The meaning of interpersonal conflicts between joy and sadness as seen in Pete Docter`s inside out film Screenplay.

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vii

ABSTRACT

Agra, L. C. (2016). The Meaning of Interpersonal Conflicts Between Joy and Sadness as Seen in Pete Docter’s Inside Out Film Screenplay. Yogyakarta: Sanata Dharma University.

This study discusses the interpersonal conflict between Joy and Sadness. They fight over controlling the console. The purpose of this study is to find the meaning of

interpersonal conflict between Joy and Sadness, the main character of Pete Docter’s

film, Inside Out.

This study has two problem to answer. The first problem is “ How are Joy and

Sadness described in Pete Docter’s film, Inside Out?”. The second one is “What is the meaning of their interpersonal conflict?”.

This study is a library study. The primary data of this study is the film screenplay, and to support this study some data are collected from books, journals, and the internet. To answer these problems, this study uses theory of character and characterization, theory of personality, theory of conflict, theory of interpersonal relationship, theory of interpersonal communication, theory of motivation, and theory of meaning. The approach used is psychological approach.

There are two findings of this study. The first one is the description of Joy and Sadness. Joy is an optimistic, hardworking, reliable, and supportive. In the meantime Sadness is a pessimistic, slothful, and intelligent one. The meaning of the interpersonal conflict is divided into two, surface meaning and deeper meaning. The surface meaning of this conflict is that Joy has the will to power. The deeper meaning of the interpersonal conflict is that both Joy and Sadness have suffered from violating

“not to have the desire of somebody else’s love possessions”.

It is suggested that this screenplay be used as the material to teach Play Performance class of the English Language Education Study Program. As for further researchers, they are recommended to deal with the intrapersonal conflict from Joy point of view.

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viii

ABSTRAK

Agra, L. C. (2016). The Meaning of Interpersonal Conflicts Between Joy and Sadness as Seen in Pete Docter’s Inside Out Film Screenplay. Yogyakarta: Sanata Dharma University.

Penelitian ini membahas mengenai konflik interpersonal antara Joy dan Sadness. Mereka berebut dalam menguasai pusat kendali. Fungsi dari penelitian ini adalah untuk menemukan arti dari konflik interpersonal yang terjadi antara Joy dan Sadness, pemeran utama dalam film oleh Pete Docter yang berjudul Inside Out.

Penelitian ini memiliki dua permasalahan. Permasalahan pertama adalah

“Bagaimana Joy dan Sadness digambarkan di dalam film oleh Pete Docter yang

berjudul Inside Out?”. Kedua adalah “Apa arti dari konflik interpersonal mereka?”. Penelitian ini merupakan penelitian kepustakaan. Data utama penelitian ini adalah naskah skenario film, dan untuk mendukung penelitian ini beberapa data dikumpulkan dari buku-buku, jurnal-jurnal, dan internet.

Terdapat dua hasil dari penelitian ini. Pertama adalah deskripsi Joy dan Sadness. Joy merupakan pribadi yang optimis, pekerja keras, sangat dipercaya, dan pribadi yang mendukung sesamanya. Di sisi lain, Sadness merupakan pribadi yang memiliki pemikiran pesimis, pemalas, dan pintar. Arti dari konflik interpersonal mereka dibagi menjadi dua, surface meaning dan deeper meaning. Surface meaning dari konflik ini adalah bahwa Joy memiliki keinginan untuk menguasai. Deeper meaning dari konflik ini adalah bahwa keduanya, Joy dan Sadness, memiliki keinginan untuk memiliki milik orang lain.

Disarankan bahwa naskah skenario film ini digunakan sebagai materi dalam mengajar di dalam kelas Play Performance di Program Studi Pendidikan Bahasa Inggris. Saran bagi peneliti selanjutnya adalah untuk meneliti konflik intrapersonal dari sudut pandang Joy.

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FILM SCREENPLAY

ASARJANA PENDIDIKANTHESIS

Presented as a Partial Fulfillment of the Requirements to ObtainSarjana PendidikanDegree

in English Language Education

Caroline Lalita Agra Student Number: 121214034

ENGLISH LANGUANGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION

SANATA DHARMA UNIVERSITY YOGYAKARTA

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THE MEANING OF INTERPERSONAL CONFLICTS BETWEEN JOY

AND SADNESS AS SEEN IN PETE DOCTER’S INSIDE OUT FILM

SCREENPLAY

A SARJANA PENDIDIKAN THESIS

Presented as a Partial Fulfillment of the Requirements to Obtain Sarjana Pendidikan Degree

in English Language Education

Caroline Lalita Agra Student Number: 121214034

ENGLISH LANGUANGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION

FACULTY OF TEACHER TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY

YOGYAKARTA 2016

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“All I can do is follow my instinct,

because I’ll never please everyone.”

-Emma

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Watson-vii

ABSTRACT

Agra, L. C. (2016).The Meaning of Interpersonal Conflicts Between Joy and Sadness as Seen in Pete Docter’s Inside Out Film Screenplay. Yogyakarta: Sanata Dharma University.

This study discusses the interpersonal conflict between Joy and Sadness. They fight over controlling the console. The purpose of this study is to find the meaning of interpersonal conflict between Joy and Sadness, the main character of Pete Docter’s film,Inside Out.

This study has two problem to answer. The first problem is “ How are Joy and Sadness described in Pete Docter’s film, Inside Out?”. The second one is “What is the meaning of their interpersonal conflict?”.

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viii

ABSTRAK

Agra, L. C. (2016).The Meaning of Interpersonal Conflicts Between Joy and Sadness as Seen in Pete Docter’s Inside Out Film Screenplay. Yogyakarta: Sanata Dharma University.

Penelitian ini membahas mengenai konflik interpersonal antara Joy dan Sadness. Mereka berebut dalam menguasai pusat kendali. Fungsi dari penelitian ini adalah untuk menemukan arti dari konflik interpersonal yang terjadi antara Joy dan Sadness, pemeran utama dalam film oleh Pete Docter yang berjudulInside Out.

Penelitian ini memiliki dua permasalahan. Permasalahan pertama adalah “Bagaimana Joy dan Sadness digambarkan di dalam film oleh Pete Docter yang berjudulInside Out?”. Kedua adalah “Apa arti dari konflik interpersonal mereka?”.

Penelitian ini merupakan penelitian kepustakaan. Data utama penelitian ini adalah naskah skenario film, dan untuk mendukung penelitian ini beberapa data dikumpulkan dari buku-buku, jurnal-jurnal, dan internet.

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ACKNOWLEDGEMENTS

Foremost, I would like to thank toJesus Christfor giving me a healthy long life so that I could finish my study. I thank him for the blessing he has given me and the strength for me to reach my dream.

My deepest gratitude goes to my advisor, Dr. Retno Muljani M.Pd., for her guidance and tremendous patience. She really helps me and guides me in the process of my writing. My gratitude also goes to my co-advisor, Dr. Antonius Herujiyanto, M.A., who gives inspiration and knowledge in literature. I thank him for helping me in managing my content. I also would like to thank my friends -Isaac Bennett, Fabi, Barel, Mas eko, and Mbak Catherin - for their willingness to be my proofreader. I give my gratitude for them to spare some times for checking my grammar and language.

I want to give my greatest gratitude to my beloved family who always love and pray for me. I thank my father (Bambang Parmadi N.), my mother (Errie Retnowati) and my brother (Berto Belarminus) for the patience they gave on facing me who only get mad and lock myself whenever I get tired. They never stop wishing the best for me.

I thank my bestfriend (a.k.a. my sister from different parent, a.k.a. my beloved duplicate)“Bibib” Apfia Tamariskawhom her big heart, harsh criticism, and lovely

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smile lead me to understand who I am now. Then I would like to thank my role model, the shadow that I always follow,Enrico Brayan Schiavon. I thank him for the help to understand the value of myself, for the sincere “D” smile he shares, and foe the effort to comfort me.

I give my love to my partners Adisya Valyathe friend that always assist me on finishing my thesis and spare time for me to listen to my burdens. A love for my little sister and brother from KKN, Lea “Neno” and Suronto, who never stop bothering me with silly things that accidentally make me forget my burdens.

Best Regards,

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TITLE PAGE...i

APPROVAL PAGE...ii

MOTTO... vi

STATEMENT OF WORK’S ORIGINALITY...v

LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI...vi

ABSTRACT...vii

ABSTRAK...viii

ACKNOWLEDGEMENTS...ix

TABLE OF CONTENTS...xi

CHAPTER I INTRODUCTION...1

A. Research Background...1

B. Objective of The Study...4

C. Problem Formulation...4

D. Definition of Terms...5

CHAPTER II REVIEW OF RELATED LITERATURE... 7

A. Theoretical Description... 7

1. The Theory of Character and Characterization...7

a. Theory of Character... 7

b. Theory of Characterization... 8

2. Psychology Approach... 10

3. Personality Theory...11

4. Theory of Conflic...14

5. Theory of Motivation...19

6. Interpersonal Communication...22

7. Theory of Interpersonal Relationship... 23

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CHAPTER I

INTRODUCTION

In this chapter, the researcher would like to present the introduction of this research. There are four sections included in this chapter. They are the background of the study, objective of the study, problem formulation, and definition of terms. In the background of the study the researcher explains the reason why the Inside Out film screenplay becomes the object of the research. The next section is problem formulation where the researcher will discuss the questions which will be the focus of the research. Then, there is objective of the study. In objective of the study, the researcher discusses the aims of the study. The last is definition of terms where the researcher discusses the meanings of the keywords.

