GREOTTWA Great Determination To Be Alive Of John Ottway In Joe Carnahan’s The Grey Movie (2012): A Psychoanalytic Approach.
GRE
EAT DETE
ERMINAT
TION TO
O BE ALIV
VE OF JO
OHN
OTTWA
AY IN JOE
E CARNA
AHAN’S THE
T
GREY
Y MOVIE (2012):
A PSY
YCHOAN
NALYTIC APPROA
ACH
RESE
EARCH PAP
PER
Submitted as a Partiall Fulfillmen
nt of the Req
quirements for Getting
g Bachelor
Degreee of Educattion in Engllish Departm
ment
Prroposed by::
Aziz Wira Pradana
A 320 090 097
7
SC
CHOOL OF
F TEACHER
R TRAININ
NG AND ED
DUCATION
N
M
MUHAMM
MADIYAH U
UNIVERSIT
TY OF SUR
RAKARTA
2013
TESTIMONY
I hereby assert that there is no plagiarism in this research paper. There is
no other work that has been submitted to obtain the bachelor degree and as far as I
concerned there is no opinion that has been written or published before, except the
written references which are referred in this paper and mentioned in the
bibliography. If any incorrectness is proved in the future dealing with my
statement above, I will be fully responsible.
Surakarta, February 1st 2013
The writer
Aziz Wira Pradana
iv
MOTTO
“Except those who believe and do good, and enjoin on each
other truth, and enjoin on each other patience.”
(Q.S. Al-‘Asr: 3)
“Fate is very obedient, objective, and loyal to us accordance
with the quality of our efforts.”
(Mario Teguh)
“Life isn't worth living, unless it is lived for someone else.”
(Albert Einstein)
“Sure to the power of Allah SWT. The good people will have
good luck anyway.”
(The Writer)
v
DEDICATION
This research paper is especially dedicated to:
♥ The Greatest Allah SWT
♥ My beloved father in heaven
♥ My beloved mother
♥ My beloved step father
♥ My beloved sister “Ananda Galuh K.P.”
♥ My beloved step brother “Farid Yulian N.F.”
♥ My beloved big family
♥ My beloved friends
vi
ACKNOWLEDGMENT
Assalamu’alaikum wr. wb.
Great thanks to Allah SWT, the most gracious and merciful. His blessings
can never be calculated or measured, so that the writer can finish this research
paper entitled “GREAT DETERMINATION TO BE ALIVE OF JOHN
OTTWAY IN JOE CARNAHAN’S THE GREY MOVIE (2012): A
PSYCHOANALYTIC APPROACH. And also thanks for the great prophet
Muhammad SAW, peace be upon him, who brings the Muslim from the darkness
into the brightness.
The writer realizes that the research paper cannot be finished without
many helps and supports from several people. Thus, the writer would like to
express his earnest gratitude for the following persons:
1.
Drs. Abdillah Nugroho, M.Hum., as the first consultant, who has given his
time to guide, advice, and share much knowledge patiently to the writer until
this research paper finished.
2.
Titis Setyabudi, S.S, M.Hum, as the second consultant, who has given his
time to correct the grammatical structure of the research paper.
3.
Drs. Sofyan Anif, M.Si, as the Dean of School of Teaching Training and
Education Muhammadiyah University of Surakarta.
4.
Titis Setyabudi, S.S, M.Hum, as the chief of English Department
Muhammadiyah University of Surakarta.
vii
5.
All lectures of Muhammadiyah University of Surakarta especially English
Department who has helped and guided the writer in many ways. Also his
deepest thanks for all of their beneficial knowledge that has taught to the
writer.
6.
His beloved parents, (Alm) Bapak Sunaryo and Ibu Kusmiati, thanks for
the love, prayer, support, sacrifices, and strength for his life. He always
remembers and misses his father so much and prays to Allah, in order to He
gives a best place for his father in His side. And for her mother, thanks for all
her endless love. He learns about the enormous efforts to face many
difficulties around the world.
7.
