THE REPRESENTATION OF MEXICAN CULTURES IN THE ANIMATION FILM THE BOOK OF LIFE
A Thesis
Submitted to Letters and Humanities Faculty in Partial Fulfillment to the Requirements For The Degree of Strata One (S1)
Fahmi Ali Iqbal. 1110026000041
ENGLISH LANGUAGE AND LITERATURE DEPARTEMENT LETTERS AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY OF SYARIF HIDAYATULLAH JAKARTA 2017
ABSTRACT
Fahmi Ali Iqbal, NIM: 1110026000041, The Representation of Mexican Culture in The Animation Film The Book of Life. Thesis: English Language and Literature Department, Letters and Humanities Faculty of Syarif Hidayatullah State Islamic University, Jakarta 2017.
The unit analysis of this research is The Book of Life (2014) film directed by Jorge R. Gutierrez. The research focuses on the representation of Mexican cultures in the animation film The Book of Life. This thesis uses qualitative descriptive analysis as the method to analyze Mexican cultures through the film. All data are collected from the dialogues and the pictures of the film. The purpose of this research is to know and understand the Mexican cultures by using the representation concept of Stuart Hall. The research emphasizes on the representation of Mexican cultures in the film. The Book of Life (2014) film is one of several Hollywood films that represent Mexican cultures in the film. As the results, Mexican cultures shown in the film are Mexican histories, Mexican mythology, social tradition, Mexican House design, El Dia de Los Muertos or the day of the dead, Matador or Bullfighter, Mariachi, and Mexican clothes. Finally, the film successfully represent Mexican cultures by stereotypically describe Mexican cultures. Therefore, the film can help to understand and explain some Mexican Cultures.
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APPROVEMENT
THE REPRESENTATION OF MEXICAN CULTURES IN THE ANIMATION FILM OF THE BOOK OF LIFE
A Thesis Submitted to Letters and Humanities Faculty In Partial Fulfillment of the Requirements for the Degree of Strata One
FAHMI ALI IQBAL NIM. 1110026000041
Approved by:
Advisor
Maria Ulfa, M.A., M.Hum. NIP. 19821219 201503 2002
(Day/Date: )
ENGLISH LANGUAGE AND LITERATURE DEPARTEMENT LETTERS AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY OF SYARIF HIDAYATULLAH JAKARTA
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2017
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DECLARATION
I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except where due acknowledgement has been made in the text.
Jakarta, March 2017
Fahmi Ali Iqbal
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ACKNOWLEDGEMENT
Bismillahirrahmaninrrahim.
In the name of Allah, the beneficent and the merciful god, may peace and blessing of
Allah be upon all of us. Praise being to Allah SWT and peace and blessing be upon the great human leader our prophet Muhammad SAW and all of followers. I would like to give the most appreciation and many thanks to Allah SWT. Finally I could finish this thesis to gain the Degree of undergraduate of English Language and
Literature Department in the Faculty of Adab and Humanities, Syarif Hidayatullah
State Islamic University Jakarta.
This paper is presented to English Language and Literature Department of
Adab and Humanities faculty UIN Jakarta as partial fulfillment of the requirement for undergraduate degree. I would like to express the highest gratitude to my mother;
Cayi Susilawati S. Pd, and my beloved father, Machrus Shodiq A. Md, and also brother and sisters who have given spirit and motivation to finish this thesis and my study.
I also would like to thank my advisor; Maria Ulfa, M.A., M.Hum for her great patients, times, advices and contributions on finishing this thesis. May Allah SWT bless her and her family.
I also would like to convey my sincere gratitude particularly to:
1. Prof. Dr. Sukron Kamil, M.A., as the Dean of Letters and Humanities Faculty
State Islamic University Syarif Hidayatullah Jakarta.
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2. Drs. Saefudin, M.Pd as the Head of English Language and Literature Department.
3. Elve Oktafiyani, M.Hum as the Secretary of English Language and Literature
Department.
4. All lectures of English Language and Literature Department for their teaching
during my study.
5. Persatuan Mahasiswa Indramayu (Permai-Ayu) DKI Jakarta as my second home.
6. To the last fighter friends for graduating from UIN especially Imam Febrian S. S.
7. Music of English Letters (MEL).
8. And finally, to all my beloved friends of English Language and Literature
Department who cannot mention one by one, but I will never forget them.
Jakarta, March 2017
Fahmi Ali Iqbal
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TABLE OF CONTENTS
ABSTRACT …………………………………………………………………… i
APPROVEMENT ….……………………………………………………….…. ii
LEGALIZATION ….……………………………………………………….…. iii
DECLARATION ….……………………………………………………….….. iv
ACKNOWLEDGMENT………………………………………………….…… v
TABLE OF CONTENTS ……………………………………………………... vi
CHAPTER I INTRODUCION ……………………………………………….. 1
A. The Background of the Research ……………………………. 1
B. The Focus of the Research .....…………………………………. 5
C. The Research Questions …………………………………….. 5
D. The Significance of the Research …………………………… 5
E. The Methodology of the Research …………………………... 5
1. The Method of the Research ……………………………... 6
2. The Objective of the Research …………………………… 6
3. The Technique of Data Analysis …………………………. 6
4. The Instrument of the Research ………………………….. 7
5. The Unit of Analysis ……………………………………… 7
F. The Time and Place …………………………………………... 7
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CHAPTER II THEORETICAL FRAMEWORK ……………………………. 8
A. Previous Research ……………………………………...... 8
B. Definition of Film ……………………………………...... 9
C. Character and Characterization ……………….. ……………. 10
1. Character………………………………………………….. 10
a. Major Character ……………………………………… 11
b. Minor Character …………………………… ……….. 12
2. Characterization ……………………………… ………… 12
a. Characterization through Appearance ...……………... 13
b. Characterization through Dialogue …………………… 13
c. Characterization through External Action …………….. 14
d. Characterization through Internal Action ……………... 14
e. Characterization through Reaction of Other Character… 14
f. Characterization through Contrast: Dramatic Foils ……. 15
g. Characterization through Caricature and Leitmotif …… 15
h. Characterization through Choice of Name ……………. 15
3. Varieties of Characters …………………………………… 16
C. Concept of Representation …………….…………………….. 16
D. Mexico and Culture ...... 20
1. Religion ...... 22
2. Family Matter ……………………………………………. 22
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3. Mexican House Design ...... 23
a. The Open Courtyard ...... 23
b. The Roof ...... 23
c. Art On The Outside – A Tradition ...... 24
d. Color ...... 24
e. The Flowering House ...... 24
4. Culture and Tradition in Mexico ...... 25
a. El Dia De Los Muertos ...... 26
b. Matador ...... 28
c. Mariachi ...... 29
5. Mexican Clothes ...... 30
CHAPTER III RESEARCH FINDINGS ……………………………………... 34
A. Characters ...... …..... 34
1. Manolo Sanchez ...... 35
2. Maria Gabriela Posada ...... 36
3. Joaquin Emilo Mondragon ...... 38
4. La Muerte ...... 39
5. Xibalba ...... 40
6. Carloz Sanchez ...... 42
7. General Ramiro Posada ...... 43
8. Chakal ...... 44
B. The Representations of Mexican Culture ...... ……………... 46
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1. Religion ...... 46
2. Family Mater ...... 47
3. Cultural Tradition ...... 52
a. Mexican House Design ...... 52
b. El Dia De Los Muertos ...... 54
c. Matador ...... 57
d. Mariachi ...... 60
e. Mexican Clothes ...... 61
CHAPTER IV CONCLUSIONS AND SUGGESTIONS ……………………. 64
A. Conclusions ………………………………………………… 64
B. Suggestions …………………………………………………. 65
WORK CITED ….………………………………………………………………. 67
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CHAPTER I
INTRODUCTION
A. The Background of the Research
Film or cinema is a work of art when motion conforms to a perceptible rhythm with pause and pace where all aspect of the continuous image relate to the whole, film is recognized as a unique and powerful art form on a par with painting, sculpture, music, literature, and drama (Jhoseph, Boggs and Petrie 54). Moreover,
Film can role for every human culture importantly, it can help us in meaning and understanding environment around. Basically, film can be an instrument to record the social condition in certain time or place. Film also can be the public information about the past, present, and even the future.
