DRIVE TO FULFILL FATHER’S COMMANDS IN MARTIN SCORSESE’S HUGO MOVIE (2011): Drive To Fulfill Father’s Commands In Martin Scorsese’s Hugo Movie (2011): An Individual Psychological Approach.

DRIVE TO FULFILL FATHER’S COMMANDS IN
MARTIN SCORSESE’S HUGO MOVIE (2011):
AN INDIVIDUAL PSYCHOLOGICAL APPROACH

RESEARCH PAPER

Submitted as a Partial Fulfillment of the Requirements
for Getting Bachelor Degree of Education
in English Department

by:
NUR HAJAH HANINGRUM
A320090236

SCHOOL OF TEACHER TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2013

i

APPROVAL

DRIVE TO FULFILL FATITER'S COMMANDS IN
MARTTN SCORSESE',S HUGO MOV[E (2011):
AN INDIYIDUAL PSYCHOLOGICAL APPROACII

RESEARCH PAPER

by:

I\UR HAJAH HANINGRUM
A320090236

Approved to be Examined
by the Consultant Team

First Consultant

Pd,lt{. Ed)

Abdillah Nugroho. M. Hum)

ACCEPTANCE
DRIVE TO X'ULHLL X'ATITER'S COMMANDS IN MARTIN SCORSESE'S
HUGO MOVrE (2011):

AN II\IDIYIDUAL PSYCHOLOGICAL APPROACE
By:
NUR HAJAII HANINGRI]M
A,320 090236

Accepted and Approved by the Board of Examiners
School ofTeacher Training and Education
Muhammadiyah University of Surakarta

On,2013

Team of Examiners:

(Chair person)
Drs. Abdillah Nueroho. M. Hum.

(Member 1)
Drs. M. Thovibi. M.S.

(Member2)
Approved

TESTIMOI\TY

In this occasion, the researcher states there is no statements or opinions
had been written or published by another researchers except the references which

are stated in this paper and mentioned in the bibliography. The most important
that there is no work had been submitted in any University to get bachelor degree

in this research paper. If only in the future there will be any incorrectness which
are proven

in

the researcher statements above, the researcher

will be responsible

to overcome that.

Surakarta,

1V

April2013

MOTTO

“

Be the change that you wish to see in the world”
(Mahatma Gandhi)

If you don't stand for something you will fall for anything”

“

(Malcolm X)

Genius without education is like silver in the mine”

“

(Benjamin Franklin)

Never leave that till tomorrow what you can do today”

“

(Benjamin Franklin)

Never put off till tomorrow what may be done day after
tomorrow just as well”

“

Be yourself, everyone else is already taken”

“

v

DEDICATION

This research paper is proudly dedicated to:

The Lord of the world, ALLAH SWT
Thanks for blessing and fluencing You give for my life
My beloved Parents
Thanks for striving, praying, and everything you devote to me
My lovely family
Thanks for great affection you have presented for me
My lovely lecturers
Thanks for everything you have taught to me

My Love
Thanks for support, guidance and hundreds of helps in sadnessand
happiness.
My beloved friends
Thank for support, attention, and love as long as we study together

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ACKNOWLEDGMENT

Assalamu’alaikum Warahmatullah,
Alhamdulillahirabil’alamin, all of praises to Allah, God Most High, Full
of Mercy and Grace, the lord of the world that because of His blessing, fluencing,
and guidance, the writer able to finish the research paper finally. The paper
entitled “Drive to Fulfill Father’s Commands in Martin Scorsese’s Hugo Movie
(2011): An Individual Psychological Approach” as one of requirement for getting
bachelor

degree

of

education

in

Department

English

Education

of

Muhammadiyah University of Surakarta.
In completing this research paper, the researcher gets many helps and
guidances from others. Therefore, she would like to express her greatest gratitude
to the following people:
1. Drs. Sofyan Anif, M.Si., the Dean of School of Teacher Training and
Education of Muhammadiyah University of Surakarta for approving this

research paper.
2. Mr. Titis Setyabudi, S.S., M.Hum., the chief of English Department who
has permitted her to write this research paper and the writer Academic
Consultant of Teacher Training and Education who have shared and given
their knowledge in mastering English to the writer.
3. Dr. Phil. Dewi Candraningrum. S.Pd., M.Ed., as the first consultant,
who already gives guidance and advices patiently in correcting this

