SEX AND AGGRESSION IN PETER FLINTH’S Sex And Aggression In Peter Flinth’s Arn: The Knight Templar Movie (2007): A Psychoanalytic Criticism.
SEX AND AGGRESSION IN PETER FLINTH’S
ARN: THE KNIGHT TEMPLAR MOVIE (2007):
A PSYCHOANALYTIC CRITICISM
RESEACH PAPER
Submitted as a Partial Fulfillment of the Requirement
for Getting Bachelor Degree of Education
in English Department.
by:
MAFTUKHATIN NI’MAH
A 320 080 208
SCHOOL OF TEACHER TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2012
i
ii
TESTIMONY
Herewith, the writer testify that in this research paper, there is no
plagiarism of the previous literary work which has been raised to obtain bachelor
degree of a university, nor there are opinions or masterpieces which have been
written or published by other, expect those in which the writing are in the
manuscript and mentioned in the literature review and bibliography.
Hence, later, if it is proven that are some untrue statements in this
testimony, the writer will hold fully responsible.
Surakarta, July 2012
The Writer,
MAFTUKHATIN NI’MAH
iv
MOTTO
“Education is the best equipment for the old days.”(Aristoteles)
“Never put off the chance for a second chance is a lucky.” (the
writer)
“Whatever is worth doing at all, is worth doing well.” (Lord
Chesterfield)
"Something may come to those who are willing to wait, but only
obtained by those who are eager to pursue it" (Abraham Lincoln)
"If you have the courage to start, you also have the courage to
succeed." (David Viscoot)
"Doing what is useful, say a courage and contemplate the beauty of
the things that need to be done in one's life" (TS Eliot)
v
DEDICATION
Alhamdulillah…
This research paper is dedicated to:
Allah SWT. Thanks for always protecting and guiding me.
My beloved Father and Mother. I love you so much, thanks for your love,
prayer, care and support.
My beloved Sisters. Thanks for the prayer and support.
My beloved brother. Thanks for the prayer and support.
My big family. Thanks for the prayer and support.
My all best friends, who always accompany me in happiness, sadness, and
all condition in my life. I love you guys.
vi
ACKNOWLEDGMENT
Assalamu’alaikum Wr. Wb
Alhamdulillahirrobil a’lamin, praise and gratitude to the most gracious and
most merciful, Allah SWT for blessing the writer in performing this research
paper, under the title of “SEX AND AGGRESSION IN PETER FLINTH’S
ARN: THE KNIGHT TEMPLAR MOVIE (2007): A PSYCHOANALYTIC
CRITICISM”. This is the one of the requirements for getting the bachelor degree
in English Department.
The writer realizes that this research paper would never be possible
without other people`s help, so that the writer would like to express her gratitude
and appreciation to:
1. Drs. M. Thoyibi, M.S, as the first research consultant who has guided and
advised her during the arrangement of research paper from the beginning until
the end.
2. Titis Setyabudi, S.S,M.Hum, as the Head of English Department and the
second consultant, thanks for being a good consultant and giving the writer
suggestion in correcting this research paper.
3. Aryati Prasetyarini, S.Pd, as the academic consultant.
4. Drs. H. Sofyan Anif. M. Si., as the Dean of the School of Teacher Training
and Education of Muhammadiyah University of Surakarta.
vii
5. All of the lecturers in English Department who have given their knowledge
and experiences.
6. Her great lovely parents, Mom (Ibu Qoyyimah) and Dad (Bapak Tafsir
Damiri), for the love, patience, prayer, advice, trust, and for the best support
for her,
7. Her Beloved Sisters: Anita Aulia Rahmah and Azkiyah Fitriana, who
always give support, prayer and happiness.
8. Her Beloved Brother: Aris Setiawan, who always give support and prayer.
9. Her friends in boarding house Wowox, Idut, Gendhut, Marucil, Eva, Lek Nur, Narni
and all the members of Wulandari, especially her roommate Retno.
10. Her best friends, Retno, Rini, Citra, Ikha, Sharaz, Ayu, Handul, Azizah,
Yuni, Kelik, Rose, Shelfi, Hepi, Andam, Rutha curut, Picka, Yani, and
Arqi for this warm and meaningful friendship. This friendship needs no
reason to make the unity inside,
11. English Department especially F Community and EDSO 2008 that cannot
be mentioned one by one.
