FROM ZERO TO HERO IN THE BLIND SIDE MOVIE (2009) From Zero To Hero In The Blind Side Movie (2009) By john Lee Hancock : An Individual Psychological Approach.
FROM ZERO TO HERO IN THE BLIND SIDE MOVIE (2009)
BY JOHN LEE HANCOCK:
AN INDIVIDUAL PSYCHOLOGICAL APPROACH
RESEARCH PAPER
Submitted as a Partial Fulfillment of the Requirements
for Getting Bachelor Degree of Education
in English Department
by
FITRI NURWIYANTI
A 320 080 008
SCHOOL OF TEACHER TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2012
APPROVAL
FROM ZERO TO HERO IN THE BLIND SIDE MOVIE (2009)
BY JOHN LEE HANCOCK:
AN INDIVIDUAL PSYCHOLOGICAL APPROACH
RESEARCH PAPER
by:
FITRI NURWIYANTI
A 320 080 008
Approved to be Examined by the Consultant Team
First Consultant
Second Consultant
Dr. Phil. Dewi Candraningrum, M. Ed.
NIK. 772
Titis Setyabudi, S. S, M. Hum.
NIK. 948
ii
ACCEPTANCE
FROM ZERO TO HERO IN THE BLIND SIDE MOVIE (2009)
BY JOHN LEE HANCOCK:
AN INDIVIDUAL PSYCHOLOGICAL APPROACH
RESEARCH PAPER
Prepared and Arranged by:
FITRI NURWIYANTI
A 320 080 008
Accepted and Approved by the Board of Examiners
School of Teacher Training and Education
Muhammadiyah University of Surakarta
The Board of Examiners:
1.
Dr. Phil Dewi Candraningrum, M.Ed. (
(Chair Person)
)
2.
Titis Setyabudi, S. S, M.Hum.
(Member I)
(
)
3.
Drs. Abdillah Nugroho, M. Hum.
(Member II)
(
)
Approved by
School of Teacher Training and Education
Muhammadiyan University of Surakarta
Dean,
Drs. H. Sofyan Anif, M.Si.
NIK. 547
iii
TESTIMONY
I hereby assert that there is no plagiarism in this research paper. There is
no other works that have been submitted to obtain the bachelor degree and as far
as I am 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
bibliography. If any incorrectness is proved in the future dealing with my
statement above, I will be fully responsible.
Surakarta, 17 February 2012
The Writer
FITRI NURWIYANTI
A 320 080 008
iv
MOTTO
And when My servants ask you concerning Me, then surely I am very
near; I answer the prayer of the suppliant when he calls on Me, so
they should answer My call and believe in Me that they may walk in
the right way.
(QS. AL Baqarah: 186)
Do the things you know and you shall learn the truth you need to
know.
(George Macdonald)
Do what you can, with what you have, where you are.
(Theodore Roosevelt)
Great spirits have always encountered violen to position from
mediocre minds.
(Albert Einstein)
The Great Spirit will defeat something, smile and sincere are the easy
ways to undergo life.
(The Writer)
Be patient to get something that great.
(The Writer)
v
DEDICATION
This research paper is greatly dedicated to:
My Allah S.W.T
My beloved greatest parents “Bapak and Mamak”
My beloved sisters and brothers
My beloved aunts
My beloved uncles
My beloved best friends
vi
ACKNOWLEDGMENT
Assalamu’alaikum Wr. Wb.
Alhamdulillahirobbil’alamin, Praise and Gratitude be only to
Allah S.W.T, the Glorious, the Lord, All mighty, the Merciful, and the
Compassionate who has given bless and opportunity for the writer to accomplish
this research paper entitled From Zero To Hero in The Blind Side Movie (2009)
by John Lee Hancock: An Individual Psychological Approach.
There are many people who have given their contribution to her. Therefore, the
writer would like to express her gratitude and appreciation to:
1.
Drs. Sofyan Anif, M.Si., as the Dean of School of Teacher Training and
Education, Muhammadiyah University of Surakarta.
2.
Titis Setyabudi, S.S.M.Hum, as the head of English Department, who has
given permission to the writer to make this research and as the second
consultant who has improved the writing in order to make this research paper
more interesting to read in correct sentences.
3.
Dr. Phil. Dewi Candraningrum, M.Ed., as the first consultant who has
guided and advised patiently during the arrangement of this research paper.
4.
The Lecturers of English Department, Muhammadiyah University of
Surakarta.
5.
Her beloved parents (Manuri and Suti) who have given unlimited love,
support, care, patience, and blessing to her.
vii
6.
Her beloved sisters and brothers, Ayuk Tri, Mbak Yanti, Mbak Mey,
and Om To, Kang No, Mas Nar, Mas Mari for giving spirit to the daily
life of the writer.