vii

research paper. Thanks you very much more than everything and deeply
sorry from writer’s heart for her.
4. Drs. H. Abdillah Nugroho, M. Hum., as the second consultant who has
given suggestion, advice, and direction as well as correction to the
researcher writing in order to make this research be easy understand by the
readers.
5. All the lectures of Department English Education, for knowledge,
lecturing, and experience in UMS.
6. All the staff of UMS, for the friendly services and helping.
7. All the librarian whose place has been visited by writer to get references

for this research paper.
8. Her beloved greatest parents in the world father and mother Mariyadi,
S.Pd.I and Nurhidayat Kamsiyah, S.Pd.I for giving love, prayer,
support, spirit, affection, patient, struggle, and advice to the writer as her
power to finish the research paper and study in this university.
9. Her family, her nice brothers Achmad Harjanto and Ghufron Tri
Prabowo for support, cooperating, and togetherness.
10. For someone special, Eko Wahyu Nugroho who always accompanies her
in every time. For motivation, guidance and hundreds of helps in her
sadness and happiness.
11. Her beloved friends, Putri, Rena, Lilis, Ririn, Zuchry for togetherness
and accompanying her in sadness and happyness condition.

viii

12. All of her friends from Department English Education ’09 of UMS,
especially E class for memories as long as they are together.
13. All mates in:
 Sahira Boarding House Devi, Wulan, Oliv, Mbak Irfa, Nisa, Fitri,
Ririn, Dwi, Rini, and Dita

 PPL SMK N 1 Banyudono, Anang, Azis, Novi, and Tami for the best
cooperation and experience.
 Drama performance group “Freedom Unity” for the best performance
and cooperation.
14. Everyone who cannot mentioned one by one for the spirit and support in
finishing this report.
The researcher awares that this paper is still far from being perfect and still
needs many improvements. Therefore, the researcher accepts all of criticism and
advices, in order to make the paper be better. The most important writer’s wish is
the paper can be useful for us.
Wassalamu’alaikum Warahmatullah

Surakarta, April 2013

Nur Hajah Haningrum

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TABLE OF CONTENT

PAGE OF TITLE .......................................................................................

i

APPROVAL ...............................................................................................

ii

ACCEPTANCE .......................................................................................... iii
TESTIMONY ............................................................................................. iv
MOTTO ......................................................................................................

v

DEDICATION ............................................................................................ vi
ACKNOWLEDGMENT ........................................................................... vii
TABLE OF CONTENT .............................................................................

x

TABLE OF FIGURE ................................................................................. xvi
ABSTRACT ................................................................................................ xx
CHAPTER I INTRODUCTION...............................................................

1

A. Background of the Study .................................................................

1

B. Literature Review .............................................................................

6

C. Problem Statements..........................................................................

8

D. Limitation of the Study ....................................................................

8

E. Objectives of the Study ....................................................................

8

F. Benefit of the Study ........................................................................

8

1. Theoretical Benefit ...................................................................

8

2. Practical Benefit .......................................................................

8

G. Research Method .............................................................................

9

1. Type of the Study ......................................................................

9

x

2. Object of the Study ...................................................................

9

3. Type of the Data and the Data Source ......................................

9

4. Technique of Collecting Data ...................................................

9

5. Technique of Analyzing Data ................................................... 10
6. Research Paper Organization ................................................... 10
CHAPTER II UNDERLYING THEORY ............................................... 12
A. Notion of Individual Psychology .................................................... 12
B. Basic Concepts of Individual Psychology ...................................... 13
1. Inferiority Feeling .................................................................... 13
2. Striving for Superiority ............................................................ 14
3. Fictional Finalism ..................................................................... 15
4. Style of Life .............................................................................. 15
5. Social Interest ............................................................................ 17
6. Creative Power .......................................................................... 18
C. Drive ................................................................................................ 18
D. Fatherhood ....................................................................................... 19
1. Definition of Fatherhood .......................................................... 19
2. Factors Influence Fatherhood .................................................... 20
E. Structural Elements of the Movie ................................................... 21
1. Narrative Element of the Movie ............................................... 21
a. Character and Characterization ......................................... 21
b. Setting ............................................................................... 21
c. Plot .................................................................................... 22