His beloved step father, Bapak Sunardi, thanks for every attentions,
guidance, love, and also his sacrifices. He feels safe and comfort with his
father since his true father was dead.
8.
His lovely young sister, Ananda Galuh Kusuma Putri, thanks for being his
amazing sister; for every support, helps, attention, love, laugh, tears, and
many sacrifices for him. He feels very fortunate for having a sister like her.
9.
His beloved young step brother, Farid Yulian Nur Furqoni, thanks for
being his amazing brother; for every jokes, loves, attentions, and disputes.
10. His beloved grandparent, Sudarso, Waginah, and Marikun, for the sweetest
time that spent with them. He really loves his grandparent, especially for their
love when he was child. He prays to Allah, He always gives health for his
grandparents in every time.
viii
11. His big family in Sragen, Bude Sunarmi, Bude Supami, Pakde Sunarto,
Om Bando, Bulik Narni, for all their support, advice, help, and spirit. All of
those give additional spirit for him.
12. His beloved uncle, Om Heri and Om Gatot, for all support, advice, smiles,
and religious lesson that they have given for him.
13. His beloved second family in Ponorogo Pakde Ari, Pakde Ikus, Bude
Amin, Bude Sri, Bulik lina, Bulik Tari. He really thanks for all the support
and pray.
14. His special girl friend, Mita Permanasari, thanks for love, attention, laugh,
and every sweet moments that have spent together.
15. His best friends in campus, Aan, Karno, Kusno, Dwi, Ahmad, Bagas,
Dyan, Dita, Fariz, Dani, Bekti, Mira, Ririn, Rini, Hawa, for making his
life become more colorful. He thanks for all the support, sharing, spirit, story,
craziness, laugh, jokes, and sweet moments during studying in UMS. He
wishes that they will always be best friends and remembering each other.
16. His “Autumn After Summer Drama’s Team, for the best experiences that
he never experiences before. Thanks for making him to be ”A player” in this
Drama project.
17. His beloved friends in “PPL SMKN 4 Surakarta”, Agung, Eko, Taufik,
Ipan, Pradiyan, Koding, Sodik, Suryo, Aries, Dwi, Jannah, Riana, Linda,
Okti and Ida, for all the sweet moments during conducting the field work in
SMKN 4 Surakarta.
ix
TABLE OF CONTENT
Page
TITLE ............................................................................................................
i
APPROVAL ..................................................................................................
ii
ACCEPTANCE .............................................................................................
iii
TESTIMONY ................................................................................................
iv
MOTTO ..........................................................................................................
v
DEDICATION ................................................................................................
vi
ACKNOWLEDMENT...................................................................................
vii
TABLE OF CONTENT .....................................................................................
xi
LIST OF FIGURE ..............................................................................................
xv
ABSTRACT ................................................................................................... xviii
CHAPTER I :
INTRODUCTION
A. Background of the Study ..............................................
1
B. Literature Review..........................................................
8
C. Problem Statement ........................................................
8
D. Limitation of the Study .................................................
8
E. Objectives of the Study .................................................
8
F. Benefits of the Study .....................................................
9
G. Research Method ..........................................................
9
H. Research Paper Organization ........................................
10
CHAPTER II : UNDERLYING THEORY
A. Notion of Psychoanalysis .............................................
xi
12
B. Structure of Personality ................................................
13
1. Id .............................................................................
14
2. Ego .........................................................................
15
3. Superego ................................................................
16
C. Structural Element of the Movie
1. Narrative Elements..................................................
17
2. Technical Elements .................................................
20
D. Theoretical Application ...............................................
27
CHAPTER III: STRUCTURAL ANALYSIS
A. Narrative Elements of the Movie ..................................
28
1. Character and Characterization ..........................
28
a. Major Character ...........................................
29
b. Minor Character ...........................................
32
2. Setting ...............................................................
42
a. Setting of Place ...........................................
43
b. Setting of Time............................................
47
3. Plot ....................................................................
47
a. Exposition ...................................................
48
b. Complication ...............................................
49
c. Climax ……………………………………
50
d. Resolution ...................................................