7.
Her sweet niece, Liya and cute nephews Toni, Amin, Dani and Farhan.
They are funny and smart.
8.
Her great family, uncles, aunts (MAS Kasno, Lek War, Buk E/ Surip, Buk
Tiok, Buk Jeboh, Buk Sugi).
9.
Her kindly and lovely friend, Sob Nyami and Mom Rina, who gives spirit
in conducting her daily life, struggle together and humor, also for giving
motivation, who care and help the writer.
10. Her friends, Hikmah and Sali, who give helped to edit grammar with
patient.
11. Her sweet heart, who give smile, spirit, love, and ask to should see the world
as fair and wise and age attitude.
12. Her Boy fans, for retelling, spirit, and magical words to the writer.
13. Her big family in WISMA ISTIQOMAH boarding house, Ibu and Bapak
Al Maksumah and Tasrip, the nice child- Pisang, Siti Qorix, Indah,
Yayashe, Arum, and other friend Say Tri, Putri, Ratna, Yuni and Dini, for
the joke, spirit, aid.
14. The big family of LPM CAMPUS, everything in Campus is so wonderful
start the writer joins in LPM CAMPUS involving older brother and older
sister: Mas Bluq, Mas Cholis, Mas Dul, Mas Ari, Mas Anton and Mbak
Nia, Mbak Yova, Mbak Khusnul, Mbak Monik, Aine, Mina and other
viii
brothers and sisters who cannot be mentioned one by one and Campus
Crews, PU Marno, Mico, Mimi, Watik, Pipin, Kamil, Ikmala, Umi, Wiwik, Nissa, Relis, Varicha,
Deni, endut Nana, endut Suci, Agung, Hari, Dawud, Aan, Puji, Uswatun, Imdat, Iim, Aulia and
all of new members 2012, for the friendship and partner in the great place,
Lpm Campus.
15. Her close friend, Say Tri, she lives in the boarding and knows a writer.
16. All the parties those are unable to be mentioned one by one for all their
support.
The writer realizes that this research paper is far from being perfect.
Therefore, suggestion and criticism are welcomed and accepted. She wishes that
this research paper would be valuable for the readers.
Wassalamu’alaikum Wr. Wb.
Surakarta, 17 February 2012
The Writer
Fitri Nurwiyanti
ix
TABLE OF CONTENT
Page
TITLE ................................................................................................................. i
APPROVAL ........................................................................................................ ii
ACCEPTANCE ................................................................................................... iii
TESTIMONY ...................................................................................................... iv
MOTTO ............................................................................................................... v
DEDICATION ..................................................................................................... vi
ACKNOWLEDGMENT ................................................................................... vii
TABLE OF CONTENT ...................................................................................... ix
ABSTRACT .......................................................................................................xviii
CHAPTER I
INTRODUCTION
A. Background of the Study...................................................... 1
B. Literature Review ................................................................. 9
C. Problem Statement ............................................................... 9
D. Limitation of the Study ........................................................ 10
E. Objective of the Study.......................................................... 10
F. Benefit of the Study ............................................................. 10
G. Research Method.................................................................. 11
H. Research Paper Organization ............................................... 12
CHAPTER II
UNDERLYING THEORY
A. Notion of Individual Psychology ......................................... 13
B. Basic Concept of Individual Psychology ............................. 14
x
1. Inferiority Feeling and Compensation .......................... 14
2. Fictional Finalism ......................................................... 15
3. Striving for Superiority ................................................. 16
4. Social Interest ............................................................... 18
5. Style of Life .................................................................. 19
6. Creative Self ................................................................. 21
C. Structural Element of the Movie .......................................... 22
1. Narrative Elements ....................................................... 22
a. Characters and Characterization............................... 22
b. Setting....................................................................... 23
c. Plot ........................................................................... 24
d. Point of View ........................................................... 25
e. Style.......................................................................... 26
f. Theme ....................................................................... 27
2. Technical Elements ....................................................... 27
a. Mise-en-Scene .......................................................... 27
b. Cinematography ....................................................... 29
c. Casting...................................................................... 32
d. Editing ...................................................................... 32
e. Sound........................................................................ 34
D. Theoretical Application........................................................ 34
CHAPTER III STRUCTURAL ANALYSIS OF THE MOVIE
A. Structural Element of the Movie .......................................... 36
xi
1. Narrative Elements of the Movie .................................. 36
a. Characters and Characterization............................... 36
b. Setting....................................................................... 63
c. Plot ........................................................................... 71
d. Point of View ........................................................... 77
e. Style.......................................................................... 78
f. Theme ....................................................................... 82
2. Technical Elements of the Movie ................................. 83
a. Mise-en-Scene ......................................................... 83
b. Cinematography ...................................................... 93
c. Casting .................................................................... 98
d. Editing ................................................................... 106
e. Sound .................................................................... 110
B. Discussion .......................................................................... 111
CHAPTER IV INDIVIDUAL PSYCHOLOGICAL ANALYSIS
A. Individual Psychological Analysis ..................................... 114
1. Inferiority Feeling and Compensation ........................ 114
2. Fictional Finalism ....................................................... 117
3. Striving for Superiority ............................................... 119
4. Social Interest.............................................................. 123
5. Style of Life ................................................................ 125
6. Creative Self................................................................ 128
B. Discussion .......................................................................... 129
xii
CHAPTER V
CONCLUSION AND SUGGESTION
A. Conclusion ......................................................................... 134
B. Suggestion .......................................................................... 136
BIBLIOGRAPHY
VIRTUAL REFERENCE
APPENDIX
xiii
LIST OF PICTURE
Figure 1. Michael’s Face ..................................................................................
