HERO CONSTRUCTION NARRATIVE IN A BUG’S LIFE, THE FILM.
Dhea Restu Perdhana, 2013
Hero Construction Narrative I a Bug’s Life, The Film Universitas Pendidikan Indonesia | repository.upi.edu
HERO CONSTRUCTION NARRATIVE IN
A BUG’S LIFE
, THE FILM
A Research Paper
Submitted to the English Education Department of the Faculty of Languages and Arts Education of the Indonesia University of Education as Partial Fulfillment of the
Requirements for Sarjana Sastra Degree
By:
DHEA RESTU PRADHANA 0809085
ENGLISH EDUCATION DEPARTMENT
FACULTY OF LANGUAGES AND ARTS EDUCATION
INDONESIA UNIVERSITY OF EDUCATION
2013
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Dhea Restu Perdhana, 2013
Hero Construction Narrative I a Bug’s Life, The Film Universitas Pendidikan Indonesia | repository.upi.edu
HERO CONSTRUCTION NARRATIVE IN
A BUG’S LIFE
, THE FILM
By:
Dhea Restu Pradhana
Submitted as Partial Fulfillment of the Requirements for Sarjana Sastra Degree in Indonesia University of Education
© Dhea Restu Pradhana 2013 Universitas Pendidikan Indonesia
April 2013
All rights reserved. No part of this document may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise,
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Dhea Restu Perdhana, 2013
Hero Construction Narrative I a Bug’s Life, The Film Universitas Pendidikan Indonesia | repository.upi.edu
PAGE OF APPROVAL
HERO CONSTRUCTION NARRATIVE IN A BUGS’S LIFE, THE FILM By
Dhea Restu Pradhana 0809085
Approved by:
Head of Department of English Education Faculty of Languages and Arts Education
Indonesia University of Education
Prof. Dr. Didi Suherdi, M. Ed. NIP. 1962110119871210001 First Supervisor
Dr. Rd. Safrina Noorman, M. A. NIP. 1963122919900220001
Second Supervisor
Nicke Yunita Moecharam, S. Pd., M.A. NIP. 1982063020050120001
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ABSTRACT
The present study entitled Hero Construction Narrative in A Bug’s Life, The Film aims to investigate the film narrative of hero construction. The study employs a descriptive qualitative study with textual analysis. The present study adopted
Hourihan’s (1997) theory as its major theoretical framework and the language of film
theory (Heintz and Stracey, 2006). The study found that the hero construction in the film is presented through three phases there are the initiation phase, the conflict phase and the resolution phase. These phases are also analyzed through the language of the film. These phases are crafted through the pattern of cause and effect where film characters become the agent of causality. These characters are put in binary opposition to construct the hero in the narrative which is mediated through the language of film, such as camera shots, camera movement and mise en scène. The uses of binary opposition support the delivery of the didactic message in the film, since animation films are often directed to children.
Keywords: film, animation film, narrative cinema, hero construction, children’s literature
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Dhea Restu Perdhana, 2013
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ABSTRAK
Studi ini berjudul Narasi Pembentukan Pahlawan pada Film A Bug’s Life bertujuan untuk menginvestigasi pembentukan pahlawan dalam film. Studi ini menggunakan studi deskriptif kualitatif dengan analisis teks. Studi ini mengadopsi teori yang dikemukakan oleh Hourihan (1997) sebagai landasan utama dan teori bahasa film yang dikemukakan oleh Heintz dan Stracey (2006). Studi ini menemukan bahwa pembentukan pahlawan dalam film ditampilkan melalui tiga fase yakni fase inisiasi, fase konflik dan fase resolusi. Ketiga fase ini juga dianalisis melalui bahasa film. Ketiga fase ini dibentuk melalui pola sebab akibat dimana karakter dalam film berperan sebagai agen kausalitas. Karakter-karakter tersebut di posisikan dalam oposisi biner untuk membentuk sang pahlawan dalam narasi yang ditampilkan melalui bahasa film yakni camera shots, camera movement dan mise en scène. Penggunaan oposisi biner mendukung dan memudahkan penyampaian pesan didaktis film, karena film animasi biasanya ditujukan untuk anak-anak.
