HAPPINESS IN RAJKUMAR HIRANI’S HAPPINESS IN RAJKUMAR HIRANI’S 3 IDIOTS MOVIE (2009): AN INDIVIDUAL PSYCHOLOGICAL APPROACH.
HAPPINESS IN RAJKUMAR HIRANI’S
3 IDIOTS MOVIE (2009):
AN INDIVIDUAL PSYCHOLOGICAL APPROACH
RESEARCH PAPER
Submitted as a Partial Fulfillment of the Requirement
for Getting Bachelor Degree of Education
in English Department
by:
ARVIANA RATIH HAPSARI
A 320 070 046
SCHOOL OF TEACHER TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2011
APPROVAL
HAPPINESS IN RAJKUMAR HIRANI’S
3 IDIOTS MOVIE (2009):
AN INDIVIDUAL PSYCHOLOGICAL APPROACH
Research Paper
by:
ARVIANA RATIH HAPSARI
A 320 070 046
Approved to be Examined by
the Consultants Team
Consultant I
Consultant II
Titis Setyabudi, S.Si. M.Hum
Dr. Phil. Dewi Candraningrum
NIK. 727
NIK. 948
ii
ACCEPTANCE
HAPPINESS IN RAJKUMAR HIRANI’S
3 IDIOTS MOVIE (2009):
AN INDIVIDUAL PSYCHOLOGICAL APPROACH
Accepted by the Board of Examiners
School of the Teacher Training and Education
Muhammadiyah University of Surakarta
on
Team of Examiners:
1. Dr. Phil. Dewi Chandraningrum, M. Ed.
(
)
(
)
(
)
Chair Person
2. Titis Setyabudi, S. Si. M. Hum
Member I
3. Drs. M. Thoyibi, M. S.
Member II
Dean
Drs. H. Sofyan Anif, M. Si.
NIK 547
iii
MOTTO
Allah will never change the persons’ destiny until they change it by them
selves (Ar Rad :11)
If Allah helps you, so, there is no one who able to defeat you, and if Allah
abandons you, so, who will help you except Allah? Only to God you will
trust ( Ali ‘Imran / 3: 160 )
In every pieces of destruction, God left hope. (Bee Season)
No one loves you like a mother, no one cares you like a Father, no one
knows you like a brother, and no one trust you like a sister (Moe)
Everything is possible reached as long as you keep trying (The Writer)
iv
DEDICATION
This research paper is wholeheartedly dedicated to:
The Greatest Ones in the world Alloh SWT and his Prophet Muhammad
SAW.
My everything mother and father for everything.
My beloved sister.
All my relatives and friends.
My husband to be.
v
ACKNOWLEDGMENT
Assalamu’alaikum Wr. Wb.
Alhamdulillahirobbil’alamiin. Praise and gratitude to Alloh SWT, The
Lord of Universe, The Merciful and Compassionate, thanks for continuing to guide
her life, His blessing and guidance supports her finishing this paper. Praise and
invocation are presented to Prophet Muhammad SAW, who has led people to the
right way.
The writer would like to express her sincere gratitude for all of people who
give contribution to make this research paper more completely. Without their
contribution the writer is likely impossible to finish it. The writer is indebted all of
them. Therefore, in this opportunity she would like to express her special and
deepest gratitude and appreciation to:
1. Drs. H. Sofyan Anif, M. Si. as the Dean of the School of Teacher Training and
Education
2. Mr. Titis Setyabudi, S. Si, M. Hum. as the Chief of English Departement in
Muhammadiyah University of Surakarta.
3. Dr. Phil. Dewi Chandraningrum as the First Consultant, for her great helpful
guidance and attention.
4. Mr. Titis Setyabudi, SS, M. Hum. as the Second Consultant, for his great
helpful guidance and attention.
5. All of Lectures in Muhammadiyah University of Surakarta.
6. Her beloved greatest Parents Mr. Kasmuri and Mrs. Endang Ardwiningsih for their
prayer, for everything, and all they have done to her, and she loves them so
vi
much, ever after.