38
Figure 2. Michael’s Posture .............................................................................
38
Figure 3. Leigh’s Face......................................................................................
40
Figure 4. Leigh’s Posture ................................................................................
40
Figure 5. Sean Tuohy’s Face ..........................................................................
43
Figure 6. Sean Tuohy’s Posture .......................................................................
43
Figure 7. S.J Tuohy’s Face ...............................................................................
45
Figure 8. S.J Tuohy’s Posture ..........................................................................
45
Picture 9. Collins’s Face ..................................................................................
47
Figure 10. Colins’s Postur ...............................................................................
47
Figure 11. Bert’s Face ...................................................................................
48
Figure 12. Bert’s Posture .................................................................................
48
Figure 13. Miss Sue’s Face ..............................................................................
50
Figure 14. Denise Oher’s Face .........................................................................
51
Figure 15. Marcus’s Face ................................................................................
52
Figure 16. Bobby’s Face ................................................................................
53
Figure 17. Bobby’s Posture ..............................................................................
53
Figure 18. Beth’s Face .....................................................................................
53
Figure 19. Elaine’s Face ...................................................................................
54
Figure 20. Sherry’s Face ..................................................................................
54
Figure 21. Granger’s Face ...............................................................................
55
xiv
Figure 22 Granger’s Posture ............................................................................
55
Figure 23. Tony’s Face ....................................................................................
57
Figure 24. Mrs. Boswell’s Face .......................................................................
58
Figure 25. David’s Posture ...............................................................................
59
Figure 26. Principal’s Face ..............................................................................
59
Figure 27. History Teacher’s Face ...................................................................
60
Figure 28. Mrs. Smirh’s Face ..........................................................................
61
Figure 29. Literature Teacher’s Face ...............................................................
61
Figure 30. Alton’s Face ....................................................................................
62
Figure 31. Gate Briarcrest Cristian School ......................................................
64
Figure 32. Michael’s Class Room ....................................................................
64
Figure 33. Sean Touhy’s Yard .........................................................................
64
Figure 34. Sean Tuohy Family’s eating room ..................................................
64
Figure 35. Sean Tuohy Family’s room ............................................................
65
Figure 36. Sean Tuohy Family’s Yard ............................................................
65
Figure 37. Football Fill ....................................................................................
66
Figure 38. Football Fill ....................................................................................
66
Figure 39. Restaurant .......................................................................................
66
Figure 40. Restaurant .......................................................................................
66
Figure 41. Interview Room ..............................................................................
67
Figure 42. Interview Room ..............................................................................
67
Figure 43. Michael On the Street .....................................................................
68
Figure 44. Book Store ......................................................................................
69
xv
Figure 45. Michael’s goes to University of Mississippi ..................................
70
Figure 46. Yard Hurt Village ...........................................................................
70
Figure 47. Dee Dee House in Hurt Village ......................................................
70
Figure 48. Michael’s Costume .........................................................................
84
Figure 49. Leigh’s Costume .............................................................................
84
Figure 50. Sean Tuohy’s Costume ..................................................................
84
Figure 51. Leigh and her friend’s Costume .....................................................
84
Figure 52. Dee Dee and Leigh Costume ..........................................................
84
Figure 53. Young Man’s Hurt Village .............................................................
84
Figure 54. Football Uniform ............................................................................
84
Figure 55. Cheerleader Uniform ......................................................................
84
Figure 56. Academic Gown .............................................................................
85
Figure 57. Restaurant Uniform ........................................................................
85
Figure 58. Michael Homeless ..........................................................................
86
Figure 59. After Michael Adoption Sean .........................................................
