7. Summary of the Film
Rio 2 film is a 2014 American 3D computer-animated musical adventure-
comedy film produced by Blue Sky Studios and directed by Carlos Saldanha. It
is the sequel to the 2011 computer-animated film Rio. The title refers to the Brazilian city of Rio de Janeiro, where the first film was set and Rio 2 begins,
though most of its plot occurs in the Amazon rainforest. The film tells the story about Blu Jesse Einsberg and Jewel Anne Hathaway, and their three children,
who were living happily in the city until Jewel realized that her children were becoming more like humans. Meanwhile, Blu’s former owner, Linda Gunderson
Leslie Mann and her husband Tulio Rodrigo Santoro, were on an expedition in the Amazon. Jewel was believed that she and her family should go to the Amazon
to help Linda and Tulio to find other blue macaws. Rafael George Lopez, Nico Jamie Foxx, and Pedro will.i.am decided
to come along. Blu brought a fanny pack full of supplies, one of which he used mostly was a GPS, which made
Jewel’s displeasure considerably getting stronger because of it. When searching for the macaws, Linda and Tulio were eventually
trapped by the loggers who were destroying the jungle. Blu persuaded the flock macaws to defend and save their homes. On the other side, Gabi Kristin
Chenoweth and Charlie helped Nigel Jemaine Clement to seek revenge on Blu. Big Boss Miguel Ferrer tried to blow up the trees as a back-up plan, but Blu
stole the lit dynamite. After the dynamite went off, Blu and Nigel engaged in a battle while they tangled in vines. Big Boss was eaten alive by a snake, Boa
Constrictor.
At the end, the flock now und er Linda and Tulio’s protection. Blu and
Jewel decided to live in the Amazon with their kids and friends, though they still agree to visit Rio in the summer. Meanwhile, Nigel and Gabi were captured by
Tulio, and both of them was sent back to Rio de Jeneiro.
8. Related Studies
There are two earlier pieces of research used as references in doing this research. Both of them were theses presented as partial fufillment of the
requirements for the attainment of a Sarjana Sastra degree in English Language and Literature Study Program in Yogyakarta State University. The first research
was done by Sigit Wibisono in 2014. The title of his research was Wordplay in “Shrek” Movies and Its Bahasa Indonesia Subtitling Texts.
In addition, he discussed the types of wordplay found in Shrek movies, the translation techniques used in Shrek movies, and the degree of equivalence of the
translation in Bahasa Indonesia subtitling texts. Related to the first objective, there are five types of wordplay identified in Shrek Movies. They are homonymy,
paronymy, lexical development: polysemy, lexical developments: idioms, and morphological development. Out of the total 53 data, morphological development
is the highest rank with 19 data, and lexical developments: polysemy is in the lowest rank with 5 data. Furthermore, morphological development became the
most frequent type of wordplay because it covered a very wide scope. Wordplay based on morphological development can be in the form of affixation, conversion,
nominalization, neulogism, and other word formation processes.
As a result, the choice to use wordplay by means of morphological development can be so many. Whereas, the choice to use wordplay by means of
polysemy is very limited because in order to be polysemous, two words should have the same spelling and pronunciation, but different related meanings. That is
why polysemy becomes the least frequent type of wordplay in Shrek movies. On the second objective, there are total seven techniques used by the
translator to translate the wordplay in Shrek movies into Bahasa Indonesia. These techniques include literal translation, loan translation, deletion, literal-wordplay
to wordplay, literal-loan, and literal-deletion. Literal translation is the most frequently used technique with 39 data occurrence or far above the rest.
Moreover, loan translation, deletion, literal wordplay to wordplay, literal- loan, and literal deletion only appear 3, 7, 2, 1, 1 times respectively. This fact
indicates that the translation of wordplay in Shrek movies is still focused on the literal meaning of the wordplay. It is not how to recreate the wordplay in the
target language. In the third aspect, there are 79.24 of the translation of wordplay in Shrek movies is equivalent. Out of this 79.24, 75.46 or 40
translation is partially equivalent and only 3.78 or 2 translation is fully equivalent. This indicates that almost all the translation of wordplay in Shrek
movies into Bahasa Indonesia cannot maintain both the wordplay and the meaning of the source expressions at the same time.
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