FREEDOM TO CHOOSE IN RYAN MURPHY’S MOVIE Freedom To Choose In Ryan Murphy’s Movie Eat, Pray, Love (2010) An Existentialist Approach.
FREEDOM TO CHOOSE IN RYAN MURPHY’S MOVIE
EAT, PRAY, LOVE (2010)
AN EXISTENTIALIST APPROACH
RESEARCH PAPER
Submitted as a Partial Fulfillment of the Requirement
for getting Bachelor Degree of Education
in English Department
by
SHOLIKHAH ARUM SARI
A 320 080 064
SCHOOL OF TEACHING TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2012
i
ii
iii
iv
MOTTO
NO PAIN NO GAIN
(WRITER)
Freedom means the opportunity to be what we never
thought we would be
(Daniel J. Boorstin)
Never put off until tomorrow what you can do the day after
tomorrow
(Mark Twain)
v
DEDICATION
Thisresearch paper isheart edl y dedicat ion t o:
My L ord, All ah SW T.
My
bel oved parent s “M om and
Dad”.
My bel oved sist er “I nt an and Fit ri”.
My bel oved friends.
My bel oved “Someone”.
Peopl e who a re wil l ing t o read this
research paper.
vi
ACKNOWLEDGMENT
Assalamu’alaikum Wr.Wb.
Alhamdulillahhirobbil’alamiin, praise is to ALLAH SWT, the Lord of
Universe, who has given her divine direction and guidance so that the researcher
can accomplish her research paper entitled “FREEDOM TO CHOOSE IN
RYAN
MURPHY’S
MOVIE:
EAT,
PRAY,
LOVE
(2010):
AN
EXISTENTIALIST APPROACH ”. This research paper is presented as a
partial fulfillment of the requirements for getting Bachelor Degree of Education in
English Department of University Muhamadiyah of Surakarta.
The researcher is aware that the success of this research paper cannot be
separated from the supports of many people. Therefore, in this opportunity, the
researcher 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 of Muhammadiyah University of
Surakarta,
2. Titis Setyabudi, S.S. M.Hum., as a chief of English Department
Muhammadiyah University of Surakarta,
3. Dr. Phil. Dewi Candraningrum, M.Ed., as the first consultant
who has given guidance, advice and information patiently during
the arrangement of this research paper,
vii
4. Nur Hidayat S.Pd., as the second consultant who had given
correction for grammatical structure and suggestion and advice of
research paper,
5. Drs. Abdillah Nugroho, M.Hum, as the member of board of
examiners for his valuable time, evaluation, advice for the writer to
finish this research paper.
6. Prof. Dr. Endang Fauziati, M.Hum, as the academic consultant
in English Department at Muhammadiyah University of Surakarta,
7. Fitri Kurniawan S.Pd., for guiding, advice and who had given
understanding for her to doing research paper,
8. Her Beloved Parent, “Mom” Suminah and “Dad” Sri Mulyono
for love, prayer, support, affection, and all sacrifice,
9. Her Beloved “Young Sister”, Intan Syamsiyati and Fajar
Safitri for all jokes, pray, and care,
10. Her closest friend “mamah” Shenly, “tante” Aya, “tante” Dea,
“tante” Isna, FJ, Ika, Didik, Sasa, Pandhu, Ilham, Hanif, Mas
Supriyanto, Cungkring, Bang Mail, Pakde, KOPMA, Titin,
Wahyuni, Minem, Nunik, Mintil, Minuk, Yayuk, and all people
who cannot mention one by one, for jokes, care, advice,
togetherness, best moment and being her best friend,
11. Her most closest friend “Shenly Nuari Dhani B”, for advice, care,
support, faithfulness, who show her about truly friendship and
everything,
viii
ix
TABLE OF CONTENT
TITLE ...................................................................................................... i
APPROVAL .............................................................................................. ii
ACCEPTANCE ........................................................................................ iii
TESTIMONY ……………………………………………………………. iv
MOTTO ...................................................................................................... v
DEDICATION ........................................................................................... vi
ACKNOWLEDGMENT............................................................................ vii
TABLE OF CONTENT................................................................... ……… x
LIST OF FIGURE....................................................................................... xiii
ABSTRACT ................................................................................................ xvi
CHAPTER I : INTRODUCTION
A. Background of the Study.................................................. 1
B. Literature Review.............................................................. 7
C. Problem Statements .......................................................... 7
D. Limitation of the Study..................................................... 7
E. Objective of the Study....................................................... 8
F. Benefit of the Study.......................................................... 8
G. Research Method............................................................... 9
H. Paper Organization............................................................ 10
CHAPTER II : UNDERLYING THEORY
A. The Notion of Existentialism .......................................... 11
B. Sartre Theory In Existentialism ........................................ 12
1. Being ............................................................................ 12
2. Existence Precedes Essence ………………………….. 14