86
Figure 60. Collins’s Make-up ..........................................................................
86
Figure 61. Elaine’s Make-up ............................................................................
86
Figure 62. Dee Dee’s Make-up ........................................................................
86
Figure 63. Sherry’s Make-up ...........................................................................
86
Figure 64. Hard Lighting..................................................................................
88
Figure 65. Soft Lighting ...................................................................................
88
Figure 66. Frontal Lighting ..............................................................................
89
Figure 67. Side Lighting ..................................................................................
89
xvi
Figure 68. Back Lighting .................................................................................
89
Figure 69. Top Lighting ...................................................................................
89
Figure 70. Nature Color ...................................................................................
90
Figure 71. Nature Color ...................................................................................
90
Figure 72. Dark Color .....................................................................................
90
Figure 73. Dark Color ......................................................................................
90
Figure 74. Brown Color ...................................................................................
90
Figure 75. Brown Color ...................................................................................
90
Figure 76. The Key Lighting............................................................................
91
Figure 77. The Fill Lighting ............................................................................
91
Figure 78. Michael’s Sad ................................................................................
92
Figure 79. Alton’s Face Tempt ........................................................................
93
Figure 80. Leigh’s Panic ..................................................................................
93
Figure 81. Dee Dee’s Break Loose ..................................................................
93
Figure 82. The Photographic Qualities of the Short ........................................
94
Figure 83. The Photographic Qualities of the Short ........................................
94
Figure 84. The Photographic Qualities of the Short ........................................
95
Figure 85. Straight on Angle ............................................................................
96
Figure 86. High Angle ...................................................................................
96
Figure 87. High Angle .....................................................................................
96
Figure 88 Low Angle .......................................................................................
96
Figure 89. Extreme Long Shot ........................................................................
97
Figure 90. Long Shot .......................................................................................
97
xvii
Figure 91 Medium Long Shot ..........................................................................
97
Figure 92. Medium Shot ..................................................................................
97
Figure 93. Medium Close-Up ..........................................................................
97
Figure 94. Close-Up .........................................................................................
97
Figure 95. Extreme Close Up ...........................................................................
97
Figure 96. Extreme Close Up ...........................................................................
97
Figure 97. Axis of Action ................................................................................
107
Figure 98. Establishing Shot ............................................................................
107
Figure 99. Reverse Shot ...................................................................................
108
Figure 100. Reestablishing Shot ......................................................................
108
Figure 101. Match on Action ...........................................................................
109
Figure 102. Match on Action ...........................................................................
109
Figure 103. Match on Action ...........................................................................
109
Figure 104. Cross Cutting ................................................................................
110
Figure 105. Cross Cutting ................................................................................
110
Figure 106. Inferiority Feeling and Compensation ..........................................
116
Figure 107. Fictional Finalism .........................................................................
118
Figure 108. Striving For Superiority ...............................................................
120
Figure 109. Social Interest ..............................................................................
125
Figure 110. Style of Life ..................................................................................
127
Figure 111. Creative Self .................................................................................
128
xviii
ABSTRACT
FITRI NURWIYANTI, A 320 080 008. FROM ZERO TO HERO IN THE
BLIND SIDE MOVIE (2009) BY JOHN LEE HANCOCK: AN
INDIVIDUAL PSYCHOLOGICAL APPROACH. RESEARCH PAPER.
MUHAMMADIYAH UNIVERSITY OF SURAKARTA. 2012.
This research paper is aimed to show How Michael Oher’s struggle as
major character is reflected in The Blind Side movie. Therefore, the study analyses
the movie in terms of its structural elements and based on the individual
psychological analysis.
The writer uses qualitative study, in which the primary data is the
movie of The Blind Side directed by John Lee Hancock released in 2009, and
secondary data is the other data related to the research such as some books of
individual psychological theory by Alfred Adler, movie script, commentaries,
internet, and other relevant information. The method of data collection is library
research. The technique of data analysis is descriptive analysis.
Results of the analysis are as follows: Firstly, the structural elements
of the movie present a solid unity. Secondly, the individual psychological analysis
shows that of Michael Oher’s struggle influences his personality in facing social
life. He feels there is no one who is kind to him and he is alone because he is
homeless teenager and big body African American. Those problems produce weak
feeling that affects his personsality. His weakness in social sphere drives him to
overcome his inferiority. He compensates his weaknesses by striving to get his
goal of life. Finally, he can live happily, peacefully with the new family and also
he becomes a hero as professional football player.
Keywords:
Approach.
From Zero to Hero, The Blind Side, Individual Psychological
Consultant I
Consultant II
Dr. Phil. Dewi Candraningrum, M.Ed.
NIK.772
Titis Setyabudi, S. S, M. Hum.