xi

d. Point of View .................................................................... 23
e. Theme ................................................................................ 24
2. Technical Elements ................................................................... 25
a. Casting .............................................................................. 25
b. Mise-en-Scene .................................................................... 25
1) Set Dressing and Props .............................................. 26
2) Costume and Make-Up .............................................. 26
3) Lighting ...................................................................... 27
c. Cinematography ................................................................ 28
1) Photographic Qualities of the Shot ............................ 28
2) Framing of the Shot .................................................... 29
3) Duration of the Shot .................................................... 30
d. Sound ................................................................................ 30
e. Editing .............................................................................. 31
F. Theoretical Application .................................................................... 32
CHAPTER III STRUCTURAL ANALYSIS ........................................... 34
A. Structural Elements of the Movie ................................................... 34
1. Narrative Elements .................................................................... 34
a. Characters and Characterizations ...................................... 34
1) Major Character ......................................................... 35
2) Minor Characters ........................................................ 44
b. Setting ............................................................................... 52
1) Setting of Place .......................................................... 52

xii

2) Setting of Time ........................................................... 57
c. Plot .................................................................................... 57
1) The Beginning ............................................................. 58
2) The Middle .................................................................. 58
3) The End ...................................................................... 59
d. Point of View .................................................................... 59
e. Theme................................................................................. 61
2. Technical Elements .................................................................. 62
a. Casting ............................................................................... 62
b. Mise-en-Scene .................................................................... 64
1) Set Dressing and Props ............................................... 65
2) Costume and Make-Up .............................................. 67
3) Lighting ....................................................................... 68
c. Cinematography ................................................................. 72
1) Photographic Qualities of the Shot ............................ 73
2) Framing of the Shot .................................................... 74
3) Duration of the Shot .................................................. 76
d. Sound ................................................................................. 76
e. Editing ................................................................................ 77
1) Axis of Action or the 1800 Line ................................ 77
2) Establishing Shot ........................................................ 78
3) A Reverse Shot ........................................................... 78
4) Reestablishing Shot .................................................... 79

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5) Match on Action ........................................................ 80
6) Cross Cutting ............................................................. 80
B. Discussion ...................................................................................... 81
CHAPTER IV INDIVIDUAL PSYCHOLOGICAL ANALYSIS ......... 85
A. Basic Concept of Individual Psychological Analysis ..................... 85
1. Inferiority Feeling .................................................................... 85
2. Striving for Superiority ............................................................ 88
3. Fictional Finalism ..................................................................... 90
4. Style of Life ............................................................................. 92
5. Social Interest ........................................................................... 94
6. Creative Power ......................................................................... 96
B. Basic Concept of Drive .................................................................... 99
1. Notion of Drive ......................................................................... 99
C. Basic Concept of Fatherhood ........................................................... 102
1. Notion of Fatherhood ................................................................ 102
2. Factors Influencing Fatherhood ................................................ 104
D. Discussion ....................................................................................... 105
CHAPTER V CONCLUSION AND SUGGESTION ............................. 109
A. Conclusion ...................................................................................... 109
B. Educational Implication .................................................................. 110
C. Suggestion ....................................................................................... 111
BIBLIOGRAPHY ...................................................................................... 112
VIRTUAL REFERENCES ....................................................................... 113

xiv

APPENDICES ............................................................................................ 114

xv

TABLE OF FIGURE

Figure 1. Profile of Hugo ............................................................................. 35
Figure 2. Hugo works at the Georges Méliès’stoy booth. .......................... 36
Figure 3. Hugo with his Father when Repairingan Automaton ................... 37
Figure 4. Hugo talks with Isabelle. ............................................................. 38
Figure 5.Profil of Georges Méliès................................................................ 39
Figure 6. Georges Méliès makes camera. .................................................... 40
Figure 7. Georges feels depressed and betrayed. ........................................ 41
Figure 8. Profile of Isabelle.......................................................................... 42
Figure 9.Isabelle gives the support to Hugo. ............................................... 42
Figure 10.Isabelle with Hugo in the Library ................................................ 43
Figure 11. Isabelle meets Monsieur Labisse ................................................ 44
Figure 12. Profile of Mama Jeanne .............................................................. 44
Figure 13. Mama Jeanne comforts Georges Méliès. ................................... 45
Figure 14. Profile of Hugo’s Father ............................................................ 46
Figure 15. Profile of The Station Inspector .................................................. 47
Figure 16. Profile of Uncle Claude .............................................................. 48
Figure 17. Profile of Rene Tabard ............................................................... 48
Figure 18. Profile of Monsieur Labisse ....................................................... 49
Figure 19. Profile of Lisette ......................................................................... 50
Figure 20. Profile of Madame Emilie .......................................................... 51
Figure 21. Profile of Monsieur Frick ........................................................... 51