12. Her best friends “Fighters” Elly and Saabique. For the support and the
prayer
13. Her best friends in Capoeira SEN, Duex, Mukliz, Ali, Machruz, Sarah,
Veni, Arcivid, Elida, Diana, Beta, Romi, Wulan, Nana. For spirits,
prayer, and make her life become colorful.
14. All the parties that cannot be mentioned one by one.
viii
The writer realizes that this research paper still has a lot of weaknesses.
Therefore, the writer would thank to the readers if they can give the suggestion
and criticisms to make the research paper better.
Wassalamu’alaikum Wr. Wb
Surakarta, August 2012.
Maftukhatin Ni’mah
ix
TABLE OF CONTENT
TITLE ............................................................................................................
i
APPROVAL ..................................................................................................
ii
ACCEPTANCE .............................................................................................
iii
TESTIMONY ................................................................................................
iv
MOTTO .........................................................................................................
v
DEDICATION ...............................................................................................
vi
ACKNOWLEDGMENT ..............................................................................
vii
TABLE OF CONTENT .................................................................................
x
LIST OF FIGURE ........................................................................................
xiv
ABSTRACT…………………………………………………………………
xvii
CHAPTER I:
INTRODUCTION
A. Background of the Study .............................................
1
B. Literature Review ........................................................
7
C. Problem Statement .......................................................
8
D. Limitation of the Study ................................................
8
E. Objective of the Study .................................................
8
F. Benefit of the Study .....................................................
9
G. Research Method .........................................................
9
H. Paper Organization ......................................................
11
x
CHAPTER II:
UNDERLYING THEORY
A. Psychoanalytic Theory ................................................
12
1. Notion of Psychoanalysis .......................................
12
2. Structure of Personality ..........................................
13
a. Id ......................................................................
14
b. Ego ...................................................................
15
c. Superego...........................................................
16
Sex and Aggression ...............................................
18
B. The Structural Elements of Movie ..............................
19
a. Narrative Elements ................................................
19
b. Technical Elements ...............................................
21
C. Theoretical Application ..............................................
28
3.
CHAPTER III:
STRUCTURAL ANALYSIS
A. Structural Analysis of Arn: The Knight Templar Movie .
9
1. Narrative Elements ....................................................
29
a. Character and Characterization ...........................
29
1) Major Character ..............................................
29
2) Minor Character ..............................................
33
b. Plot ......................................................................
43
1) Beginning........................................................
43
2) Middle.............................................................
44
3) Ending .............................................................
44
c. Setting .................................................................
45
xi
2.
1) Setting of Time ...............................................
46
2) Setting of Place ...............................................
46
d. Point of View.........................................................
47
1) POV in Terms of Camera Shot .....................
47
2) POV in Terms of Storyteller .........................
48
e. Theme ....................................................................
48
Technical Elements.....................................................
49
a. Mise en Scene ........................................................
49
1) Costume and Make-Up ..............................
49
2) Lighting .....................................................
52
a) Quality ...........................................
52
b) Direction ........................................
53
c) Source ............................................
54
d) Color ..............................................
55
e) Intensity .........................................
55
3) Set Dressing and Props ..............................
55
4) Casting and Acting ....................................
59
b. Cinematography ....................................................
61
1) Photographical Qualities of Shot ..............
61
2) Framing of Shot ........................................
62
3) Duration of Shot .......................................
65
c. Sound .....................................................................
65
1) Spoken words ..........................................
65
xii
2) Sound Effect ............................................
65
3) Music .......................................................
65
4) Silence .....................................................
66
d. Editing ...................................................................
66
1) Axis of Action .........................................
67
2) Establishing Shot.....................................
67
3) Reestablishing Shot .................................
68
4) Reverse Shot ...........................................
68
5) Cross Cutting...........................................
69
6) Match on Action ......................................
69
B. Discussion ........................................................................
80
CHAPTER IV:
PSYCHOANALTIC ANALYSIS
A. Analysis of Arn’s Personality ......................................
73
B. Sex and Agression of Arn Magnuson ..........................
78
C. Discussion .....................................................................
80
CHAPTER V: CONCLUSION AND SUGGESTION
D. Conclusion ....................................................................
82
E. Suggestion ....................................................................
83
BIBLIOGRAPHY
APPENDIX
xiii
TABLE OF FIGURES
Figure 1 : Arn Magnusson’s Profile ............................................................