NIK.948
The Dean of School of Teacher Training
and Education.
Drs. Sofyan Anif, M.Si.
NIK.547
xix
BY JOHN LEE HANCOCK:
AN INDIVIDUAL PSYCHOLOGICAL APPROACH
RESEARCH PAPER
Submitted as a Partial Fulfillment of the Requirements
for Getting Bachelor Degree of Education
in English Department
by
FITRI NURWIYANTI
A 320 080 008
SCHOOL OF TEACHER TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2012
APPROVAL
FROM ZERO TO HERO IN THE BLIND SIDE MOVIE (2009)
BY JOHN LEE HANCOCK:
AN INDIVIDUAL PSYCHOLOGICAL APPROACH
RESEARCH PAPER
by:
FITRI NURWIYANTI
A 320 080 008
Approved to be Examined by the Consultant Team
First Consultant
Second Consultant
Dr. Phil. Dewi Candraningrum, M. Ed.
NIK. 772
Titis Setyabudi, S. S, M. Hum.
NIK. 948
ii
ACCEPTANCE
FROM ZERO TO HERO IN THE BLIND SIDE MOVIE (2009)
BY JOHN LEE HANCOCK:
AN INDIVIDUAL PSYCHOLOGICAL APPROACH
RESEARCH PAPER
Prepared and Arranged by:
FITRI NURWIYANTI
A 320 080 008
Accepted and Approved by the Board of Examiners
School of Teacher Training and Education
Muhammadiyah University of Surakarta
The Board of Examiners:
1.
Dr. Phil Dewi Candraningrum, M.Ed. (
(Chair Person)
)
2.
Titis Setyabudi, S. S, M.Hum.
(Member I)
(
)
3.
Drs. Abdillah Nugroho, M. Hum.
(Member II)
(
)
Approved by
School of Teacher Training and Education
Muhammadiyan University of Surakarta
Dean,
Drs. H. Sofyan Anif, M.Si.
NIK. 547
iii
TESTIMONY
I hereby assert that there is no plagiarism in this research paper. There is
no other works that have been submitted to obtain the bachelor degree and as far
as I am 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
bibliography. If any incorrectness is proved in the future dealing with my
statement above, I will be fully responsible.
Surakarta, 17 February 2012
The Writer
FITRI NURWIYANTI
A 320 080 008
iv
MOTTO
And when My servants ask you concerning Me, then surely I am very
near; I answer the prayer of the suppliant when he calls on Me, so
they should answer My call and believe in Me that they may walk in
the right way.
(QS. AL Baqarah: 186)
Do the things you know and you shall learn the truth you need to
know.
(George Macdonald)
Do what you can, with what you have, where you are.
(Theodore Roosevelt)
Great spirits have always encountered violen to position from
mediocre minds.
(Albert Einstein)
The Great Spirit will defeat something, smile and sincere are the easy
ways to undergo life.
(The Writer)
Be patient to get something that great.
(The Writer)
v
DEDICATION
This research paper is greatly dedicated to:
My Allah S.W.T
My beloved greatest parents “Bapak and Mamak”
My beloved sisters and brothers
My beloved aunts
My beloved uncles
My beloved best friends
vi
ACKNOWLEDGMENT
Assalamu’alaikum Wr. Wb.
Alhamdulillahirobbil’alamin, Praise and Gratitude be only to
Allah S.W.T, the Glorious, the Lord, All mighty, the Merciful, and the
Compassionate who has given bless and opportunity for the writer to accomplish
this research paper entitled From Zero To Hero in The Blind Side Movie (2009)
by John Lee Hancock: An Individual Psychological Approach.
There are many people who have given their contribution to her. Therefore, the
writer would like to express her gratitude and appreciation to:
1.
Drs. Sofyan Anif, M.Si., as the Dean of School of Teacher Training and
Education, Muhammadiyah University of Surakarta.
2.
Titis Setyabudi, S.S.M.Hum, as the head of English Department, who has
given permission to the writer to make this research and as the second
consultant who has improved the writing in order to make this research paper
more interesting to read in correct sentences.
3.
Dr. Phil. Dewi Candraningrum, M.Ed., as the first consultant who has
guided and advised patiently during the arrangement of this research paper.
4.
The Lecturers of English Department, Muhammadiyah University of
Surakarta.
5.
Her beloved parents (Manuri and Suti) who have given unlimited love,
support, care, patience, and blessing to her.
vii
6.
Her beloved sisters and brothers, Ayuk Tri, Mbak Yanti, Mbak Mey,
and Om To, Kang No, Mas Nar, Mas Mari for giving spirit to the daily
life of the writer.
7.
