HALLUCINATION AS PSYCHOTIC SYMPTOM REFLECTED IN ARONOFSKY’S BLACK SWAN MOVIE (2010): Hallucination As Psychotic Symptom Reflected In Aronofsky’s Black Swan Movie (2010): A Psychoanalytic Approach.

HALLUCINATION AS PSYCHOTIC SYMPTOM REFLECTED
IN ARONOFSKY’S BLACK SWAN MOVIE (2010):
A PSYCHOANALYTIC APPROACH

RESEARCH PAPER

Submitted as a Partial Fulfillment of Requirement
for Getting Bachelor Degree of Education
in English Department

Proposed by:
FITRIAYU DIAH HARINI
A.320 080 206

SCHOOL OF TEACHER TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2012

APPROVAL
HALLUCINATION AS PSYCHOTIC SYMPTOM REFLECTED IN
ARONOFSKY’S BLACK SWAN MOVIE (2010):

A PSYCHOANALYTIC APPROACH

RESEARCH PAPER

Proposed by:
FITAYU DIAH HARINI
A.320 080 206

Approved by

First Consultant

Second Consultant

Dr. Phil. Dewi Candraningrum, M. Ed
NIK.772

ii

Titis Setyabudi, S. S., M. Hum.

NIK.948

ACCEPTANCE
HALLUCINATION AS PSYCHOTIC SYMPTOM REFLECTED IN
ARONOFSKY’S BLACK SWAN MOVIE (2010):
A PSYCHOANALYTIC APPROACH

by

FITRIAYU DIAH HARINI
A. 320 080 206

Accepted by the Board of Examiners
School of Teacher Training and Education
Muhammadiyah University of Surakarta

Team of Examiners
1. Dr. Phil. Dewi Candraningrum, M. Ed

(……………………..)

(Chair Person)

(.…………………….)

2. Titis Setyabudi, S.S., M. Hum.
(Member I)

3. Drs. M Thoyibi, M.S

(……………………..)

(Member II)

The Dean of Teacher Training and Education Faculty

Drs. H. Sofyan Anif, M. Si
NIK: 547

iii

TESTIMONY

Herewith, the writer asserts that there is no work which was
submitted to get bachelor degree in any universities. In this research paper
as far as the writer concerns there is no work or opinion which was written
or published by someone else except the written references which are
referred in this paper and mentioned in the bibliography. If only there is
any incorrectness proved in the future in the writer statements above, she
will be fully responsible.

Surakarta,

Februari 2012

Fitriayu Diah Harini

iv

MOTTO

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DEDICATION

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ACKNOWLEDGMENT

Assalamualaikum Warahmatullahi Wabarokatuh
First and foremost, the writer would like to express gratitude and say
Alhamdulillahirabbil’alamin to Allah SWT, the most gracious, most Merciful,
and compassionate so that the writer can finish the research paper as a partial
fulfillment of the requirement of getting a Bachelor degree of Education in

English Department.
The writer is fully aware that this research paper could not be finished
without the other people’s help. Therefore, the writer would like to express her
gratitude and appreciation to:
1. Drs. H. Sofyan Anif, M.Si, the Dean of School of Teacher Training and
Education of Muhammadiyah University of Surakarta.
2. Titis Setyabudi, S.S., M. Hum, the Chief of English Department in
Muhammadiyah University of Surakarta.
3. Dr. Phil. Dewi Candraningrum, M. Ed, the first consultant who has guided and
given advices during the arrangement of this research paper.
4. Titis Setyabudi, S.S., M. Hum, the second consultant who has corrected this
research paper and given suggestion for the writer and also as the Academic
Consultant who has guided and helped the writer during the study.
5. All lecturers in English Department of UMS for quenching her thirst of
English knowledge.
6. Her great parents, Harto Soleh and Nur Hidayati, who never stop to give her
their love, prayer, and support in her life. They are her spirit and her reason to
be the best in everithing. She loves them so much ever after.
7. Her lovely sister and brother, Wiwiet and Dinda, for their support and
attention.

8. Her dearest one Om Agung, who always accompanies her with beautiful
memories, thank you for all the sacrifices, patience, and loving her.

vii

9. Her best friends Reniawati, for the crazy things we ever do and the time we
share together.
10. Her dearest friends in Valentine boardinghouse. It is very wonderful to spend
the time with you all guys.
11. All her friends in English Department, especially for Class F.
12. The GD’s drama club and Rapma Fm 2008th grade.
13. His friends in Muhammadiyah University of Surakarta and the other person
that she cannot mention one by one, for being part of the writer life.
14. Those who have supported her to reach her dream.