Film has strong power for human life. It can be traced through the history and development of the beginning that film was born from two different wombs: from culture and from economy. Sheila timothy says that film is the tool of culture that has economy values, and this case is symbiotic that cannot be separated (Rulianto 2015).
With two things above that makes film has the great force for human life. Therefore, film as powerful media can used to introduce or describe certain culture. Although many genres in modern film such a comedy, horror, romance, action, and many more are uses culture as one of the topics.
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Hollywood is the biggest film industry, Hollywood has produced many kinds of film. Hollywood also creates animation film. There are many familiar names of production house in Hollywood for animation film such as Walt Disney studio, Pixar studio, and many more. Webster defines it as: a motion picture made by photographing successive positions of inanimate objects (as puppets or mechanical parts), b: animated cartoon, a motion picture made from a series of drawings simulating motion by means of slight progressive changes (filmsite.org). Animation is the process by which we see still picture move (filmeducation.org). Walt Disney said that Animation film not only just for children but also for all ages, because
“animation offers a medium of storytelling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world” (qtd. In brainyquote.com).
In 2014, Hollywood produced an animation film The Book of Life. This film is a 3D computer-animated adventure musical comedy, produce by Reel FX Creative
Studio and distributed by 20th Century Fox, Co-written and directed by Jorge R.
Gutierrez, and it was produced by Aaron Berger, Brad Booker, Guillermo Del Toro and Carina Schulze. The voices of the film are filled by Diego Luna, Zoe Saldana, and Channing Tatum, Cristina Applegate, Ice Cube, Ron Perlman, and Kate Del
Castillo. The film premiered in Los Angeles on October 12, 2014 and it was theatrically released in the United State on October 17, 2014. The Book of Life tells a story of Mexican’s holiday called El Dia de los Muertos or the Day of the Dead. “The
Day of The Dead” is the November second holiday that focuses on gatherings of
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family and friends to pray for and remember friends and family members who have died, and help support their spiritual journey.
The story tells about a sassy museum tour guide hosts a group of skeptical school child, the story concerns the romantic triangle among the free spirit Maria and her two suitors are Manolo, the scion of a long line of bullfighters, who really wants to be a musician and the vainglorious Joaquin a military hero who struts around with a huge display of medals on his chest. The plot is set a motion by squabbling married gods La Muerte and Xibalba, who makes a wager as to which of the two men will marry Maria. La Muerte, the ruler of The Land of Remembered, places her bets on
Manolo, while Xibalba, who oversees the dark Land of Forgotten, puts his faiths in
Joaquin and thinks nothing of exerting his influence to determine the outcome. To that end, he tricks Manolo into thinks that Maria has ventured into The Land of
Remembered, so the love strucks suitor sets off after her.
While initially joyful to be introduced to the magical world containing all of his ancestors, Manolo is soon chagrined to discover that Maria is not there and sets off to find La Muerte to help him in his quest, stopping first at The Cave of Souls to consult with The Candle Maker who is in charge of The Book of Life. Meanwhile, the Land of the living is beset by the villainous monster called Chakal and his gang of bandits, with the inevitable battle affecting the destinies of all concerned. Knowing
Maria still alive Manolo wants his live back by sets a wager to Xibalba and accepted.
Xibalba gives a challenge to finish all bulls that already finished by his bullfighter family. In time, Manolo wins the challenge and he gets his live back and return to the
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world for defeat Chakal and he wins with helps of his family and with all San Angel’s people. In the end, he also wins Maria’s heart and gets married.
The Book of Life film is talks about Mexico from the beginning until the end in the film. The first is from setting that all places in this film represent Mexico in revolution era and social conditions at that time even today. The second is from traditions and cultures that this film tries to shows some traditions and cultures of
Mexico such as El Dia Le Muertos or The Day of The Dead, Bullfighting or Matador, and Mexican music called Mariachi, Mexican clothes, foods, and many more. The third is from history that this film tries to explain about Mexico in the past and present. Moreover, all names of the characters and places are taken from mythology of Mexico. In addition, this film is unique because all about Mexico are represented with animation film that is very good especially for children to understand Mexican
Cultures.
In short, the film shows Mexican life and cultures, film as a powerful media including for education related to cultures or introducing such cultures, it is important to obtain a deep understanding of Mexican cultures that showed in this film, including the characters and other aspects that are usefull to support this research. In addition, to understand the representation of Mexican cultures, this research uses
Stuart Hall’s concept of representation especially with reflective approach to show how The Book of Life film reflects the cultures of Mexico.
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B. The Focus of the Research
Based on research background, this research focus on the representation of
Mexican cultures. This research tries to explain how the animation film of The Book of Life represents Mexican cultures by using the representation concept from Stuart
Hall especially with reflective approach.