3. Consciousness (Cogito) ……………………………… 14
4. Freedom to Choose …………………………………... 15
5. Anxiety ……………...................................................... 15
6. Transcendence of Ego ………………………………... 16
x
7. Nothingness …………………………………………. 16
C. Structural Elements of the Movie.................................... 17
1. Narrative Elements of the Movie
a.Character and Characterization …………………… 17
b. Setting ..................................................................... 17
c. Plot ........................................................................... 18
d. Point of View........................................................... 19
e. Theme........................................................................ 19
2. Technical Elements of the Movie
a. Casting ……............................................................ 20
b. Mise-en-Scene........................................................... 20
c. Cinematography........................................................ 24
D.Theoretical Application...................................................... 28
CHAPTER III: STRUCTURAL ANALYSIS OF THE MOVIE
A. Structural Elements of the Movie.................................... 29
1. Narrative Elements of the Movie ………………….. 29
a. Character and Characterization...................... 29
b.
Setting.......................................................... 42
c.
Plot............................................................... 46
d.
Point of View …………………………….. 48
e.
Theme........................................................... 49
2. Technical Elements of the Movie ………………… 49
a. Casting ………………………………………49
b. Mise-en-Scene ……………………………….50
c. Cinematography ……………………….…… 61
d. Sound………………………………………. 65
e. Editing ……………………………………… 66
C. Discussion......................................................................... 68
xi
CHAPTER IV : EXISTENTIALIST ANALYSIS
A. Existentialist Analysis …………………………………. 71
1. Being ............................................................................ 71
2. Existences Precedes Essence ……………………...... 75
3. Consciousness ………………………………………. 76
4. Freedom to Choose ………………………………… 78
5. Anxiety …………………………………………….. 81
6. Transcendence of Ego ……………………………… 84
7. Nothingness…………………………………..…….. 87
B. Discussion...................................................................... 88
CHAPTER V : CONCLUSION AND SUGGESTION
A. Conclusion..................................................................... 92
B. Suggestion.....................................................................
BIBLIOGRAPHY
APPENDIX
xii
93
LIST OF FIGURES
Figure 1: Elizabeth Gilbert ……………………………………………..… 29
Figure 2: Elizabeth Gilbert’s Full Body ………………………………….. 29
Figure 3: Stephen …………………………………………………………. 32
Figure 4: Delia Shiraz …………………………………………………….. 33
Figure 5: David Piccolo …………………………………………………... 35
Figure 6: Ketut Liyer ………………………………………………........... 36
Figure 7: Giovanni and Sofi ……………………………………………… 37
Figure 8: Sofi Close-up ………………………………………..…………. 38
Figure 9: Giovanni Cose-up ……………………………………………… 38
Figure 10: Richard ....................................................................................... 38
Figure 11: Felipe .......................................................................................... 40
Figure 12: Bali ............................................................................................. 42
Figure 13: Liz in Bali ................................................................................... 42
Figure 14: Italy ............................................................................................. 43
Figure 15: Liz in Italy .................................................................................. 43
Figure 16: India ............................................................................................ 43
Figure 17: Liz in India .................................................................................. 43
Figure 18: New York ................................................................................... 44
Figure 19: Liz in New York ......................................................................... 44
Figure 20: Shot 1 ( Liz in Ketut House) ....................................................... 50
Figure 21: Shot 2 ( Liz cottage) .................................................................... 50
Figure 22: Shot 3 (Liz Walking through Rice field) ..................................... 50
Figure 23: Shot 4 (Liz in Ketut Terrace) ...................................................... 50
Figure 24: Shot 5 (At Lawyer Office) .......................................................... 51
Figure 25: Shot 6 (David Room) .................................................................. 51
Figure 26: Shot 7 (Delia House) ................................................................... 51
Figure 27: Shot 8 (Liz and Delia Office) ...................................................... 51
Figure 28: Shot 9 (Liz in Italian Restaurant with Giovanni) ........................ 52
Figure 29: Shot 10 (Liz with her Friends in Italy) ........................................ 52
xiii
Figure 30: Shot 11 (Liz in Seva) ................................................................... 52