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TABLE OF CONTENTS
STATEMENT……… i
PREFACE………... ii
ACKNOWLEDGEMENT……… iii
ABSTRACT………. v
TABLE OF CONTENTS………..…… vi
LIST OF FIGURES………..…… viii
CHAPTER I INTRODUCTION……….………. 1
1.1 Background of the Study……… 1
1.2 Research Question………... 4
1.3 Aims of the Study………... 4
1.4 Scope of the Study……….. 4
1.5 Significance of the Study……… 4
1.6 Research Methodology……… 5
1.6.1 Data Collection………... 5
1.6.2 Data Analysis……… 6
1.7 Clarification of the terms………. 6
1.8. Organization of Paper………. 8
CHAPTER II THEORETICAL FOUNDATION……… 9
2.1 Animated Film………. 9
2.1.1 Disney Film……… 10
2.2 Narrative Cinema………. 12
2.2.1 Language of Film……….. 14
2.2.1.1 The Story……… 14
2.2.1.2 Shots & Angle……… 14
2.2.1.3 Movements………. 19
2.2.1.4 Mise en scène………. 21
2.3 Hero Construction………... 23
2.4 The Synopsis of A Bug’s Lifefilm………... 24
CHAPTER III RESEARCH METHODOLOGY……… 27
3.1 Research Question……… 27
3.2 The Research Subject and Context……….. 27
3.3 Research Procedure……….. 28
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3.5 Data Analysis……… 28
3.6 Data Presentation………. 29
CHAPTER IV FINDINGS AND DISCUSSIONS…………. 32
4.1 The Hero Story Pattern in A Bug’s Life……… 32
4.1.1 The Initiation Phase………... 32
a. The Hero’s Introduction……….………… 34
b. The Hero’s Departure……….……… 36
4.1.2 The Conflict Phase……… 40
a. The Hero’s Adventure……… 40
b. The Hero’s Hardship Encounter………. 43
c. The Hero’s Overcoming Opponents………….. 46
4.1.3 The Resolution Phase……… 48
a. The Hero’s Goals Achievement………. 48
b. The Hero’s Returns……… 50
4.2 Discussion……… 53
CHAPTER V CONCLUSION……… 57
5.1 Conclusions………. 57
5.2 Suggestions………. 58
BIBLIOGRAPHY……… 59
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LIST OF FIGURES
Figure 1. “Main Title” Scene (1) 33
Figure 2. “Main Title” Scene (2) 33
Figure 3. “Flik’s Invention” Scene (1) 34
Figure 4. “Flik’s Invention” Scene (2) 35
Figure 5. “Flik’s Invention” Scene (3) 35
Figure 6. “Red Alert” Scene 36
Figure 7. “The Grasshopper Arrive” Scene 37
Figure 8. “Flik’s Trial” Scene 38
Figure 9. “Flik’s Flight” Scene 39
Figure 10. “Big City” Scene 41
Figure 11. “Bug Bar” Scene 42
Figure 12. “A Bird Attack” Scene 44
Figure 13. “P.T. Arrives” Scene 45
Figure 14. “Flik’s Bird Attack” Scene 46
Figure 15. “Flik Vs. Hopper” Scene 47
Figure 16. “Rain!” Scene 49
Figure 17. “Hopper’s Demise” Scene 50
Figure 18. “Spring Time” Scene (1) 51
Figure 19. “Spring Time” Scene (2) 52
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CHAPTER I
INTRODUCTION
This chapter presents the introduction of the study. It covers background of the study, a research question, aims of the study, scope of the study, significance of the study, clarification of terms, and organization of the paper.