C. The Research Questions
Base on the focus above, the research problem is; how is Mexican cultures represented in the animation film of The Book of Life?
D. The Significance of the Research
The significance of this research is to provide knowledge to the readers about the depiction Mexican cultures through an animation film. This research can also be uses as one of the reference for understanding Mexican cultures in literary studies especially through film. In addition, by studying this film, it can be said that this film which is for children can also be used for literary studies, cultural studies in particular to understand Mexican Cultures.
E. The Methodology of the Research
This methodology consists of several important elements related to the research namely the objective of research, the method of research, the instrument of research, the data of analysis, and the unit of analysis.
1. The Method of the Research
Related to the problem of the research and also the objective of the research mentioned above, this research uses qualitative descriptive. According to Farkhan
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qualitative research method is a study that relies on the data verba and a numeric others as a base of analysis and solving problem was to be examined, such as contents analysis, discourse analysis, naturalistic research (Farkhan 27).
He also describes that descriptive does not need statistics analysis and has to analyze based on the methods, theories or relevant approaches (Farkhan 24).
Qualitative method can give more attentions to data analysis, the data related with the contex itself (Bahtiar and Aswinarko 16). The method is used for explaining, describing, and analyzing the elements of the film. The data are collected, described and analyzed by using the theory of and additional sources.
2. The Objective of the Research
The purpose of this study is to answer the research question. This study tries to understand and explain the representation of Mexican cultures in the animation film of The Book of Life.
3. The Technique of Data Analysis
The technique of data analysis of this thesis includes several steeps. The first, the data are collected. The second, the data are identified that are related to Mexican
Cultures. The third, the data are analyzed by using the theory of representation by
Stuart Hall. Finally, the results of analysis are concluded.
4. The Instrument of the Research
I my self is the instrument as the researcher. I as the main instrument watch
The Book of Life film very carefully, and then identify and analyses all aspects related
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to Mexican cultures ranging from appearance, behavior, habits, and all aspect about
Mexico are shown in this film. Besides that, the other aspects of Mexican culture and traditions in the real life including social situation, language, and history of Mexico are also used for addition sources to understand this film. The next step, researchers will compare all fact that shows in this film clearly.
5. The Unit Analysis
The unit of analysis of this thesis is the animation film of The Book of Life produced by Guillermo Del Toro and directed by Jorge Gutierrez, published in 2014, and production in USA.
F. Time and Place
The research is conducted for about 7 months (March 2016 – January 2017) at
Islamic State University Syarif Hidayatullah Jakarta, Faculty of Letters and
Humanity, English Language and Literature Department. The research is conducted in several places, particularly in the UIN and the faculty, also in libraries in various universities.
CHAPTER II
THEORETICAL FRAMEWORK
In this research, the theoritical framework is to guide the analysis of the representation of Mexican cultures in the animation film of The Book of Life. There are two theories or concept that are used. The first is theory of film especially about character and characterization. The second is about Mexican Cultures.
A. Previous Research
The Book of Life film had been analyzed by other researcher. I found the other researcher from some part of The Routledge Companion to Latina/o Popular Culture
Book (2016). This book is the giant journal that collected all results from the research that related to the Latina/o and was edited by Frederick Luis Aldama. In Chapter V,
Laura Hernandez wrote Life and Latinidad in Children’s Animation. She was focused on analyzed the representation of Latinidad1 for the children in the animation film of
The Book of Life and other films. Laura’s research also explains the positive and negative impact for children.
From the brief explanation above, this research tries to make different and more detail than previous research. I uses the concept of representation through reflective approaches in order to give more complexes understanding to the Mexican
1 Latinidad is all relevant to the history, knowledge, idiosyncrasies, the beliefs and traditions of Latin people (wordmeaning.org).
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cultures. Through this research, the readers will know directly about Mexican culture and tradition. This research also can be considered as a reference for next researchers.
B. Definition of Film
According to Brodwell and Thompson, for about hundred years, people have been trying to understand why this medium has so captivated us, film communicate information and ideas, and they show us places and ways of life we might not otherwise know. Film offer us ways to seeing and feeling, taking us on journey through experiences that are often driven by stories, and they might also explore visual qualities or sound textures that engage our minds and emotions (Brodwell and
Kristin 2). That is why also film called as a motion picture because of the movement.
Boggs and Petrie explain that film exploits the subtle interplay of light and shadow like painting and photography, manipulates three dimensional spaces such as; sculptures, focusing on moving images like pantomime, and as in dance. The moving images in film have rhythm that resemble those of music and poetry which communicates through imagery, metaphor, and symbol. Like drama, film communicates visually through action and verbally through dialogue, film also expands or compresses time and space, traveling back and forth freely within their wide borders like novel does (Boggs and Petrie 2).
Films have such a big impact to the world in spreading the messages, entertainments, or even advertisements. According to Butler, the role of the director was as a technician, who would guide the perception and response of viewer through the linear structure of film; the shift from, say, a long shot to close up, was not
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something that jarred as other filmmakers feared, but represented the way that people suddenly focuses on a detail in any situation (Butler 15-16).
B. Character and Characterization
This part explains the definition of character and characterization. Giles argues that character is a person in literary work, whereas characterization is the way which a character is created. Characters are all the product of characterization. That is to say they have been made in particular way (Giles 105).
1. Character
The word of character is driven from the greek verb, Charassein. The meaning is to mark with a cut or furrow. This word comes to be used for writing with stylus in wet clay (as in cuneiform script) or engraving on a stone surface. All kinds of fictions may involve characters, but not all fictions are focused on character
(Baker, k-state.edu). As all people especially audieneces or readers often come to care about fiction. It means, readers need to observe the characters of fictional action just to know about the dialogue. Morover, fictional characters come alive for readers and they are realistics to live in reader’s memories for long after their stories have ended
(Diyanni 54).
When readers grant fiction this kind of reality than permit their selves to be caught up in the life of the story and it is characters. In addition, to approach fictional characters with the same concerns which is approach people. Character brings plot to life, character also is the companion of plot, the plot of story involves the story of the characters. Characters are divided into types:
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a. Major Character
The first type of characters is major characters. Major character is an important figure at the center of the play’s action and meaning. Major character is sometimes called a protagonist whose conflict with antagonist may spark the story conflict; Major character also called main characters whose are important in plot than major character remains from bigining of a plot to the end. Supporting the major character are one or more secondary or minor whose function is partly to illumninate the major character (Mc Laughlin 76).