52
4. Point of View ....................................................
53
5. Theme.................................................................
54
xii
B. Technical Elements of The Movie ................................
55
1. Mise-en-Scene ....................................................
55
a. Set Dressing and Props ................................
55
b. Costumes and Make-Up ...............................
56
c. Lighting ........................................................
58
2. Cinematography .................................................
62
a. Photographical Qualities of Shot .................
62
b. Framing of Shot ...........................................
64
c. The Duration of Shot....................................
68
3. Sound .................................................................
69
4. Editing ................................................................
71
5. Casting ...............................................................
75
C. Discussion .....................................................................
78
CHAPTER IV: PSYCHOANALYTIC ANALYSIS
CHAPTER V:
A. The Structure of John Ottway’s Personality ...............
85
1.
Id ...........................................................................
85
2.
Ego .........................................................................
86
3.
Superego ...............................................................
91
B. Discussion .....................................................................
93
CONCLUSION AND SUGGESTION
A. Conclusion ....................................................................
96
B. Suggestion .....................................................................
97
C. Pedagogical Implication ................................................
98
xiii
BIBLIOGRAPHY ...............................................................................................
98
APPENDIX ....................................................................................................
100
xiv
LIST OF FIGURE
Figure 1
: John Ottway’s Profile ...............................................................
29
Figure 2
: Diaz’s Profile............................................................................
32
Figure 3
: Talget’s Profile .........................................................................
34
Figure 4
: Hendrick’s Profile ....................................................................
36
Figure 5
: Flannery’s Profile .....................................................................
38
Figure 6
: Burke’s Profile .........................................................................
39
Figure 7
: Hernandez’s Prodile .................................................................
40
Figure 8
: Lewenden’s Profile ..................................................................
41
Figure 9
: Ottway’s Wife Profile ..............................................................
42
Figure 10
: Petroluem Company .................................................................
43
Figure 11
: Petroluem Company .................................................................
43
Figure 12
: The Plane Exterior ....................................................................
44
Figure 13
: The Plane Interior .....................................................................
44
Figure 14
: A Bar in Petroleum Company ..................................................
45
Figure 15
: Alaska Snow fields ...................................................................
45
Figure 16
: Alaska Snow fields ...................................................................
45
Figure 17
: Alaska Forest ............................................................................
46
Figure 18
: Alaska River .............................................................................
46
Figure 19
: Ottway with His Gun................................................................
57
Figure 20
: The survivors wear the thick costumes ....................................
57
Figure 21
: Make-Up in the Bar ..................................................................
58
Figure 22
: Make-Up in the plane crashed ..................................................
58
xv
Figure 23
: Make-Up after killed by the wolves .........................................
58
Figure 24
: Frontal Lighting........................................................................
59
Figure 25
: Side Lighting ............................................................................
60
Figure 26
: Back Lighting ...........................................................................
60
Figure 27
: Under, Top, and Key Lighting .................................................
61
Figure 28
: Fill Lighting..............................................................................
62
Figure 29
: Shooting the Scene in the Day .................................................
63
Figure 30
: Shooting the Scene in the Night ...............................................
63
Figure 31
: Shooting in the night with full of tensions ...............................
63
Figure 32
: Straight on Angle .....................................................................
64
Figure 33
: High Angle ...............................................................................
65
Figure 34
: Low Angle ................................................................................
65
Figure 35
: Extreme Long Shot...................................................................
65
Figure 36
: Long Shot .................................................................................
66
Figure 37
: Medium Long Shot...................................................................
66
Figure 38
: Medium Shot ............................................................................
67
Figure 39
: Medium Close-Up ....................................................................
67
Figure 40
: Close-Up...................................................................................
68
Figure 41
: Extreme Close-Up ....................................................................
68
Figure 42
: Axis of Action 1 .......................................................................
72
Figure 43
: Axis of Action 2 .......................................................................
72
Figure 44
: Establishing Shot 1 ...................................................................
72
Figure 45
: Establishing Shot 2 ...................................................................