Figure 31: Shot 12 (Liz with Elephant in India ) .......................................... 53
Figure 32: Shot 13 (Prayer Room) ................................................................ 52
Figure 33: Shot 14 (Guru Gita Class) ............................................................53
Figure 34: Shot 15 (Liz’s costume in New York) .........................................54
Figure 35: Shot 16 (Liz’s costume watching a theatre) ................................ 54
Figure 36: Liz’s Costume in Italy ................................................................. 54
Figure 37: Liz’s Make-Up ............................................................................ 54
Figure 38: Liz’s Costume in India ................................................................ 55
Figure 39: Liz’s Make-Up ............................................................................ 55
Figure 40: Liz’s Costume in Bali .................................................................. 55
Figure 41: Liz’s Make-Up in Bali .................................................................55
Figure 42: Hard Intensity .............................................................................. 56
Figure 43: Soft Intensity............................................................................... 56
Figure 44: Frontal Lighting ……………………………………………….. 57
Figure 45: Side Lighting ………………………………………………….. 57
Figure 46: Backlighting …………………………………………………... 58
Figure 47: Under Lighting ………………………………………………... 58
Figure 48: Top Lighting ………………………………………………….. 58
Figure 49: Source from the Sun …………………………………………….59
Figure 50: Source from the Candle ………………………………………... 59
Figure 51: Source from the Lamp …………………………………………. 59
Figure 52: Lighting of Color ………………………………………………. 60
Figure 53: Straight on Angle ........................................................................ 61
Figure 54: High Angle .................................................................................. 61
Figure 55: Low Angle ................................................................................... 62
Figure 56: Close-Up ..................................................................................... 62
Figure 57: Medium Close-Up ....................................................................... 62
Figure 58: Medium Shot ............................................................................... 63
Figure 59: Long Shot .................................................................................... 63
Figure 60: Shot 17 (Axis of Action) ............................................................. 65
xiv
Figure 61: Shot 18 (Axis of Action) ............................................................. 65
Figure 62: Shot 19 (Establishing Shot) ......................................................... 65
Figure 63: Shot 20 (Establishing Shot) ......................................................... 65
Figure 64: Shot 21 (A Reverse Shot) ............................................................ 66
Figure 65: Shot 22 (A Reverse Shot) .,.......................................................... 66
Figure 66: Shot 23 (Match in Action) .......................................................... 66
Figure 67: Shot 24 (Match in Action) .......................................................... 66
Figure 68: Shot 25 (Reestablishing Shot) ………………………………..... 66
Figure 69: Shot 26 (Reestablishing Shot) …………………………………. 66
Figure 70: Shot 30 (Cross Cutting) ………………………………………... 67
Figure 71: Shot 31 (Cross Cutting) …………………………………….….. 67
Figure 72: A Book Entitled Bali ................................................................... 66
Figure 73: A Cut of National Geographic Magazine .................................... 66
Figure 74: Italian Dictionary .........................................................................67
Figure 75: A Drawing Picture from Ketut .................................................... 68
xv
ABSTRACT
SHOLIKHAH ARUM SARI. A320080064. FREEDOM TO CHOOSE IN
RYAN MURPHY’S MOVIE: EAT, PRAY, LOVE (2010): AN
EXISTENTIALIST APPROACH. RESEARCH PAPER. SCHOOL OF
TEACHER TRAINING AND EDUCATION MUHAMMADIYAH
UNIVERSITY OF SURAKARTA. 2012.
This study is aimed to show freedom to choose in Eat, Pray, Love movie by using
Existentialist Approach. The objectives of the study are, to analyze the movie
based on the structural elements and describe the movie based on an existentialist
approach.
In conducting this study, the researcher uses qualitative research. The data of
study is image and text taken from two data sources. The primary source is the
Eat, Pray, Love movie itself directed by Ryan Murphy, released in 2010. While
the secondary data source are from other materials taken from book, internet and
journal which related to the study.
The study comes to the following conclusions. First, structural elements of Eat,
Pray, Love movie which consist of character and characterization, plot, setting,
point of view, theme, casting, mise-en-scene, cinematography, sound and editing
build in good production. Second, based on the existentialist analysis, the director
Ryan Murphy wants to convey message that everyone has their own way and
freedom to choose how to solve problem in the life and should take into account
the risks which possibility occur.