1.1 Background of the Study
In the modern era, films are considered as one of literary genre. Films has also had a major influence on the fine arts; novel, more abstract approaches to painting have been taken in response to this new media (Klarer, 1998). Films are often made in order to depict something in the real world and convey it in other ways, particularly stories in motion pictures to the spectators.
In accordance to the notion above, the current study analyzes a film as the subject of the research. Although films have its own specific characterization and terminology, it is possible to analyze films by drawing on methods of literary criticism (Klarer, 1998). Just like other forms of literature, films are often offered as representations of reality. But, sometimes films are being constructed to the viewers. In other way, films are made in a specific way for a particular purpose. Therefore, by analyzing a film this study aim to finds the purpose of the film, to see whether the film is representing something fair and appropriately or placing the viewers to see the subject in particular way.
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Films have become the subject for certain studies. There are several studies that have analyzed film scripts such as, Muna Indraprasta Pratiwi (2010) in Struggling in Self-Respect (A Power Relation Analysis of the Main Characters in the film Script “Babel”), Yudi Rahmadi (2010) in Power Relation of the Man Characters (Analysis of The Last Samurai Movie Script) and Fauzy Rahman Kosasih (2011) in The Characterization of Mark Zuckerberg Character in The Social Network Movie Script. Those studies use film scripts as the subject for the research. However, this present study is different because this study uses a film as the subject of the research. Therefore, this study investigates the language of the films, such as the story, the camera (shots, composition and movement), and mise en scène.
According to Heintz and Stracey (2006), films are shaped for an audience. They are expected to attract their audience. An animated film usually addresses for children (Dirks, 2011). Therefore, the animated film shows a clear distinction between good and bad. However, this distinction is analyzable, because what is shown in the film actually more complex than what is seen. Nodelman (2008: 341) says that children literature claims free from adult content that nevertheless lurks within it. Consequently, by analyzing the animated film the adult content is identified.
This study uses A Bug’s Life film as the subject of the research. A Bug’s Life is an animated film which the script is directed by John Lasseter and written by John Lasseter, Andrew Stanton and Joe Ranft. Their works have won many film awards, including best director in academy awards. According to Internet
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Movie Database (2011), this film won best animated feature in Critics Choice Award 1999 and Blockbuster Entertainment Award 1999. Besides, this film is an animated film which appeals to children. Children see this film from innocence viewpoint and reproduce the attitudes and moving beyond them without knowing adult content that lurks within it.
Films may provide various interesting and conflicting issues. Webb (2004) argues that A Bug’s Life film on the surface appears to be a simple children’s tale, simply told, but it also provide more complex situation that what is seen. A Bug’s Life major plot is about oppression from the grasshopper to a powerless ant colony. Flik, the main protagonist, considered as a troublemaker ant by his colony, Flik has an idea to save his colony from the grasshopper oppression. But, his colony expels him. Finally, Flik figures out how to save his colony from the grasshopper. Afterward, Flik is considered as hero by his colony. The writer sees one of the film issues are about the hero construction of the protagonist. Therefore, this study aims to find out how the animation reveals the narrative structure of hero construction through insects character.
This study uses theoretical framework from Hourihan (1997). Hourihan identified the common narrative pattern of hero construction through several phases. This study also uses Heinz and Stracey’s (2006) theoretical framework which identifies how film conveys its representation through the language of film such as shots, composition, movement and mise en scène. These theories have been chosen as the framework to investigate and categorize the data in the study.
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Therefore, by investigating A Bug’s Life film and its medium, it revealed the way how the animation tells the narrative of a hero construction in it.
1.2 Research Question
The present research is guided by the following question:
1. How does the animation reveal the narrative of a hero construction in A Bug’s Life?
1.3 Aims of the Study
Based on the research question stated above, the aim of the study is to reveal the narrative of a hero construction in A Bug’s Life.
