3. Technique of Data Analysis
To solve the problem which presented in the focus of the study, the writer will use descriptive analysis; the writer collected the data from several resources
related to the study.
4. Analysis Unit
Analysis Unit in this research is the film ‘We Were Soldiers”. The film was directed by Randall Wallace and starring Mel Gibson that released on March
1, 2002 and produced by Arne L. Schmidt, Jim Lemley, and Randall Wallace. It is distributed by Paramount Pictures US Icon Film Distribution International and
based on the book We Were Soldiers Once… And Young by Lieutenant General Hal Moore and reporter Joseph L. Galloway, both of whom were at the battle.
5. Instruments
The writer will use herself as an instrument of the research in collecting data by watching, understanding, identifying, and analyzing the information
related to the data.
CHAPTER II THEORETICAL FRAMEWORK
A. Character
In a film, character is an important element that will develop the story because character is person who carries out the events of film and then those
events become a story. A character, then, is presumably an imagined person who inhabits a story-although that simple definition may admit to a few exceptions.
19
The character analysis is concerned with narrative film. The character of narrative film is studied in cause effect as a part of film analysis. Character are the
persons presented in works of narrative or drama who convey their personal qualities through dialogue and action by which the reader or audience understand
their thoughts, feelings, intentions, and motives.
20
Character can be divided into major main character and minor supporting character, protagonist and
antagonist, flat and round character, dynamic and static character, stereotyped and not stereotyped character.
Main character is led part of the event that is called the main character or protagonist. Protagonist is the central character in a film, and he may become the
dominant point in a film.
21
Besides main character, there is subordinate character
19
X.J. Kennedy, An Introduction to Fiction, Boston: Little, Bown, 1983p.45.
20
http:web.uvic.cawguidepagesLTCharacter.html. Accessed on February, 2009.
21
Sudjiman Panuti, Memahami Cerita Rekaan, Jakarta: Pustaka Jaya, 1998, p.18.
that it is not the central character in the film, but the presence of it positively is needed to support the main character.
22
Round characters are characters that are complex and realistic; they represent a depth of personality which is imitative of life. They frequently posses
both good and bad traits and they may react unexpectedly or become entangle in their own interior conflicts. These characters have been fully developed by an
author, physically, mentally, and emotionally, and are detailed enough to seem real. They often tend to be representative character types rather than real flesh-
and-blood human beings. Unique, individualistic characters who have some degree of complexity and ambiguity and who can not easily be categorized.
23
A round character is usually a main character, and is developed over the course of
the story. A flat character is its opposite, having hardly and development
whatsoever.
24
A flat character embodies one or two qualities, ideas or traits that can be readily described in a brief summary. They are not psychological complex
characters and therefore are readily accessible to readers. Some flat characters are recognized as stock characters.
25
A dynamic character is the one who changes significantly during the course of the story. Changes considered to qualify a character as dynamic include
changes in sight or understanding, changes in commitment, and changes in values.
22
Ibid.
23
Joseph M. Boggs and Dennis W. Petrie, The Art of Watching Film 5
th
Ed ., Mountain View:
Mayfield Publishing Company, 2000, p.60
24
http:en.wikipedia.orgwikiFictional_character. Accessed on February, 2009.
25
Laurie G. Kirszner and Stephen R. Mandell, Fiction: Reading, Reacting, Writing, Language Arts Diciplines. p.6.
Changes in circumstance, even physical circumstance, do not apply unless they result in some change within the characters self. In contrast, a static character does
not undergo significant change. A static character remains essentially the same throughout the film. The
action does not have an important effect on their lives. Or they are insensitive to the meaning of the action and thus are not capable of growth or change. Statics
characters, however, remain unchanged; their character is the same at the end of the story as the beginning.
26
Stereotyped characters are characters that described same in every story, for example mother always described as a kind and caring person in almost every
story. Stereotypes, however, are characters of somewhat greater importance to the film. They fit into preconceived patterns of behavior common to or representative
of large number of people, at least a large number of fictional people.
27
B. Characterization
The analysis of characteristic is concerned with characterization. The characterization is way the author developing the story, but the product of the
story is called character. There are many ways to know the characterization’s analysis in the film. The characterization can be understood through appearance,
26
Jane Bachman Gordon and Karen Kuehner, Fiction, California: McGraw Hill, 1999, p.97.
27
Joseph M. Boggs and Dennis W. Petrie, The Art of Watching Film 5
th
Ed ., Mountain View:
Mayfield Publishing Company, 2000, p.58.
dialogue, external action, internal action, reactions of other characters, contrast: dramatic foils, and caricature and leitmotif.