Keywords: Freedom to Choose, Eat,Pray, Love, Existentialist Approach.
xvi
EAT, PRAY, LOVE (2010)
AN EXISTENTIALIST APPROACH
RESEARCH PAPER
Submitted as a Partial Fulfillment of the Requirement
for getting Bachelor Degree of Education
in English Department
by
SHOLIKHAH ARUM SARI
A 320 080 064
SCHOOL OF TEACHING TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2012
i
ii
iii
iv
MOTTO
NO PAIN NO GAIN
(WRITER)
Freedom means the opportunity to be what we never
thought we would be
(Daniel J. Boorstin)
Never put off until tomorrow what you can do the day after
tomorrow
(Mark Twain)
v
DEDICATION
Thisresearch paper isheart edl y dedicat ion t o:
My L ord, All ah SW T.
My
bel oved parent s “M om and
Dad”.
My bel oved sist er “I nt an and Fit ri”.
My bel oved friends.
My bel oved “Someone”.
Peopl e who a re wil l ing t o read this
research paper.
vi
ACKNOWLEDGMENT
Assalamu’alaikum Wr.Wb.
Alhamdulillahhirobbil’alamiin, praise is to ALLAH SWT, the Lord of
Universe, who has given her divine direction and guidance so that the researcher
can accomplish her research paper entitled “FREEDOM TO CHOOSE IN
RYAN
MURPHY’S
MOVIE:
EAT,
PRAY,
LOVE
(2010):
AN
EXISTENTIALIST APPROACH ”. This research paper is presented as a
partial fulfillment of the requirements for getting Bachelor Degree of Education in
English Department of University Muhamadiyah of Surakarta.
The researcher is aware that the success of this research paper cannot be
separated from the supports of many people. Therefore, in this opportunity, the
researcher 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 of Muhammadiyah University of
Surakarta,
2. Titis Setyabudi, S.S. M.Hum., as a chief of English Department
Muhammadiyah University of Surakarta,
3. Dr. Phil. Dewi Candraningrum, M.Ed., as the first consultant
who has given guidance, advice and information patiently during
the arrangement of this research paper,
vii
4. Nur Hidayat S.Pd., as the second consultant who had given
correction for grammatical structure and suggestion and advice of
research paper,
5. Drs. Abdillah Nugroho, M.Hum, as the member of board of
examiners for his valuable time, evaluation, advice for the writer to
finish this research paper.
6. Prof. Dr. Endang Fauziati, M.Hum, as the academic consultant
in English Department at Muhammadiyah University of Surakarta,
7. Fitri Kurniawan S.Pd., for guiding, advice and who had given
understanding for her to doing research paper,
8. Her Beloved Parent, “Mom” Suminah and “Dad” Sri Mulyono
for love, prayer, support, affection, and all sacrifice,
9. Her Beloved “Young Sister”, Intan Syamsiyati and Fajar
Safitri for all jokes, pray, and care,
10. Her closest friend “mamah” Shenly, “tante” Aya, “tante” Dea,
“tante” Isna, FJ, Ika, Didik, Sasa, Pandhu, Ilham, Hanif, Mas
Supriyanto, Cungkring, Bang Mail, Pakde, KOPMA, Titin,
Wahyuni, Minem, Nunik, Mintil, Minuk, Yayuk, and all people
who cannot mention one by one, for jokes, care, advice,
togetherness, best moment and being her best friend,
11. Her most closest friend “Shenly Nuari Dhani B”, for advice, care,
support, faithfulness, who show her about truly friendship and
everything,
viii
ix
TABLE OF CONTENT
TITLE ...................................................................................................... i
APPROVAL .............................................................................................. ii
ACCEPTANCE ........................................................................................ iii
TESTIMONY ……………………………………………………………. iv
MOTTO ...................................................................................................... v
DEDICATION ........................................................................................... vi
ACKNOWLEDGMENT............................................................................ vii
TABLE OF CONTENT................................................................... ……… x
LIST OF FIGURE....................................................................................... xiii
ABSTRACT ................................................................................................ xvi
CHAPTER I : INTRODUCTION
A. Background of the Study.................................................. 1
B. Literature Review.............................................................. 7
C. Problem Statements .......................................................... 7
D. Limitation of the Study..................................................... 7
E. Objective of the Study....................................................... 8
F. Benefit of the Study.......................................................... 8
G. Research Method............................................................... 9
H. Paper Organization............................................................ 10
CHAPTER II : UNDERLYING THEORY
A. The Notion of Existentialism .......................................... 11
B. Sartre Theory In Existentialism ........................................ 12
1. Being ............................................................................ 12
2. Existence Precedes Essence ………………………….. 14
3. Consciousness (Cogito) ……………………………… 14
4. Freedom to Choose …………………………………... 15
5. Anxiety ……………...................................................... 15
6. Transcendence of Ego ………………………………... 16
x
7. Nothingness …………………………………………. 16
C. Structural Elements of the Movie.................................... 17
1. Narrative Elements of the Movie
a.Character and Characterization …………………… 17
b. Setting ..................................................................... 17
c. Plot ........................................................................... 18
d. Point of View........................................................... 19
e. Theme........................................................................ 19
2. Technical Elements of the Movie
a. Casting ……............................................................ 20
b. Mise-en-Scene........................................................... 20
c. Cinematography........................................................ 24
D.Theoretical Application...................................................... 28
CHAPTER III: STRUCTURAL ANALYSIS OF THE MOVIE
A. Structural Elements of the Movie.................................... 29
1. Narrative Elements of the Movie ………………….. 29
a. Character and Characterization...................... 29
b.