7. Her Grandmother for supporting and giving wise words.
8. Her beloved young sister Puput, for being such an outstanding sister.
9. Her family: mbak Rota, mas nanang, mbak sarinah, mas Budi, Tunjung, Ucik, Imel, Koko,
Kukuh, singgih for having fun.
10. Her beloved one maz Mocky for having support with her.
11. Her close and unforgettable friends: Agustin Arum Setiyana and Tia for
accompanying her everyday and supporting her in finishing this research paper.
12. Her good friends: Ayux, Ika, Diphi, Ratna, Ana, Anggun, Suka, Fitri, and Susi for
everything that make the writer proud to be their friend.
13. Her lovely friends: Mini Harmini Velle, Nana mengong, Mb Ririn, Mb Evi, Mb Tari,
Mb Epha, Mb nunung, Mb Desy, Mb Ophie, Arni, Dhani, Yulia, Wening, Rina, Apri,
Rizki, Ririn, Aseh, Ogta, Murty, Wiza, Novi, Jekek, Bogy, maz Elly, kate, nug and pendy
for being meaningful.
14. Acer Aspire 4732 z and Canon IP 2770 for the computer and printer that the writer
used.
15. “Playful Kiss” korean drama that always accompanying every night.
16. All members of English department 2007 of Muhammadiyah University of
Surakarta.
17. All of people that cannot be mentioned one by one, for being part.
Wassalamu’alaikum Wr. Wb.
Surakarta,
Juni 2011
The writer
vii
TABLE OF CONTENT
Page
PAGE OF TITLE ...........................................................................................
i
APPROVAL ...................................................................................................
ii
ACCEPTANCE ..............................................................................................
iii
MOTTO ..........................................................................................................
iv
DEDICATION................................................................................................
v
ACKNOWLEGMENT ..................................................................................
vi
TABLE OF CONTENT .................................................................................
viii
TABLE OF FIGURE .....................................................................................
xi
SUMMARY ....................................................................................................
xv
CHAPTER I
CHAPTER II
INTRODUCTION ...........................................................
1
A. Background of the Study ............................................
1
B. Literature Review .......................................................
6
C. Problem Statement .....................................................
6
D. Limitation of the Study ..............................................
7
E. Objective of the Study ................................................
7
F. Benefit of the Study ...................................................
7
G. Research Method ........................................................
8
H. Research Paper Organization .....................................
9
UNDERLYING THEORY .............................................
11
A. Notion of Individual Psychology..................................
11
B. Basic Concepts of Adler’s Individual Psychology .......
12
viii
CHAPTER III
CHAPTER IV
1. Fictional Finalism ...................................................
12
2. Inferiority Feeling....................................................
13
3. Striving for Superiority ..........................................
13
4. Style of Life .............................................................
14
5. Social Interest .........................................................
15
6. Creative Power ........................................................
15
C. Structural Elements of the Movie ................................
16
1. Narrative Elements ..................................................
16
2. Technical Elements .................................................
19
D. Theoretical Application................................................
21
STRUCTURAL ANALYSIS OF THE MOVIE ..........
22
A. Structural Elements of the Movie ................................
22
1. Narrative Elements .................................................
23
2. Technical Elements ................................................
62
B. Discussion.....................................................................
74
INDIVIDUAL PSYCHOLOGICAL ANALYSIS ........
77
A. Psychology aspect of major character ..........................
77
1. Fictional Finalism ....................................................
77
2. Striving For Superiority...........................................
80
3. Inferiority Feeling....................................................
83
4. Style of Life .............................................................
85
5. Social Interest ..........................................................
88
6. Creative Power ........................................................
91
ix
B. Discussion.....................................................................
95
CHAPTER V CONCLUSION AND SUGGESTION ...........................
98
A. Conclusion ....................................................................
98
B. Suggestion ....................................................................
99
BIBLIOGRAPHY ..........................................................................................
100
VIRTUAL REFERENCE .............................................................................
102
APPENDIX .....................................................................................................
103
x
TABLE OF FIGURE
Figure 1: Rancho Shalmadas Chanchad/ Punsukh Wangdu ............................
23
Figure 2: Pia Sahastrebuddhe...........................................................................