72
xvi
Figure 46
: Reverse Shot .............................................................................
73
Figure 47
: Reestablishing Shot 1 ...............................................................
73
Figure 48
: Reestablishing Shot 2 ...............................................................
73
Figure 49
: Match on Action 1 ....................................................................
74
Figure 50
: Match on Action 2 ....................................................................
74
Figure 51
: Cross Cutting 1 .........................................................................
74
Figure 52
: Cross Cutting 2 .........................................................................
74
Figure 53
: Cross Cutting 3 .........................................................................
75
Figure 54
: Cross Cutting 4 .........................................................................
75
xvii
ABSTRACT
AZIZ WIRA PRADANA, A 320 090 097, GREAT DETERMINATION TO
BE ALIVE OF JOHN OTTWAY IN JOE CARNAHAN’S THE GREY
MOVIE (2012): A PSYCHOANALYTIC APPROACH. RESEARCH
PAPER. MUHAMMADIYAH UNIVERSITY OF SURAKARTA. 2013.
The problem of this study is the great determination to be alive in several
dangerous conditions is reflected in Joe Carnahan’s The Grey movie. The
objective of this study is to analyze the movie based on the structural elements
and to analyze the movie based on the psychoanalytic approach.
The type of this research is qualitative research. Type of data of the study is text
and image taken from two data sources: primary and secondary. The primary data
source is The Grey movie directed by Joe Carnahan in 2012. While the secondary
data sources are other materials taken from books, author’s biography, essay,
comments, critics and internet related to the study. Both data are collected by
conducting library research and analyzed by descriptive analysis.
Based on the analysis, the writer portrays some conclusions. First, based on the
structural analysis of each elements, it shows that the character and
characterization, setting, plot, point of view, theme, mise-en scene,
cinematography, sound, casting and editing are supporting each other to produce a
good quality movie. Second, based on the psychoanalytic analysis, the study
shows that the problem faced by the major character is his own psychology
condition to decide the appropriate ways for his life. This movie also shows the
process that involves great determination will produce the amazing result.
Keywords: The great determination to be alive, The Grey, Psychoanalytic
Approach.
xviii
EAT DETE
ERMINAT
TION TO
O BE ALIV
VE OF JO
OHN
OTTWA
AY IN JOE
E CARNA
AHAN’S THE
T
GREY
Y MOVIE (2012):
A PSY
YCHOAN
NALYTIC APPROA
ACH
RESE
EARCH PAP
PER
Submitted as a Partiall Fulfillmen
nt of the Req
quirements for Getting
g Bachelor
Degreee of Educattion in Engllish Departm
ment
Prroposed by::
Aziz Wira Pradana
A 320 090 097
7
SC
CHOOL OF
F TEACHER
R TRAININ
NG AND ED
DUCATION
N
M
MUHAMM
MADIYAH U
UNIVERSIT
TY OF SUR
RAKARTA
2013
TESTIMONY
I hereby assert that there is no plagiarism in this research paper. There is
no other work that has been submitted to obtain the bachelor degree and as far as I
concerned there is no opinion that has been written or published before, except the
written references which are referred in this paper and mentioned in the
bibliography. If any incorrectness is proved in the future dealing with my
statement above, I will be fully responsible.
Surakarta, February 1st 2013
The writer
Aziz Wira Pradana
iv
MOTTO
“Except those who believe and do good, and enjoin on each
other truth, and enjoin on each other patience.”
(Q.S. Al-‘Asr: 3)
“Fate is very obedient, objective, and loyal to us accordance
with the quality of our efforts.”
(Mario Teguh)
“Life isn't worth living, unless it is lived for someone else.”
(Albert Einstein)
“Sure to the power of Allah SWT. The good people will have
good luck anyway.”
(The Writer)
v
DEDICATION
This research paper is especially dedicated to:
♥ The Greatest Allah SWT
♥ My beloved father in heaven
♥ My beloved mother
♥ My beloved step father
♥ My beloved sister “Ananda Galuh K.P.”
♥ My beloved step brother “Farid Yulian N.F.”