Setting.......................................................... 42
c.
Plot............................................................... 46
d.
Point of View …………………………….. 48
e.
Theme........................................................... 49
2. Technical Elements of the Movie ………………… 49
a. Casting ………………………………………49
b. Mise-en-Scene ……………………………….50
c. Cinematography ……………………….…… 61
d. Sound………………………………………. 65
e. Editing ……………………………………… 66
C. Discussion......................................................................... 68
xi
CHAPTER IV : EXISTENTIALIST ANALYSIS
A. Existentialist Analysis …………………………………. 71
1. Being ............................................................................ 71
2. Existences Precedes Essence ……………………...... 75
3. Consciousness ………………………………………. 76
4. Freedom to Choose ………………………………… 78
5. Anxiety …………………………………………….. 81
6. Transcendence of Ego ……………………………… 84
7. Nothingness…………………………………..…….. 87
B. Discussion...................................................................... 88
CHAPTER V : CONCLUSION AND SUGGESTION
A. Conclusion..................................................................... 92
B. Suggestion.....................................................................
BIBLIOGRAPHY
APPENDIX
xii
93
LIST OF FIGURES
Figure 1: Elizabeth Gilbert ……………………………………………..… 29
Figure 2: Elizabeth Gilbert’s Full Body ………………………………….. 29
Figure 3: Stephen …………………………………………………………. 32
Figure 4: Delia Shiraz …………………………………………………….. 33
Figure 5: David Piccolo …………………………………………………... 35
Figure 6: Ketut Liyer ………………………………………………........... 36
Figure 7: Giovanni and Sofi ……………………………………………… 37
Figure 8: Sofi Close-up ………………………………………..…………. 38
Figure 9: Giovanni Cose-up ……………………………………………… 38
Figure 10: Richard ....................................................................................... 38
Figure 11: Felipe .......................................................................................... 40
Figure 12: Bali ............................................................................................. 42
Figure 13: Liz in Bali ................................................................................... 42
Figure 14: Italy ............................................................................................. 43
Figure 15: Liz in Italy .................................................................................. 43
Figure 16: India ............................................................................................ 43
Figure 17: Liz in India .................................................................................. 43
Figure 18: New York ................................................................................... 44
Figure 19: Liz in New York ......................................................................... 44
Figure 20: Shot 1 ( Liz in Ketut House) ....................................................... 50
Figure 21: Shot 2 ( Liz cottage) .................................................................... 50
Figure 22: Shot 3 (Liz Walking through Rice field) ..................................... 50
Figure 23: Shot 4 (Liz in Ketut Terrace) ...................................................... 50
Figure 24: Shot 5 (At Lawyer Office) .......................................................... 51
Figure 25: Shot 6 (David Room) .................................................................. 51
Figure 26: Shot 7 (Delia House) ................................................................... 51
Figure 27: Shot 8 (Liz and Delia Office) ...................................................... 51
Figure 28: Shot 9 (Liz in Italian Restaurant with Giovanni) ........................ 52
Figure 29: Shot 10 (Liz with her Friends in Italy) ........................................ 52
xiii
Figure 30: Shot 11 (Liz in Seva) ................................................................... 52
Figure 31: Shot 12 (Liz with Elephant in India ) .......................................... 53
Figure 32: Shot 13 (Prayer Room) ................................................................ 52
Figure 33: Shot 14 (Guru Gita Class) ............................................................53
Figure 34: Shot 15 (Liz’s costume in New York) .........................................54
Figure 35: Shot 16 (Liz’s costume watching a theatre) ................................ 54
Figure 36: Liz’s Costume in Italy ................................................................. 54
Figure 37: Liz’s Make-Up ............................................................................ 54