A. Background of the Study

Literature is one of creative works in human’s life. Literature is the portray of reality and human’s life experiences. In An Introduction to The Study of Literature book, Hudson (1958) states that “ Literature is a vital record of what men have seen in life, what they have experienced of it, what they thought and felt about life through the medium of language”. Rees (1973), inEnglish Literature: An Introduction for

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Foreign Readers, provides another conclusion that literature is a permanent expression in words of some thought or feeling in ideas about life and the world. Thus, the readers are able to enhance the knowledge of understanding human’s point of view in many ways by studying literature.

Other experts develop point of views of literature. Moody (1968) states that literature springs from our inborn love of telling story, arranging words in pleasing patterns, expressing in words some special aspects of our human experience. From several statements above, it can be concluded that literature is human way of expressing feelings where there is explicit emotions or tones, as well as poem which is able to be seen from written or spoken form (p.2). Guerin (2011) broadens the concept of literature from several points as perpetually being used in literary works. Those points of literary works are setting, plot, character, structure, style, and atmosphere (pp.6-16).

In this study, the researcher put concern on analyzing a film which has basics of fictional structures, such as; characters, conflicts, and resolutions. A film always includes at least one character to fulfill a plotlines so that the story gets more complex and larger. It can be said that character in the film has big influence on how the film flows. According to Phillips (2009), a character helps the viewers to understand the character of the film itself and also to make the viewers involve themselves in the story (p. 24). The characters have their characterization which can be seen explicitly or even unseen. This conditions make the researcher analyze literary works from the

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conflicts between characters in the film. This study specifically scrutinizes the characters from a film through their words, facial expressions, and gestures.

However, in order to make a good and understandable film, the player/actor needs a screenplay to synchronize every single piece of the plot and also synchronize one character to another. This powerful film from Walt Disney Pictures and Pixar Animation Studios, Inside Out, is an unusual film. The directors, Pete Docter and Ronnie del Carmen, collaborate with the well known Paul Ekman as an expert on Psychology of Universal Emotions. The film which was released on June, 19th_2015,

has brought a scientific world into an animation. Inside Out tells a story about the struggles of an eleven-year-old Rilley, who has to move to a different city, away from her friends, away from her hockey league, and has a hard time pretending to be happy for her parents. This film deals with her two dominant emotions, namely (her) Joy and Sadness.

In this study, the researcher chooses the interpersonal conflict between Joy and Sadness as the topic. Since the researcher’s major is in language teaching, later on when having teenage students, the researcher and also the readers of this study will have more knowledge in dealing with the students’ mood swing. Nowadays, a lot of adults think that teenagers are always rebellious. This conditions make teenagers feeling insecure on telling their interpersonal struggle with their surroundings. Understanding teenage students struggle on their interpersonal conflict with others give benefits for teachers and parents to help the students on solving their problems.

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The other reason is that this topic has never been discuss by any other studies. There are several blogs and articles which talking about Inside Out(2015) but it only refer to the characteristic of Joy and Sadness. Those articles never mention about the meaning behind Joy and Sadness interpersonal conflict and what it caused toward their personalities. Analyzing this topic will make the researcher and also the readers understand how interpersonal conflict will bring great effect on someone’s personality, especially in teenagers’ period.

B. Objective of the study

The aim of this study is to find the meaning of the interpersonal conflict experienced by Rilley through her emotions, called Joy and Sadness, as seen in the screenplay of Pete Docter’sInside Out(2015).

C. Problem Formulation

The problems of this study can be formulated as follows:

1. How are Joy and Sadness described in Pete Docter’s film,Inside Out? 2. What is the meaning of their interpersonal conflict?

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D. Definition of Term 1. Interpersonal

Interpersonal is a skill where people is able to communicate with one another. According to Sullivan, cited in Interpersonal Communication Relating to Others (2009), interpersonal communication is a distinctive, transactional form of human communication involving mutual influence, usually for the purpose of managing relationship (p. 3). Beebes and Redmond (2009) elaborates interpersonal into a connection which established when someone interact with another person. This theory is one of the important theory which will be elaborated into three other theories; the theory of interpersonal relationship, theory of interpersonal communication, and the theory of conflict.

2. Conflict

Fadipe (2000) sees conflict as a form of disagreement in an establishment between two individuals or groups who have cause to interact formally or informally. Similarly, Miller and King (2005), see it as basically a disagreement between two or more individuals or groups over compatible goals. Beebes and Redmond (2009) explains that conflict occurs because of the differences of personality which leads to have a different goals, needs, and experiences (p.216). This conflict theory from Beebes and Redmond will be used to analyze the conflict occurs between the two main character. Later on, this theory will be

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elaborate into two ways on how a person sees conflict. The first is to see conflict through its sources and the resolves of the conflict.

3. Personality

Personality originated from the Latinpersona, means a theatrical mask worn by actor. According to Feist (2009), personality is a pattern of relatively permanent traits and unique characteristics that give both consistency and individuality to a person’s behaviour (p. 4). in this study, the theory of personality by Freud (1927) will be used in order to understand the background on how conflict occurs between two or more parties. This theory will understand the background through the person point of view which differs from others’ point of view.

4. Film Screenplay

Making film needs the processes on transforming written and graphic sources into film. It takes three forms, one of those is a film screenplay. Phillips (2009) states that a film screenplay is the very first version of the script. Screenplay is made before the filming begins. It describes or supplies the setting, action, vocals including dialogue, and structure (p. 204).

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CHAPTER II

REVIEW OF RELATED LITERATURE

The chapter consists of three parts; review of related literature, theoretical framework, and context of the film screenplay. The review of related theory consist of the theories which function is to support or answering the problem formulations. The theoretical framework consist of the importance and contribution of the theory on supporting and solving the problems of the study. The last is context of the film screenplay, which consists of the background of the primary data.

A. Review of Related Theories

1. Theory of Character and Characterization a. Character

Abrams (1999), states that characters are the people who represented in a dramatic or narrative work, who are interpreted by the reader as being endowed with particular moral, intellectual, and emotional qualities by inferences from what the persons say and their distinctive ways of saying it -the dialogue - and from what -they do - -the action (p. 23).

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Forster (1927), differentiates characters into two parts: flat character and round character. The flat character is presented without much individualizing detail, and therefore can be fairly adequately described in a single phrase or sentence. Barnet, Burto, and Cain (2010) add that a flat character is a static character, who at the end of the story the character is pretty much what he or she was at the start. Meanwhile, a round character is complex in temperament and motivation and is represented with subtle particularity; such a character therefore is as difficult to describe with any adequacy as a person in real life, and like real persons, is capable of surprising the reader. In short, round character is dynamic, changing considerably as the story progresses.

According to Phillips (2009), a character on a film is imaginary personages in fictional story. A character based on a real person or combination of traits from several people. Character’s action and language -and sometimes thoughts, dreams, -and fantasies - are the main ways viewers come to understand the character and to involves the viewers in the story.

b. Characterization

As Rohberger and Woods (1971) state that characterization is a particular personalities and physical attributes distinguish each character from other characters. They further explain that characterization is divided

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into two sections. The first section is direct mean which can bee seen from the character physical appearance. The second section, dramatic means, shown by the situation where the character is involved, how the character behaves, and how the character speaks.

Murphy (1972) then adds that there are nine ways to understand characterization: (1) A characterization can be seen by its personal description where the author of the novel gives picture of someone form it’s way of appearing and what the character is wearing. In short, the author describes a character by its appearances and clothes. (2) A characterization of a character can be described trough the eyes and opinions of another. Instead of describing a character directly the author gives a reflected image. (3) Characterization also can be seen from it’s speech. In this part, the author usually gives the image from the way the character speaks. Whenever a character speaks, whenever the character is in conversation with another, whenever the character puts forward an opinion, the character gives the reader some clues to his character. (4) Past life also become one of the way for an author to make a characterization. From past life the author can give the reader a clue to events that have helped to shape a characterization of a character. (5) A conversation of other characters and the things that other characters describe about others characterization also included as one of the way to understand character’s characterization. When other characters talk

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about a character, the things that the other characters say often give the reader clue to a character’s characterization. (6) Reaction is a clue to a characterization by letting the reader understand how the character reacts to various situations and events. sometimes helps the character to reveal its characterization from how it react towards something that happen. (7) The easiest way to make characterization of a character is by the author simply mention the characterization directly in their novel. (8) Characterization also comes from the way they think. (9) The last way is mannerism, where the reader can analyze the character from its habit or mode of behavior (pp. 161-173).