30
Figure 2 : Cecillia Algotsdotter’s Profile ....................................................
32
Figure 3 : Birger Brosa’s Profile .................................................................
33
Figure 4 : Father Henry’s Profile ................................................................
34
Figure 5 : Brother Guilbert’s Profile ...........................................................
35
Figure 6 : Bishop’s Profile ..........................................................................
36
Figure 7 : Mother Rikissa’s Profile .............................................................
37
Figure 8 : Edmund Ulvbane’s Profile .........................................................
38
Figure 9 : Katharina’s Profile......................................................................
39
Figure 10 : Saladin’s Profile .......................................................................
39
Figure 11 : Ebbe Suneson’s Profile.............................................................
41
Figure 12 : Magnus’ Profile ........................................................................
42
Figure 13 : Holy Land .................................................................................
46
Figure 14 : Setting of Place .........................................................................
46
Fidgure 15 : Dessert ....................................................................................
47
Figure 16 : Abbey .......................................................................................
47
Figure 17 : Arn’s POV ................................................................................
48
Figure 18 : Arn’s POV ................................................................................
48
Figure 19 : War Uniform.............................................................................
49
Figure 20 : Nun Uniform ............................................................................
49
Figure 21 : Cecillia’s Dress Daily ...............................................................
50
Figure 22 : Cecillia’s Party Dress ...............................................................
50
Figure 23 : When Arn was young ...............................................................
50
Figure 24 : When Arn becomes old ............................................................
50
Figure 25 : Cecillia is angry ........................................................................
50
xiv
Figure 26 : Arn is dying ..............................................................................
50
Figure 27 : Cecillia is happy .......................................................................
50
Figure 28 : Arn is angry ..............................................................................
50
Figure 29 : Arn is tired ................................................................................
51
Figure 30 : Armand was killed in the battle ................................................
51
Figure 31 : Richard’s face looks cruel ........................................................
51
Figure 32 : Arn’s face when he was confront of mortality .........................
51
Figure 33 : Cecillia’s condition when she was in prison ............................
51
Figure 34 : Cecillia is happy .......................................................................
52
Figure 35 : Cecillia is sad ............................................................................
52
Figure 36 : Hard Intensity ...........................................................................
52
Figure 37 : Soft Intensity ............................................................................
53
Figure 38 : Side Lighting ............................................................................
53
Figure 39 : Frontal Lighting ........................................................................
53
Figure 40 : Back Lighting ...........................................................................
54
Figure 41 : Under Lighting .........................................................................
54
Figure 42 : Top Lighting .............................................................................
54
Figure 43 : Source from fire ........................................................................
54
Figure 44 : Source from sun ........................................................................
54
Figure 45 : Blue color .................................................................................
55
Figure 46 : Hard Intensity ...........................................................................
55
Figure 47 : Soft Intensity ............................................................................
55
Figure 48 : Monasteries Properties .............................................................
56
Figure 49 : Monasteries Properties .............................................................
56
Figure 50 : Monasteries Properties .............................................................
56
Figure 51 : Monasteries Properties .............................................................
57
Figure 52 : Battle Properties .......................................................................
57
xv
Figure 53 : Battle Properties .......................................................................
57
Figure 54 : Battle Properties .......................................................................
58
Figure 55 : Battle Properties .......................................................................
58
Figure 56 : Battle Properties .......................................................................
58
Figure 57 : Saladin’s House ........................................................................
59
Figure 58 : Saladin’s House ........................................................................
59
Figure 59 : Straight Angle ...........................................................................
62
Figure 60 : High Angle ...............................................................................
62
Figure 61 : Low Angle ................................................................................
63
Figure 62 : Extreme Long Shot ...................................................................
63
Figure 63 : Extreme Shot Long Shot ..........................................................
63
Figure 64 : Long Shot .................................................................................
63
Figure 65 : Medium Shot ............................................................................
63
Figure 66 : Close-Up ...................................................................................
64
Figure 67 : Medium Close-Up ....................................................................