The main characters generally introduce to the reader very early; this is the character which is the author or producer should most engage audience interest and sympathy. Protagonist do not have to be especially courageous and intelegent.
Moreover, the most important feature of a protagonist is a desire, or an objective (Mc
Laughlin 112). The main character’s relentless pursuit of an objective is critical to a plot’s successfully. On occasion, not only one character can dominate a story but it can be more than one, their relation being what matters most (Mc Laughlin 123).
b. Minor Character
Minar characters are not developed nearly as fully as the major characters and they do not demand sympathy and curiosity from readers (Mc Laughlin 923).
According to Mc Laughlin, Minor characters are often static or unchanging; they remain the same from the beginning of a work to end as major character (76).
Meanwhile, Diyanni argues that minor character or antagonist is the character or force againts which the protagonist stuggles. The antagonist may be another character
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such as culture, laws, traditions, nature elements, or protagonist divided againts protagonist. If protagonist is most important elements in the contruction of a story, the antagonist character follows close behind. Without an antagonist way, they would be no conflict and no story or no drama (923).
2. Characterization
Characterization is divined as in fiction by what the character do, say, others say about them and setting in which they move. The characters also defined in part by other characters that they are in some degree resemble or from who they are in some degree after. The process of creating characters in fiction has some action. Some authors are different from others and have different convictions than the other author
(Carl 746).
Characterization can involve developing variety aspects of character, If we are not interested in a film’s most human elements its characters there is little chance that we will interested in the film as a whole. To be interesting, characters must seem real, understandable, and worth caring about. For the most part, the characters in a story are believable in the same way that the story is believable. If characters are truly credible, it is almost impossible to remain completely neutral toward them (Boggs and Petrie 60). We must respond to them in some way:
a. Characterization through Appearance
Most film actors project certain qualities of character the minute they appear on the screen, characterization in film has great deal to do with casting. A major aspect of film characterization is revealed visually and instantaneously. The minute
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we see most actors on the screen, we make certain assumptions about them because of their facial features, dress, physical build, and mannerisms and the way they move.
First visual impression may be proven erroneous as the story progresses, but it is certainly an important means of establishing character (Boggs and Petrie 60).
b. Characterization through Dialogue
Characters in a fictional film naturally reveal a great deal about themselves by what they say. But a great deal is also revealed by how they say it. Their true thoughts, attitudes, and emotions can be revealed in subtle ways through word choice and through the stress, pitch, and pause patterns of their speech. Actors’ use of grammar, sentence structure, vocabulary, and particular dialects (if any) Reveals a great deal about their character’s social and economic level, educational background, and mental processes. Its mean, we have to listen carefully not only to what is said but also to how it is said (Boggs and Petrie 61).
c. Characterization through External Action
Although appearance is an important measure of a character’s personality, ap- pearances are often misleading. Perhaps the best reflections of character are a person’s actions. It must be assumed, of course, that real characters are more than mere instruments of the plot, that they do what they do for a purpose, out of motives that are consistent with their overall personality. Thus, there should be a clear relationship between a character and his or her actions; the actions should grow naturally out of the character’s personality (Boggs and Petrie 62).
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d. Characterization through Internal Action
There is an inner world of action that normally remains unseen and unheard by even the most careful observer/listener. Yet the dimension of human nature that this world embraces is often essential to a real understanding of a character. Inner action occurs within characters’ minds and emotions and consists of secret, unspoken thoughts, daydreams, aspirations, memories, fears, and fantasies. People’s hopes, dreams, and aspirations can be as important to an understanding of their character as any real achievement, and their fears and insecurities can be more terrible to them than any real catastrophic failure (Boggs and Petrie 62-63).
e. Characterization Through Reactions of Other Characters
According to Boggs and Petrie, the way other characters view a person often serves as an excellent means of characterization. Sometimes, a great deal of information about a character is already provided through such means before the character first appears on the screen (64).
f. Characterization through Contrast: Dramatic Foils.
One of the most effective techniques of characterization is the use of foils contrasting characters whose behavior, attitudes, opinions, lifestyle, physical appearances, and so on are the opposite of those of the main character (Boggs and
Petrie 64).
g. Characterization through Caricature And Leitmotif
In order to etch a character quickly and deeply in our minds and memories, actors often exaggerate or distort one or more dominant features or personality traits.
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This device is called caricature (from the technique used in cartooning). And a similar means of characterization, leitmotif, is the repetition of a single action, phrase, or idea by a character until it becomes almost a trademark or theme song for that character.
Because it essentially exaggerates and emphasizes (through repetition), such a device acts very much like caricature (Boggs and Petrie 65).
h. Characterization through Choice of Name
One important method of characterization is the use of names possessing ap- propriate qualities of sound, meaning, or connotation. This Technique is known as name typing. A screenwriter usually thinks out his characters’ names very carefully.
Because a great deal of thought goes into the choice of names, they should not be taken for granted but should be carefully examined for the connotations they communicate (Boggs and Petrie 66-67).
3. Varieties of Characters
Another method for analyzing film characterization utilizes three different types of pairings: stock characters and stereotypes, static versus dynamic characters, and flat versus round characters. Stock Characters and Stereotypes It is not essential or even desirable for every character in a film to have a unique or memorable personality. Stock characters are minor characters whose actions are completely predictable or typical of their job or profession (such as a bartender in a western).
They are in the film simply because the situation demands their presence. They serve as a natural part of the setting, much as stage properties like a lamp or a chair might function in a play (Boggs and Petrie 67).
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Based on the explanation above of theory of film, this research is focuses on deep understanding of all aspects that shown in the film to get data and sources. It means that representing something need much of data collected. Finally, by collecting data from the film this research can be analyzing with representation theory.
C. Concept of Representation
Representation theory is one of theories that can be used in understanding film and cultures. According to Stuart Hall, representation connects meaning and language to culture. Representation means using a language to say something meaningful about, or to represent, the world meaningfully, to other people (15). It means that representation is to use language to express something meaningful, or presenting something meaningful to others. Representations can be either words, images, sequences, stories, or others who ‘represent’ ideas, emotions, facts, and so on.
The representation theory is based on how something is symbolized, represents something, and something presented again. Representation is the production of the meaning of the concepts in our minds through language. It is the link between the concepts and language which enables us to refer to either the ‘real’ world of object, people or events, or indeed to imaginary worlds of fictional objects, people and events (Hall 15). Representation is a process of meaning production that will be exchanged with other people or the environment. The representation has two processes or two system of representation: there are system and sign. There are two systems of representation (Hall 16).