Finally, the writer entirely realizes that her paper is far from being perfect.
Therefore, the writer is very pleased to accept more suggestions and criticism for
progress of this research paper.

Wassalamualaikum Wr. Wb.

Surakarta, March 2012

Fitriayu Diah H

viii

TABLE OF CONTENT

COVER……………………………………………………………………......

i

APPROVAL…………………………………………………………...….......

ii

ACCEPTANCE…...…………………………………………………….........

iii

TESTIMONY…………………..…………………………………….............

iv

MOTTO...………………………………………………………......................

v

DEDICATION…………………...……………………………………...........

vi

ACKNOWLEDGMENT..………………………………………………........ vii
TABLE OF CONTENT………………..………………………………….....

ix

TABLE OF FIGURES..……………………………………………………... xiii
SUMMARY…….........…………………………………………….................. xvi
CHAPTER I

INTRODUCTION
A. Background of the Study................................................

1

B. Literature Review............................................................ 10
C. Problem Statement.......................................................... 11
D. Limitation of the Study................................................... 11
E. Objective of the Study.................................................... 11
F. Benefit of the Study........................................................ 12
G. Research Method............................................................ 12
H. Research Paper Organization.......................................... 14
CHAPTER II UNDERLYING THEORY
A. Notion of Psychoanalytic..............................................

ix

15

B. System of Personality....................................................

17

1. Id................................................................................

17

2. Ego.............................................................................

18

3. Superego..................................................................... 19
C. Psychosis………………………………………………

19

D. Hallucination…………………………………………..

21

1. Visual Hallucination………………………………..

23

2. Auditory Hallucination……………………………..

23

3. Command Hallucination……………………………

24

4. Olfactory Hallucination…………………………….. 24
5. Tactile Hallucination………………………………… 25
6. Gustatory Hallucination……………………………….25
E. Structure Element of the Movie.....................................

25

1. Narrative Elements.....................................................

26

a.

Character and Characterization........................... 26

b. Casting................................................................ 27
c.

Plot...................................................................... 27

d. Setting................................................................. 29
e.

Point of View...................................................... 30

f.

Theme................................................................. 31

g. Message/ Intent………………………………… 31
2. Technical Element...................................................... 32
a.

Mise en Scene..................................................... 32

x

b. Cinematography.................................................. 35
c.

Sound.................................................................. 38

d. Editing................................................................. 38
F. Theoretical Application.................................................. 40
CHAPTER III STRUCTURAL ANALYSIS
A. Structural Element.......................................................... 42
1. Narrative Element....................................................... 42
a.

Character and Characterization........................... 42

b. Casting................................................................ 48
c.

Plot...................................................................... 49

d. Setting................................................................. 52
e.

Point of View...................................................... 55

f.

Theme................................................................. 57

g. Intent/Message.................................................... 57
2. Technical Elements................................................... 58
a.

Mise en Scene..................................................... 58

b. Cinematography.................................................. 65
c.

Sound.................................................................. 68

d. Editing................................................................. 70
B. Discussion....................................................................... 71
CHAPTER IV PSYCHOANALYTIC ANALYSIS
A. Psychoanalytic Analysis of Nina...................................

74

A. Id................................................................................

74

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B. Ego................................................................................ 77
C. Superego....................................................................… 79
B. Hallucination as Psychotic symptom................................ 81
1. Visual Hallucination ………………………………... 82
2. Auditory Hallucination……………………………… 84
3. Command Hallucination…………………………….. 85
4. Olfactory Hallucination……………………………… 86
5. Tactile Hallucination………………………………... 87
6. Gustatory Hallucination……………………………… 90
C. Discussion……………………………………………… 90