2. Psychological Approach

Literature is not something that can be analyzed by counting the data or using an interview - it’s not possible because sometimes the researcher of a particular literature had passed away. The researcher finds that there are several approaches that can be used to analyze literary work. One of them is called Critical Approach from Rohberger and Woods (1971). Critical approach has several branches of its own. Rohberger and Woods elaborate critical approach into five other approaches. Those are formalist approach, biographical approach, sociocultural-historical approach, mythopoeic approach, and psychological approach (p. 3-15).

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This problem of this study is focusing on the interpersonal conflicts between Joy and Sadness and the meaning of their interpersonal conflicts delivered from the film screenplay. The conflicts triggered by their inside needs that can not be fulfilled easily because the existence of others. The screenplay gives clue that each character has their own needs with different ways on fulfilling their needs. For that reason, psychological approach is being used to analyze the matters between Joy and Sadness through psychological point of view. According to Rohberger and Woods (1971), psychological approach is involving the effort of the character to locate and demonstrate certain recurrent patterns. Moreover, psychological approach can also help the readers understand about the thoughts of the character and its behavior (p. 13). Guerin (2011) adds that psychology approach is a psychology interpretation which afford many profound clues toward solving a work’s thematic and symbolic mysteries (p. 201).

3. Personality Theory (Sigmund Freud)

When talking about character, personality will be discussed as it will be seen in character’s behavior. Freud (1927) states in his bookThe Id and The Egothat in every movement of a person, including what they think and what they do are possible to happen consciously or unconsciously. The division of the physical into what is conscious and what is unconscious is the fundamental premiss of psycho-analysis; and it alone makes it possible for psycho-analysis to understand the pathological processes in mental life (p. 2).

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Guerin (2011) then explains further about the Freudian Theory of Personality. Freud separates mental process to three psychic zones: the id, the ego, and the superego. The diagram (Fig. 2.3) helps to clarify the relationship between ego, id, and superego, as well as their collective relationship to the conscious and the unconscious and that only small portions of the ego and the superego are conscious (pp. 204-205).

Fig. 2.1.2: Theory of Personality Diagram

The id it self is the reservoir of libido, the primary source of all psychic theory. It functions to fulfill the primordial life principle, which Freud considers to be the “pleasure principle”. Without consciousness of rational order, the id is characterized by a tremendous and amorphous vitality. The id, in short, the source of all our aggressions and desires. It is lawless, asocial, and amoral. Its function is to gratify our instincts for pleasure without regard for social conventions, legal ethics, or moral restraint. Unchecked, it would lead us to any

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length - the destruction and even self-destruction - to satisfy its impulses for pleasure.

Theego is the rational governing agent of the psyche. Though the ego lacks the strong vitality of the id, it regulates the instinctual drives of the id so that they may be released in nondestructive behavioral patterns. Though a large portion of the ego is unconscious, the ego nevertheless comprises what we ordinarily think of as the conscious mind. The ego stands for reasons and good sense. It also governed by the “reality principle”. Consequently, the ego serves as intermediary between the world within and the world without.

The superego is largely unconscious. It is the moral censoring agency, the respiratory of conscience and pride. It is the representative of all moral restrictions the advocate of the impulse toward perfection. In short, as Freud stated, it is as much as people have been able to apprehend psychologically of what people call the higher things in human life. The superego serves to repress or inhibit the drives of the id, to block off and thrust back into the unconscious those impulses toward pleasure that society regards as unacceptable. Freud attributes the development of the superego to the parental influence that manifests itself in terms of punishment for what society considers to be bad behavior and reward for what society considers good behavior. An overactive superego creates an unconscious sense of guilt. The superego is dominated by the “morality principle”.

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4. Theory of Conflict

As cited in Collaborative Approaches to Resolving Conflict as writen by Isenhart (2000), there are severals definitions of conflict according to experts; they are Edelman and Crain, Coser, Hocker and Wilmot (p.3).

According to Edelman and Crain (1993) conflict occurs when two people cannot agree on the actions that one person takes or that he or she does not take (p. 18).

Coser (1967) explains that conflict involves a struggle over values and claims to scarce status, power and resources in which the aim of opponents is to neutralize, injure, or eliminate rivals (p. 8).

Hocker and Wilmot (1991) explain further that conflict is an expressed struggle between at least two interdependent parties who perceive incompatible goals, scarce resources and interference from the other party in achieving their goals (p. 23).

According to William Wilmot and Joyce Hocker (1995), interpersonal conflict is an expressed struggle. Which means that someone expresses their displeasure with a remark or by a nonverbal behavior such as glare, a steely facial expression, or an emotion-laden tone of voice.

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An expressed struggle at least occurs between two interdependent people. In fact, people are interdependent on each other, what one person says or does affects the others. People are more likely to have conflict with others whom they spend time with because one person is connected to the other in some way. The conflict that weighs most heavily on a person is those with people with whom we interact most frequently. Conflict takes at least two people to have interpersonal conflict.

The conflict may occur because two parties recognize they have incompatible goals, scarce resources, and interference. Conflict often happens because two people want the same thing, but both can’t have it, or because what one person wants is the opposite of what the other wants. The other reason is when resources (time, money, or something else) are scarce. Also happens when there are conflicting or incompatible goals, not enough of something to go around, or someone is blocking what you belive is rightfully theirs, conflict happens.

Isenhart (2000) states that conflict is a struggle for power, the way decisions are made, the way we talk with each other, or unresolved problems from past interactions (p. 2). Isenhart then adds in his book that there are several ways on how conflicts occur and several ways that people approach conflict. There are seven sources of conflict, this theories give clear knowledge on how conflict mostly occurs (pp. 14-15), those are;

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1. Data

People have differences of opinion about the best sources, reliability, and interpretation of data. Disputes about contractual, environmental, or physical loss even reimbursement for damages often require objective interpretation by neutral third parties to resolve the disagreement.

2. Interest

Every single person has their own of interests. The most common sources of disagreement happens when people have their own specific interest that different. This disagreement happen in where people bargain to get their own needs - their own interests - such as; organizational policies, work agreements, an divorce settlement.

3. Procedures

People may engage in a discussion if they agree with a way to solve problems, make a decision, or resolve conflict. People put their interest on the election result because they believe that election procedures are fair. People trust on a certain thing or condition where it managed systematically. 4. Values

The hardest conflict to resolve involve differences of opinion about the importance or priority of interests, opinions, or choices of directions. Problems begins with a value about the way things should be. People see

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value of certain things or conditions differently, these differences of point of view mostly arouse conflicts.

5. Relationships

People cooperates with with others if they trust other people, feel respected by others, do believe that other person is honest. A relationship collaborates when there is a high level of comfort.

6. Roles

Roles often create conflict because of expectations for the role or power imbalances created by the role. Every role where people takes positions can be the reason why the conflicts occur. People from a different roles, have different knowledge, and also different point of view on understanding certain things or conditions.

7. Communication

Conflict is due to the results from how something is said. People’s emotion become triggered by words that other person takes it personally or interprets it as threatening. Conflict also occur when other people have certain information that they believe is relevant that not being shared.

There are factors that influence the choice of style include in the importance of the issue to the party, contextual or cultural norms for how the conflict should

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be approached. There are also several common ways of people approach conflicts that Isenhart found. Those common ways are (pp. 26-27) ;

1. Avoiding

Avoidance occur when a person denies that there is conflict, changes topics, and avoids discussion, and is noncommittal. This is the most effective style in situations in which the complexity of the situation prevents solutions.

2. Accommodation

This condition happens when a person sacrifices its interests and concerns while enabling others to achieve their interests. This style is effective in situations in which there is not much chance of achieving one’s own interests.

3. Compromising

This condition means that concessions by all parties, each party settles for partial satisfaction interests. This kind of style becomes effective when there will be no hard feelings for settling for less than expected.

4. Competitive

This style is characterized by aggressive, self-focused, forcing, verbally assertive, and uncooperative behaviors that strive to satisfy one party’s interests at the expense of the interests of others. This style is effective when the situation which decision must be made quickly.

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5. Collaborative

Collaborative is characterized by active listening and issue-focused, emphatic communication that seeks to satisfy the interests and concern of all parties. This style os effective when both parties reasonably balanced and also valued the long-term relationship. It also perfect for both parties when there is sufficient time and energy to create an integrative solution that will satisfy both parties.