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First, the system by which all sorts of objects, people and events are correlated with a set of concepts or mental representations which we carry around in our heads.
Without them, we could not interpret the world meaningfully at all. This system does not consist of individual concepts, but of different ways of organizing, clustering, arranging and classifying concepts, and of establishing complex relations between them (Hall 17).
Second, Signs are organized into language and it is the existence of common languages which enables to translates our thoughts (concepts) into words, sounds, or images and then to use these, operating as a language, to express meanings and communicate thoughts to other people (Hall 18).
Those are two important components that underpin the workings of representation, which is a concept in mind and language. The two components cannot be separated, the first is the thought of something that has been stored in the community and has been recognized society that is the basis of this concept.
Furthermore, the term language is being here in a very broad and inclusive way (Hall
18).
The language is a very necessary thing for humans if they want to live in a certain area. This means that human language is a primary need in life. As a tool to interpret the concept of mind, language plays a very important to share the same meaning in a culture. Language itself has a unique diversity in conveying meaning, among others; can be through oral language, writing, facial expressions, clothing, tone, even through electronic media. These languages have their own way to convey
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meaning, but in practice it takes the same concept so there is no error in meaning
(Hall 19).
Language is a tool that can interpret the concept of the mind. Without the language, people will not be able to transmit the concept of the mind that he had to others. It can be concluded that the meaning would not be communicated without language. The two things are complementary and can form the balance of people’s lives and cultured. In human life always gives meaning to objects, other humans, or events that occur in the environment. The process of giving meaning to something like objects, people, and events will never stop as long as there are human beings, live in the community and social role as a member of the community. In conjunction with the culture and the formation of meaning, representation becomes an important part of the process in which meaning is produced and exchanged between members in a culture. In giving meaning to the world and things around him, humans use language medium. Language becomes an important medium in representing and identifying objects or other people. In the process of production and consumption of meaning, language has an important role to express the idea that an exchange of ideas knows their meaning, the meaning which is consumed by other parties (Hall 20).
So it can be concluded that the representation is a process for producing the meaning of existing concepts of our minds through language. The production process is made possible by the presence of meaning representation system. However, the meaning of the process depends on background knowledge and understanding of a social group against a sign. According to Stuart Hall,
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“Member of the same culture must share concepts, images, and ideas which enable them to think and feel about the world in roughly similar ways. They must share, broadly speaking, the same ‘cultural codes’. In this sense, thinking and feeling are themselves ‘system of representations” (22).
To explain how the representation of the meaning through language works, the writer can use three system approaches of representation: the reflective, the intentional and the constructionist approaches;
First, the reflective approach, meaning is thought to lie in the object, person, and idea or even in the real world, and language functions like a mirror, to reflect the true meaning as it already exists in the world. Essentially, the reflective theory proposes that language works by simply reflecting or imitating a fixed “truth” that is already present in the real world (Hall 24).
Second, the intentional approach, it means in representation argues the opposite case. It holds that it is the speaker, the author, who imposes his or her unique meaning on the world through language. Words mean what the author intends they should mean. This is not to say that authors can go making up their own private languages; communication – the essence of language – depends on shared linguistic conventions and shared codes within a culture (Hall 25).
Third, constructionist approach, it acknowledges that neither things in themselves nor the individual users of language can fix meaning in language. This approach serves to reconstruct meaning (Hall 25).
Based on the explanation above of Stuart Hall’s representation, the reflective approach is used for this research, because reflective approach is the most suitable for
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this research to show Mexican cultures representation in the animation film The Book of Life. This approach represented the real word. It means, the reflection of the real world is representing with the same meaning. Representation is the production of meaning, with this approach is expected to explain who made representations. The reflective approach is able to reflect the meaning and to represent of Mexican cultures.
D. Mexico and Culture
Word of “Mexico” is derived from Mexica (pronounced “Me-shee-ka”), the names for the indigenous group that settled in central Mexico in the early fourteenth century and is best known as the Aztecs. Mexico is made up of 31 states and one federal district. It is the third largest country in Latin America and has one the largest populations more than 100 million. Make it the home of Spanish speakers than any other nation in the world. Despite the political and social changes over the centuries, evidence of past cultures and events are apparent everywhere in Mexico. Many of
Mexico’s rural areas are still in habited by indigenous people whose lifestyles are quite similar to those of their ancestors. In addition, many pre-Columbian ruins still exist throughout Mexico, including the ancient city of Teotihuacan and Mayan pyramids at Chichen Itza and Tulum. (history.com).
The preliminary results of the 2000 population census calculated the total number of Mexicans as 97,361,711. In 1950, the total population amounted to approximately 25 million, with the figure reaching nearly 50 million in 1970. These numbers demonstrate the rapid rate of demographic growth that was so characteristic
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of Mexico during the second half of the twentieth century. Mexico’s population still contains many Indian groups. Depending on the definition used, the total number of
Indians varied from 6.7 million to 10 million in 1995. The most significant groups are the Nahuas, Otomís, Mayas, Zapotecas, Mixtecos, Tzeltales, and Tzotziles
(history.com).
Spanish is the official language of Mexico and was introduced through conquest and colonization. Mexican Spanish has its roots in the Spanish of Spain. In terms of grammar, syntax, and spelling there are no important differences between the two, but the pronunciation and sound are different. Certain words from the principal Indian language (Nahuatl) are incorporated into Mexican Spanish, especially in the domains of food and household. The national culture of Mexico boasts sixty-two indigenous languages. In 1995 at least 5.5 million people spoke an indigenous language. The level of bilinguism, however, was high at 85 percent
(geographia.com).
The explanation above is talk about Mexico from any points; Mexico, geography, history, and language. In this part below I divided into five part; Mexican religion, Family Matter, Mexican house design, Mexican clothes, and Mexican culture and tradition. Because its take a deep explanation for good understanding.
1. Religion
Talia Wager Said that much of Mexican Cultures revolves around religious values and church, as well as they concept of family and inclusiveness, around 82 percent of Mexican identify themselves as Catholic (Zimmermann, livescience.com).
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Mexican many have incorporated pre-Hispanic Mayan elements as parts of their faith.
Cristian denominations represented include Presbyterians, Jehovah’s Witnesses,
Seventh Day Adventists, Mormons, Lutherans, Methodists, Baptism, and Anglicans.
There are also small communities of Moslem, Jews, and Buddhists (cia.gov).