25
Figure 3: Farhan Qureshi .................................................................................
26
Figure 4: Raju Rastogi .....................................................................................
27
Figure 5: Viru Sahastrebuddhe ........................................................................
29
Figure 6: Chatur Ramalingam ..........................................................................
30
Figure 7: Mr. Qureshi ......................................................................................
32
Figure 8: Mrs. Qureshi .....................................................................................
33
Figure 9: Mrs. Rastogi .....................................................................................
34
Figure 10: Joy Lobo .........................................................................................
37
Figure 11: Mona Sahastrebuddhe ....................................................................
37
Figure 12: Suhas ..............................................................................................
40
Figure 13: Ranchoddas Shamaldas Chanchad .................................................
40
Figure 14: Manmohan ......................................................................................
43
Figure 15: Govind ............................................................................................
44
Figure 16: Librarian Dubey..............................................................................
45
Figure 17: Machine Class Professor ................................................................
46
Figure 18: Shamaldas Chanchad ......................................................................
47
Figure 19: Peanut Vendor ................................................................................
48
Figure 20: Campus Interview Panel .................................................................
48
Figure 21: Airplane ..........................................................................................
50
Figure 22: Cabin ..............................................................................................
50
xi
Figure 23: escalator ..........................................................................................
51
Figure 24: Waiting Room ................................................................................
51
Figure 25: Front of I.C.E ..................................................................................
51
Figure 26: Viru’s Office ...................................................................................
51
Figure 27: Clasroom ........................................................................................
51
Figure 28: I.C.E tower .....................................................................................
51
Figure 29: Library ............................................................................................
52
Figure 30: Corridor ..........................................................................................
52
Figure 31: Bathroom .....................................................................................
52
Figure 32: Canteen ...........................................................................................
52
Figure 33: Shimla .............................................................................................
52
Figure 34: house ...............................................................................................
52
Figure 35: Rancho’s house...............................................................................
53
Figure 36: Manali .............................................................................................
53
Figure 37: Pia’s wedding .................................................................................
53
Figure 38: Pia and Suhas’s wedding ................................................................
53
Figure 39: Pia and Suhas’s wedding ................................................................
53
Figure 40: Ladakh ............................................................................................
54
Figure 41: Skitsal school ..................................................................................
54
Figure 42: Wangdu’s room ..............................................................................
54
Figure 43: Beach ..............................................................................................
54
Figure 44: Viru’s house ...................................................................................
55
Figure 45: Family room ...................................................................................
55
xii
Figure 46: Bedroom .........................................................................................
55
Figure 47: Bedroom .........................................................................................
55
Figure 48: Farhan’s wild animal photos ..........................................................
55
Figure 49: Raju’s house ...................................................................................
56
Figure 50: Fortis Hospital ................................................................................
56
Figure 51: Hospital’s room ..............................................................................
56
Figure 52: Raju getting paralyzed ....................................................................
56
Figure 53: Funeral ............................................................................................
57
Figure 54: Shot 1 ..............................................................................................
60
Figure 55: Shot 2 ..............................................................................................
60
Figure 56: Rancho in dialogue .........................................................................
61
Figure 57: Airport ............................................................................................
62
Figure 58: Viru’s Office ...................................................................................
63
Figure 59: Farhan’s House ...............................................................................
63
Figure 60: Raju’s House ..................................................................................
63
Figure 61: Viru’s House ...................................................................................
64
Figure 62: Hospital ..........................................................................................
64
Figure 63: Funeral ............................................................................................
64
Figure 64: Rancho or Punksukh Wangdu ........................................................
65
Figure 65: Pia ...................................................................................................
65
Figure 66: Farhan .............................................................................................
65
Figure 67: Raju ................................................................................................
66
Figure 68: Viru .................................................................................................
66
xiii
Figure 69: Chattur ............................................................................................
66
Figure 70: Formal ............................................................................................
67
Figure 71: Casual .............................................................................................
67
Figure 72: Traditional costume ........................................................................
67
Figure 73: Hard lighting...................................................................................
68
Figure 74: Soft lighting ....................................................................................
68
Figure 75: Frontal lighting ...............................................................................
