i
POWER OF VALERIE’S LOVE IN CATHERINE
HARDWICKE’S
RED RIDING HOOD
MOVIE (2011):
A PSYCHOANALYTIC APPROACH
RESEARCH PAPER
Submitted as a Partial Fulfillment of the Requirements for Getting Bachelor Degree of Education
in English Department
by:
YULIANA SUCI WIDIASTUTI A.320080265
SCHOOL OF TEACHER TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
APPROVAL
POWER OF VALERIE’S LOVE IN CATHERINE
HARDWICKE’S
RED RIDING HOOD
MOVIE (2011):
A PSYCHOANALYTIC APPROACH
RESEARCH PAPER
by:
YULIANA SUCI WIDIASTUTI A.320080265
Approved to be Examined by the Consultants Team:
iii
ACCEPTANCE
POWER OF VALERIE’S LOVE IN CATERINE HARDWICKE’S RED RIDING HOOD MOVIE (2011): A PSYCHOANALYTIC APPROACH
YULIANA SUCI WIDIASTUTI A. 320080265
Accepted and Approved by the Board of Examiners School of Teacher Training and Education
Muhammadiyah University of Surakarta on
The Board of Examiners:
TESTIMONY
On this occasion, the writer states that there is no proposed work before in this research to get like bachelor degree in a certain university and as long as the writer knows that there are also no works or ideas that have ever been written or
published by other people, except those that are referred or written in this research paper and mentioned in the bibliography.
If it is proved that there are some untrue statements in this testimony, she will be wholly responsible for that.
Surakarta, 16 Maret 2012 The Writer
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vii
ACKNOWLEDGMENT
Assalamu’alaikum Wr.Wb.
Allhamdullilahirobbil’alamin. All of the praises is only to for Allah SWT,
the Most Gracious and Most Merciful. It is for blessing and guiding because the writer can finish this paper as a partial fulfillment of the requirements for getting bachelor degree of education.
In this opportunity, the writer would like to express her gratitude to:
1. Drs. H. Sofyan Anif, M.Si, as the Dean of Teacher Training and Education
School in Muhammadiyah University of Surakarta.
2. Drs. Phil. Dewi Candraningrum, S.Pd, M.Ed, as the first consultant who has given guidance, advices, supports, corrections and discussion.
3. Titis Setyabudi, S.S, M.Hum, as the second consultant who has helped and supported the writer.
4. All of lecturers in English Department.
5. Her beloved father and mother (Bp. Wardi and Bu. Panem), for pray, advice and support.
6. Her beloved brother, sister and nephew (Mas Giyanto, Mbak Tami, Dia “Konyek” and Rafa), thanks for everything.
7. Her beloved fiancé (Wasis “ayah”), thanks for support and helping her in searching movie scrip.
9. Her best friends: Ilham “Pak Ketu”, Nita, Tari, Riska, Danang, Wawan “Ndut”, thank for support, the relationship and unforgettable moments.
10.Her boardinghouse’s father (Bp Eka P), thanks for pray.
11.Her friends in boarding house (Roemahku Asy-Syfa): M.Dewi, M.Sinta,
M.Jihan, M.Mely, M.Ida, M.Lela, M.Endah, Cha-cha, Hilda, Alin, Lida, Asita, Alvi, Niki, Tia, M.Retno, Lia, Ayu, Kiki, Muna and Ita, thanks for everything. 12.Everybody that cannot be mentioned one by one toward their support to the
writer in completing this research paper.
The writer realizes that this research paper is still far from being perfect. Therefore, the constructive criticism and suggestion will be expected to improve the quality of this research paper.