2. Family Matter
Mexicans puts a high values on hierarchy and structure in business and family matters, especially outside of cities. Family are typically large and Mexican are very conscious of their responsibilities to immediate family members and extended family such as cousins and friend mate. Hosting parties at their homes plays a large part of
Mexican life and making visitors feel comfortable is a large part of the values and customs of the country. Talia Wagner also said that family units are usually large, with traditional gender roles and extensive family involvement from the external members who assist one another in day to day life. There is strong connection between family members. Talia Wagner added that parents are treated with a high degree of respect, as is the family in general and there may be constant struggle, especially for the growing children between individual wants and needs of family
(Zimmermann, livescience.com).
3. Mexican House Design
To describe any aspect of Mexican house, Essley said that Mexican house design is fascinating. (house-design-coffee.com). Essley describes into four parts;
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a. The open courtyard
Essley said that this goes back to the Spanish roots of architecture in Mexico, and beyond that to the Mediterranean culture of classical period. The warmth of that region spawned homes that were open to the elements. A peristyle, or inner courtyard became the central element around which the house was organized. The various rooms of house surrounded this interior green space. Given a limited lot size, push the walls out to edge of the property. Thus the Mediterranean style traded green space around a home for green space inside a home. This style carried over even to smaller homes which lack an inner courtyard. The home will have a small front yard, but walled off from the street, to create an economical version of the inner courtyard
(house-design-coffee.com).
b. The Roof
Essley said that the Spanish tile roof is ubiquitous in Mexico, except where is flat roofs make the roof entirely invisible, it is costly compared to composite roof, yet composite shingle roofs are almost unheard of Mexico. The abundance of the flat roofs in Mexico may come from the use of flat roof on adobe homes in the northern regions of Mexico. These are not much different than the flat roofs find in the Middle
East. They do very well in dryer regions. When the houses of a region’s past are flat- roofed this conditions them to enjoy that same look in contemporary homes (house- design-coffee.com).
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c. Art On The Outside - A Tradition
Essley said that the bulk of Mexican homes are plain on their exterior there are a lot of creative Mexican homeowners who love decorate the exterior of their homes. Since Mexican art is often very colorful, the exterior decorations often follow suit. What would seem gaudy in Minneapolis suburb seems natural in the context of a
Mexican city (house-design-coffee.com).
d. Color
A striking feature of many Mexican houses is their vibrant use of color.
However, in the areas most houses with white or mutes earth tones. While the color houses are a minority the quite nature of their neighbors make them stand out all the more (house-design-coffee.com).
e. The Flowering Home
Essley said that many Mexican homes makes full uses of the wonderful climate to enhance the architect houses design with stunning display of flowers or other appealing types of vegetation (house-design-coffee.com).
4. Cultures and Traditions in Mexico
Culture’s definition According to Taylor, culture or civilization is that the complex whole which includes knowledge, belief, art, morals, law, custom, and any other. Capabilities and habits acquired by man a member of society (1). But Clifford
Geertz defined culture as a historically transmitted pattern of meanings embodied in symbols, a system of inherited conceptions expressed in symbolic forms by means of which men communicate, perpetuate, and develop their knowledge about and
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attitudes toward life (89). And according to Bohannan and Glazer said that culture is the only one most anthropologist2 can quote correctly, and the one they fall back on when others prove too cumbersome (62). According to anthropology approach, culture is the whole system of ideas, actions, and human’s work in the context of people’s lives that make human being interest to learn (Koentjaraningrat 180).
According to Dahl, the most important icon of Mexican national culture is the
Virgin of Guadalupe, which illustrates the pervasive influence of Roman Catholicism in the national culture. She is viewed as the Mother of all Mexicans. The dark- skinned Virgin is the Mexican version of the Virgin Mary and as such represents national identity as the product of the mixing of European and Meso-American religions and peoples. Her image was used in the struggle for independence against the Spanish. Mexicans have developed a particular sense of uniqueness, this sense is also expressed in numerous elements of popular culture such as food and music (7).
Mexico is a rich country in history, tradition, and culture. In many parts of
Mexico this division parallels the relative presence of indigenous populations, with the sierra regions being the most indigenous. On a smaller scale the Mexican nation has traditionally been characterized by strong provincial and local cultural identities.
People identify closely with their own state; stereotypes about people from other places abound. Strong regional and local identities have given rise to the ideas that
2 Anthropologist is the researcher of anthropology. Anthropology is science that learning about anthropos creature or human (Koentjaraningrat 1)
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there exist in Mexico. (everyculture.com). And the Mexican traditions and cultures are;
a. El Dia De Los Muertos
El Dia de los Muertos (Day of the Dead) is a day of celebration for the people of Latin America, particularly in Mexico and Central America, and more recently for
Mexican Americans. Rather than grieve over the loss of a beloved family or friend, they choose to commemorate the lives of the dearly departed and welcome the return of their spirits (Elizabeth and Sayer 29). The history of Day of the Dead is embedded with Pre-Hispanic and Spanish customs. These customs shaped the common elements of traditional Mexican Dia de los Muertos. According to Gabriela Olmos, Day of the
Dead may be associated with cyclical nature of agriculture. In addition, trees, plants, and crops grow from the ground in which the dead were buried (67).
Though the arrival of the Spanish drastically changed the lives of the indigenous people, their beliefs did not simply cease. A process called syncretism (a blending of Spanish and indigenous beliefs and practices) was instituted and seemed to only effect indigenous beliefs superficially. The clergymen likened the indigenous gods to the Catholic saints. The rituals of worshipping and venerating the dead were changed to correspond with two Spanish holidays are All Saints Day (November 1) and All Souls’ Day (November 2). Also, Spanish had practices that were similar to
Indian like offerings for the dead. By incorporating the beliefs of the Indians, the
Spanish were able to quickly convert the majority of Indians to Catholicism
(Elizabeth and Sayer 32).
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Weeks before Day of The Dead, families start preparing for the return of their loved ones. Families visit cemeteries to have a picnic and clean and decorate the graves of their loved ones. Graves and cemeteries are adorned with Cempasuchitl (a marigold flower native to Mexico), candles, and incense. The petals of the
Cempasuchitl are used to make a pathway. Their scent and color attract the spirits and lead them from the cemetery back to their home (Garciagodoy 6).
