TO BE To Be A Father In Biutiful Movie (2011) Directed By Alejandro González Iñárritu Existentialist Approach.
TO BE
E A FATHE
ER IN BIUT
TIFUL MOV
VIE (2011) DIRECTED
D BY
ALE
EJANDROG
GONZÁLEZ
Z IÑÁRRIT
TU:
AN
N EXISTEN
NTIALIST APPROACH
A
H
RESE
EARCH PAP
PER
Submitted as Partiaal Fulfillmen
nt of Requirrement
G
Bach
helor Degreee of Educattion
for Getting
in Engglish Departtment
By:
ANA ROD
DHOTUL JANNAH
J
A 320 080 282
2
SC
CHOOL OF
F TEACHER
R TRAININ
NG AND ED
DUCATION
N
M
MUHAMM
MADIYAH U
UNIVERSIT
TY OF SUR
RAKARTA
2012
TESTIMONY
Herewith, I testify that all of statements and analysis in this research
paper is my original work. There are no plagiarisms in this research paper from
the previous research which has been done by the other researcher. The writer
only includes the experts’ opinion and its sources in this research paper. If there is
plagiarism found in this research paper in the next, I will be fully responsible for
the clarification.
Surakarta, Oktober 2012
Ana Rodhotul Jannah
A 320 080 282
iv
MOTTO
Yesterday's the past, tomorrow's the future, but today is a
gift. That's why it's called the present
~Bil Keane~
You can if you think you can
~ George Reeves~
We come to love not by finding a perfect person, but by
learning to see an imperfect person perfectly
~Sam Keen~
Only your real friends will tell you when your face is dirty
~ Sicilian Proverb~
v
DEDICATION
Alhamdulillahi Robbil ‘alamin as Allah mercey. I greatfully dedicate this
Research paper to;
Allah SWT the lord of the
Universe
My beloved parents
My beloved grandfather
My beloved brother and
sister
My sweetest friend in
Campus
My friends in boarding house
“Wisma Serasi 1”
vi
ACKNOWLEDGMENT
Assalamualaikum Wr. Wb.
Praise for the Almighty God, Allah SWT, the Rab of Universe.
The writer finally finished his research paper as one of the requirements for
achieving Bachelor Degreein EnglishDepartment at Muhammadiyah University
of Surakarta. The first and most important, I would like to thank Allah for
blessing, loving, helping, and protecting me, because without all of those, i am
nothing at all. Second, I would like to thank to the real revolutionary,
Muhammadur Rosulullah SAW who had opened and broken the Jahiliyah
(darkness) period to the recent world. I would also like to thank for everyone who
deserves to receive this and it becomes an honor for me for receiving his or her
love and help:
1.
Drs. Sofyan Anif, M. Si., the Dean of the School of Teacher Training
andEducation of Muhammadiyah University of Surakarta,
2.
Titis
Setyabudi,
S.S.,
the
Chief
of
English
Department
of
MuhammadiyahUniversity of Surakarta,
3.
Dr. Phil. Dewi candraningrum, S.Pd. M.Ed., as the first consultant for giving
him a valuable guidance,
4.
Nur Hidayat, S.Pd., the second consultant, for being good consultant
andgiving the researcher suggestion in correcting this research paper,
5.
Drs. Abdillah Nugroho, M.Hum., for being a good examiner in order to make
the research paper better,
vii
6.
Dra. Malikatul Laila, M. Hum., the academic adviser who has patiently
guidedthe researcher,
7.
All the lecturers of English Department for the knowledge you have shared to
me,
8.
My lovely mother (Sulbiyatun), for love, spirit, advice, financial support,
prayingand great love, love you so much,
9.