69
Figure 76: Side lighting ...................................................................................
69
Figure 77: Top lighting ....................................................................................
69
Figure 78: Under lighting.................................................................................
70
Figure 79: Slow motion ...................................................................................
71
Figure 80: Fast motion .....................................................................................
71
Figure 81: Zoom ..............................................................................................
71
Figure 82: Medium shot ...................................................................................
72
Figure 83: Medium close-up ............................................................................
73
Figure 84: Close-up ..........................................................................................
73
Figure 85: Extreme long shot ...........................................................................
74
xiv
SUMMARY
ARVIANA RATIH HAPSARI. A320070046. HAPPINESS IN RAJKUMAR
HIRANI’S
3
IDIOTS
MOVIE
(2009):
AN
INDIVIDUAL
PSYCHOLOGICAL APPROACH. 2011.
This research paper reveals how the effort of major character tries to get
happiness influences his personality reflected in 3 Idiots movie directed by
Rajkumar Hirani published in 2009 which are analyzed through an individual
psychological approach. The research based on its structural elements and to
analyze by using individual psychological approach.
This research is belong to qualitative research. The type and the data
source which are used, namely primary and secondary data. The primary data
source is the movie itself. The secondary data sources are taken from books and
other sources which support the analysis. The method of the data collection is
library research and the technique of the data analysis is descriptive analysis.
Based on the analysis, the researcher draws two conclusions, first based on
the structural analysis; Rajkumar Hirani wants to deliver moral message that a
person must try and not give up reaching something that they want with any
efforts, prayers and patiences. Education is not about success; it is about pursuing
excellence and doing what someone passionate about. From the structural
analysis, it shows that each of the structural elements are interrelated to each
other. Second based on the individual psychological analysis, the writer draws
that the movie represents Rajkumar Hirani’s response about education. It can be
seen that the spirit can influence the character of Rancho in achieving the
happiness.
First Consultant
Second Consultant
Dr. Phil. Dewi Candraningrum, M. Ed
NIK: 727
Titis Setyabudi, S.S., M.Hum
NIK: 948
The Dean of Teacher
Training and Education Faculty.
Drs. Sofyan Hanif, M.Si
NIK: 547
xv
3 IDIOTS MOVIE (2009):
AN INDIVIDUAL PSYCHOLOGICAL APPROACH
RESEARCH PAPER
Submitted as a Partial Fulfillment of the Requirement
for Getting Bachelor Degree of Education
in English Department
by:
ARVIANA RATIH HAPSARI
A 320 070 046
SCHOOL OF TEACHER TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2011
APPROVAL
HAPPINESS IN RAJKUMAR HIRANI’S
3 IDIOTS MOVIE (2009):
AN INDIVIDUAL PSYCHOLOGICAL APPROACH
Research Paper
by:
ARVIANA RATIH HAPSARI
A 320 070 046
Approved to be Examined by
the Consultants Team
Consultant I
Consultant II
Titis Setyabudi, S.Si. M.Hum
Dr. Phil. Dewi Candraningrum
NIK. 727
NIK. 948
ii
ACCEPTANCE
HAPPINESS IN RAJKUMAR HIRANI’S
3 IDIOTS MOVIE (2009):
AN INDIVIDUAL PSYCHOLOGICAL APPROACH
Accepted by the Board of Examiners
School of the Teacher Training and Education
Muhammadiyah University of Surakarta
on
Team of Examiners:
1. Dr. Phil. Dewi Chandraningrum, M. Ed.
(
)
(
)
(
)
Chair Person
2. Titis Setyabudi, S. Si. M. Hum
Member I
3. Drs. M. Thoyibi, M. S.
Member II
Dean
Drs. H. Sofyan Anif, M. Si.
NIK 547
iii
MOTTO
Allah will never change the persons’ destiny until they change it by them
selves (Ar Rad :11)
If Allah helps you, so, there is no one who able to defeat you, and if Allah
abandons you, so, who will help you except Allah? Only to God you will
trust ( Ali ‘Imran / 3: 160 )
In every pieces of destruction, God left hope. (Bee Season)
No one loves you like a mother, no one cares you like a Father, no one
knows you like a brother, and no one trust you like a sister (Moe)
Everything is possible reached as long as you keep trying (The Writer)
iv
DEDICATION
This research paper is wholeheartedly dedicated to:
The Greatest Ones in the world Alloh SWT and his Prophet Muhammad
SAW.