64
Figure 68 : Extreme Close-Up ....................................................................
64
Figure 69 : Axis in Action...........................................................................
67
Figure 70 : Establishing Shot……………………………………………...
67
Figure 71 : Establishing Shot ......................................................................
67
Figure 72 : Reestablishing Shot ..................................................................
67
Figure 73 : Reestablishing Shot ..................................................................
68
Figure 74 : Reverse Shot .............................................................................
68
Figure 75 : Reverse Shot .............................................................................
69
Figure 76 : Cross Cutting ............................................................................
69
Figure 77 : Cross Cutting ............................................................................
69
Figure 78 : Match on Action .......................................................................
69
Figure 79 ; Match on Action .......................................................................
69
xvi
Figure 80 : Match on Action .......................................................................
70
Figure 81 : Match on Action .......................................................................
70
xvii
ABSTRACT
MAFTUKHATIN NI’MAH. A 320 080 208. SEX AND AGGRESSION IN
PETER FLINTH’S ARN: THE KNIGHT TEMPLAR MOVIE (2007): A
PSYCHOANALYTIC
CRITICISM.
RESEARCH
PAPER.
MUHAMMADIYAH UNIVERSITY OF SURAKARTA. 2012.
The major problem in this study is to show how sex and aggression in
Peter Flinth’s Arn: The Knight Templar movie by using psychoanalytic criticism.
It is conducted by analyzing the movie based on its structural elements and based
on psychoanalytic criticism.
This research is qualitative research. Types of data of the study are text
and image taken from two data sources: primary and secondary. The primary data
source is Arn: The Knight Templar directed by Peter Flinth released in 2007.
While the secondary data sources are taken from the books of literary, internet,
and other relevant information. Both data are collected through library research
and analyzed by descriptive analysis.
Using a psychoanalytic criticism as the theoretical framework, the research
shows the following findings. First, based on the structural analysis, it is evident
that in this movie Flinth deliver a message that there is always a chance of
redemption for the sinner. Second, based on the psychoanalytic analysis, it is
evident that in this movie, Flinth wants to convey the psychological phenomenon
indicating that personality tends to lead to sex and aggression.
Keywords: Sex and Aggression, Arn: The Knight Templar (2007), Psychoanalytic
Criticism.
xviii
ARN: THE KNIGHT TEMPLAR MOVIE (2007):
A PSYCHOANALYTIC CRITICISM
RESEACH PAPER
Submitted as a Partial Fulfillment of the Requirement
for Getting Bachelor Degree of Education
in English Department.
by:
MAFTUKHATIN NI’MAH
A 320 080 208
SCHOOL OF TEACHER TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2012
i
ii
TESTIMONY
Herewith, the writer testify that in this research paper, there is no
plagiarism of the previous literary work which has been raised to obtain bachelor
degree of a university, nor there are opinions or masterpieces which have been
written or published by other, expect those in which the writing are in the
manuscript and mentioned in the literature review and bibliography.
Hence, later, if it is proven that are some untrue statements in this
testimony, the writer will hold fully responsible.
Surakarta, July 2012
The Writer,
MAFTUKHATIN NI’MAH
iv
MOTTO
“Education is the best equipment for the old days.”(Aristoteles)
“Never put off the chance for a second chance is a lucky.” (the
writer)
“Whatever is worth doing at all, is worth doing well.” (Lord
Chesterfield)
"Something may come to those who are willing to wait, but only
obtained by those who are eager to pursue it" (Abraham Lincoln)
"If you have the courage to start, you also have the courage to
succeed." (David Viscoot)
"Doing what is useful, say a courage and contemplate the beauty of
the things that need to be done in one's life" (TS Eliot)
v
DEDICATION
Alhamdulillah…
This research paper is dedicated to:
Allah SWT. Thanks for always protecting and guiding me.
My beloved Father and Mother. I love you so much, thanks for your love,
prayer, care and support.
My beloved Sisters. Thanks for the prayer and support.
My beloved brother. Thanks for the prayer and support.
My big family. Thanks for the prayer and support.