♥ My beloved big family
♥ My beloved friends
vi
ACKNOWLEDGMENT
Assalamu’alaikum wr. wb.
Great thanks to Allah SWT, the most gracious and merciful. His blessings
can never be calculated or measured, so that the writer can finish this research
paper entitled “GREAT DETERMINATION TO BE ALIVE OF JOHN
OTTWAY IN JOE CARNAHAN’S THE GREY MOVIE (2012): A
PSYCHOANALYTIC APPROACH. And also thanks for the great prophet
Muhammad SAW, peace be upon him, who brings the Muslim from the darkness
into the brightness.
The writer realizes that the research paper cannot be finished without
many helps and supports from several people. Thus, the writer would like to
express his earnest gratitude for the following persons:
1.
Drs. Abdillah Nugroho, M.Hum., as the first consultant, who has given his
time to guide, advice, and share much knowledge patiently to the writer until
this research paper finished.
2.
Titis Setyabudi, S.S, M.Hum, as the second consultant, who has given his
time to correct the grammatical structure of the research paper.
3.
Drs. Sofyan Anif, M.Si, as the Dean of School of Teaching Training and
Education Muhammadiyah University of Surakarta.
4.
Titis Setyabudi, S.S, M.Hum, as the chief of English Department
Muhammadiyah University of Surakarta.
vii
5.
All lectures of Muhammadiyah University of Surakarta especially English
Department who has helped and guided the writer in many ways. Also his
deepest thanks for all of their beneficial knowledge that has taught to the
writer.
6.
His beloved parents, (Alm) Bapak Sunaryo and Ibu Kusmiati, thanks for
the love, prayer, support, sacrifices, and strength for his life. He always
remembers and misses his father so much and prays to Allah, in order to He
gives a best place for his father in His side. And for her mother, thanks for all
her endless love. He learns about the enormous efforts to face many
difficulties around the world.
7.
His beloved step father, Bapak Sunardi, thanks for every attentions,
guidance, love, and also his sacrifices. He feels safe and comfort with his
father since his true father was dead.
8.
His lovely young sister, Ananda Galuh Kusuma Putri, thanks for being his
amazing sister; for every support, helps, attention, love, laugh, tears, and
many sacrifices for him. He feels very fortunate for having a sister like her.
9.
His beloved young step brother, Farid Yulian Nur Furqoni, thanks for
being his amazing brother; for every jokes, loves, attentions, and disputes.
10. His beloved grandparent, Sudarso, Waginah, and Marikun, for the sweetest
time that spent with them. He really loves his grandparent, especially for their
love when he was child. He prays to Allah, He always gives health for his
grandparents in every time.
viii
11. His big family in Sragen, Bude Sunarmi, Bude Supami, Pakde Sunarto,
Om Bando, Bulik Narni, for all their support, advice, help, and spirit. All of
those give additional spirit for him.
12. His beloved uncle, Om Heri and Om Gatot, for all support, advice, smiles,
and religious lesson that they have given for him.
13. His beloved second family in Ponorogo Pakde Ari, Pakde Ikus, Bude
Amin, Bude Sri, Bulik lina, Bulik Tari. He really thanks for all the support
and pray.
14. His special girl friend, Mita Permanasari, thanks for love, attention, laugh,
and every sweet moments that have spent together.
15. His best friends in campus, Aan, Karno, Kusno, Dwi, Ahmad, Bagas,
Dyan, Dita, Fariz, Dani, Bekti, Mira, Ririn, Rini, Hawa, for making his
life become more colorful. He thanks for all the support, sharing, spirit, story,
craziness, laugh, jokes, and sweet moments during studying in UMS. He
wishes that they will always be best friends and remembering each other.
16. His “Autumn After Summer Drama’s Team, for the best experiences that
he never experiences before. Thanks for making him to be ”A player” in this
Drama project.