Her sweet niece, Liya and cute nephews Toni, Amin, Dani and Farhan.
They are funny and smart.
8.
Her great family, uncles, aunts (MAS Kasno, Lek War, Buk E/ Surip, Buk
Tiok, Buk Jeboh, Buk Sugi).
9.
Her kindly and lovely friend, Sob Nyami and Mom Rina, who gives spirit
in conducting her daily life, struggle together and humor, also for giving
motivation, who care and help the writer.
10. Her friends, Hikmah and Sali, who give helped to edit grammar with
patient.
11. Her sweet heart, who give smile, spirit, love, and ask to should see the world
as fair and wise and age attitude.
12. Her Boy fans, for retelling, spirit, and magical words to the writer.
13. Her big family in WISMA ISTIQOMAH boarding house, Ibu and Bapak
Al Maksumah and Tasrip, the nice child- Pisang, Siti Qorix, Indah,
Yayashe, Arum, and other friend Say Tri, Putri, Ratna, Yuni and Dini, for
the joke, spirit, aid.
14. The big family of LPM CAMPUS, everything in Campus is so wonderful
start the writer joins in LPM CAMPUS involving older brother and older
sister: Mas Bluq, Mas Cholis, Mas Dul, Mas Ari, Mas Anton and Mbak
Nia, Mbak Yova, Mbak Khusnul, Mbak Monik, Aine, Mina and other
viii
brothers and sisters who cannot be mentioned one by one and Campus
Crews, PU Marno, Mico, Mimi, Watik, Pipin, Kamil, Ikmala, Umi, Wiwik, Nissa, Relis, Varicha,
Deni, endut Nana, endut Suci, Agung, Hari, Dawud, Aan, Puji, Uswatun, Imdat, Iim, Aulia and
all of new members 2012, for the friendship and partner in the great place,
Lpm Campus.
15. Her close friend, Say Tri, she lives in the boarding and knows a writer.
16. All the parties those are unable to be mentioned one by one for all their
support.
The writer realizes that this research paper is far from being perfect.
Therefore, suggestion and criticism are welcomed and accepted. She wishes that
this research paper would be valuable for the readers.
Wassalamu’alaikum Wr. Wb.
Surakarta, 17 February 2012
The Writer
Fitri Nurwiyanti
ix
TABLE OF CONTENT
Page
TITLE ................................................................................................................. i
APPROVAL ........................................................................................................ ii
ACCEPTANCE ................................................................................................... iii
TESTIMONY ...................................................................................................... iv
MOTTO ............................................................................................................... v
DEDICATION ..................................................................................................... vi
ACKNOWLEDGMENT ................................................................................... vii
TABLE OF CONTENT ...................................................................................... ix
ABSTRACT .......................................................................................................xviii
CHAPTER I
INTRODUCTION
A. Background of the Study...................................................... 1
B. Literature Review ................................................................. 9
C. Problem Statement ............................................................... 9
D. Limitation of the Study ........................................................ 10
E. Objective of the Study.......................................................... 10
F. Benefit of the Study ............................................................. 10
G. Research Method.................................................................. 11
H. Research Paper Organization ............................................... 12
CHAPTER II
UNDERLYING THEORY
A. Notion of Individual Psychology ......................................... 13
B. Basic Concept of Individual Psychology ............................. 14
x
1. Inferiority Feeling and Compensation .......................... 14
2. Fictional Finalism ......................................................... 15
3. Striving for Superiority ................................................. 16
4. Social Interest ............................................................... 18
5. Style of Life .................................................................. 19
6. Creative Self ................................................................. 21
C. Structural Element of the Movie .......................................... 22
1. Narrative Elements ....................................................... 22
a. Characters and Characterization............................... 22
b. Setting....................................................................... 23
c. Plot ........................................................................... 24
d. Point of View ........................................................... 25
e. Style.......................................................................... 26
f. Theme ....................................................................... 27
2. Technical Elements ....................................................... 27
a. Mise-en-Scene .......................................................... 27
b. Cinematography ....................................................... 29
c. Casting...................................................................... 32
d. Editing ...................................................................... 32
e. Sound........................................................................ 34
D. Theoretical Application........................................................ 34
CHAPTER III STRUCTURAL ANALYSIS OF THE MOVIE
A. Structural Element of the Movie .......................................... 36
xi
1. Narrative Elements of the Movie .................................. 36
a. Characters and Characterization............................... 36
b. Setting....................................................................... 63
c. Plot ........................................................................... 71
d. Point of View ........................................................... 77
e. Style.......................................................................... 78
f. Theme ....................................................................... 82
2. Technical Elements of the Movie ................................. 83
a. Mise-en-Scene ......................................................... 83
b. Cinematography ...................................................... 93
c. Casting .................................................................... 98
d. Editing ................................................................... 106
e. Sound .................................................................... 110
B. Discussion .......................................................................... 111
CHAPTER IV INDIVIDUAL PSYCHOLOGICAL ANALYSIS
A. Individual Psychological Analysis ..................................... 114
1. Inferiority Feeling and Compensation ........................ 114
2. Fictional Finalism ....................................................... 117
3. Striving for Superiority ............................................... 119
4. Social Interest.............................................................. 123
5. Style of Life ................................................................ 125
6. Creative Self................................................................ 128
B. Discussion .......................................................................... 129
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CHAPTER V
CONCLUSION AND SUGGESTION
A. Conclusion ......................................................................... 134
B. Suggestion .......................................................................... 136
BIBLIOGRAPHY
VIRTUAL REFERENCE
APPENDIX
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LIST OF PICTURE
Figure 1. Michael’s Face ..................................................................................