1.4 Scope of the Study
In this present research, A Bug’s Life film directed by John Lasseter written by John Lasseter, Andrew Stanton and Joe Ranft is the main focus of investigation. The research focuses on analyzing the scenes that contain the main character in the A Bug’s Life film. The study is limited to investigating only the ways the animation reveals the narrative of a hero construction in A Bug’s Life film.
1.5 Significance of the Study
This study is expected to make a valuable contribution to literary criticism. Particularly, it can increase knowledge and broaden mind in exploring literary
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works in this case an animation film. Then, this study is expected to show that children’s literature do have adult content that lurks within it, as Lewis notion in Nodelman works “Children’s story which is enjoyed only by children is a bad children’s story”. Moreover, this study is expected to encourage people to think critically while watching an animation movie which is usually addressed for children. The study is also expected to enrich literary material, especially in the field of research in English Department.
1.6 Research Methodology
The study uses a descriptive qualitative approach. The study describes the phenomena in the form of how does the animation reveal the narrative of a hero construction in A Bug’s Life film. The description and presentation were critically analyzed and interpreted by means of categorizing how the narrative of a hero construction represented through the scene.
1.6.1 Data Collection
The data were collected from A Bug’s Life film directed by John Lasseter and written by John Lasetter, Andrew Stanton and Joe Ranft. The data were presented in the form of words, phrases, sentences, frames, shots and scenes that are critically analyzed and purposively selected as textual evidence to answer the research question.
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1.6.2 Data Analysis
The collected data were analyzed by using the framework of basic hero narrative pattern as proposed by Hourihan (1997) and analyzed the use of film technique as proposed by Heintz and Stracey (2006). In conducting the research, the following steps were taken.
Watching the film several times.
Categorizing the film scene based on DVD Chapters.
Analyzing each scene chapters and collects all film techniques which serve as textual evidence.
Analyzing the data by applying relevant theories. Interpreting the data.
Making conclusion based on the findings.
1.7 Clarification of the terms
To avoid misunderstanding, the following is the clarification of the terms used in the study:
Animated film is a technique where inanimate objects, such as drawing, paintings, illustrations, and clay are photographed frame by frame. (Dirks, 2011).
Children’s Literature is good quality trade books for children from birth to adolescent, covering topics of relevance and interest to children of those ages, through fiction and nonfiction. (Lynch-Brown and Tomlinson, 1999)
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Film is a photographic depiction of a story which surpasses the mean of realistic portrayal in the theatre. (Klarer, 1998).
Frame refers to one of a series of still transparent photographs used in making films (Heintz and Stracey, 2006)
Hero Construction refers to a story which takes a form of a journey or adventure and follows consistent formula. (Hourihan, 1997)
Mise en scène refers to all the visual elements of a scene such as type of shots, camera angle and movement, setting and costumes. (Heintz and Stracey, 2006).
Montage refers to a series of short shots or images that are rapidly put together into a coherent sequence to suggest a larger idea within a short duration. (Dirks, 2011)
Narrative cinema refers to the strategies, codes and conventions employed to organize a story. (Hayward, 2006)
Scene refers to a series of shots that comprise a single, complete and unified dramatic event, action, unit, or element of film narration, or segment of storytelling within a film. The end of a scene is often indicated by a change in time, action and/or location. (Dirks, 2011)
Shot refers to a series of frame that construct a scene. (Heintz and Stracey, 2006).
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The paper is organized as follows: CHAPTER I
This chapter contains background of the study, research questions, aims of the study, scope of the study, significance of the study, clarification of the terms, and organization of the paper.
CHAPTER II
It consists of theoretical review that provides a basis for conducting the research problems.
CHAPTER III
This section contains the research methodology, discussing the steps and procedures of the study, and the data resources in conducting the study.
CHAPTER IV
In this part, the result of the study will be presented. This chapter contains the research findings and discussion.
