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Hence, in generating a successful communication, the recognition of the participants’ statuses and roles also become the important aspects of
communicative competence as the term of communicative competence is used to describe the speaker’s ability in using language appropriately. Saville-Troike in
Wardhaugh, 1998 states as follows: Communicative competence extends to both knowledge and expectation of
who may or may not speak in certain settings, when to speak and when to remain silent, whom one may speak to, how one may talk to persons of
different statuses and roles, what nonverbal behaviors are appropriate in various contexts…. - In short, everything involving the use of language
and other communicative dimensions in particular social settings 246. In conclusion, communicative social interaction requires more than
knowledge of the topic and the setting of the conversation. It is also important to know something about the people with whom one is interacting, and know their
statuses and roles domain in which the conversation takes place.
J. Film
Film, as one of mediums of entertainment has been a social phenomenon. Film is recorded and reproduced images of the real world. It displays and
transform moving images of real people and objects audio-visually. Film is also a social practice for its makers and its audience; in its narratives and meanings since
it gives the evidence of the ways in which a certain culture make sense of itself. It reflects the desires, needs, fears, and aspirations of a particular society since it is
produced and seen within a social and cultural context at a given time. Film is suggested having a social dimension due to its function as social
representation. It is a social representation since film derives the images and
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sounds, themes and stories ultimately from the social environment. Furthermore, the way films are produced and what they represent is the reflection of particular
culture. Film takes ideas and images from the world in which we live and then turns these into stories. In fictional films, characters are given attitudes, gestures,
sentiments, motivations, and appearances that are, in part at least, based on social roles and on general notions about how a policeman, factory worker, debutante,
mother or husband is ‘supposed’ to act Allen and Gomery, 1985: 158. Therefore, film can be a source of data for a discourse and conversational analysis
due to its function as a social representation in which the characters in film are supposed to act based on their social roles as if they are real in society.
The Day After Tomorrow, for example, is a science fiction film which describes the picture of the world when it hangs in the balance as global warming
brings on catastrophic floods, hurricanes and earthquakes, leading perilously to the next Ice Age. A paleoclimatologist Professor Jack Hall tries to save the world
from the effects of this global warming. Meanwhile, he also must try to get to his son, Sam, who is in New York City as part of a scholastic competition, when the
city is overwhelmed by the chilling beginnings of the new Ice Age. Hence, it can be concluded that force of nature; father and son relationship; friendship and
solidarity; and race against time are the themes of this film. Thus, although the events and the characters in this film are not real, the themes carried by this film
more or less can give reflection about what happen in a society; moreover, the locations in which this film taking place are real. In conclusion, fictional film can
be a means to presents a phenomenon, which might happen in the world.
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K. Sypnopsis of The Film