Wassalamu’alaikum Wr.Wb
Surakarta, 16 Maret 2012
ix
TABLE OF CONTENT... ix
LIST OF FIGURE………... xii
SUMMARY……….. xvii
CHAPTER I INTRODUCTION A. Background of the Study………... 1
B. Literature Review………...5
C. Problem Statement………. 5
D. Limitation of the Study……….. 5
E. Objective of the Study………... 5
F. Benefits of the Study……….. 6
G. Research Method………... 6
H. Research Paper Organization……… 8
B. Major Principle of Psychoanalysis……….. 10
1. Id………. 10
2. Ego………. 10
3. Superego……… 11
C. Structural Elements of the Movie 1. Narrative Elements……… 12
2. Technical Elements……… 15
CHAPTER III STRUCTURAL ANALYSIS OF THE MOVIE A. Structural Elements of the Movie……… 21
1. Narrative Elements……… 21
a. Character and Characterization…………. 21
b. Setting………. 33
c. Plot……….. 36
d. Point of View……….. 39
e. Theme………. 40
2. Technical Elements……….. 41
a. Mise-en-Scene………. 41
b. Cinematography……….. 47
c. Sound……… 50
d. Editing……….. 50
xi
1. Id………. 56
2. Superego………. 59
3. Ego……….. 62
B. Discussion………. 66
CHAPTER V CONCLUSION AND SUGGESION A. Conclusion………. 69
B. Suggestion……….. 70
LIST OF FIGURE
Figure 1. Valerie’s Profile ……… 22
Figure 2. Solomon’s Profile ……… 23
Figure 3. Casaire’s Profile ……… 24
Figure 4. Peter’s Profile ……… 25
Figure 5. Hanry’s Profile ……… 26
Figure 6. Grandmother Profile ……… 27
Figure 7. Suzzetta’s Profile ……… 28
Figure 8. Father Augusto’s Profile ………29
Figure 9. Rexonne’s Profile ……… 29
Figure 10. Prudence’s Profile ……… 30
Figure 11. Rose’s Profile ……… 30
Figure 12. Claude’s Profile ……… 31
xiii
Figure 15. Lucie’s Profile ……… 32
Figure 16. Winter Season ………... 33
Figure 17. Full Moon ……… 33
Figure 18. Forest ……… 33
Figure 19. Valerie’s Home ……… 34
Figure 20. Café ……… 34
Figure 21. Church ……… 34
Figure 22. Jail ……… 35
Figure 23. Peter’s Home ……… 35
Figure 24. Grandmother’s Home ……… 35
Figure 25. Tower ……… 36
Figure 26. Mountain ……… 36
Figure 27. River ……… 36
Figure 28. Valerie’s Eye ……… 40
Figure 29. Chair ……… 41
Figure 30. Table ……… 41
Figure 32. Bed ………. 42
Figure 33. Axe ………. 42
Figure 34. Candle ……… 42
Figure 35. Kitchen Tool ……… 42
Figure 36. Kitchen Tools ……… 42
Figure 37. Bracelet ……… 42
Figure 38. Necklace ……… 42
Figure 39. Basket ……… 42
Figure 40. Lamp ……… 42
Figure 41. Man’s Costume ……… 43
Figure 42. Man’s Costume ……… 43
Figure 43. Woman’s Costume ……… 43
Figure 44. Woman’s Costume ……… 43
Figure 45. Bodyguard’s Costume ……… 44
Figure 46. Man’s Make-Up ……… 44
xv
Figure 49. Soft Lighting ……… 45
Figure 50. Frontal Lighting ……… 45
Figure 51. Side Lighting ………. 45
Figure 52.Under Lighting ……… 45
Figure 53. Back Lighting ……… 45
Figure 54. Top Lighting ……… 46
Figure 55. Fair Light ……… 46
Figure 56. Fair ……..………. 46
Figure 57. Sun Light ……… 46
Figure 58. Natural Color ……… 47
Figure 59. Orange ……… 47
Figure 60. Dark Color Indoor ……… 47
Figure 61. Dark Color at Night ……… 47
Figure 62. Straight on Angel ……… 49
Figure 63. High Angel ……… 49
Figure 64. Low Angel ……… 49
Figure 66. Establishing Shot ……… 51
Figure 67. Establishing Shot ……… 51
Figure 68. Shot 0r Reserve Shot ……… 51
Figure 69. Shot or Reserve Shot ……… 51
Figure 70. Eye Line Match ……… 52
Figure 71. Match in Action ……… 52
Figure 72. Match in Action ……… 52
xvii SUMMARY
YULIANA SUCI WIDIASTUTI. A320080265. POWER OF VALERIE’S LOVE IN CATHERINE HARDWICKE’S RED RIDING HOOD MOVIE (2011): PSYCHOANALYTIC APPROACH. MUHAMMADIYAH UNIVERSITY OF SURAKARTA. RESEARCH PAPER. 2012.
This research is proposed to analyze a power of love in a film with title
Red Riding Hood using Psychoanalytic Approach. There are two objectives. The
first is to analyze the film in term of structural analysis and the second is to analyze the film based on Psychoanalytic Approach.
The research paper belongs to the qualitative research. The object of the study is the personality of Valerie in Red Riding Hood movie. There are two kinds of data sources used in this research, they are primary and secondary. The primary data is the film itself and the secondary data sources are biography of the author, books and internet. The technique of data collection in this research is summarizing, paraphrasing, and documenting the data. In analyzing the data, the writer employs descriptive qualitative analysis.
The outcome of the study shows that the film illustrates a power of love of Valerie. Power of love begins when her mother asks her to marry other man. She disagrees with it. Then, she and her boyfriend plan to run away together. It is when her boyfriend becomes a wolf. She can accept whatever happens to him and she always loves him. Based on the analysis, the writer concludes that the problems of major character cause the conflict of her mental condition. It happens when there is contradiction between Id, Ego and Superego that are creating power of love.
Keywords: Psychoanalytic, power of love, Red Riding Hood.
Consultant I Consultant II