My all best friends, who always accompany me in happiness, sadness, and
all condition in my life. I love you guys.
vi
ACKNOWLEDGMENT
Assalamu’alaikum Wr. Wb
Alhamdulillahirrobil a’lamin, praise and gratitude to the most gracious and
most merciful, Allah SWT for blessing the writer in performing this research
paper, under the title of “SEX AND AGGRESSION IN PETER FLINTH’S
ARN: THE KNIGHT TEMPLAR MOVIE (2007): A PSYCHOANALYTIC
CRITICISM”. This is the one of the requirements for getting the bachelor degree
in English Department.
The writer realizes that this research paper would never be possible
without other people`s help, so that the writer would like to express her gratitude
and appreciation to:
1. Drs. M. Thoyibi, M.S, as the first research consultant who has guided and
advised her during the arrangement of research paper from the beginning until
the end.
2. Titis Setyabudi, S.S,M.Hum, as the Head of English Department and the
second consultant, thanks for being a good consultant and giving the writer
suggestion in correcting this research paper.
3. Aryati Prasetyarini, S.Pd, as the academic consultant.
4. Drs. H. Sofyan Anif. M. Si., as the Dean of the School of Teacher Training
and Education of Muhammadiyah University of Surakarta.
vii
5. All of the lecturers in English Department who have given their knowledge
and experiences.
6. Her great lovely parents, Mom (Ibu Qoyyimah) and Dad (Bapak Tafsir
Damiri), for the love, patience, prayer, advice, trust, and for the best support
for her,
7. Her Beloved Sisters: Anita Aulia Rahmah and Azkiyah Fitriana, who
always give support, prayer and happiness.
8. Her Beloved Brother: Aris Setiawan, who always give support and prayer.
9. Her friends in boarding house Wowox, Idut, Gendhut, Marucil, Eva, Lek Nur, Narni
and all the members of Wulandari, especially her roommate Retno.
10. Her best friends, Retno, Rini, Citra, Ikha, Sharaz, Ayu, Handul, Azizah,
Yuni, Kelik, Rose, Shelfi, Hepi, Andam, Rutha curut, Picka, Yani, and
Arqi for this warm and meaningful friendship. This friendship needs no
reason to make the unity inside,
11. English Department especially F Community and EDSO 2008 that cannot
be mentioned one by one.
12. Her best friends “Fighters” Elly and Saabique. For the support and the
prayer
13. Her best friends in Capoeira SEN, Duex, Mukliz, Ali, Machruz, Sarah,
Veni, Arcivid, Elida, Diana, Beta, Romi, Wulan, Nana. For spirits,
prayer, and make her life become colorful.
14. All the parties that cannot be mentioned one by one.
viii
The writer realizes that this research paper still has a lot of weaknesses.
Therefore, the writer would thank to the readers if they can give the suggestion
and criticisms to make the research paper better.
Wassalamu’alaikum Wr. Wb
Surakarta, August 2012.
Maftukhatin Ni’mah
ix
TABLE OF CONTENT
TITLE ............................................................................................................
i
APPROVAL ..................................................................................................
ii
ACCEPTANCE .............................................................................................
iii
TESTIMONY ................................................................................................
iv
MOTTO .........................................................................................................
v
DEDICATION ...............................................................................................
vi
ACKNOWLEDGMENT ..............................................................................
vii
TABLE OF CONTENT .................................................................................
x
LIST OF FIGURE ........................................................................................
xiv
ABSTRACT…………………………………………………………………
xvii
CHAPTER I:
INTRODUCTION
A. Background of the Study .............................................
1
B. Literature Review ........................................................
7
C. Problem Statement .......................................................
8
D. Limitation of the Study ................................................
8
E. Objective of the Study .................................................
8
F. Benefit of the Study .....................................................
9
G. Research Method .........................................................
9
H. Paper Organization ......................................................
11
x
CHAPTER II:
UNDERLYING THEORY
A. Psychoanalytic Theory ................................................
12
1. Notion of Psychoanalysis .......................................
12
2. Structure of Personality ..........................................
13
a. Id ......................................................................
14
b. Ego ...................................................................
15
c. Superego...........................................................
16
Sex and Aggression ...............................................
18
B. The Structural Elements of Movie ..............................
19
a. Narrative Elements ................................................
19
b. Technical Elements ...............................................
21
C. Theoretical Application ..............................................
28
3.