The earth element is represented by food, usually pan de muerto (bread of the dead). Other food and drinks are left on the altar like mole (sauce with many spices and herbs), fruit, chocolate, atole (corn-based drink), and whatever the deceased person liked. Copal incense is commonly seen on ofrendas. Copal was used in many ancient indigenous rituals and used to transmit praises and prayers. For deceased children, toys and calaveritas de azucar (sugar skulls) are also placed on the altar. In addition, flowers are placed on the altar as well as pictures of the deceased and religious items. These offerings ensure that the dead will have everything they need for their journey back (Garciagodoy 9-10).
b. Matador
Matador or bullfighting is a traditional spectecle of Spain, Portugal, parts of southern France and some Latin American countries such a Mexico, Colombia,
Ecuador, Venezuela, and Peru. In which one or more bulls are fought in a bullring, it can be defined as a blood sport, within the areas where it is practiced. It is not considered a sport but a cultural event and art form. Bullfighting or corrida de toros is a 500 years old traditional Mexican sport played in a bullring for the
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entertainment of the audience. This sport, brought to Mexico by
Spanish conquistadores (conquerors), involves bulls getting maimed and injured with lances before finally being ceremonially slaughtered by a sword. Bullfighters (or
Matadors) and their horses are also often injured in the vicious battles staged to impress the crowds (Harrison, telegraph.co.uk).
Bullfighting in Mexico is similar to the Spanish style of bullfighting. Mexico has the largest bullfighting ring in the world the Plaza Mexico in Mexico City with a seating capacity of up to 50,000 persons. Thousands of bullfighting events take place annually across the country, mainly during the dry season, from November to March
(Cormick 21). Bullfight involves professional toreros (bullfighters) who execute various formal which are performed at close range, after the bull has first been weakened and tired by lances and short spears with barbs which are thrust into and then hang from the bull. The close proximity places the bullfighter at some risk of being gored or trampled by the weakened bull. After the bull has been hooked multiple times behind the shoulder by other matadors in the arena, the bullfight usually concludes with the killing of the bull by a single sword thrust called estocada
(22-23). Each bullfight is divided into three suertes (acts) or tercios (thirds), each signal by a bugle call. The participants first enter the arena in a parade to salute the presiding dignitary, accompanied by band music (Conrad, britannica.com).
c. Mariachi
Mariachi is a form of folk music from Mexico. This music is claimed the baseline of traditional Mexican music. Word Mariachi believed came from Franch
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language mariage. Causes of that, Mariachi is often to plays in any parties of marriages, but some of Spanish is also played in birthday parties of 15st their doughters. Meanwhile, according to Henriques’s dissertation, by the early 1900s and region musical cultures were popular. Indigenous and mestizo music and dance groups performed at social functions for the President and on the occasion of his birth day in 1905, a mariachi from Cocula was brought to the capital by a wealthy family.
“In September of 1905, Juan Villasenor, administer of the hacienda of La Sauceda, in Cocula, was instructed by Palomar family, owners of said estate, to take the mariachi of Justo Villa to Guadalajara and from there to Mexico City to perform for president general don Porfirio Diaz on his birthday, as well as for that year’s Independence Day celebration” (quoted in Rafael 5-6).
This music is sign of girl maturities. Mariachi in that moment is played by form serenade or band with much of the member. Serenade consists of two violins, two trumpets, Spanish guitars, and another kind of guitars called Vihuela3 and
Guitarron. Charro is a traditional dress that wears by serenade’s member (Marrujo, web.nmsu.edu).
“Mariachi is recognized throughout the world as a visual and sound symbol of Mexico. In the form familiar today’s audiences, the ensemble consist of trumpet, violin, vilhuela, guitar and guitarron. Musician wear the Traje de Charro (suit of the Mexican cowboy), a style of dress associated with the rural western region. That is typically ornamented with silver or detailed embroidery”. (Henriques 1)
3The vihuela is a small, guitar-like instrument that provides harmonic support for esemble. It has a rounded back and is pitched higher, relative to the guitar. The guitarron is the bass instrument in shape of a large guitar also with a rounded back (Henriques: 2006. P. 2).
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5. Mexican Clothes
According to Dahl, Modern Mexican dress has similarities to popular styles and garments worn around the world today. However, the deep cultural roots in
Mexico uncover unique traditional outfits found nowhere else. Traditional Mexican clothing combines native and European elements. The fibers of choice across the country are cotton, bark and agave (which were known and used by native Mexican pre-Hispanic civilizations to make their clothes), as well as wool and silk (introduced by the Spanish later). In the past, Mexican clothing was dyed with natural components found in local plants, but as soon as aniline dyes were brought from
Europe they became the first dying choice (13). There are many of traditional clothes of Mexico;
a. Aztec Clothing
Aztec clothing of ancient times was often loose fitting and colorful. The array of colors was due in part to the extensive trading network. While in their teens, Aztec women were taught to weave by hand, and primarily used cotton or ayate fiber (Dahl
13).
b. Huipil
These ornate tunics are traditional garments that date back to the indigenous wemen of central Mexico and Central America. It is not uncommon to find a Huipil adorned with ribbons, lace, and other intricate designs (Dahl 14).
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c. Ichcahuipilli
A form of military armor, this Mesoamerican garment was comprised of multiple layers of thick braided cotton, usually made stronger with brine. An effective
Ichcahuipilli would slow and stop arrows (Dahl 15).
d. Rebozo
The Rebozo is the modern take on the Tilmàtli, an ancient Aztec cloak. Much more reserved than its ancient counterpart, the Rebozo, unlike the Tilmàtli, it is to be worn over clothing rather than on its own. What makes this item so unique is that it functions as a number of different garments. Simply by tying, folding, or orienting it in a different way, a Rebozo can act as a shawl, blouse, shroud, or a cape if desired
(donquijote.org).
e. Ponchos
Another iconic piece of clothing with origins in Central and South America is the Poncho, uses of the Poncho dates as far back as 500 BC before Spanish colonization. Initially designed out of materials such as wool or fleece, Ponchos were intended to keep the wearer warm and dry even in the wettest of climates. (Portales, facts-about-mexico.com).
f. Serape
In the gray area between shawl, blanket, and poncho is the Serape. Originally worn by farmers and shepherds in highland regions of the country, the Serape was woven with bleak browns and grays from wool or fleece. (Portales, facts-about- mexico.com).