Ricaud-Droisy and Zaouche-Gaudron (2003) add that after realization of the conflict, both parties will be able to elaborate resolution strategies of their conflict. People in conflict want something. Many conflict occur because both people can’t (or perceive that they can’t) achieve their own goals. Understanding what the individuals in conflict want is an important step toward finding a way to manage the conflict on achieving both goals, wants, or needs (p.158)

5. Theory of Motivation

In order to relate the idea of motivation itself with literary work, Petri (1981) aims that Motivation is the concept the author use to describe the forces acting on or within an organism to initiate and direct behavior. Concept of motivation also used to explain the differences in the intensity of behavior. The author use the concept of motivation to indicate the direction of the behavior (pp. 3-4)

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Then, Maslow as cited in Petri (1981) states that people’s desire in this world is never satisfied. People are still struggling to get other things after achieving a goal (p. 302). This part will mention about motivation which underlying the interpersonal conflicts between Joy and Sadness through Inside Out screenplay. Maslow (1943) mentions that there are five motives and needs inside the hierarchy of needs.

Fig. 2.1.2: Maslow’s The Hierarchy of Needs diagram

The lowest part or the first need is physical needs, then safety needs, the third is belongingness and love needs, then esteem needs, and the last is self-actualization needs. Food, water, warmth, and rest are things or conditions to fulfill the psychological needs. Then in safety needs is a condition where a person can be free from physical threat and emotional harm. Then belongingness and love needs is being fulfilled with interaction with others and also

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belongingness in the society. After belongingness being fulfilled, people tend to fulfill the next stage, esteem needs. Esteem needs can be categorized into two parts, internal needs and external needs. Internal needs itself being fulfilled with self-esteem such as accomplishment and self-respect. External needs are social status and recognition. Then, the highest level of Maslow’s Hierarchy of Needs is self-actualization needs.

Feist (2009) explains that Maslow develops the hierarchy of need during 1970’s into seven-stage models. Between esteem needs and self-actualization, there are two other stage. Those stages are cognitive needs and aesthetic needs. Cognitive needs are needs of knowledge and understanding, curiosity, exploration, need for meaning and predictability. It tends to know more theorize, to test hypotheses, or to find out how something works just for satisfaction. Then, aesthetic needs are needs of appreciation, search for beauty and balance (p. 284).

Jung John (1978) adds that motivation is a motive that is regarded as causes of behavior. Jung elaborates that motivation sometimes has the same way of operates in generating response like emotion. In general, motivation is more likely to be the cause or reason that underlie a given behavior. In short, compare to emotions, motivation is rather rational (p. 4).

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6. Interpersonal Communication

Beebes and Redmond (2009) state that interpersonal communication is a distinctive, transactional form of human communication involving mutual influence, usually for the purpose of managing relationships (p. 3). Furthermore; interpersonal communication has degrees of intimacy when interacting with others, eventhough interpersonal communication itself is a closer interaction of a person with others. First, interpersonal communication transaction between one person and another influence themselves. All partners which join a communication are affected by a transactions. For example, a person will not really affected by a brief smile that you received from a traveling companion, but a person will get highly affected when his/her lover telling he/she that the lover leaving them. Second degree is that interpersonal communication helps individuals manage their relationships. This condition happens when two individuals are in relationship, what one person says or does influences to the other person.

Interpersonal communication is a really important communication which occurs every single time and it has it is reasons. Beebes and Redmond (2009), further explain that interpersonal communication can improve relationships with family, friends and lovers, colleagues, and physical and emotional health (p. 5).

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Interpersonal communication has several principles which explained by Beebes and Redmond. This principles explain further about the nature of interpersonal communication itself (p. 21). Those principles are ; (1) Interpersonal communication connect use to others, (2) Interpersonal communication is irreversible, (3) Interpersonal communication is complicated, (4) Interpersonal communication is governed by rules, (5) Interpersonal communication involves both content and relationship dimensions.

7. Theory of Interpersonal Relationship

Interpersonal relationship happens because the interpersonal communication that occurs become more dependent with one another. According to Steven Beebe, Susan Beebe and Mark Redmond (2009) relationship itself is a connection which established when someone communicate with another person (p. 252). Beebes and Redmond stated that interpersonal relationship is a perception shared by two people of an ongoing interdependent connection that results in the development of relational expectations and varies in interpersonal intimacy. Beebes and Redmond explain further about the elements of interpersonal relationship. There are four elements of interpersonal relationship (pp. 252-253), those are;

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a. Shared Perception

Both individuals must share a perception that they have an ongoing relationship. Generally, the greater the similarity in perceptions of the relationship, the stronger the relationship.

b. Ongoing Interdependent Connection

An ongoing interdependent connection, means that the interpersonal relationship is a system and a process. Interdependence occurs because each partner relies on the other to meet the needs. As a system, an interpersonal relationship is transactional; that is both partners affect each other simultaneously. As a result, a change in one partner has a direct impact on the relationship and on the other partner. As a process, a relationship is dynamic, constantly changing, and evolving.

c. Relational Expectations

Any time a person interact with someone, they will bring a set of performed expectation based on your socialization and experiences; but as someone develop an international relationship, a person and their partner establish expectations specific to that relationship. These expectations are part of the relationship process and are continually developing and changing.

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d. Interpersonal Intimacy

Interpersonal intimacy is the degree to which relational partners mutually confirm and accept each other’s sense of self. The closer the relationship, the more someone depend on a partner to accept and confirm their own sense of self; and the other hand their partner does the same. 8. Theory of Meaning

Meaning has two different parts, surface meaning and deeper meaning. Holman and Harmon (1972) elaborate that surface or denotation meaning is the exact meaning of a word, independent of its emotional coloration or association, without embellishment (p.108). Then, deeper or connotation meaning is the emotional implications that words may carry. Deeper meaning may be private and personal. It shows the result of individual experiences (p.133).

B. Theoretical Framework

The researcher implements several theories to support the two formulated problems mentioned in Chapter I. To solve the formulated problems, the researcher has to find several theories to conduct the study. Even though each problem has main strong theories, other theory which not strongly mentioned also included to make the basic mind of the problems. The other theories also support the to answer the problem

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formulation which will make the statement stronger. Those theories are theory of character and characterization, psychology approach, personality theory, theory of conflict, theory of motivation, theory of relationship, and the last important theory is. To answer the first problem formulation, the researcher uses theory of character and charactrization from Barnet (2010) and Murphy (1972). these theories are used to analyzed what kind of personality the characters have, so that the researcher will find the motives behind their reactions of events. Then to solve the second problem formulations the researcher uses interpersonal relationship theory also from Beebes and Redmond (2009). This theory will help the researcher to reveal the reaction behind their conflicts - the meaning why the conflicts occur.

C. Context of the Film Screenplay

In this part, the researcher gives information about the author of the novel.Inside Out (2015) is an animation film by Pete Docter. The director who was born in 9th

October 1968 is a famous director which films also become big hits, Monster Inc.(2001) and Up (2009). He is such a famous director with bizarre and imaginative mind (The New York Times; 2015).Inside Out is in the top rank of PIXAR inspiring film. This film began developing in 2009 after Ellie’s, Pete’s eleven-year-old daughter, changing personality through her emotions was being noticed by Pete. This

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film wins a “film of the Year” from AFI AWARDS, USA (2016) and also “Best

Writing, Original Screenplay” from ACADEMY AWARDS, USA (2016).

Throughout the film screenplay, the setting of the film is in Rilley’s head, called “Personality Island”. The journey starts when Joy suddenly appeard and followed by Sadness, Fear, Disgust, and Anger. These five are monitoring Rilley’s life and producing her responses to every situations. This condition pictures how preteen girl reacts to everything around. The five emotions are being validated by the help of Paul Ekman, a well-known psychologist of emotions, and Dacher Kelther, a professor of psychology. Indise Out, according to Pete Docter and his team, has functions to find an answer of how emotional life on an eleven-year-old girl will be.

After all,Inside Out film by Pete Docter, is a film that describes how emotions drive a preteen girl. In the film Docter gives clear personage of those emotions as Joy, Sadness, Fear, Disgust, and Anger, who grapple for control of the mind of preteen girl during the tumult of a move from Minnesota to San Franscisco. Docter personages each character with its own characterizations. The emotions also have their own struggle to resolve problems.

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CHAPTER III

METHODOLOGY

This chapter consists of three parts. The first part is the Object of the Study. In this part, the researcher provides the summary of the film. The next part is the Approach of the Study. In this part, the researcher elaborates the approach to solved the research problems. The last part is the Method of the Study. It explains more about the way or steps of accomplishing the objective of this research.

A. Object of the Study

The object of the study is a film screenplay of“Inside Out”by Pete Docter. The film produced in 2009 then released in 2015 under the production company of PIXAR Animations Studios and Walt Disney Pictures. This film is 1 hour and 34 minutes in length and the screenplay itself consists of 130 pages. The screenplay depicts the characters and its dialogues, setting, and the detail explanations of certain point, such as the details of the setting and the characters’ movements. The script also gives signs on the dialogues to indicate how the characters speak their dialogues, such as (CONT’D), (V.O.), and (S.O.).