My lovely father (Sumardi), for love, spirit, advice, financial support,
praying, and great love, love you so much,
10. My beloved brother M Nur Kholis and his little family Yeni Ida Ambarwati
and my beloved niece Naufal Ahnaf Murtadho, for love, support and
togetherness,
11. My beloved brother Muchlis Marwan and his little family Eny Khusniati and
my beloved niece and nephew Alifah Choirunisa and Fuad Furqon Abdullah,
for love, support and togetherness,
12. My beloved soulmate, Hafid Amrulloh, for love, care, time, support, spirit to
finish this research paper, thanks you so much for everything,
13. My best friends, Mizty, Icha, Yuli, Dwi, Aya, Ika, Dita, Emol, Septi, and the
others thanks a lot guys, I can’t make any words to express it. Thanks guys,
you accept me become your friends. Therefore, the writer is very pleased
to accept suggestion for the improvement of the research.
14. The Big Family of class H & I ’08 English Department, for unforgettable
togetherness & unique friendship,
viii
15. All of the people, who cannot be mentioned one by one, thanks for
everything.
Deep down on the researcher’s heart, I realizes that this research paper is
still far from being perfect, so all suggestions and criticisms for improving this
research are accepted widely and happily, hopefully, this research paper will be
useful for the readers and prospective researchers.
Wassalamualaikum Wr. Wb
Surakarta, Oktober 2012
Ana Rodhotul Jannah
A 320 080 282
ix
TABLE OF CONTENT
Page
TITLE ......................................................................................................
i
APPROVAL ............................................................................................
ii
ACCEPTANCE .......................................................................................
iii
TESTIMONY ..........................................................................................
iv
MOTTO ...................................................................................................
v
DEDICATION .........................................................................................
vi
ACKNOWLEDGMENT ........................................................................
vii
TABLE OF CONTENT ..........................................................................
x
TABLE OF FIGURES ............................................................................
xiv
ABSTRACT .............................................................................................
xvii
CHAPTER I INTRODUCTION...........................................................
1
A. Background of Study ....................................................
1
B. Literature Review .........................................................
8
C. Problem Statement ........................................................
9
D. Limitation of Study .......................................................
10
E. Objectives of Study .......................................................
10
F. Benefits of Study ...........................................................
10
G. Research Method ..........................................................
11
H. Research Paper Organization........................................
13
x
CHAPTER II UNDERLYING THEORY ..........................................
14
A. Notion of Existentialism ............................................
14
B. Sartre’s Existentialism ................................................
17
1. Being .....................................................................
19
2. Existence before Essence ......................................
19
3. Self- Consciousness( Cogito) ................................
21
4. Freedom to Choose ................................................
22
5. Anxiety ..................................................................
23
6. Transcendence of Ego ...........................................
23
7. Nothingness ...........................................................
24
C. Theory of Fatherhood .................................................
25
1. Notion of Fatherhood ............................................
26
2. Aspect of Fatherhood ............................................
27
3. Featureof Fatherhood ............................................
27
D. Structural Elements of Movie ....................................
29
1. Narrative Elements ................................................
29
a. Character and Characterization .........................
29
b. Plot ....................................................................
30
c. Point of View ....................................................
31
d. Theme ...............................................................
32
2. Technical Elements ...............................................
32
a. Casting ..............................................................
33
xi
b. Mise-en-Scene ...................................................
33
c. Cinematography ................................................
36
d. Sound ................................................................
39
e. Editing ...............................................................
39
E. Theoretical Application ..............................................
41
CHAPTER III STRUCTURAL ANALYSIS OF THE MOVIE ........
42
A. Structural Elements of the Movie ..............................
42
1. Narrative Elements ................................................
42
a. Character and Characterization .........................
42
b. Setting ...............................................................
49
c. Plot ....................................................................
52
d. Point of View ....................................................
56
e. Theme ...............................................................
57
2. Technical Elements ...............................................
58
a. Casting ..............................................................
58
b. Mise-en-Scene ...................................................
60
c. Cinematography ................................................
69
d. Sound ................................................................
73
e. Editing ...............................................................
73
B. Discussion ..................................................................
75
CHAPTER IV EXISTENTIALIST ANALYSIS .................................