38
Figure 2. Michael’s Posture .............................................................................
38
Figure 3. Leigh’s Face......................................................................................
40
Figure 4. Leigh’s Posture ................................................................................
40
Figure 5. Sean Tuohy’s Face ..........................................................................
43
Figure 6. Sean Tuohy’s Posture .......................................................................
43
Figure 7. S.J Tuohy’s Face ...............................................................................
45
Figure 8. S.J Tuohy’s Posture ..........................................................................
45
Picture 9. Collins’s Face ..................................................................................
47
Figure 10. Colins’s Postur ...............................................................................
47
Figure 11. Bert’s Face ...................................................................................
48
Figure 12. Bert’s Posture .................................................................................
48
Figure 13. Miss Sue’s Face ..............................................................................
50
Figure 14. Denise Oher’s Face .........................................................................
51
Figure 15. Marcus’s Face ................................................................................
52
Figure 16. Bobby’s Face ................................................................................
53
Figure 17. Bobby’s Posture ..............................................................................
53
Figure 18. Beth’s Face .....................................................................................
53
Figure 19. Elaine’s Face ...................................................................................
54
Figure 20. Sherry’s Face ..................................................................................
54
Figure 21. Granger’s Face ...............................................................................
55
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Figure 22 Granger’s Posture ............................................................................
55
Figure 23. Tony’s Face ....................................................................................
57
Figure 24. Mrs. Boswell’s Face .......................................................................
58
Figure 25. David’s Posture ...............................................................................
59
Figure 26. Principal’s Face ..............................................................................
59
Figure 27. History Teacher’s Face ...................................................................
60
Figure 28. Mrs. Smirh’s Face ..........................................................................
61
Figure 29. Literature Teacher’s Face ...............................................................
61
Figure 30. Alton’s Face ....................................................................................
62
Figure 31. Gate Briarcrest Cristian School ......................................................
64
Figure 32. Michael’s Class Room ....................................................................
64
Figure 33. Sean Touhy’s Yard .........................................................................
64
Figure 34. Sean Tuohy Family’s eating room ..................................................
64
Figure 35. Sean Tuohy Family’s room ............................................................
65
Figure 36. Sean Tuohy Family’s Yard ............................................................
65
Figure 37. Football Fill ....................................................................................
66
Figure 38. Football Fill ....................................................................................
66
Figure 39. Restaurant .......................................................................................
66
Figure 40. Restaurant .......................................................................................
66
Figure 41. Interview Room ..............................................................................
67
Figure 42. Interview Room ..............................................................................
67
Figure 43. Michael On the Street .....................................................................
68
Figure 44. Book Store ......................................................................................
69
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Figure 45. Michael’s goes to University of Mississippi ..................................
70
Figure 46. Yard Hurt Village ...........................................................................
70
Figure 47. Dee Dee House in Hurt Village ......................................................
70
Figure 48. Michael’s Costume .........................................................................
84
Figure 49. Leigh’s Costume .............................................................................
84
Figure 50. Sean Tuohy’s Costume ..................................................................
84
Figure 51. Leigh and her friend’s Costume .....................................................
84
Figure 52. Dee Dee and Leigh Costume ..........................................................
84
Figure 53. Young Man’s Hurt Village .............................................................
84
Figure 54. Football Uniform ............................................................................
84
Figure 55. Cheerleader Uniform ......................................................................
84
Figure 56. Academic Gown .............................................................................
85
Figure 57. Restaurant Uniform ........................................................................
85
Figure 58. Michael Homeless ..........................................................................
86
Figure 59. After Michael Adoption Sean .........................................................
86
Figure 60. Collins’s Make-up ..........................................................................
86
Figure 61. Elaine’s Make-up ............................................................................
86
Figure 62. Dee Dee’s Make-up ........................................................................