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comes from Pete Docter personal experiences. Pete Docter has eleven-year-old daughter, Ellie, who is a lot like the character of young Ellie,Up (2009). The active and hyperactive Ellie has made Pete Docter wander what was going on inside his daughter’s head. The wandering makes Docter start the story of Inside Out film in 2009. In the end of Pete Docter’s idea, this film becomes a real portrayal of how emotions work inside a person’s head, how people perceive the world, how they express themselves, and how they evoke their responses to others.

In making the story, Pete Docter spoke to Paul Ekman - an expert on human emotions - and Dacher Keltner - the founder of an institution called The Greater Good Science Center. Docter and these two people agree on using five basic emotions. The two of the five emotions becomes the focus who gives a big impact on Rilley’s life. Joy defines Rilley’s personality and Sadness is the real star in the film who guides the responses of Rilley towards the changes she is going through.

B. Approach of the Study

In this study, the researcher uses psychological approach. This approach’s function’s is to analyze a person psychologically. By using this approach, the researcher understands the reasons behind the interpersonal conflict happening between Joy and Sadness . The researcher can also find several ways of Joy solving

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problems which are caused by Sadness and the importance of Sadness.

McLeod (2007) states that an approach that involves certain assumptions about human behavior: the way they function, which aspects of them are worthy of study and what research methods are appropriate for undertaking this study. There may be several different theories within an approach, but they all share these common assumptions.

In this research, the researcher focuses the most on the use of behaviorist theory initiated by Skinner (1974). He says that people (and animals) are controlled by their environment. Behaviorism is concerned with how environmental factors (called stimuli) affect observable behavior (called the response).

C. Method of the Study

In conducting this study, the researcher uses document analysis to analyze the film through the screenplay and also library research on solving the problem formulation. From the document analysis, the researcher uses the film screenplay which will be useful for the researcher. It is because the condition which happens in the film screenplay is captured and put as evidence.

There are general steps used by the researcher to do the research. First, was watching the film as the primary data. By watching this film, the researcher was able

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to understand the story deeper. After understanding the film, the researcher found some important and strong points to be analyzed. Then the researcher broadened the point in other particular point.

After that the researcher tries to answer the problem formulation on how Joy and Sadness are described in the film through their interpersonal conflict. The next step is to find the meaning behind the interpersonal conflict. Then the researcher tries to relate the finding with the theories. The researcher also states several opinion about the answers to the research problems After doing all those research, the researcher comes up with to conclusion.

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CHAPTER IV ANALYSIS

This chapter deals with the answers to the questions of this study. The first one discusses the description of Joy and Sadness. The second question aims to analyze the meaning behind the characters’ interpersonal conflict.

A. The Description of Characters 1. The Description of Joy

Joy is actually an emotion of preteen girl, Rilley, however, in Inside Out film she becomes the central character. She becomes the central character because she involved in all of the events in the story. Joy is a round character, who has different side at the end of film. Joy has several direct characteristics which can be seen from her physical appearance.

Since her physical appearances have meanings, then the researcher will elaborate deeper about Joy’s appearances. Those appearances give brief explanation that Joy is an energetic character. Starting from her skin with vibrant light color which follows her like a spotlight. It means that she is a center of Rilley’s life which is more important than any other characters of emotion. Just like spotlight, the story - or can be said as Rilley’s life - is focusing on Joy. It

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happens because without Joy Rilley can not be happy since Joy is the only one who can make Rilley happy. In the screenplay, Sadness says if Joy was not in Headquarters, Rilley would not be happy and they need to make Joy back to the Headquarters (p.45). Bing Bong also realizes that without Joy, Rilley can not be happy, so Bing Bong asks Joy and Sadness to follow him to go back to the Headquarters (p.66).

Then her messy hair explains that she has no time to comb her hair because whenever she wakes up, the things that she wants to do is to jump into everything which is interesting for her. This condition can be seen from her behavior in several situations mentioned in the screenplay. It mentions that “Joy jumps back into driving position”(p.3) and “Joy pops up the Core Memory Holder. Inside are five intensely bright golden memories” (p.6).

“Joy plays the accordion around Headquarters. The others appear, looking grumpy. Joy yells over the noise.

Joy : Hello! Did I wake you? Anger : Do you have to play that?

Joy : Well, I have to practice. And I don’t think of it as playing so much as hugging.

She tosses aside the accordion and runs off.

Joy : Okay, first day of school! Very, very exciting! I was up late last night figuring out a new plan. Here it is.”(p.34)

The next point is her green dress. Joy’s green dress’ means that Joy is giving harmony, balance, center, and refreshment either for the other emotions or Rilley herself. Joy’s green dress shows that she is actually the center of other four emotions. A color experts and a researcher of color, Angela Wright (2016), has

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widely-known theory called The Wright Theory about the meaning of colors toward psychology.

“GREEN.Balance

Positive: Harmony, balance, refreshment, universal love, rest, restoration, reassurance, environmental awareness,equilibrium, peace.

Green strikes the eye in such a way as to require no adjustment whatever and is, therefore, restful. Being in the centre of the spectrum, it is the colour of balance - a more important concept than many people realise. When the world about us contains plenty of green, this indicates the presence of water, and little danger of famine, so we are reassured by green, on a primitive level.”.

Other meaning comes from her bare feet. Her bare feet are an express of a person that fully energize and difficult to control. Like in the screenplay, shown that Joy likes to jump here and there. In an interview of a USA Online News (2016), called USATODAY, the director explains the meaning behind Joy’s bare feet. On the interview, Pete Docter declares that Joy’s bare feet and pixie reinforce her rambunctious character.

After all the direct meaning have been elaborate, it can be concluded that Joy is an energetic character. The next part of all is Joy’s dramatic meaning which can bee seen by the situation where the character involves.

1. Optimistic

Joy is an optimistic character. She like to see the positive on everything. When other characters are giving up to face certain things then Joy will think the other way around to make other characters believe that there are

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ways to solve it. As seen in the screenplay that Joy positively thinks that the new house will be great for Rilley to live when the other characters are feeling doubtful. She keeps saying good things so the other characters will think the same way.

“Anger : I can’t believe Mom and Dad moved us here!

Joy : Look, I get it. You guys have concerns. But we’ve been through worse! Tell you what: let’s make a list of all the things Riley should be HAPPY about!

Anger : Fine. Let’s see... this house stinks, our room stinks... Disgust : Pizza is weird here...

Sadness : Our friends are back home...

Fear : And all of our stuff is in the missing van! Joy : Oh c’mon, it could be worse...

Disgust : Yeah, Joy. We could be lying on the dirty floor. In a bag” (p.29)

Then there is a condition where Joy and Sadness are lost in long term memories, which is like labyrinth. When the islands break down, Joy tries even harder to go out from the long term memories to save Rilley. As can be seen from the screenplay that Joy positively thinks that there is a way out of there.

“Sadness: Wait! Joy, you could get lost in there! Joy : Think positive!

Sadness : Okay. I’m positive you will get lost in there. That’s Long-Term Memory. An endless warren of corridors and shelves. I read about it in the manuals.

Joy stops. Sadness is right. But wait!

Joy : The manuals? The manuals! You read the manuals! Sadness : Yeah...I, guess...”(p.56)

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Other evidence is where Sadness who is full of depressive knowing that it is a long way to take and she does not want to go around again, Joy hugs the core memories - which one of those is the memory while Rilley playing around with Meg - and she wants to make it to happens again. In consequence, she goes to the labyrinths and pulls Sadness leg.

“Joy :(trying to stay positive)We’ll just have to go the long way. They turn to look back into the deep memory shelves.

Sadness :Yeah. The long, long, looong way.I’m ready.

Sadness lies down on the ground, offering her leg. Joy sighs. She doesn’t want to do this again.

Joy : Ah, yes.(pulling Sadness)There’s gotta be a better way.” (pp.63-64)

2. Determined

Determined is part of Joy character in Inside Outfilm. She never gives up on whatever she wants to achieve. Her determinedness is mostly shown when she and Sadness are out from Headquarters. In the screenplay, Joy tries her best to go back to the Headquarters from the thin bridge that connects Goofball Island with the Headquarters. The first strong evidence from the screenplay is that even in labyrinth, Joy is not stopping to find the way out even she has to pull Sadness leg here and there.

“Joy : You are my map! Let’s go! Lead on, Mind Map! Show me where we’re going!

Sadness : Okay! Only, I’m too sad to walk. Just give me a few... hours. Joy grabs Sadness’ leg and DRAGS her into the shelves.

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Sadness : Right.(Joy turns right)No. I mean, go left. I said left was right, like “correct.”

Joy : Okay.

Sadness : This actually feels kind of nice.