78
A. Existential Aspects Biutiful ........................................
79
1. Being .....................................................................
79
xii
2. Existence before Essence ......................................
80
3. Consciousness (Cogito) .........................................
82
4. Freedom to Choose ................................................
85
5. Anxiety ..................................................................
87
6. Transcendence of Ego ...........................................
89
7. Nothingness ...........................................................
91
B. Discussion .................................................................
92
CHAPTER V CONCLUSION AND SUGGESTION .........................
96
A. Conclusion..................................................................
96
B. Education Implication ................................................
97
C. Suggestion ..................................................................
98
BIBLIOGRAPHY
APPENDIX
xiii
TABLE OF FIGURES
Figure 1.
Uxbal’s Full Body .................................................................... 43
Figure 2.
Uxbal’s Face............................................................................. 43
Figure 3.
Uxbal and his daughter ............................................................ 44
Figure 4.
Uxbal and Ana.......................................................................... 44
Figure 5.
Uxbal and his daughter............................................................. 44
Figure 6.
Marambra’s Full Body ............................................................. 45
Figure 7.
Marambra’s Face ...................................................................... 45
Figure 8.
Bea’s Full Body........................................................................ 47
Figure 9.
Bea’s Face ................................................................................ 47
Figure 10. Tito’s Face ................................................................................ 48
Figure 11. BarcelonaTown ........................................................................ 49
Figure 12. Uxbal’s Grave .......................................................................... 49
Figure 13. Uxbal’s Room .......................................................................... 50
Figure 14. Uxbal’s Apartment ................................................................... 50
Figure 15. Bea’s House’s........................................................................... 50
Figure 16. Uxbal’s Workplace................................................................... 51
Figure 17. Barcelona in the Afternoon ...................................................... 51
Figure 18. Barcelona in the Night ............................................................. 51
Figure 19. Uxbal’s Environment ............................................................... 60
Figure 20. Hai’s Place ............................................................................... 61
Figure 21. Uxbal’s Costume ...................................................................... 62
Figure 22. Uxbal’s Style ............................................................................ 63
xiv
Figure 23. Uxbal’s Natural Make-Up ........................................................ 63
Figure 24. Hard Lighting ........................................................................... 64
Figure 25. Soft Lighting ............................................................................ 64
Figure 26. Frontal Lighting ....................................................................... 65
Figure 27. Side Lighting ............................................................................ 65
Figure 28. Back Lighting ........................................................................... 66
Figure 29. Under Lighting ......................................................................... 66
Figure 30. Top Lighting............................................................................. 66
Figure 31. Fill Lighting ............................................................................. 67
Figure 32. Lighting from a lamp ............................................................... 67
Figure 33. Lighting from fire ..................................................................... 67
Figure 34. Lighting from sun ..................................................................... 67
Figure 35. Natural color............................................................................. 68
Figure 36. Yellow color from fire ............................................................. 68
Figure 37. White color from lamp ............................................................. 68
Figure 38. Dark Light ................................................................................ 69
Figure 39. Bright Light .............................................................................. 69
Figure 40. Straight Angle .......................................................................... 70
Figure 41. Low Angle ................................................................................ 70
Figure 42. High Angle ............................................................................... 71
Figure 43. Extreme Long Shot .................................................................. 71
Figure 44. Long Shot ................................................................................. 71
Figure 45. Medium Long Shot .................................................................. 72
Figure 46. Medium Shot ............................................................................ 72
Figure 47. Medium close-Up ..................................................................... 72
xv
Figure 48. Close-Up .................................................................................. 72
Figure 49. Extreme Close-Up .................................................................... 72
Figure 50. Axis of Action or the 1800 Line ............................................... 74
Figure 51. Establishing Shot ...................................................................... 74
Figure 52. Eye Line Match ........................................................................ 74
Figure 53. Reverse Shot............................................................................. 74
Figure 54. Match Action ............................................................................ 74
Figure 55. Cross Cutting ............................................................................ 74
xvi
E A FATHE
ER IN BIUT
TIFUL MOV
VIE (2011) DIRECTED
D BY
ALE
EJANDROG
GONZÁLEZ
Z IÑÁRRIT
TU:
AN
N EXISTEN
NTIALIST APPROACH
A
H
RESE
EARCH PAP
PER
Submitted as Partiaal Fulfillmen
nt of Requirrement
G
Bach
helor Degreee of Educattion
for Getting
in Engglish Departtment
By:
ANA ROD
DHOTUL JANNAH
J
A 320 080 282
2
SC
CHOOL OF
F TEACHER
R TRAININ
NG AND ED
DUCATION
N
M
MUHAMM
MADIYAH U
UNIVERSIT
TY OF SUR
RAKARTA
2012
TESTIMONY
Herewith, I testify that all of statements and analysis in this research
paper is my original work. There are no plagiarisms in this research paper from
the previous research which has been done by the other researcher. The writer
only includes the experts’ opinion and its sources in this research paper. If there is
plagiarism found in this research paper in the next, I will be fully responsible for
the clarification.