Figure 38: Liz’s Costume in India ................................................................ 55
Figure 39: Liz’s Make-Up ............................................................................ 55
Figure 40: Liz’s Costume in Bali .................................................................. 55
Figure 41: Liz’s Make-Up in Bali .................................................................55
Figure 42: Hard Intensity .............................................................................. 56
Figure 43: Soft Intensity............................................................................... 56
Figure 44: Frontal Lighting ……………………………………………….. 57
Figure 45: Side Lighting ………………………………………………….. 57
Figure 46: Backlighting …………………………………………………... 58
Figure 47: Under Lighting ………………………………………………... 58
Figure 48: Top Lighting ………………………………………………….. 58
Figure 49: Source from the Sun …………………………………………….59
Figure 50: Source from the Candle ………………………………………... 59
Figure 51: Source from the Lamp …………………………………………. 59
Figure 52: Lighting of Color ………………………………………………. 60
Figure 53: Straight on Angle ........................................................................ 61
Figure 54: High Angle .................................................................................. 61
Figure 55: Low Angle ................................................................................... 62
Figure 56: Close-Up ..................................................................................... 62
Figure 57: Medium Close-Up ....................................................................... 62
Figure 58: Medium Shot ............................................................................... 63
Figure 59: Long Shot .................................................................................... 63
Figure 60: Shot 17 (Axis of Action) ............................................................. 65
xiv
Figure 61: Shot 18 (Axis of Action) ............................................................. 65
Figure 62: Shot 19 (Establishing Shot) ......................................................... 65
Figure 63: Shot 20 (Establishing Shot) ......................................................... 65
Figure 64: Shot 21 (A Reverse Shot) ............................................................ 66
Figure 65: Shot 22 (A Reverse Shot) .,.......................................................... 66
Figure 66: Shot 23 (Match in Action) .......................................................... 66
Figure 67: Shot 24 (Match in Action) .......................................................... 66
Figure 68: Shot 25 (Reestablishing Shot) ………………………………..... 66
Figure 69: Shot 26 (Reestablishing Shot) …………………………………. 66
Figure 70: Shot 30 (Cross Cutting) ………………………………………... 67
Figure 71: Shot 31 (Cross Cutting) …………………………………….….. 67
Figure 72: A Book Entitled Bali ................................................................... 66
Figure 73: A Cut of National Geographic Magazine .................................... 66
Figure 74: Italian Dictionary .........................................................................67
Figure 75: A Drawing Picture from Ketut .................................................... 68
xv
ABSTRACT
SHOLIKHAH ARUM SARI. A320080064. FREEDOM TO CHOOSE IN
RYAN MURPHY’S MOVIE: EAT, PRAY, LOVE (2010): AN
EXISTENTIALIST APPROACH. RESEARCH PAPER. SCHOOL OF
TEACHER TRAINING AND EDUCATION MUHAMMADIYAH
UNIVERSITY OF SURAKARTA. 2012.
This study is aimed to show freedom to choose in Eat, Pray, Love movie by using
Existentialist Approach. The objectives of the study are, to analyze the movie
based on the structural elements and describe the movie based on an existentialist
approach.
In conducting this study, the researcher uses qualitative research. The data of
study is image and text taken from two data sources. The primary source is the
Eat, Pray, Love movie itself directed by Ryan Murphy, released in 2010. While
the secondary data source are from other materials taken from book, internet and
journal which related to the study.
The study comes to the following conclusions. First, structural elements of Eat,
Pray, Love movie which consist of character and characterization, plot, setting,
point of view, theme, casting, mise-en-scene, cinematography, sound and editing
build in good production. Second, based on the existentialist analysis, the director
Ryan Murphy wants to convey message that everyone has their own way and
freedom to choose how to solve problem in the life and should take into account
the risks which possibility occur.
Keywords: Freedom to Choose, Eat,Pray, Love, Existentialist Approach.
xvi