Joy heads off into the COMPLICATED LABYRINTH ahead of them. Joy : Okay! Here we go. We’ll be back to Headquarters before

morning. We can do it. This’ll be easy. This is working!” (p.57)

Not only the evidence above that shows Joy is a determined character, but there is another one when she is in the Memory Dump with Bing Bong. Joy really tries her best - with the help of Bing Bong and his rocket - going out from the Memory Dump. Joy and Bing Bong sing the rocket’s song over and over again so the rocket will fly high.

“EXT. MEMORY DUMP - LATER

They perch the wagon atop a hill. Joy looks resigned. Joy : Hop in!

Both inside, Bing Bong pushes off. They speed down a slope to gain momentum, singing all the way. They reach the bottom and shoot up another hill, launching up towards the cliff top. Joy and Bing Bong enthusiastically, if not desperately, sing at the top of their lungs. Not even close. They crash back to the bottom.

Joy(CONT’D): C’mon!

EXT. MEMORY DUMP - MOMENTS LATER

They shoot down a taller hill for another go. They SING faster and louder. Joy reaches for the ledge but they fall with a thud. Bing Bong stands. There’s no way they’ll make it. He looks up at the ledge and then to his hand -- it’s disappearing!

Bing Bong : Come on, Joy. One more time. I’ve got a feeling about this one.

EXT. MEMORY DUMP - MOMENTS LATER

Hurdling down the largest hill yet, they continue to sing Bing Bong’s song.

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Bing Bong times it just right... and jumps out of the wagon.Without his weight, the Joy gains momentum. She’s unaware of Bing Bong’s absence.

Joy : We’re gonna make it!

The rocket makes it over the ledge! It crashes atop the cliff.” (pp.110-111)

3. Reliable

Joy has a personality to lead others. She knows how to deal with problems then solves it calmly. Most of the time she controls the situation they had to face.

“Joy : Okay, first day of school! Very, very exciting! I was up late last night figuring out a new plan. Here it is. (to Fear)Fear! I need a list of all the possible negative outcomes on the first day at a new school.

Fear : Way ahead of you there. Does anyone know how to spell “meteor?”

Joy : Disgust! Make sure Riley stands out today... but also blends in.

Disgust : When I’m through, Riley will look so good the other kids will look at their own outfits and barf.

Joy : (addressing herself)Joy! Yes Joy? You’ll be in charge of the console, keeping Riley happy all day long. And may I add I love your dress, it’s adorable. Oh, This ol’ thing? Thank you so much, I love the way it twirls...

Toot Toot! A train rushes by outside.

Joy : Train of Thought! Right on schedule.

The engineer waves from the cab and drops off a large bag.

Joy : Anger! Unload the daydreams. I ordered extra in case things get slow in class.

Anger : Might come in handy, if this new school is full of boring useless classes, which it probably will be...” (pp.34-35)

This condition makes others depend on her. When she disappears to the Long-Term Memory, Disgust, Anger, and Fear are unable to know what to do

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in controlling the console. At that time of desperation, Disgust even hopes that Joy was in the Headquarters (p.46).

4. Supportive

Over her optimistic attitude, she mostly becomes supportive to others. She tries her best not to let others think negatively. Even when other characters look down on themselves, Joy always gives good words to them. This condition happens between Joy and Sadness, because Sadness likes to think negatively, she tend to be so depressive. The screenplay gives a plot where Joy wants to make Rilley happy, but Sadness touch one of the core memory then the memory ball turns into blue, also Rilley start to feel sad. Right at the moment, Joy drags Sadness to a bookshelf corner to make her stay away from the balls.

“Sadness: I know. I’m sorry. Something’s wrong with me. It’s like I’m having breakdown.

Joy : You are not having a breakdown. It’s stress. Sadness : I keep making mistakes like that. I’m awful... Joy : Nooo, you’re not.

Sadness : ...and annoying.

Joy : Well... uh... You know what? You can’t focus on what’s going wrong.There’s always a way to turn things around, to find the fun!” (pp.24-25)

Then, there is a plot in the screenplay where Joy Praise to Sadness that wake Rilley up using scary dream is a good idea. Over Joy’s praise, Sadness feels happy about herself.

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“Joy : Hey, that was a good idea. About scaring Riley awake. You’re not so bad.

Sadness : Really? Joy : Nice work.

Joy turns to sit on a crate inside the train.” (p.102)

Then this situation goes on when finally they get in the Headquarters. In that moment Joy asks Sadness to lead Rilley’s emotion but Sadness is not sure about it, then Joy makes her sure that she can do it.

“Disgust: Joy, you’ve got to fix this. Get up there. Joy : Sadness, it’s up to you.

Sadness : Me?

Joy pushes Sadness towards the console. Anger/Fear/Disgust : Sadness?!?

Sadness : I can’t, Joy.

Joy : Yes you can. Riley needs you.

Sadness looks at Joy. Really? Joy nods.” (pp.120-121)

Having those characterizations which already mentioned above can be concluded that Joy is also a light-hearted character. From energetic, optimistic, hardworking, and also supportive make her a perfect light-hearted character which never been seen in a desperation. Joy has solving problems as character in Inside Out film with positively think that everything will be okay and do things without whining.

2. The Description of Sadness

Sadness is also an emotion of preteen girl, Rilley, who also becomes the central character in Inside Out film. She becomes the central character because she involves in every event in the film, with Joy. Sadness is also a round

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character who has different side at the end of the film. At first, even Joy states that she does not understand the existing purpose of Sadness (p.6). Then everything comes in conclusion that Sadness is actually also an important emotion for Rilley. As Joy predicts, Rilley gets sad and cries when she missed the winning shot but her parents and friend comfort her so she can be happy again. At that moment, Joy realizes the importance of Sadness (p.109). Sadness has several direct means which also can be seen from her physical appearances. Sadness is a character which being portrayed as a short chubby girl who has blue silky hair, blue colored skin, teardrop-like shape of body, with big round glasses and woolly sweater.

Sadness physical appearances also have meaning on it. Start from her blue hair and blue skin which in American culture blue is a color of sadness or depression. A gastreontologist, Peter Whorwell from University Hospital Sout Manchester says that by using the Manchester Color Wheel, between blue and yellow, most people with anxiety like to chose blue as a mood color. A little bit darker blue is a favorite color for people who are feeling sad and depressed (access on September 27th_{, 2016). Paul Ekman (2007) describes blue as the “blue}

mood”, the mood that comes out when people feel sad for many hours and having a melancholy personality (p. 93). From the information above, the researcher conclude that Sadness’ blue skin color tells that she is a depression character.

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Sadness’ woolly sweater shows that she is a less-confident character. Albert Lazano, as Character Art Director of Inside Out film, explains that actually he tries to portray Sadness with pajamas like most of people who like to stay in pajamas a whole day when they are sad (access on Spetember 27th_{, 2016). On the}

other hand, by giving Sadness pajamas which then turns into woolly sweater, shows that Sadness is also a clumsy character. When a person is wrap in pajamas they tend to slow things down. They do not like things with will cause to much interactive. This condition can be seen from the screenplay when Bing Bong, Joy, and Sadness arrived in the lava daydream. The place where the couch cushions is floating around over a lava and they have to jump to walk pass through it. In that place, Sadness complains with the fact that she has to be so interactive (p.75).

Then, the next thing which portray Sadness personality is her big round glasses. This big glasses shows that she is a nerd with wide knowledge of Headquarters and everything around it. In that condition, the big glasses must be the cause from the reading habit. The screenplay also mentions that Sadness reads about the Long-Term Memory labyrinth which giving her and Joy clue to get out from the labyrinth (p.56). she also understand how the abstract mind works when Bing Bong try to show shortcut to get to the train of thoughts (pp.71-73).

After all the direct meanings of Sadness have been elaborated, it can be concluded that Sadness is a depressed, clumsy, but a smart character. Then the

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researcher will elaborate the dramatic meanings of Sadness which can be seen by the way the situation happens where Sadness involves.

1. Pessimistic

Over all of Sadness character, pessimistic is the one show up from Sadness until Joy makes her realize how important she is in Headquarters. Before that, she almost never be positive over everything that happened. Everything for Sadness is always an unable-to-be-finished problem and not interesting. Most of the time, Joy asks Sadness to think positively. There is a plot where Sadness is strongly believe that herself and Joy will be hard getting out from the Long-Term Memory and it is almost impossible to get out from there.

“Sadness: Wait! Joy, you could get lost in there! Joy : Think positive!

Sadness : Okay. I’m positive you will get lost in there. That’s Long-Term Memory. An endless warren of corridors and shelves. I read about it in the manuals.

Joy stops. Sadness is right. But wait!

Joy : The manuals? The manuals! You read the manuals! Sadness : Yeah...