Surakarta, Oktober 2012
Ana Rodhotul Jannah
A 320 080 282
iv
MOTTO
Yesterday's the past, tomorrow's the future, but today is a
gift. That's why it's called the present
~Bil Keane~
You can if you think you can
~ George Reeves~
We come to love not by finding a perfect person, but by
learning to see an imperfect person perfectly
~Sam Keen~
Only your real friends will tell you when your face is dirty
~ Sicilian Proverb~
v
DEDICATION
Alhamdulillahi Robbil ‘alamin as Allah mercey. I greatfully dedicate this
Research paper to;
Allah SWT the lord of the
Universe
My beloved parents
My beloved grandfather
My beloved brother and
sister
My sweetest friend in
Campus
My friends in boarding house
“Wisma Serasi 1”
vi
ACKNOWLEDGMENT
Assalamualaikum Wr. Wb.
Praise for the Almighty God, Allah SWT, the Rab of Universe.
The writer finally finished his research paper as one of the requirements for
achieving Bachelor Degreein EnglishDepartment at Muhammadiyah University
of Surakarta. The first and most important, I would like to thank Allah for
blessing, loving, helping, and protecting me, because without all of those, i am
nothing at all. Second, I would like to thank to the real revolutionary,
Muhammadur Rosulullah SAW who had opened and broken the Jahiliyah
(darkness) period to the recent world. I would also like to thank for everyone who
deserves to receive this and it becomes an honor for me for receiving his or her
love and help:
1.
Drs. Sofyan Anif, M. Si., the Dean of the School of Teacher Training
andEducation of Muhammadiyah University of Surakarta,
2.
Titis
Setyabudi,
S.S.,
the
Chief
of
English
Department
of
MuhammadiyahUniversity of Surakarta,
3.
Dr. Phil. Dewi candraningrum, S.Pd. M.Ed., as the first consultant for giving
him a valuable guidance,
4.
Nur Hidayat, S.Pd., the second consultant, for being good consultant
andgiving the researcher suggestion in correcting this research paper,
5.
Drs. Abdillah Nugroho, M.Hum., for being a good examiner in order to make
the research paper better,
vii
6.
Dra. Malikatul Laila, M. Hum., the academic adviser who has patiently
guidedthe researcher,
7.
All the lecturers of English Department for the knowledge you have shared to
me,
8.
My lovely mother (Sulbiyatun), for love, spirit, advice, financial support,
prayingand great love, love you so much,
9.