CHAPTER V
This last chapter contains the interpretation toward the result of the study in a form of conclusion and suggestion in accordance with the research.
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CHAPTER III
RESEARCH METHODOLOGY
This chapter contains the research question, the research subject and context, research procedures, the data collection procedures, the data analysis procedures and the data presentation.
3.1 Research Question
The present research is guided by the following question:
1. How does the animation reveal the narrative of a hero construction in A Bug’s Life?
3.2 The Research Subject and Context
The subject of the research is an animation film entitled A Bug’s Life directed by John Lasseter and written by John Lasseter, Andrew Stanton and Joe Ranft. This animation film has won many film awards, including best animated feature in Critics Choice Award 1999 and Blockbuster Entertainment Award 1999.
The research focuses on the ways how the animation reveals the narrative of a hero construction. The research is framed by hero construction pattern in a story which proposed by Margery Hourihan (1997).
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Hero Construction Narrative I a Bug’s Life, The Film Universitas Pendidikan Indonesia | repository.upi.edu 3.3 Research Procedure
The research employs descriptive analysis, which is qualitative in nature. The phenomena of hero construction are explored to see how it is done in an animated film.
3.4 Data Collection
The data were collected from A Bug’s Life directed by John Lasseter and written by John Lasetter, Andrew Stanton and Joe Ranft. The data were presented in the form of words, phrases, sentences, scenes, shot and frame that are critically analyzed and purposively selected as textual evidence to answer the research question.
3.5 Data Analysis
The collected data were analyzed by using the framework of basic hero narrative pattern as proposed by Hourihan (1997) and analyzed the use of film technique as proposed by Heintz and Stracey (2006). In conducting the research, the following steps were taken.
Watching the film several times.
Categorizing the film scene based on DVD Chapters.
Analyzing each scene chapters and collects all film techniques which serve as textual evidence.
Analyzing the data by applying relevant theories. Interpreting the data.
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Making conclusion based on the findings.
3.6 Data Presentation
The following table is samples of the analyzed scene data that reveals narrative of hero construction through film techniques in A Bug’s Life. Each table covers all of the scenes in A Bug’s Life that describes the techniques used in the film and its explanation.
Table of Analysis
1
Chapter: Main Title
0.00.28 - 0.04.29 Minutes
Camera Lighting Mise en Scène Effect
Pan shot Long shot High angle
Fill light Set:
Ant Island
Create the sense that the ant colony
is very tiny Explanation
This shot establishes the ant island and follows the action of what the ant colony do. The movement of the camera is zooming in. This shot is created to introduce the setting which the story takes a place. The filmmaker uses pan shot with high angle
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to give omnipotence view to the spectators. This technique also creates the sense that the spectators will follows tiny characters in the story.
Camera Lighting Mise en Scène Effect
Long shot High angle combined with
Medium shot Eye level angle
Fill light Set: Ant Island
Create the sense that the ant colony is very
tiny and sense the problem that faced by
the character Explanation
This shot gives the clue that the characters in the story are tiny. A small event like a fallen leaf can be a big problem for the ant. As seen in frame (1) the leaf can cut their line and that is a big problem for them as stated in the dialogue “I’m lost! Where’s the line? It just went away! What do I do? What do I do? We’ll be stuck in here forever”. The filmmaker uses high angle and long shot to create the omnipotence view. The filmmaker combined the previous technique with medium shot with eye-level angle to create intimacy. Thus, the spectators can sense the ant colony problem.
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Camera Lighting Mise en Scène Effect
Medium shot
Eye level angle Fill light
Set: Ant Island
Create the normal sense to the
spectators Explanation
This shot introduces the royal family of the ant colony; The Queen, Princess Atta and Princess Dot. This shot also present how The Queen teaches her daughters. This shot gives a clue that the ant colony prepares an offering, and if they can’t collect the offering they will be in a huge problem. The offering itself shown in many shot in this scene.