Joy : So you know the way back to Headquarters! Sadness : I, guess..” (p.56)

Then other evidence of her pessimistic is when the Friendship Island is broken. When Sadness sees that the Friendship Island has vanished, all that Sadness can say is just negative words. Like what is written in the

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screenplay, Sadness says, “Oh, Riley loved that one. And now it's GONE. Goodbye friendship, hello loneliness”(p.63) with depressed expression which can be seen from the film.

Then there is a time when Sadness does not have believe on herself when Joy gives her the chance to take over the console.

“Disgust : Joy, you’ve got to fix this. Get up there. Joy : Sadness, it’s up to you.

Sadness : Me?

Joy pushes Sadness towards the console. Anger/Fear/Disgust : Sadness?!?

Sadness : I can’t, Joy.

Joy : Yes you can. Riley needs you.

Sadness looks at Joy. Really? Joy nods.” (pp.120-121)

This pessimistic character also make her easily depressed with negative toughts. The evidence is when Sadness touch the core memory than it turns into blue then Joy confronts her.

“Joy (CONT’D): Sadness! You nearly touched a core memory. And when you touch them, we can’t change

Sadness : I know. I’m sorry. Something’s wrong with me. It’s like I’m having a breakdown.

Joy : You are not having a breakdown.It’s stress. Sadness : I keep making mistakes like that.I’m awful... Joy : Nooo, you’re not.

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2. Slothful

Sadness never has the interest to move around, she hates to do everything so active. She even complains to Joy when they have to find the way out from the Long-Term Memory.

“Joy : You are my map! Let’s go! Lead on, Mind Map! Show me where we’re going!

Sadness : Okay! Only, I’m too sad to walk. Just give me a few... hours. Joy grabs Sadness’ leg and DRAGS her into the shelves.

Joy : Which way? Left?

Sadness : Right.(Joy turns right)No. I mean, go left. I said left was right, like “correct.”

Joy : Okay.

Sadness : This actually feels kind of nice.”(p.57)

The second evidence of her passiveness is when Bing Bong, Joy, and Sadness in the Imagination Land. They walk through the French Fries Forest then to the Trophy Town where everybody is a winner. Joy and Bing Bong are excited to get all the medallions, Sadness looks not satisfied. She says, “Hohh... Participation award...” (p.75). Then she lays down in one of the couch cushions which shown from the film. (Fig. 4a.2.2)

Other evidence of her passiveness is when Bing Bong, Joy, and Sadness have to jump on a couch cushions over a lava. At that time Sadness also complains that it needs to be active to pass through it. In the screenplay written that “Sadness tries to jump to a rock, barely makes it. Sadness: Is it all going to be so interactive?” (p.75). Then she lays down in one of the couch cushion which shown from the film.

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3. Intelligent

Among those five emotions, Sadness knows best about everything that works around Headquarters. Sadness likes to read a lot. The wide knowledge of Sadness can be seen when she is lost in Long-Term Memory with Joy. Sadness had memorizes the wide Long-Term Memory Labyrinth (fig. 4a.2.6). Reading the manuals give them benefits to get out from Long-Term Memory Labyrinth (p.57).

The other evidence is when Joy, Sadness and Bing Bong want to go in to the Abstract Thought. Sadness is not sure about going in it because she already read of how the Abstract Thought works.

“Joy : Whoa! What's happening?! Sadness : Oh no. They turned it on.

Bing Bong: Huh! I’ve never seen this before.

Bing Bong’s head turns into a Picasso-like form. Joy and Sadness scream as they become Cubist versions of themselves.

Bing Bong: (CONT’D)My face! My beautiful face! Joy : What is going on?

Sadness : We’re abstracting! There are four stages. This is the first: non-objective fragmentation!” (p.71)

B. The Meaning Behind Joy and Sadness’ Interpersonal Conflicts

In this study, the meaning of Joy and Sadness’ interpersonal conflict is divided into two parts. The first part is literal meaning and the second part is the deeper meaning. In the screenplay, it can be seen that Joy and Sadness have a hard time to

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get a long together. Joy at the beginning does not understand the reason behind Sadness existence, because she only makes Rilley sad (p. 6).

The two fight over controlling the console. The conflicts occurred between the two of them can be divided into several reasons. First, conflict occurs because both Joy and Sadness have different interpretation towards the data they get. It happens when they argue over the decision to take: whether they go into the Abstract Thought or not (p. 71) and whether or not they had to wake Rilley up by scaring her(p. 88).

The other conflict also occurs when Joy and Sadness have their own specific interests. The differences of these interests cause them put less interest on everything they do together and make the other feel tired on making other understand their own interest. Joy is tired on making Sadness understand to see everything as beautiful as she sees it.

Joy : Oh, hey, hey... easy. Why are you crying? That’s really the opposite of what we’re going for here.

Sadness : Crying helps me slow down and obsess over the weight of life's problems.

Joy : Ugh, you know what? Let’s think about something else. How about we read some mind manuals, huh? Sounds fun!

She drags Sadness over to a shelf of technical manuals. Sadness : I’ve read most of them.

Joy : Well have you read this one? This seems interesting: “Long-Term Memory Retrieval, Volume 47?”

Sadness : No.

Joy : Ohhh! A real page turner!

Sadness : (opens manual; reads) “Long-Term Memory Data Selection via channel sub-grouping?”

Joy : See? Fun already! You lucky dog, you’re reading these cool things and I gotta go work. Life is so unfair.

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Another conflict also happens when Sadness always see everything from her negative point of view. The first is when Sadness is not happy in receiving the trophy (p. 57). Then when Sadness hopelessly jumps from one couch to another (p. 75).

Joy and Sadness conflict also occurs because they have different procedures to solve problems. The conflict that happens over and over is when they fight over taking turn in controlling the console. Another different conflict happens when Joy wants to cross over the Goofball Island to go to the Headquarters but Sadness does not think the same way. The also have different procedures on the way they wake Rilley up.

“Sadness : Well, she wakes up sometimes when she has a scary dream. We could scare her.

Joy : Scare her? No no, she’s been through enough already. Sadness : But

Joy--Joy : Sadness you may know your way around down here, but I know Riley! We’re gonna make her so happy she’ll wake up with exhilaration! We’ll excite her awake!

Sadness : That’s never happened before.

Joy spots a nearby dog costume and tosses it to Sadness. Joy : Ooh, Riley loves dogs. Put this on!

Sadness : I don’t think that’ll work.” (p. 88)

The way they value certain things also cause them argue. When they have different value of certain kind of things make them underestimate each other. This happens when Joy has never sees that the blue core memory is worth to keep than the golden one. This condition hurts Sadness and makes her want to keep the blue core memory even stronger.

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“Joy : No wait... stop it! No! Ahh!

Joy leaps to the holder and pops it open, preventing the new blue core memory from going in. Joy grabs it.

She pushes the end-of-day “memory flush” button. The tube comes down from the ceiling.

Sadness : (trying to take her memory back from Joy) Joy, no. That’s a core memory, Joy!

Joy : Hey! Stop it. Let go.

As they struggle, they bump into the Core Memory Holder, knocking all of the core memories out onto the floor.” (pp. 42 - 43)

In the Headquarters Joy has big roles and responsibility to take. It causes imbalance condition between the two of them. The powerful roles of Joy has made her control here and there. She, unconsciously, takes control on which emotions that able to touch the console. The power she has allows her to prevent Sadness from touching the console. Every emotions in Headquarters give their trust to Joy so that everybody becomes depending on her.

Compare to other emotions, Sadness almost never touches the console. The very simple reason she can not touch the console is that she does not make Rilley happier. Disgust even states that the moment Sadness touches the memory, Rilley become sad.

“Joy : What did you do? Sadness : I just touched it.

Joy : That shouldn’t make it change. Fear : Change it back, Joy!

Joy rubs it, but the memory stays blue. Joy : I’m trying.

Anger : You can’t change it back? Joy : No, I guess I can’t!

Disgust : Good going Sadness. Now when Riley thinks of that moment with Dad, she’s gonna fee l sad. Bravo.

Sadness : I’m sorry Joy... I don’t really know-- I thought maybe, if you-- if I-- if... I” (p. 22)

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The last but significant reason why the conflict always occurs because Joy does not put trust on Sadness. Joy doubt Sadness over everything Sadness does. This doubtful thought of Joy makes her and Sadness apart. It also makes Joy never communicate with Sadness and she even never ask Sadness for suggestions when she faces with problems. This lack of trust and communication bring them to a bad relationship. Eventhough they are together, in a same place for a quite long time, they never understand each other.

1. Surface Meaning

In this part the researcher has more concern about the characters’ ego that can be seen from the screenplay and with support from the film. The surface meaning from Joy and Sadness’ interpersonal conflict is because there is no balance in controlling the Headquarters. The imbalance situation makes the condition even worse, they are being dragged even far away from the console. This imbalance situation caused by the will of Joy to power. Her insecurity comes out based on the situation that Sadness wants to take a control of the console and brings a blue core memory. Joy always becomes the one who leads everything. From the beginning of the film, Joy always thinks that she is the only one that can make Rilley happy. This habit of making Rilley happy makes her proud. In screenplay, Joy says “Anyway! These are Riley’s memories-- and they’re mostly happy, you’ll notice, not to brag.” (p.6).

