sadness accompanies specific imagery or memories. Sadness or “feeling down” can also be a result of hormonal changes, certain illness, or a symptom of some
drugs. In last case, the feelings of sadness can be increased by emphasizing aspects of the environment that might have a sad meaning. The feelings can be
minimized by attributing them to their physiological origins.
17
5. Guilt
Guilt produces a gnawing feeling in the stomach and a tight throat. Someone who feels guilt hangs their head and avoids eye contact with others.
Guilt can be an enduring uneasy emotion in which one continues to feel that one has wronged another. Guilt is usually prompted by a feeling of wrongdoing. It is
evoked when the person believes that he or she was responsible for the transgression. The specific content of the wrong can vary widely across cultures
and among individuals. A person may feel guilt about violating a cultural norm, about failing to live up to an ideal, or about having certain thoughts.
18
E. Character and Characterization
Someone who appears in a work is called a character. Character is the fact of the story. This element will function as imaginative action note in the story. There
are several authors in books tell about character definitions, namely:
17
Ibid, pp. 342-343
18
Ibid, p.345
1. According to X. J. Kennedy, A Character, then, is presumably an imagined person
who inhabits a story. Characters may seem flat and round, depending on whether a writer sketches or sculptures them. A flat character usually has only one
outstanding trait or feature and tends to stay the same throughout a story, and Round character, however, present us with more facets—that is, either author
portrays them in greater depth and more generous detail and often changes.
19
2. Characters can be classified as major and minor, static and dynamic, plat and
round. A major character is an important figure at the center of the story’s action and sometimes called protagonist. And minor character is often static from the
beginning of a work until the end.
20
3. Dynamic character is one who changes because of what happens in the plot
21
. Static characters, however, remain unchanged; their character is the same at the
end of the story as at the beginning.
22
4. Character is almost inevitably identified by category—by sex, age, nationality,
occupation, and so on.
For example: his name is Sonny, is simultaneously an African American, a man, a blues musician, a heroin addict, a younger brother, an ex-convict, and a resident of an inner-city neighborhood. As
result, our interpretation of Sonny is shaped not only by our assumptions about each of these
19
X. J. Kennedy, An Introduction to Fiction, Boston, Toronto: Little, Brown and Company, 1983, p. 46
20
Robert Di Yanni, LITERATURE: Reading Fiction, Drama, Poetry and Essay, New York: Mc. Graw, 2002 5
th
edition, p. 1186
21
Plot is the arrangement of incidents in a narrative. The incidents are related by cause and effect and form a sequence of events with a beginning, middle, and the end. In most story plot
structures, the action begins with exposition, continues with raising action, which contains a complication, and moves to a climax, followed by falling action and a resolution.
22
Jane Bachman Gordon and Karen Kuehner, FICTION: The Elements of the Short Story New York: McGraw-Hill Companies.Inc, 1999, p. 97
group helps to make Sonny who he is. Thus story asks us to think about how Sonny’s choice to be a blues musician relates to the fact that he is African American, about the way inner-city life has
shaped Sonny’s experience of being African American, and so on.
23
From all of definitions above, the writer concludes character is someone who always appears in film, story or drama and has important in role of the plot.
According to the Art of Watching Film book, through action and dialogue, some films focus on the clear delineation of a single unique character and with plot
can help to develop character. The theme of such films can best be expressed in a brief description of the central character, with emphasis on the unusual aspects of the
individual’s personality.
24
There are major methods to reveal character in, namely
:
25
1. Narrative summary without judgment.
2. Narrative description with implied or explicit judgment.
3. Surface details of dress and physical appearance.
4. Character’s actions -- what they do.
5. Character’s speech – what they say and how they say it.
6. Character’s consciousness – what they think and feel.
Character creation is the art of characterization—what the author does to bring a character to life, to provide the reader or the audience with a sense of that
character’s personality, to make that character unique.
26
According to Robert Di Yanni, Characterization is the means by which writers present and reveal character.
Let’s look at the way James Joyce characterizes Mrs. Mooney, a major character, in
23
J. Paul Hunter, Allison Booth, and Kelly Mays, 2002, op. cit, p. 103-104
24
Joseph M. Boggs and Dennis W. Petrie, The Art of Watching Films, London: Mayfield Publishing Company,2000, p. 13-14
25
Robert Di Yanni 2002, op.cit. p.56
26
Ibid.
“Boarding House”. “Mrs. Mooney was a butcher’s daughter. She was a woman who was quite able to keep things to her: a determined woman. She had married her
father’s foreman and opened a butcher’s shop near Spring Gardens.” These given facts that she was a butcher’s daughter and interpretive comment
that she was a determined woman. From both comment and fact derive an impression of a strong woman, one who can take care of herself.
Another method for analyzing film characterization utilizes three different types of pairings: stock characters and stereotypes, static versus developing
characters, and flat versus round characters.
27
Stock characters and stereotypes are not essential or even desirable for every character in a film to have a unique or memorable personality. Stock characters are
minor characters whose actions are completely predictable or typical of their job or profession such as a bartender in a western. They are in film simply because the
situation demands their presence. However, stereotypes are characters of somewhat greater importance to film. They fit into preconceived patterns of behavior common
to or representative of a large number of people. Static versus developing characters are often useful to determine whether
most important characters in a film. Developing characters are deeply affected by the action of the plot and undergo some important change in personality, attitude, or
outlook on life as a result of the action of the story. Static characters remain
27
Joseph M. Boggs and Dennis W. Petrie 2000, op. cit 57-59
essentially the same throughout the film. The action does not have an important effect on their lives.
Flat versus round characters. Flat characters are two-dimensional, predictable characters that lack the complexity and unique qualities associated with psychological
depth. And round characters are individualistic characters who have some degree of complexity and ambiguity and who cannot easily be categorized.
CHAPTER III RESEARCH FINDINGS
A. Data Description
