study analyzes the process of construction and resistance to the double burden experienced by the character Kaluna in the film Home Sweet Loan (2024) through the perspective of Judith Butler's gender performativity. Using qualitative content analysis on 13 key scenes, it was found that Kaluna's double burden of office work and bearing the economic and domestic responsibilities of an extended family was constructed through stylized repetition of acts. The results show that Kaluna experiences a double burden of professional and domestic work shaped by social norms and family expectations. However, the film also depicts Kaluna's resistance to this construction through verbal and emotional actions and personal decisions that challenge the patriarchal structure. This study concludes that Home Sweet Loan not only represents the double burden of modern women, but also shows women's agency in resisting and negotiating their gender identity. These actions deconstruct oppressive gender identities and form a new, independent subjectivity. The film emphasizes that the double burden of women is not a natural law, but rather a social performance that can be resisted.

This study aims to analyze the interpretation of the issue of gender performativity in the two picture books,  Introducing Teddy (2016) and Julian Is A Mermaid (2018), written by Jessica Walton and Jessica Love. From the data analysis, it was found that these two picture books portray how gender performativity exists in society. Identification of social construction is also discussed in these two picture books. The persumption of the binary system is that women should align with her gender that is feminine, while men should be masculine. This process is called gender performativity of gender which was asserted by Judith Butler theory.  The result of this research reveals that the gender performativity and gender construction in the two picture books surrounded all aspects of human life. The society constructed color, appearance, traits, acts, gestures, roles, and stereotypes based on individuals’ gender category. It is also found that the characters from the two picture books were gender fluid with certain stages conforming to the performativity but also to the gender construction.

This study explores the representation and subversion of gender norms in the film Clueless (1995), directed by Amy Heckerling, using Judith Butler's theory of gender performativity. The film blends teen humor with social critique on class, identity, and gender, illustrating how gender identities are constructed and performed through characters such as Cher, Tai, and Christian. By analyzing these characters’ performances, the study reveals how gender is not a fixed identity but a dynamic social construct shaped by repeated actions and societal expectations. Fashion plays a pivotal role in this performativity, highlighting gender as both a stylized performance and a marker of individuality. Additionally, the subversion of traditional masculinity and the critique of gender norms through humor offer alternative portrayals of gender roles. The study concludes that Clueless challenges and redefines gender identities, reinforcing the idea that gender is fluid and performative, thus providing a powerful tool for critiquing and reshaping societal norms.