My everything mother and father for everything.
My beloved sister.
All my relatives and friends.
My husband to be.
v
ACKNOWLEDGMENT
Assalamu’alaikum Wr. Wb.
Alhamdulillahirobbil’alamiin. Praise and gratitude to Alloh SWT, The
Lord of Universe, The Merciful and Compassionate, thanks for continuing to guide
her life, His blessing and guidance supports her finishing this paper. Praise and
invocation are presented to Prophet Muhammad SAW, who has led people to the
right way.
The writer would like to express her sincere gratitude for all of people who
give contribution to make this research paper more completely. Without their
contribution the writer is likely impossible to finish it. The writer is indebted all of
them. Therefore, in this opportunity she would like to express her special and
deepest gratitude and appreciation to:
1. Drs. H. Sofyan Anif, M. Si. as the Dean of the School of Teacher Training and
Education
2. Mr. Titis Setyabudi, S. Si, M. Hum. as the Chief of English Departement in
Muhammadiyah University of Surakarta.
3. Dr. Phil. Dewi Chandraningrum as the First Consultant, for her great helpful
guidance and attention.
4. Mr. Titis Setyabudi, SS, M. Hum. as the Second Consultant, for his great
helpful guidance and attention.
5. All of Lectures in Muhammadiyah University of Surakarta.
6. Her beloved greatest Parents Mr. Kasmuri and Mrs. Endang Ardwiningsih for their
prayer, for everything, and all they have done to her, and she loves them so
vi
much, ever after.
7. Her Grandmother for supporting and giving wise words.
8. Her beloved young sister Puput, for being such an outstanding sister.
9. Her family: mbak Rota, mas nanang, mbak sarinah, mas Budi, Tunjung, Ucik, Imel, Koko,
Kukuh, singgih for having fun.
10. Her beloved one maz Mocky for having support with her.
11. Her close and unforgettable friends: Agustin Arum Setiyana and Tia for
accompanying her everyday and supporting her in finishing this research paper.
12. Her good friends: Ayux, Ika, Diphi, Ratna, Ana, Anggun, Suka, Fitri, and Susi for
everything that make the writer proud to be their friend.
13. Her lovely friends: Mini Harmini Velle, Nana mengong, Mb Ririn, Mb Evi, Mb Tari,
Mb Epha, Mb nunung, Mb Desy, Mb Ophie, Arni, Dhani, Yulia, Wening, Rina, Apri,
Rizki, Ririn, Aseh, Ogta, Murty, Wiza, Novi, Jekek, Bogy, maz Elly, kate, nug and pendy
for being meaningful.
14. Acer Aspire 4732 z and Canon IP 2770 for the computer and printer that the writer
used.
15. “Playful Kiss” korean drama that always accompanying every night.
16. All members of English department 2007 of Muhammadiyah University of
Surakarta.
17. All of people that cannot be mentioned one by one, for being part.
Wassalamu’alaikum Wr. Wb.
Surakarta,
Juni 2011
The writer
vii
TABLE OF CONTENT
Page
PAGE OF TITLE ...........................................................................................
i
APPROVAL ...................................................................................................
ii
ACCEPTANCE ..............................................................................................
iii
MOTTO ..........................................................................................................
iv
DEDICATION................................................................................................
v
ACKNOWLEGMENT ..................................................................................
vi
TABLE OF CONTENT .................................................................................
viii
TABLE OF FIGURE .....................................................................................
xi
SUMMARY ....................................................................................................
xv
CHAPTER I
CHAPTER II
INTRODUCTION ...........................................................
1
A. Background of the Study ............................................
1
B. Literature Review .......................................................
6
C. Problem Statement .....................................................
6
D. Limitation of the Study ..............................................
7
E. Objective of the Study ................................................
7
F. Benefit of the Study ...................................................
7
G. Research Method ........................................................
8
H. Research Paper Organization .....................................
9
UNDERLYING THEORY .............................................