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The facts seem unable to fulfill what Joy wants for Rilley. As they move to San Francisco, there is no more wall of golden memories. This fact seems hurtful for Joy, so that she badly wants to do everything to make Rilley happy. Then her desire to make Rilley happy grows stronger.

She loves Rilley so much so that she is obsessed to make Rilley happy. It can be seen from her statements in the screenplay that she loves Rilley and things could not be better (p.10). Since Rilley starts to move to San Francisco, Joy only struggles to make Rilley happy. When other emotions only think that moving to San Francisco is a bad decision, Joy tries to be positive about it. At the beginning, she only tries to put all good imagination for other emotions to see that everything will be okay. Then somehow it works, other emotions also make an imagination about how the bedroom will be (p15-16). Starting from that point, Joy is triggered to always keep Rilley happy no matter what will happen. This situation blinds her. She even blocks Sadness to touch the console when Rilley’s father left after they play hockey together and thinks so hard to make a better situation.

“Sadness: Oh, he doesn’t love us anymore. That’s sad. I should drive right? Joy blocks her.

Sadness : Joy? What are you doing?

Joy : Uh, just uh, gimme one second... You know what I’ve realized? Riley hasn’t had lunch!(takes a memory off the wall and plays it) Remember?” (p.19)

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Meanwhile, back at Headquarters, Anger, Disgust, and Fear attempt to take charge in the wake of Joy's absence. But they are unable to make Riley joyful, and instead instigate a confrontation with Riley's parents, and cause Goofball Island to fall into the Memory Dump. The three soon realize that tampering with Riley's personality will cause it to slowly destroy itself with potentially disastrous results.

Joy, Sadness and Bing Bong hatch a plan to ride the "Train of Thought" back to Headquarters and trek through the various parts of Riley's mind, unaware that Riley's life is slowly starting to crumble. She alienates both her parents and her former best friend, struggles in her new surroundings and quits hockey after failing to do well in the first tryout. Anger reasons that the only way to restore Riley's personality and keep the remaining islands from falling into the Memory Dump is to persuade her to run away to Minnesota.

Later that night, while Riley is sleeping, Joy, Sadness, and Bing Bong arrive at the loading dock for the Train of Thought, only to realize the train does not run during nighttime. In an attempt to jump-start the train, the three infiltrate "Dream Productions", where Riley's dreams and nightmares are created. Onstage, they infiltrate a monstrous birthday clown named Jangles, who scares Riley and wakes her up. As Joy, Sadness, and Bing Bong board the Train of Thought and make their way towards Headquarters, Anger enacts his plan of running away. Riley is led to steal her mother's credit card, which causes Honesty Island to crumble, destroying the Train of Thought in the process. Joy, Sadness and Bing Bong take refuge on Family Island

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only for the island to begin to fall in pieces when Riley boards a waiting bus to Minnesota. Then, after a failed attempt to hitch a ride to Headquarters through an exposed memory recall tube, Joy and Bing Bong fall into the dump, leaving Sadness on her own.

Joy, in despair and on the verge of giving up, bursts into tears and shifts through Riley's memories, locating a sad one in which Riley missed a shot in a hockey game and cost her team the win. Realizing that Sadness was the one who caused both her teammates and her parents to console her, changing the memory into a happy one, Joy helps Bing Bong find his rocket wagon and attempts to jumpstart it only to realize it falls short of reaching the cliff every time. Bing Bong, in a moment of self-realization, starts the rocket again and jumps off before it flies away. As Joy looks over her shoulder after barely making it to the cliff, Bing Bong thanks her for letting him be important one last time and fades away.

Joy emerges from the dump and finds Sadness, who has come to the conclusion that her doings can only hurt Riley and flees her. Using a huge pile of imaginary boyfriends from Imagination Land, Joy launches herself towards Sadness with a large trampoline and grabs her before flying towards Headquarters, where Anger and Disgust work together to get them inside. Everyone then looks to Joy to save the situation, but she steps back and lets Sadness take control. Riley, now in control of her emotions, gets off the bus before it leaves the station and returns home to her parents, where she breaks down in tears after admitting she misses her old life. As her

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parents comfort her, Joy and Sadness create a new core memory together, which glows both blue and yellow, beginning the restoration of Riley's personality.

With Riley now adapting to life in a new city and Sadness finally having found her place among her fellow emotions, everyone works together to help lead Riley to a happy life as she turns 12.

(Access on October 4, 2016)

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Appendix B

Pete Docter

Biography

Docter was born in Bloomington, Minnesota, growing up socially isolated, preferring to work alone and having to remind himself to connect with others. He often played in the creek beside his house, pretending to be Indiana Jones and acting out scenes. A junior-high classmate later described him as "this kid who was really tall, but who was kind of awkward, maybe getting picked on by the school bullies because his voice change at puberty was very rough".

Both his parents worked in education: his mother, Rita, taught music and his father, Dave, was a choral director at Normandale Community College. He attended Nine Mile Elementary School, Oak Grove Junior High, and John F. Kennedy High School in Bloomington. Unlike his two sisters, Kirsten Docter, who is now the violist of the Cavani String Quartet,and Kari Docter, a cellist with the Metropolitan Opera, Docter was not particularly interested in music. Nevertheless, he can be seen playing on Michael Giacchino's score on the Up Blu-Rayextra features. He taught himself cartooning, making flip books and homemade animated shorts with a family movie camera. He later described his interest in animation as a way to "play God", making up nearly living characters. Cartoon director Chuck Jones and producer Walt Disney and cartoonist Jack Davis were major inspirations.

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Before joining Pixar, Docter had created three non-computer animations, Next Door,Palm Springs, and Winter. He was a fan of the company's early short films, but he knew nothing about them otherwise. He commented in an October 2009 interview, "Looking back, I kind of go, what was I thinking?”

He started at Pixar at the age of 21, and began work the day after his college graduation, the tenth employee the company hired, and its third animator. He first met owner Steve Jobs when Jobs came to lay off some older workers. Docter instantly felt at home in the tight-knit atmosphere of the company. He has said, "Growing up... a lot of us felt we were the only person in the world who had this weird obsession with animation. Coming to Pixar you feel like, 'Oh! There are others!”

Docter had been brought in with limited responsibilities, but John Lasseter quickly assigned him larger and larger roles in writing, animation, sound recording, and orchestra scoring. He was one of the three key screenwriters behind the concept of Toy Story, and partially based the character of Buzz Lightyear on himself. He had a mirror on his desk and made faces with it as he conceptualized the character.

Docter has been an integral part of some of Pixar's most seminal works, including Toy Story, Toy Story 2, A Bug's Life and Monsters, Inc., all of which received critical acclaim and honors. He contributed to these animated films as a co-author to the scripts, and worked with CGI stalwarts such as John Lasseter, Ronnie

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del Carmen, Bob Peterson, Andrew Stanton, Brad Bird, and the late Joe Ranft. Docter has referred to his colleagues at Pixar as a bunch of "wild stallions".

In 2004, he was asked by John Lasseter to direct the English translation of Howl's Moving Castle. Docter made his directorial debut with Monsters, Inc., which occurred right after the birth of his first child, Nick. Docter has said that the abrupt move from a complete, single-minded devotion to his career to parenting drove him "upside down" and formed the inspiration for the storyline. Docter then directed the 2009 film Up, released on May 29, 2009. He based the protagonist of Up partially on himself, based on his frequent feelings of social awkwardness and his desire to get away from crowds to contemplate. Then, in 2015, Docter left the Newtproject (which was later scrapped) to direct his idea for a new movie, which later became Inside Out. In an interview with Jonathan Carlin, Docter said that he has an idea for an upcoming Pixar movie about a bird and the subway system.

(Access on October 4, 2016)

The meaning of interpersonal conflicts between joy and sadness as seen in Pete Docter`s inside out film Screenplay.

ABSTRACT

ABSTRAK

FILM SCREENPLAY

“All I can do is follow my instinct,

because I’ll never please everyone.”

-Emma

ABSTRACT

ABSTRAK

ACKNOWLEDGEMENTS

TABLE OF CONTENTS

CHAPTER I

INTRODUCTION

CHAPTER II

REVIEW OF RELATED LITERATURE

CHAPTER III

METHODOLOGY

Pete Docter

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ABSTRACT

ABSTRAK

FILM SCREENPLAY

“All I can do is follow my instinct,

because I’ll never please everyone.”

-Emma

ABSTRACT

ABSTRAK

ACKNOWLEDGEMENTS

TABLE OF CONTENTS

CHAPTER I

INTRODUCTION

CHAPTER II

REVIEW OF RELATED LITERATURE

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METHODOLOGY

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