28
Characterization can be seen through appearance. A major aspect of film characterization is revealed visually and instantaneously. The minute we see most
actors on the screen, we make certain assumptions about them because of their facial features, dress, physical build, and mannerism and the way they move. This
method, viewer can understand by seen of the other character performed. Characterization can be seen through dialogue. Characters in fictional film
naturally reveal a great deal about themselves by what they say but a great deal is also revealed by how they say it. Their true thought, attitudes, and emotion can be
revealed in subtle ways through word choice and through the stress, pitch, and pause patterns of their speech. The character’s speech represents the other
character intents for building the story. Characterization can be seen through external action. Real characters are
more than mere instrument of the plot, that they do for a purpose, out of motives that are consistent with their overall personality. It also can be seen from
character’s action with their motion such as running, walking, drinking, slipping, etc.
Characterization can be seen through internal action. Inner action occurs within character’s minds and emotions and consist of secret, unspoken thoughts,
day dreams, aspirations, memories, fear, and fantasies. This method doesn’t appear in the action with environment but from character’s body. But in the film
28
Joseph M. Boggs and Dennis W. Petrie, The Art of Watching Film 5
th
Ed ., Mountain View:
Mayfield Publishing Company, 2000, p. 50-54.
viewer can be catch easily because seeing from atmosphere. Actually it can be seen from their face or mimic tenseness.
Characterization can be seen through reactions of other characters. The way other characters view a person often serves as an excellent means of
characterization. Sometimes, a great deal of information about a character is already provided through such means before the character first appears on the
screen. Characterization can be seen through contrast: dramatic foil. One of the
most effective techniques of characterization is the use of foil contrasting characters whose behavior, attitudes, opinions, lifestyle, physical appearance, and
so on are the opposite of those of the main characters. This term usually occur in one frame that there are two or more characters. The characteristic of each
character will be compared from many differences like kind of contrasting above. This contrasting from other character can be taken a conclusion to represent the
contrasting character. Characteristics can be seen through caricature and leitmotif. The actors
often exaggerate or distort one or more dominant features or personality traits. This device is called caricature from the technique used in cartooning. This
method is exaggeration form. This method occurs in the action of character that is described like cartoon style. Example the characters running are not usual running
like ordinary people but described like the fast wind. It is also relate with leitmotif. Leitmotif is repetition of single phrase or idea by a character until it
becomes almost a trademark or theme song for that character. It is describing of character’s action that doing form as exaggeration.
29
In addition, stage direction sometime gives clues about the character. The author is directly telling the audience what happen to the character in the stage
direction. Then, it is necessary to give attention to the stage direction and not to underestimate it.
30
C. Psychology 1. Introduction to psychology
Psychology is the one of human study seen from the aspects of their mind and behavior. “Psychology” is derived from two Greek words; those are psychos
that means mind or soul and logos that means science.
31
Psychology is as a discipline science that specific to study human behavior have many space is that
quite wide in field and in human behavior. Generally, psychology is defined as the science that of human behavior.
32
From two statements above we may know that psychology concern to their life that focuses on their mind and attitude.
2. Psychology of literature
Psychology of literature is the study of literature using literary work as the object of psyche action. Author will use anything in hisher inner side in creating
29
Joseph M. Boggs and Dennis W. Petrie 1999, op.cit p.90.
30
James H. Pickering and Jeffry D. Hoeper, Concise Companion To Literature New York : Mac Millan Publishing Co., inc., 1981 p.28.
31
Thomas K. Landauer, Psychology: A Brief overview, United States of America: McGraw Hill, Inc., 1972. p.2
32
Norman L. Munn, L. Dodge Fenald JR., Peter S. Fernald, Introduction to Psychology, 2
nd
ed., United States of America: Houghton Mifflin Company, 1969. p.4.
literary works. The author will seize hisher psyche indication and processing it into the text. And the projection of the author experience will be projected
imaginarily into the text. Literary work is seen as psychology phenomenon. It will show psyche
aspects through characters in the story. According to Jatman:
“Karya sastra dan psikologi memang memiliki pertautan yang erat, secara tak langsung dan fungsional. Pertautan tak langsung, karena baik
psikologi dan sastra memiliki objek yang sama yaitu kehidupan manusia. Psikologi dan sastra memiliki hubungan fungsional karena sama-sama untuk
mempelajari keadaan jiwa orang lain, bedanya dalam psikologi gejala tersebut riil, sedangkan dalam sastra bfersifat imajinatif”.
33
“literary works and psychology indeed have connectionthat bound indirectly and functionally. The indirect bound caused either psychology and
literary works have the same object which is human life. Psychology and literary have functional connection because both learning other people psycho.
The difference in the symptoms of that psychology is real, whereas, in literature has an imaginative character
There are some assumptions of psychology of literature; first, there is judgement of literary work as the product of author mind and psyche in
subconscious situation and revealing it into the text in conscious situation. Conscious and subconscious always affect the author imagination processing.
Strength of literary work can be seen by how the author could reveal hisher unconscious psyche expression into the text.
Second, psychology of literature also analyzes the author aspects of mind and feeling. It is about how the author able to depict characters of hisher work.
D. Exploring Emotional Intelligence
33
Suwardi Endaswara, Metodology Penelitian Sastra Yogyakarta: Pustaka Widyatama, 2003, cet. Ke-1, p.97.
1. Emotion and Emotional Intelligence
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