86
Figure 63. Sherry’s Make-up ...........................................................................
86
Figure 64. Hard Lighting..................................................................................
88
Figure 65. Soft Lighting ...................................................................................
88
Figure 66. Frontal Lighting ..............................................................................
89
Figure 67. Side Lighting ..................................................................................
89
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Figure 68. Back Lighting .................................................................................
89
Figure 69. Top Lighting ...................................................................................
89
Figure 70. Nature Color ...................................................................................
90
Figure 71. Nature Color ...................................................................................
90
Figure 72. Dark Color .....................................................................................
90
Figure 73. Dark Color ......................................................................................
90
Figure 74. Brown Color ...................................................................................
90
Figure 75. Brown Color ...................................................................................
90
Figure 76. The Key Lighting............................................................................
91
Figure 77. The Fill Lighting ............................................................................
91
Figure 78. Michael’s Sad ................................................................................
92
Figure 79. Alton’s Face Tempt ........................................................................
93
Figure 80. Leigh’s Panic ..................................................................................
93
Figure 81. Dee Dee’s Break Loose ..................................................................
93
Figure 82. The Photographic Qualities of the Short ........................................
94
Figure 83. The Photographic Qualities of the Short ........................................
94
Figure 84. The Photographic Qualities of the Short ........................................
95
Figure 85. Straight on Angle ............................................................................
96
Figure 86. High Angle ...................................................................................
96
Figure 87. High Angle .....................................................................................
96
Figure 88 Low Angle .......................................................................................
96
Figure 89. Extreme Long Shot ........................................................................
97
Figure 90. Long Shot .......................................................................................
97
xvii
Figure 91 Medium Long Shot ..........................................................................
97
Figure 92. Medium Shot ..................................................................................
97
Figure 93. Medium Close-Up ..........................................................................
97
Figure 94. Close-Up .........................................................................................
97
Figure 95. Extreme Close Up ...........................................................................
97
Figure 96. Extreme Close Up ...........................................................................
97
Figure 97. Axis of Action ................................................................................
107
Figure 98. Establishing Shot ............................................................................
107
Figure 99. Reverse Shot ...................................................................................
108
Figure 100. Reestablishing Shot ......................................................................
108
Figure 101. Match on Action ...........................................................................
109
Figure 102. Match on Action ...........................................................................
109
Figure 103. Match on Action ...........................................................................
109
Figure 104. Cross Cutting ................................................................................
110
Figure 105. Cross Cutting ................................................................................
110
Figure 106. Inferiority Feeling and Compensation ..........................................
116
Figure 107. Fictional Finalism .........................................................................
118
Figure 108. Striving For Superiority ...............................................................
120
Figure 109. Social Interest ..............................................................................
125
Figure 110. Style of Life ..................................................................................
127
Figure 111. Creative Self .................................................................................
128
xviii
ABSTRACT
FITRI NURWIYANTI, A 320 080 008. FROM ZERO TO HERO IN THE
BLIND SIDE MOVIE (2009) BY JOHN LEE HANCOCK: AN
INDIVIDUAL PSYCHOLOGICAL APPROACH. RESEARCH PAPER.
MUHAMMADIYAH UNIVERSITY OF SURAKARTA. 2012.
This research paper is aimed to show How Michael Oher’s struggle as
major character is reflected in The Blind Side movie. Therefore, the study analyses
the movie in terms of its structural elements and based on the individual
psychological analysis.
The writer uses qualitative study, in which the primary data is the
movie of The Blind Side directed by John Lee Hancock released in 2009, and
secondary data is the other data related to the research such as some books of
individual psychological theory by Alfred Adler, movie script, commentaries,
internet, and other relevant information. The method of data collection is library
research. The technique of data analysis is descriptive analysis.
Results of the analysis are as follows: Firstly, the structural elements
of the movie present a solid unity. Secondly, the individual psychological analysis
shows that of Michael Oher’s struggle influences his personality in facing social
life. He feels there is no one who is kind to him and he is alone because he is
homeless teenager and big body African American. Those problems produce weak
feeling that affects his personsality. His weakness in social sphere drives him to
overcome his inferiority. He compensates his weaknesses by striving to get his
goal of life. Finally, he can live happily, peacefully with the new family and also
he becomes a hero as professional football player.
Keywords:
Approach.
From Zero to Hero, The Blind Side, Individual Psychological
Consultant I
Consultant II
Dr. Phil. Dewi Candraningrum, M.Ed.
NIK.772
Titis Setyabudi, S. S, M. Hum.
NIK.948
The Dean of School of Teacher Training
and Education.
Drs. Sofyan Anif, M.Si.
NIK.547
xix