17. His beloved friends in “PPL SMKN 4 Surakarta”, Agung, Eko, Taufik,
Ipan, Pradiyan, Koding, Sodik, Suryo, Aries, Dwi, Jannah, Riana, Linda,
Okti and Ida, for all the sweet moments during conducting the field work in
SMKN 4 Surakarta.
ix
TABLE OF CONTENT
Page
TITLE ............................................................................................................
i
APPROVAL ..................................................................................................
ii
ACCEPTANCE .............................................................................................
iii
TESTIMONY ................................................................................................
iv
MOTTO ..........................................................................................................
v
DEDICATION ................................................................................................
vi
ACKNOWLEDMENT...................................................................................
vii
TABLE OF CONTENT .....................................................................................
xi
LIST OF FIGURE ..............................................................................................
xv
ABSTRACT ................................................................................................... xviii
CHAPTER I :
INTRODUCTION
A. Background of the Study ..............................................
1
B. Literature Review..........................................................
8
C. Problem Statement ........................................................
8
D. Limitation of the Study .................................................
8
E. Objectives of the Study .................................................
8
F. Benefits of the Study .....................................................
9
G. Research Method ..........................................................
9
H. Research Paper Organization ........................................
10
CHAPTER II : UNDERLYING THEORY
A. Notion of Psychoanalysis .............................................
xi
12
B. Structure of Personality ................................................
13
1. Id .............................................................................
14
2. Ego .........................................................................
15
3. Superego ................................................................
16
C. Structural Element of the Movie
1. Narrative Elements..................................................
17
2. Technical Elements .................................................
20
D. Theoretical Application ...............................................
27
CHAPTER III: STRUCTURAL ANALYSIS
A. Narrative Elements of the Movie ..................................
28
1. Character and Characterization ..........................
28
a. Major Character ...........................................
29
b. Minor Character ...........................................
32
2. Setting ...............................................................
42
a. Setting of Place ...........................................
43
b. Setting of Time............................................
47
3. Plot ....................................................................
47
a. Exposition ...................................................
48
b. Complication ...............................................
49
c. Climax ……………………………………
50
d. Resolution ...................................................
52
4. Point of View ....................................................
53
5. Theme.................................................................
54
xii
B. Technical Elements of The Movie ................................
55
1. Mise-en-Scene ....................................................
55
a. Set Dressing and Props ................................
55
b. Costumes and Make-Up ...............................
56
c. Lighting ........................................................
58
2. Cinematography .................................................
62
a. Photographical Qualities of Shot .................
62
b. Framing of Shot ...........................................
64
c. The Duration of Shot....................................
68
3. Sound .................................................................
69
4. Editing ................................................................
71
5. Casting ...............................................................
75
C. Discussion .....................................................................
78
CHAPTER IV: PSYCHOANALYTIC ANALYSIS
CHAPTER V:
A. The Structure of John Ottway’s Personality ...............
85
1.
Id ...........................................................................
85
2.
Ego .........................................................................
86
3.
Superego ...............................................................
91
B. Discussion .....................................................................
93
CONCLUSION AND SUGGESTION
A. Conclusion ....................................................................
96
B. Suggestion .....................................................................
97
C. Pedagogical Implication ................................................
98
xiii
BIBLIOGRAPHY ...............................................................................................
98
APPENDIX ....................................................................................................
100
xiv
LIST OF FIGURE
Figure 1
: John Ottway’s Profile ...............................................................
29
Figure 2
: Diaz’s Profile............................................................................
32
Figure 3
: Talget’s Profile .........................................................................
34
Figure 4
: Hendrick’s Profile ....................................................................
36
Figure 5
: Flannery’s Profile .....................................................................
38
Figure 6
: Burke’s Profile .........................................................................
39
Figure 7
: Hernandez’s Prodile .................................................................
40
Figure 8
: Lewenden’s Profile ..................................................................
41
Figure 9
: Ottway’s Wife Profile ..............................................................
42
Figure 10
: Petroluem Company .................................................................
43
Figure 11
: Petroluem Company .................................................................
43
Figure 12
: The Plane Exterior ....................................................................
44
Figure 13
: The Plane Interior .....................................................................
44
Figure 14
: A Bar in Petroleum Company ..................................................