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CHAPTER V
CONCLUSION
This chapter presents the conclusion of the study which is based on the findings and discussion in the previous chapter. This chapter also presents the suggestion for further study based on the result of the research.
5.1 Conclusions
The aim of the study is to uncover how an animation for children constructs the hero narrative. The previous chapter shows that the hero construction in A Bug’s Life presented through three phases; the initiation phase, the conflict phase and the resolution phase. These phases are crafted through the pattern of cause and effect. The agent of causality is the characters of the film. These characters are put in binary opposition to construct the hero in the narrative.
This film narrative is mediated through the language of film, such as camera shots, camera movement and mise en scène. The use of multiple combination of the language of film gives the spectator different impression. It is functioned as a focalization where the spectators lend the characters’ gaze and experience the narrative through visual representation.
The study concludes that the story in A Bug’s Life is organized by employing the patterns of causality and establishing binary opposition of the characters. Since animation films are often directed to children, the use of binary opposition support the delivery of the didactic message in the film.
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The study suggests that more analysis of film be more conducted because is a lucrative site for further study in the field of literature, in this case children literature. The study in film is still rarely conducted in the department. The writer hopes that the department provides more expertise in the field. This study is also expected to motivate future readers and researchers to better understand about how film can give meanings and emotional experience through language of film technique to the spectators
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BIBLIOGRAPHY
A Bug's Life. (n.d.). Pixar. Retrieved February 17, 2012, from http://www.pixar.com/features_films/A-BUG%27S-LIFE
Lasseter, J. (Director). (1998). A Bug's Life [Motion picture]. USA: Disney Enterprises Inc. .
A Bug's Life Script. (n.d.). Movie English (ME). Retrieved February 15, 2012, from veryabc.cn/movie/uploads/script/abugslife.txt
Andric, R. (2005). How to Make a Film. Belgrade: Kreativni Centar.
Bordwell, D., & Thompson, K. (2010). Film Art: An Introduction. New York: McGraw-Hill.
Bressler, C. (2007). Literary Criticism: An Introduction to Theory and Practice (4 ed.). New Jersey: Pearson Prentice Hall.
Culler, J. (1997). Literary Theory: A Very Short Introduction. New York: Oxford University Press.
Decker. J. (2010) The Portrayal of Gender in the Feature-Length Films of Pixar Animation Studios: A Content Analysis. Master’s Thesis, Auburn University. Available electronically from http://hdl.handle.net/10415/2100 Dirks, T. (n.d.). Animated Films. Greatest Films - The Best Movies in
Cinematic History. Retrieved March 24, 2012, from http://www.filmsite.org/animatedfilms.html
Dobie, A. (2009). Theory Into Practice: An Introduction to Literary Criticism (2 ed.). Boston: Wadsworth Cengage Learning.
Emilia, E. (2008). Menulis Tesis dan Disertasi. Bandung: Alfabeta.
Gianneti, L. (2005). Understanding Movies (10 ed.). New Jersey: Pearson Prentice Hall.
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Culture.Fugitive Cultures: Race, Violence, and Youth (pp. 89-114). New York: Routledge.
Hayward, S. (2006). Cinema Studies: The Key Concept (3 ed.). New York: Routledge.
Hecht, J. (2011). Happily Ever After: Construction of Family in Disney Princess Collection Films. Master’s Thesis, San Jose University. Available electronically from http://scholarworks.sjsu.edu/etd_theses/4094
Heintz, K., & Stracey, M. (2006). Through the Lens. Port Melbourne: Cambridge University Press.