11
A. Notion of Individual Psychology..................................
11
B. Basic Concepts of Adler’s Individual Psychology .......
12
viii
CHAPTER III
CHAPTER IV
1. Fictional Finalism ...................................................
12
2. Inferiority Feeling....................................................
13
3. Striving for Superiority ..........................................
13
4. Style of Life .............................................................
14
5. Social Interest .........................................................
15
6. Creative Power ........................................................
15
C. Structural Elements of the Movie ................................
16
1. Narrative Elements ..................................................
16
2. Technical Elements .................................................
19
D. Theoretical Application................................................
21
STRUCTURAL ANALYSIS OF THE MOVIE ..........
22
A. Structural Elements of the Movie ................................
22
1. Narrative Elements .................................................
23
2. Technical Elements ................................................
62
B. Discussion.....................................................................
74
INDIVIDUAL PSYCHOLOGICAL ANALYSIS ........
77
A. Psychology aspect of major character ..........................
77
1. Fictional Finalism ....................................................
77
2. Striving For Superiority...........................................
80
3. Inferiority Feeling....................................................
83
4. Style of Life .............................................................
85
5. Social Interest ..........................................................
88
6. Creative Power ........................................................
91
ix
B. Discussion.....................................................................
95
CHAPTER V CONCLUSION AND SUGGESTION ...........................
98
A. Conclusion ....................................................................
98
B. Suggestion ....................................................................
99
BIBLIOGRAPHY ..........................................................................................
100
VIRTUAL REFERENCE .............................................................................
102
APPENDIX .....................................................................................................
103
x
TABLE OF FIGURE
Figure 1: Rancho Shalmadas Chanchad/ Punsukh Wangdu ............................
23
Figure 2: Pia Sahastrebuddhe...........................................................................
25
Figure 3: Farhan Qureshi .................................................................................
26
Figure 4: Raju Rastogi .....................................................................................
27
Figure 5: Viru Sahastrebuddhe ........................................................................
29
Figure 6: Chatur Ramalingam ..........................................................................
30
Figure 7: Mr. Qureshi ......................................................................................
32
Figure 8: Mrs. Qureshi .....................................................................................
33
Figure 9: Mrs. Rastogi .....................................................................................
34
Figure 10: Joy Lobo .........................................................................................
37
Figure 11: Mona Sahastrebuddhe ....................................................................
37
Figure 12: Suhas ..............................................................................................
40
Figure 13: Ranchoddas Shamaldas Chanchad .................................................
40
Figure 14: Manmohan ......................................................................................
43
Figure 15: Govind ............................................................................................
44
Figure 16: Librarian Dubey..............................................................................
45
Figure 17: Machine Class Professor ................................................................
46
Figure 18: Shamaldas Chanchad ......................................................................
47
Figure 19: Peanut Vendor ................................................................................
48
Figure 20: Campus Interview Panel .................................................................
48
Figure 21: Airplane ..........................................................................................
50
Figure 22: Cabin ..............................................................................................
50
xi
Figure 23: escalator ..........................................................................................
51
Figure 24: Waiting Room ................................................................................
51
Figure 25: Front of I.C.E ..................................................................................
51
Figure 26: Viru’s Office ...................................................................................
51
Figure 27: Clasroom ........................................................................................
51
Figure 28: I.C.E tower .....................................................................................
51
Figure 29: Library ............................................................................................
52
Figure 30: Corridor ..........................................................................................
52
Figure 31: Bathroom .....................................................................................
52
Figure 32: Canteen ...........................................................................................
52
Figure 33: Shimla .............................................................................................
52
Figure 34: house ...............................................................................................
52
Figure 35: Rancho’s house...............................................................................
53
Figure 36: Manali .............................................................................................
53
Figure 37: Pia’s wedding .................................................................................
53
Figure 38: Pia and Suhas’s wedding ................................................................
53
Figure 39: Pia and Suhas’s wedding ................................................................
53
Figure 40: Ladakh ............................................................................................