xvi

Figure 22. Hugo’s Activity in the Wall a of the Station ............................ 53
Figure 23. Hugo works in the toy shop. ..................................................... 54
Figure 24. Isabelle with Hugo in the Library. ............................................. 54
Figure 25. The Station Inspector’s Office. .................................................. 55
Figure 26. Madame Emilie and The Station Inspector in the Coffe Shop. . 55
Figure 27. Hugo meets Isabelle. ................................................................. 56
Figure 28. Hugo and Isabelle watch the movie. .......................................... 56
Figure 29. Hugo and Isabelle in the Film Academy Library. .................... 57
Figure 30. Shot 1 .......................................................................................... 60
Figure 31. Shot 2 ........................................................................................ 60
Figure 32. Hugo in Monologue ................................................................... 61
Figure 33. Hugo in Dialogue ...................................................................... 61
Figure 34. Props Used by Hugo ................................................................... 65
Figure 35. Props Used by Georges Méliès ................................................... 66
Figure 36. Props Used by Isabelle ............................................................. 66
Figure 37. Props Used by The Station Inspector ......................................... 66
Figure 38. Props where Hugo lives. ........................................................... 67
Figure 39. Formal and Non Formal Costume .............................................. 68
Figure 40. Dark Lighting ............................................................................ 69
Figure 41. Bright Lighting .......................................................................... 69
Figure 42. Frontal Lighting ........................................................................ 70
Figure 43. Side Lighting ............................................................................. 70
Figure 44. Back Lighting ............................................................................ 71

xvii

Figure 45.Under Lighting ............................................................................ 72
Figure 46. Top Lighting .............................................................................. 72
Figure 47. Source of Lighting ...................................................................... 72
Figure 48. High Lighting ............................................................................ 73
Figure 49. Straight Angle ........................................................................... 74
Figure 50. High Angle ................................................................................ 74
Figure 51. Low Angle .................................................................................. 74
Figure 52. Extreme Long Shot .................................................................... 75
Figure 53. Long Shot .................................................................................. 75
Figure 54. Medium Long Shot .................................................................... 75
Figure 55. Medium Shot ............................................................................. 75
Figure 56. Medium Close Up ...................................................................... 75
Figure 57. Close Up .................................................................................... 75
Figure 58. Extreme Close Up ...................................................................... 76
Figure 59. Shot 1 ......................................................................................... 77
Figure 60. Shot 2 ......................................................................................... 78
Figure 61. Shot 3 .......................................................................................... 78
Figure 62. Shot 1 .......................................................................................... 78
Figure 63. Shot 2 ......................................................................................... 78
Figure 64. Shot 1 ......................................................................................... 79
Figure 65. Shot 2 ......................................................................................... 79
Figure 66. Shot 1 .......................................................................................... 79
Figure 67. Shot 2 ......................................................................................... 79

xviii

Figure 68. Shot 3 ......................................................................................... 79
Figure 69. Shot 1 ......................................................................................... 80
Figure 70. Shot 2 ......................................................................................... 80
Figure 71. Shot 1 ......................................................................................... 80
Figure 72. Shot 2 ......................................................................................... 80

xix

ABSTRACT
NUR HAJAH HANINGRUM, A 320 090 236. DRIVE TO FULFILL
FATHER’S COMMANDS IN MARTIN SCORSESE’S HUGO MOVIE
(2011): AN INDIVIDUAL PSYCHOLOGICAL APPROACH, RESEARCH
PAPER, MUHAMMADIYAH UNIVERSITY OF SURAKARTA, 2013
The major problem of this study is to reveal how is Hugo’s drive to fulfill
father’s commands in Hugo movie. The objective of this study is to analyze the
movie based on it’s structural elements and an individual psychological approach.
In analysis, the writer uses descriptive qualitative method. The object of
this study is Hugo directed by Martin Scorsese. The data sources are primary and
secondary data sources. The primary data source is Hugo movie itself and the
secondary data sources are the other sources related to the primary data such as
informations about director’s biography, websites, and the other sources such a
book related to the individual psychological approach by Alfred Adler. The
technique of the data collection are watching the movie repeatedly, taking note the
important part, arranging the data into several groups, selecting particular parts
that is important and relevant for analysis, drawing conclusion, educational
implication, and formulate it’s suggestion. The technique of data analysis is
descriptive analysis.
The result of this study is presented in the following conclusions. First,
Martin Scorsese wants to describe that the hard effort is the process to achieve
human’s dream. He wants to show that people can achieve their dream with effort
and never gives up. Second, based on individual psychological analysis, Martin
Scorsese wants to reflect Hugo’s drive to fulfill father’s commands that can
produce happiness.
Key words: Drive, Father, Hugo, Individual Psychological

xx