Hibbeler, B. (2009). Exploring Representations of Masculinity in Disney Animated Films.Master’s Thesis, Texas A&M University. Available electronically from http : / /hdl .handle .net /1969 .1 /ETD TAMU 2009 -08 -7023
Higgins, S. (2013). Week 1, part 1 of 5: Intro to Course [Video Lecture]. Retrieved from Cousera and Wesleyan University: The Language of Hollywood: Storytelling, Sound and Color online course: http://www.coursera.org/hollywood
Home - Definition and More from the Free Merriam-Webster Dictionary. (n.d.). Dictionary and Thesaurus - Merriam-Webster Online. Retrieved
December 20, 2012, from
http://www.merriam-webster.com/dictionary/home
Hourihan, M. (1997). Deconstructing The Hero. London: Routledge.
Howard, r. (n.d.). A Bug's Life (1998) . IMDb - Movies, TV and Celebrities.
Retrieved November 20, 2012, from
http://www.imdb.com/title/tt0120623/?ref_=sr_1
Klarer, M. (1998). An Introduction to Literary Studies. London: Routledge. Lynch-Brown, C., & Tomlinson, C. (1999).Essential's of Children
Literature (3 ed.). Needham Heights: Allyn & Bacon.
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Feminimity and Whiteness in Recent Disney Animated Films. Master Thesis, Victoria University of Wellington. Available electronically for http://www.hdl.handle.net/10063/981
McCallum, R. (2002). Masculinity as Social Semiotic: Identity Politics and Gender in Disney Animated Films. Ways of Being Male: Representing Masculinities in Children's Literature (pp. 116-132). New York: Routledge.
Musthafa, B. (2008). Teori dan Praktik Sastra dalam Penelitian dan Pengajaran. Jakarta: P.T. Cahaya Insan Sejahtera.
Nealon, J., & Giroux, S. (2003). The Theory Toolbox: Critical Concept for the Humanities, Arts and Social Sciences . Maryland: Rowman & Littlefield Publishers.
Nikolajeva, M. (2003). The Rhetoric of Character in Children's Literature. Maryland: Scarecrow Press.
Nodelman, P. (2008). The Hidden Adult: Defining Children's Literature. Baltimore: The John Hopkins University Press.
Turner, G. (1999). Film as Social Practice (3 ed.). London: Routledge.
Webb, D. (2004). Political Industrial Revolution in Bug’s Life. Berkenner High
School, Richardson, Texas. Available on
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Camera Lighting Mise en Scène Effect
Medium shot
Eye level angle Fill light
Set: Ant Island
Create the normal sense to the
spectators Explanation
This shot introduces the royal family of the ant colony; The Queen, Princess Atta and Princess Dot. This shot also present how The Queen teaches her daughters. This
shot gives a clue that the ant colony prepares an offering, and if they can’t collect
the offering they will be in a huge problem. The offering itself shown in many shot in this scene.
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CHAPTER V
CONCLUSION
This chapter presents the conclusion of the study which is based on the findings and discussion in the previous chapter. This chapter also presents the suggestion for further study based on the result of the research.
5.1 Conclusions
The aim of the study is to uncover how an animation for children constructs the hero narrative. The previous chapter shows that the hero construction in A Bug’s Life presented through three phases; the initiation phase, the conflict phase and the resolution phase. These phases are crafted through the pattern of cause and effect. The agent of causality is the characters of the film. These characters are put in binary opposition to construct the hero in the narrative.
This film narrative is mediated through the language of film, such as camera shots, camera movement and mise en scène. The use of multiple combination of the language of film gives the spectator different impression. It is functioned as a focalization where the spectators lend the characters’ gaze and experience the narrative through visual representation.
The study concludes that the story in A Bug’s Life is organized by employing the patterns of causality and establishing binary opposition of the characters. Since animation films are often directed to children, the use of binary opposition support the delivery of the didactic message in the film.
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Dhea Restu Perdhana, 2013 5.2 Suggestions
The study suggests that more analysis of film be more conducted because is a lucrative site for further study in the field of literature, in this case children literature. The study in film is still rarely conducted in the department. The writer hopes that the department provides more expertise in the field. This study is also expected to motivate future readers and researchers to better understand about how film can give meanings and emotional experience through language of film technique to the spectators
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