CHAPTER III:
STRUCTURAL ANALYSIS
A. Structural Analysis of Arn: The Knight Templar Movie .
9
1. Narrative Elements ....................................................
29
a. Character and Characterization ...........................
29
1) Major Character ..............................................
29
2) Minor Character ..............................................
33
b. Plot ......................................................................
43
1) Beginning........................................................
43
2) Middle.............................................................
44
3) Ending .............................................................
44
c. Setting .................................................................
45
xi
2.
1) Setting of Time ...............................................
46
2) Setting of Place ...............................................
46
d. Point of View.........................................................
47
1) POV in Terms of Camera Shot .....................
47
2) POV in Terms of Storyteller .........................
48
e. Theme ....................................................................
48
Technical Elements.....................................................
49
a. Mise en Scene ........................................................
49
1) Costume and Make-Up ..............................
49
2) Lighting .....................................................
52
a) Quality ...........................................
52
b) Direction ........................................
53
c) Source ............................................
54
d) Color ..............................................
55
e) Intensity .........................................
55
3) Set Dressing and Props ..............................
55
4) Casting and Acting ....................................
59
b. Cinematography ....................................................
61
1) Photographical Qualities of Shot ..............
61
2) Framing of Shot ........................................
62
3) Duration of Shot .......................................
65
c. Sound .....................................................................
65
1) Spoken words ..........................................
65
xii
2) Sound Effect ............................................
65
3) Music .......................................................
65
4) Silence .....................................................
66
d. Editing ...................................................................
66
1) Axis of Action .........................................
67
2) Establishing Shot.....................................
67
3) Reestablishing Shot .................................
68
4) Reverse Shot ...........................................
68
5) Cross Cutting...........................................
69
6) Match on Action ......................................
69
B. Discussion ........................................................................
80
CHAPTER IV:
PSYCHOANALTIC ANALYSIS
A. Analysis of Arn’s Personality ......................................
73
B. Sex and Agression of Arn Magnuson ..........................
78
C. Discussion .....................................................................
80
CHAPTER V: CONCLUSION AND SUGGESTION
D. Conclusion ....................................................................
82
E. Suggestion ....................................................................
83
BIBLIOGRAPHY
APPENDIX
xiii
TABLE OF FIGURES
Figure 1 : Arn Magnusson’s Profile ............................................................
30
Figure 2 : Cecillia Algotsdotter’s Profile ....................................................
32
Figure 3 : Birger Brosa’s Profile .................................................................
33
Figure 4 : Father Henry’s Profile ................................................................
34
Figure 5 : Brother Guilbert’s Profile ...........................................................
35
Figure 6 : Bishop’s Profile ..........................................................................
36
Figure 7 : Mother Rikissa’s Profile .............................................................
37
Figure 8 : Edmund Ulvbane’s Profile .........................................................
38
Figure 9 : Katharina’s Profile......................................................................
39
Figure 10 : Saladin’s Profile .......................................................................
39
Figure 11 : Ebbe Suneson’s Profile.............................................................
41
Figure 12 : Magnus’ Profile ........................................................................
42
Figure 13 : Holy Land .................................................................................
46
Figure 14 : Setting of Place .........................................................................
46
Fidgure 15 : Dessert ....................................................................................
47
Figure 16 : Abbey .......................................................................................
47
Figure 17 : Arn’s POV ................................................................................
48
Figure 18 : Arn’s POV ................................................................................
48
Figure 19 : War Uniform.............................................................................
49
Figure 20 : Nun Uniform ............................................................................
49
Figure 21 : Cecillia’s Dress Daily ...............................................................
50
Figure 22 : Cecillia’s Party Dress ...............................................................
50
Figure 23 : When Arn was young ...............................................................
50
Figure 24 : When Arn becomes old ............................................................
50
Figure 25 : Cecillia is angry ........................................................................
50
xiv
Figure 26 : Arn is dying ..............................................................................
50
Figure 27 : Cecillia is happy .......................................................................
50
Figure 28 : Arn is angry ..............................................................................
50
Figure 29 : Arn is tired ................................................................................
51
Figure 30 : Armand was killed in the battle ................................................
51
Figure 31 : Richard’s face looks cruel ........................................................
51
Figure 32 : Arn’s face when he was confront of mortality .........................