45
Figure 15
: Alaska Snow fields ...................................................................
45
Figure 16
: Alaska Snow fields ...................................................................
45
Figure 17
: Alaska Forest ............................................................................
46
Figure 18
: Alaska River .............................................................................
46
Figure 19
: Ottway with His Gun................................................................
57
Figure 20
: The survivors wear the thick costumes ....................................
57
Figure 21
: Make-Up in the Bar ..................................................................
58
Figure 22
: Make-Up in the plane crashed ..................................................
58
xv
Figure 23
: Make-Up after killed by the wolves .........................................
58
Figure 24
: Frontal Lighting........................................................................
59
Figure 25
: Side Lighting ............................................................................
60
Figure 26
: Back Lighting ...........................................................................
60
Figure 27
: Under, Top, and Key Lighting .................................................
61
Figure 28
: Fill Lighting..............................................................................
62
Figure 29
: Shooting the Scene in the Day .................................................
63
Figure 30
: Shooting the Scene in the Night ...............................................
63
Figure 31
: Shooting in the night with full of tensions ...............................
63
Figure 32
: Straight on Angle .....................................................................
64
Figure 33
: High Angle ...............................................................................
65
Figure 34
: Low Angle ................................................................................
65
Figure 35
: Extreme Long Shot...................................................................
65
Figure 36
: Long Shot .................................................................................
66
Figure 37
: Medium Long Shot...................................................................
66
Figure 38
: Medium Shot ............................................................................
67
Figure 39
: Medium Close-Up ....................................................................
67
Figure 40
: Close-Up...................................................................................
68
Figure 41
: Extreme Close-Up ....................................................................
68
Figure 42
: Axis of Action 1 .......................................................................
72
Figure 43
: Axis of Action 2 .......................................................................
72
Figure 44
: Establishing Shot 1 ...................................................................
72
Figure 45
: Establishing Shot 2 ...................................................................
72
xvi
Figure 46
: Reverse Shot .............................................................................
73
Figure 47
: Reestablishing Shot 1 ...............................................................
73
Figure 48
: Reestablishing Shot 2 ...............................................................
73
Figure 49
: Match on Action 1 ....................................................................
74
Figure 50
: Match on Action 2 ....................................................................
74
Figure 51
: Cross Cutting 1 .........................................................................
74
Figure 52
: Cross Cutting 2 .........................................................................
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Figure 53
: Cross Cutting 3 .........................................................................
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Figure 54
: Cross Cutting 4 .........................................................................
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ABSTRACT
AZIZ WIRA PRADANA, A 320 090 097, GREAT DETERMINATION TO
BE ALIVE OF JOHN OTTWAY IN JOE CARNAHAN’S THE GREY
MOVIE (2012): A PSYCHOANALYTIC APPROACH. RESEARCH
PAPER. MUHAMMADIYAH UNIVERSITY OF SURAKARTA. 2013.
The problem of this study is the great determination to be alive in several
dangerous conditions is reflected in Joe Carnahan’s The Grey movie. The
objective of this study is to analyze the movie based on the structural elements
and to analyze the movie based on the psychoanalytic approach.
The type of this research is qualitative research. Type of data of the study is text
and image taken from two data sources: primary and secondary. The primary data
source is The Grey movie directed by Joe Carnahan in 2012. While the secondary
data sources are other materials taken from books, author’s biography, essay,
comments, critics and internet related to the study. Both data are collected by
conducting library research and analyzed by descriptive analysis.
Based on the analysis, the writer portrays some conclusions. First, based on the
structural analysis of each elements, it shows that the character and
characterization, setting, plot, point of view, theme, mise-en scene,
cinematography, sound, casting and editing are supporting each other to produce a
good quality movie. Second, based on the psychoanalytic analysis, the study
shows that the problem faced by the major character is his own psychology
condition to decide the appropriate ways for his life. This movie also shows the
process that involves great determination will produce the amazing result.
Keywords: The great determination to be alive, The Grey, Psychoanalytic
Approach.
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