My lovely father (Sumardi), for love, spirit, advice, financial support,
praying, and great love, love you so much,
10. My beloved brother M Nur Kholis and his little family Yeni Ida Ambarwati
and my beloved niece Naufal Ahnaf Murtadho, for love, support and
togetherness,
11. My beloved brother Muchlis Marwan and his little family Eny Khusniati and
my beloved niece and nephew Alifah Choirunisa and Fuad Furqon Abdullah,
for love, support and togetherness,
12. My beloved soulmate, Hafid Amrulloh, for love, care, time, support, spirit to
finish this research paper, thanks you so much for everything,
13. My best friends, Mizty, Icha, Yuli, Dwi, Aya, Ika, Dita, Emol, Septi, and the
others thanks a lot guys, I can’t make any words to express it. Thanks guys,
you accept me become your friends. Therefore, the writer is very pleased
to accept suggestion for the improvement of the research.
14. The Big Family of class H & I ’08 English Department, for unforgettable
togetherness & unique friendship,
viii
15. All of the people, who cannot be mentioned one by one, thanks for
everything.
Deep down on the researcher’s heart, I realizes that this research paper is
still far from being perfect, so all suggestions and criticisms for improving this
research are accepted widely and happily, hopefully, this research paper will be
useful for the readers and prospective researchers.
Wassalamualaikum Wr. Wb
Surakarta, Oktober 2012
Ana Rodhotul Jannah
A 320 080 282
ix
TABLE OF CONTENT
Page
TITLE ......................................................................................................
i
APPROVAL ............................................................................................
ii
ACCEPTANCE .......................................................................................
iii
TESTIMONY ..........................................................................................
iv
MOTTO ...................................................................................................
v
DEDICATION .........................................................................................
vi
ACKNOWLEDGMENT ........................................................................
vii
TABLE OF CONTENT ..........................................................................
x
TABLE OF FIGURES ............................................................................
xiv
ABSTRACT .............................................................................................
xvii
CHAPTER I INTRODUCTION...........................................................
1
A. Background of Study ....................................................
1
B. Literature Review .........................................................
8
C. Problem Statement ........................................................
9
D. Limitation of Study .......................................................
10
E. Objectives of Study .......................................................
10
F. Benefits of Study ...........................................................
10
G. Research Method ..........................................................
11
H. Research Paper Organization........................................
13
x
CHAPTER II UNDERLYING THEORY ..........................................
14
A. Notion of Existentialism ............................................
14
B. Sartre’s Existentialism ................................................
17
1. Being .....................................................................
19
2. Existence before Essence ......................................
19
3. Self- Consciousness( Cogito) ................................
21
4. Freedom to Choose ................................................
22
5. Anxiety ..................................................................
23
6. Transcendence of Ego ...........................................
23
7. Nothingness ...........................................................
24
C. Theory of Fatherhood .................................................
25
1. Notion of Fatherhood ............................................
26
2. Aspect of Fatherhood ............................................
27
3. Featureof Fatherhood ............................................
27
D. Structural Elements of Movie ....................................
29
1. Narrative Elements ................................................
29
a. Character and Characterization .........................
29
b. Plot ....................................................................
30
c. Point of View ....................................................
31
d. Theme ...............................................................
32
2. Technical Elements ...............................................
32
a. Casting ..............................................................
33
xi
b. Mise-en-Scene ...................................................
33
c. Cinematography ................................................
36
d. Sound ................................................................
39
e. Editing ...............................................................
39
E. Theoretical Application ..............................................
41
CHAPTER III STRUCTURAL ANALYSIS OF THE MOVIE ........
42
A. Structural Elements of the Movie ..............................
42
1. Narrative Elements ................................................
42
a. Character and Characterization .........................
42
b. Setting ...............................................................
49
c. Plot ....................................................................
52
d. Point of View ....................................................
56
e. Theme ...............................................................
57
2. Technical Elements ...............................................
58
a. Casting ..............................................................
58
b. Mise-en-Scene ...................................................
60
c. Cinematography ................................................
69
d. Sound ................................................................
73
e. Editing ...............................................................
73
B. Discussion ..................................................................
75
CHAPTER IV EXISTENTIALIST ANALYSIS .................................