51
Figure 33 : Cecillia’s condition when she was in prison ............................
51
Figure 34 : Cecillia is happy .......................................................................
52
Figure 35 : Cecillia is sad ............................................................................
52
Figure 36 : Hard Intensity ...........................................................................
52
Figure 37 : Soft Intensity ............................................................................
53
Figure 38 : Side Lighting ............................................................................
53
Figure 39 : Frontal Lighting ........................................................................
53
Figure 40 : Back Lighting ...........................................................................
54
Figure 41 : Under Lighting .........................................................................
54
Figure 42 : Top Lighting .............................................................................
54
Figure 43 : Source from fire ........................................................................
54
Figure 44 : Source from sun ........................................................................
54
Figure 45 : Blue color .................................................................................
55
Figure 46 : Hard Intensity ...........................................................................
55
Figure 47 : Soft Intensity ............................................................................
55
Figure 48 : Monasteries Properties .............................................................
56
Figure 49 : Monasteries Properties .............................................................
56
Figure 50 : Monasteries Properties .............................................................
56
Figure 51 : Monasteries Properties .............................................................
57
Figure 52 : Battle Properties .......................................................................
57
xv
Figure 53 : Battle Properties .......................................................................
57
Figure 54 : Battle Properties .......................................................................
58
Figure 55 : Battle Properties .......................................................................
58
Figure 56 : Battle Properties .......................................................................
58
Figure 57 : Saladin’s House ........................................................................
59
Figure 58 : Saladin’s House ........................................................................
59
Figure 59 : Straight Angle ...........................................................................
62
Figure 60 : High Angle ...............................................................................
62
Figure 61 : Low Angle ................................................................................
63
Figure 62 : Extreme Long Shot ...................................................................
63
Figure 63 : Extreme Shot Long Shot ..........................................................
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Figure 64 : Long Shot .................................................................................
63
Figure 65 : Medium Shot ............................................................................
63
Figure 66 : Close-Up ...................................................................................
64
Figure 67 : Medium Close-Up ....................................................................
64
Figure 68 : Extreme Close-Up ....................................................................
64
Figure 69 : Axis in Action...........................................................................
67
Figure 70 : Establishing Shot……………………………………………...
67
Figure 71 : Establishing Shot ......................................................................
67
Figure 72 : Reestablishing Shot ..................................................................
67
Figure 73 : Reestablishing Shot ..................................................................
68
Figure 74 : Reverse Shot .............................................................................
68
Figure 75 : Reverse Shot .............................................................................
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Figure 76 : Cross Cutting ............................................................................
69
Figure 77 : Cross Cutting ............................................................................
69
Figure 78 : Match on Action .......................................................................
69
Figure 79 ; Match on Action .......................................................................
69
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Figure 80 : Match on Action .......................................................................
70
Figure 81 : Match on Action .......................................................................
70
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ABSTRACT
MAFTUKHATIN NI’MAH. A 320 080 208. SEX AND AGGRESSION IN
PETER FLINTH’S ARN: THE KNIGHT TEMPLAR MOVIE (2007): A
PSYCHOANALYTIC
CRITICISM.
RESEARCH
PAPER.
MUHAMMADIYAH UNIVERSITY OF SURAKARTA. 2012.
The major problem in this study is to show how sex and aggression in
Peter Flinth’s Arn: The Knight Templar movie by using psychoanalytic criticism.
It is conducted by analyzing the movie based on its structural elements and based
on psychoanalytic criticism.
This research is qualitative research. Types of data of the study are text
and image taken from two data sources: primary and secondary. The primary data
source is Arn: The Knight Templar directed by Peter Flinth released in 2007.
While the secondary data sources are taken from the books of literary, internet,
and other relevant information. Both data are collected through library research
and analyzed by descriptive analysis.
Using a psychoanalytic criticism as the theoretical framework, the research
shows the following findings. First, based on the structural analysis, it is evident
that in this movie Flinth deliver a message that there is always a chance of
redemption for the sinner. Second, based on the psychoanalytic analysis, it is
evident that in this movie, Flinth wants to convey the psychological phenomenon
indicating that personality tends to lead to sex and aggression.
Keywords: Sex and Aggression, Arn: The Knight Templar (2007), Psychoanalytic
Criticism.
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