54
Figure 41: Skitsal school ..................................................................................
54
Figure 42: Wangdu’s room ..............................................................................
54
Figure 43: Beach ..............................................................................................
54
Figure 44: Viru’s house ...................................................................................
55
Figure 45: Family room ...................................................................................
55
xii
Figure 46: Bedroom .........................................................................................
55
Figure 47: Bedroom .........................................................................................
55
Figure 48: Farhan’s wild animal photos ..........................................................
55
Figure 49: Raju’s house ...................................................................................
56
Figure 50: Fortis Hospital ................................................................................
56
Figure 51: Hospital’s room ..............................................................................
56
Figure 52: Raju getting paralyzed ....................................................................
56
Figure 53: Funeral ............................................................................................
57
Figure 54: Shot 1 ..............................................................................................
60
Figure 55: Shot 2 ..............................................................................................
60
Figure 56: Rancho in dialogue .........................................................................
61
Figure 57: Airport ............................................................................................
62
Figure 58: Viru’s Office ...................................................................................
63
Figure 59: Farhan’s House ...............................................................................
63
Figure 60: Raju’s House ..................................................................................
63
Figure 61: Viru’s House ...................................................................................
64
Figure 62: Hospital ..........................................................................................
64
Figure 63: Funeral ............................................................................................
64
Figure 64: Rancho or Punksukh Wangdu ........................................................
65
Figure 65: Pia ...................................................................................................
65
Figure 66: Farhan .............................................................................................
65
Figure 67: Raju ................................................................................................
66
Figure 68: Viru .................................................................................................
66
xiii
Figure 69: Chattur ............................................................................................
66
Figure 70: Formal ............................................................................................
67
Figure 71: Casual .............................................................................................
67
Figure 72: Traditional costume ........................................................................
67
Figure 73: Hard lighting...................................................................................
68
Figure 74: Soft lighting ....................................................................................
68
Figure 75: Frontal lighting ...............................................................................
69
Figure 76: Side lighting ...................................................................................
69
Figure 77: Top lighting ....................................................................................
69
Figure 78: Under lighting.................................................................................
70
Figure 79: Slow motion ...................................................................................
71
Figure 80: Fast motion .....................................................................................
71
Figure 81: Zoom ..............................................................................................
71
Figure 82: Medium shot ...................................................................................
72
Figure 83: Medium close-up ............................................................................
73
Figure 84: Close-up ..........................................................................................
73
Figure 85: Extreme long shot ...........................................................................
74
xiv
SUMMARY
ARVIANA RATIH HAPSARI. A320070046. HAPPINESS IN RAJKUMAR
HIRANI’S
3
IDIOTS
MOVIE
(2009):
AN
INDIVIDUAL
PSYCHOLOGICAL APPROACH. 2011.
This research paper reveals how the effort of major character tries to get
happiness influences his personality reflected in 3 Idiots movie directed by
Rajkumar Hirani published in 2009 which are analyzed through an individual
psychological approach. The research based on its structural elements and to
analyze by using individual psychological approach.
This research is belong to qualitative research. The type and the data
source which are used, namely primary and secondary data. The primary data
source is the movie itself. The secondary data sources are taken from books and
other sources which support the analysis. The method of the data collection is
library research and the technique of the data analysis is descriptive analysis.
Based on the analysis, the researcher draws two conclusions, first based on
the structural analysis; Rajkumar Hirani wants to deliver moral message that a
person must try and not give up reaching something that they want with any
efforts, prayers and patiences. Education is not about success; it is about pursuing
excellence and doing what someone passionate about. From the structural
analysis, it shows that each of the structural elements are interrelated to each
other. Second based on the individual psychological analysis, the writer draws
that the movie represents Rajkumar Hirani’s response about education. It can be
seen that the spirit can influence the character of Rancho in achieving the
happiness.
First Consultant
Second Consultant
Dr. Phil. Dewi Candraningrum, M. Ed
NIK: 727
Titis Setyabudi, S.S., M.Hum
NIK: 948
The Dean of Teacher
Training and Education Faculty.
Drs. Sofyan Hanif, M.Si
NIK: 547
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