78
A. Existential Aspects Biutiful ........................................
79
1. Being .....................................................................
79
xii
2. Existence before Essence ......................................
80
3. Consciousness (Cogito) .........................................
82
4. Freedom to Choose ................................................
85
5. Anxiety ..................................................................
87
6. Transcendence of Ego ...........................................
89
7. Nothingness ...........................................................
91
B. Discussion .................................................................
92
CHAPTER V CONCLUSION AND SUGGESTION .........................
96
A. Conclusion..................................................................
96
B. Education Implication ................................................
97
C. Suggestion ..................................................................
98
BIBLIOGRAPHY
APPENDIX
xiii
TABLE OF FIGURES
Figure 1.
Uxbal’s Full Body .................................................................... 43
Figure 2.
Uxbal’s Face............................................................................. 43
Figure 3.
Uxbal and his daughter ............................................................ 44
Figure 4.
Uxbal and Ana.......................................................................... 44
Figure 5.
Uxbal and his daughter............................................................. 44
Figure 6.
Marambra’s Full Body ............................................................. 45
Figure 7.
Marambra’s Face ...................................................................... 45
Figure 8.
Bea’s Full Body........................................................................ 47
Figure 9.
Bea’s Face ................................................................................ 47
Figure 10. Tito’s Face ................................................................................ 48
Figure 11. BarcelonaTown ........................................................................ 49
Figure 12. Uxbal’s Grave .......................................................................... 49
Figure 13. Uxbal’s Room .......................................................................... 50
Figure 14. Uxbal’s Apartment ................................................................... 50
Figure 15. Bea’s House’s........................................................................... 50
Figure 16. Uxbal’s Workplace................................................................... 51
Figure 17. Barcelona in the Afternoon ...................................................... 51
Figure 18. Barcelona in the Night ............................................................. 51
Figure 19. Uxbal’s Environment ............................................................... 60
Figure 20. Hai’s Place ............................................................................... 61
Figure 21. Uxbal’s Costume ...................................................................... 62
Figure 22. Uxbal’s Style ............................................................................ 63
xiv
Figure 23. Uxbal’s Natural Make-Up ........................................................ 63
Figure 24. Hard Lighting ........................................................................... 64
Figure 25. Soft Lighting ............................................................................ 64
Figure 26. Frontal Lighting ....................................................................... 65
Figure 27. Side Lighting ............................................................................ 65
Figure 28. Back Lighting ........................................................................... 66
Figure 29. Under Lighting ......................................................................... 66
Figure 30. Top Lighting............................................................................. 66
Figure 31. Fill Lighting ............................................................................. 67
Figure 32. Lighting from a lamp ............................................................... 67
Figure 33. Lighting from fire ..................................................................... 67
Figure 34. Lighting from sun ..................................................................... 67
Figure 35. Natural color............................................................................. 68
Figure 36. Yellow color from fire ............................................................. 68
Figure 37. White color from lamp ............................................................. 68
Figure 38. Dark Light ................................................................................ 69
Figure 39. Bright Light .............................................................................. 69
Figure 40. Straight Angle .......................................................................... 70
Figure 41. Low Angle ................................................................................ 70
Figure 42. High Angle ............................................................................... 71
Figure 43. Extreme Long Shot .................................................................. 71
Figure 44. Long Shot ................................................................................. 71
Figure 45. Medium Long Shot .................................................................. 72
Figure 46. Medium Shot ............................................................................ 72
Figure 47. Medium close-Up ..................................................................... 72
xv
Figure 48. Close-Up .................................................................................. 72
Figure 49. Extreme Close-Up .................................................................... 72
Figure 50. Axis of Action or the 1800 Line ............................................... 74
Figure 51. Establishing Shot ...................................................................... 74
Figure 52. Eye Line Match ........................................................................ 74
Figure 53. Reverse Shot............................................................................. 74
Figure 54. Match Action ............................................................................ 74
Figure 55. Cross Cutting ............................................................................ 74
xvi