CHAPTER V CONCLUSION AND SUGGESTION
A. Conclusion...................................................................... 93
B. Suggestion....................................................................... 95
BIBLIOGRAPHY
VIRTUAL REFERENCES
APPENDIX

xii

TABLE OF FIGURES

Figure 1. Nina Sayers........................................................................................... 42
Figure 2. Lily........................................................................................................ 44
Figure 3. Beth....................................................................................................... 45
Figure 4. Erica Sayers........................................................................................... 46
Figure 5. Thomas Leroy........................................................................................ 47
Figure 6. The setting of time................................................................................. 52
Figure 7. New York City Ballet Company........................................................... 53
Figure 8. The Auditorium...................................................................................... 53
Figure 9. The Bar.................................................................................................. 54
Figure 10. Nina’s bedroom................................................................................... 54
Figure 11 Nina’s house......................................................................................... 54
Figure 12.The Stage ............................................................................................. 55
Figure 13. Point of view 1................................................................................... 56
Figure 14. Point of view 2.................................................................................... 56
Figure 15. The suit for daily life........................................................................... 58
Figure 16. The suit for party................................................................................. 59
Figure 17. The suit for ballet dancer...................................................................... 59
Figure 18 The make up for a white swan.............................................................. 59
Figure 19. The make up for a black swan............................................................. 59
Figure 20. Soft lighting......................................................................................... 60
Figure 21. Strong lighting 1................................................................................... 61

xiii

Figure 22. Strong lighting 2................................................................................. 61
Figure 23. Strong lighting 3.................................................................................. 62
Figure 24. Natural lighting.................................................................................... 62
Figure 25. Set dressing of Nina’s house 1............................................................. 63
Figure 26. Set dressing of Nina’s house 2............................................................. 63
Figure 27. Set dressing of Nina’s room................................................................ 63
Figure 28. Set dressing of dressing room.............................................................. 63
Figure 29. Set dressing of the bar ......................................................................... 64
Figure 30. Set dressing of the auditorium............................................................. 64
Figure 31. The stage 1........................................................................................... 64
Figure 32. The stage 2............................................................................................ 64
Figure 33. Straight angel........................................................................................ 66
Figure 34. High angel.............................................................................................66
Figure 35. Low angel............................................................................................. 66
Figure 36. Long shot.............................................................................................. 66
Figure 37. Medium shot......................................................................................... 66
Figure 38. Medium lose up................................................................................... 66
Figure 39. Close up……....................................................................................... 67
Figure 40. Extreme close up................................................................................. 67
Figure 41. The editing 1........................................................................................ 70
Figure 42. The editing 2....................................................................................... 70
Figure 43. The editing 3........................................................................................ 70
Figure 44. The editing 4........................................................................................ 71

xiv

Figure 45. Nina enters Beth’s room....................................................................... 78
Figure 46. Nina closes the door............................................................................. 78
Figure 47. Nina takes Beth’s lipstick.................................................................... 78
Figure 48. Nina puts lipstick on her pocket........................................................... 78
Figure 49. Lily....................................................................................................... 84
Figure 50. Nina..................................................................................................... 84
Figure 51. Nina sees herself.................................................................................. 87
Figure 52. Nina stabs herself................................................................................. 87
Figure 53. Tactile hallucination............................................................................ 88
Figure 54. Sexual stimulation.............................................................................. 88
Figure 55. Fused toes........................................................................................... 89
Figure 56. Nina’s feathers................................................................................... 89
Figure 57. Twisted legs....................................................................................... 90

xv

SUMMARY
FITRIAYU DIAH HARINI. A320 080 206. HALLUCINATION AS
PSYCHOTIC SYMPTOM REFLECTED IN ARONOFSKY’S BLACK
SWAN MOVIE (2010): A PSYCHOANALYTIC APPROACH.
MUHAMMADIYAH UNIVERSITY OF SURAKARTA. RESEARCH
PAPER. 2012.
The major problem of this study is to reveal that hallucination can be a
psychotic symptom that caused by many problems based on the structural
elements and to analyze the play based on the psychoanalytic approach.
In analyzing Black Swan the writer uses qualitative method and
psychoanalytic approach. The object of the study is Aronofsky’s Black Swan
released 2010. The writer uses two kinds of data, namely primary and
secondary data source. The primary data is Black Swan. While secondary data
are the other data which have relationship with the study, such as some
biography of the author, the articles from internet, the books and the other
relevant information. The benefit of this study is that the research can enrich
knowledge of the researcher and other reader who have interest in literary
work on movie with a psychoanalytic approach.
Aronofsky in Black Swan shows that people have limitation in psyche
and they should have a balance between id, ego and superego to get
psychological health. Nina Sayers, as the major character describes and shows
the effects of psychological disorder in form of hallucination that closely

xvi