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Most common in the late 1850, the China Poblana was a combination of a skirt, shawl and blouse meant to flatter a woman’s feminine features. The China
Poblana gets its name from Puebla, a country in Mexico, where the style of Mexican clothing emerged. (nationalclothing.org).
h. Huarache
A sandal that found its genesis and grew in the early tribal groups of Mexico, even before the colonization of Europeans, is the Huarache. Initially a simple leather woven sandal, it could be found throughout Southern Mexico, but then gave way to more protective footwear. (nationalclothing.org).
i. Mexican Pointy Boots
Despite their gimmicky title, Mexican Pointy Boots, also known as Tribal
Boot, are a popular addition to the traditional and party wardrobes of many Mexican men. Most of these boots find a home amongst comedy sketches and nightclubs,
Pointy Boots aren’t all that common at the workplace. With good reason too, these boots can reach upwards of three feet in length (nationalclothing.org).
j. Charros
On the opposite end of the spectrum are Charros, the Tribal Boots’ reserved cousin. Charro Boots are a more traditional style of boots, and resemble stereotypical cowboy boots, but are usually less ornate and around half as tall. Charro’s style shoes can trace their origins to members of the Mexican upper-class who pioneered the low- cut boots. In modern times, however, Charros aren’t exclusive to Mexican nobility
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rather they are seen most often in rodeos and horseback tournaments, worn with colorful clothing (nationalclothing.org).
k. Sombrero
Perhaps one of the best known pieces of traditional Mexican clothing is the
Sombrero. It is a tall and wide brimmed hat designed to shade one from the harmful rays of the sun. Traditionally reserved for cowboys (vaqueros) and mariachis,
Sombreros are now worn by many and have influenced a variety of hats, from baseball caps to beanies (nationalclothing.org).
In conclusion, based on the explanation of Mexican cultures above, this research divided into three parts; religion of Mexico, family matters, and cultural traditions including Mexican house design, the Day of the Death, Matador or bullfighting, Mariachi, and Mexican clothes that are related to the description of those in reality.
CHAPTER III
RESEARCH FINDINGS
This chapter explains about Mexican cultures shown in the film. This part is consists of three parts. First, character analysis. Second, analysis of the representation of mexican cultures through The Book of Life film base on the analysis of characters and culture values, the explanation of the representation of Mexican Cultures is divided into three scopes; religion, family matter, and cultural tradition.
A. Characters
According to Boggs and Petrie, focus on characters on films, through both is action and dialogue. Focus on the clear delineation of a single unique character.
Although plot is important in such films, what happens is important primarily because it helps understand the character being developed. The major appeal of these characters lies in the qualities that set them apart from ordinary people. The theme of such films can best be expressed in a brief description of the central character, with emphasis on the unusual aspects of the individual’s personality (22-23).
This part is explains about main character and their characteristics in the film.
There are eight main characters are Manolo, Maria, Joaquin, La Muerte, Xibalba,
Carlos, General Posada, and Chakal. All characters support the data analysis of the representation of Mexican cultures for all aspect.
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1. Manolo Sanchez
Manolo is the main protagonist in the film. It can be seen that the story is about Manolo. Manolo is son of the greatest bullfighter Carlos Sanchez and the best friend both Maria and Joaquin. Manolo wears a black Traje de Luces decorated with hearts, winged hearts and Corazon del Santos, skulls with crossbones, and gold chaquetilla with a pink corbatin and taleguilla. Manolo wears black shoes. He also appears to have pink/red espadas. The sleeves of his chaquetilla have curls protruding from the elbows. Manolo has dark brown and black hair tied back into a ponytail which curls at the end. His bangs and hair curl upwards into a curly swirl. Manolo has olive skin textured like wood with silver, metal joints in his points of articulation. His eyes are brown with a glossy texture to them. He has a white highlight that comes from usually the top of his cornea to the middle of his pupil. This can be seen from description of Manolo’s characterization through his appearance in the film.
Manolo is a kind, sensitive, brave, young man. Manolo has a passion for music, and a love for playing music with his guitar. Manolo dreams of being a guitarrista (guitarist) and a Musician rather than to be a bullfighter like almost all of
Sanchez family bullfighter but he does have the gift and talent for bullfighting.
Manolo truly thinks and believes killing the bull in bullfighting is wrong. Manolo is a sweet, compassionate young man who truly loves and cares for his family, his best friends and the town of San Angel. This can be seen from description of Manolo’s characterization through his dialogue, external action, and internal action in the film.
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Picture 1
2. Maria Gabriela Posada
Maria Gabriela Posada is the second main character in the film and the love interest of both Manolo and Joaquin. In the film, Maria confuses makes a decision to marry with Joaquin or Manolo. She fights with her own conflict in the film and she makes the plot more colorful and unpredictable.
As a child, Maria had her hair in braided pigtails, each with a red bow. She also wore a white shorts sleeve shirt, which is decorated around the collar and sleeves with a yellow pattern, and a red skirt. Maria also wears black Mary Jane shoes with white socks. When she leaves San Angel on the train, Maria wears black and white dress with matching bonnet (which flies away, though Joaquin chases after it). As an adult Maria is tall and thin. She has her long, curly brown hair in a high pony tail and wears a white off the shoulder blouse that is decorated with flowers. Maria also wears a long red skirt with a yellow band at the bottom and top and a pair of black boots. At her wedding, she wears a simple, white dress and a gold pendant. She holds an
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arrangement of white flowers. This can be seen from the description of Maria’s characterization through her appearance in the film.
Maria is a spirited, rebellious young woman who values independence and freedom, having been this way since she was a child. Maria is not a stereotypical
“damsel in distress” and is by no means defenseless and she is able to stand up for herself on more than one occasion and knows Kung Fu and Fencing. Maria is also very caring and compassionate to those around her (she volunteers at the orphanage) and is willing to put the town’s safety before her own happiness. She also cares for animals in need (Saves Chuy and other animals from a butcher). Maria also likes to read poetry in her spare time. This can be seen from the description of Maria’s characterization through her dialogue, external action, and internal action in the film.
Picture 2
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3. Joaquin Emilio Mondragon
Joaquin Emilio Mondragon is the third main character. In the film, Joaquin is the son of Captain Mondragon (RIP) and the best friend of Manolo and Maria,
Joaquin taken care to General Posada (Maria’s Father) for being the military soldier to protect San Angel. In the middle of story, Joaquin is the instigator or suffering by
Manolo (protagonist) which is the fact in the plot’s conflict. He is the opposite (not antagonist) from Manolo in act and character.
Joaquin is a young man dressed in a blue uniform soldier from the Mexican
Revolution. He bears brown epaulettes decorated with gold stars and gold strings. He wears two bandoliers around his chest and has many different medals covering his chest. He has white trouser pants and black knee high boots. He also wears a detachable black cape with blood red lining and a Sombero hat. He has a dual sword holder on his back, which holster two silver and gold swords with a brown handle.
Joaquin has short brown hair, a very handsome mustache, and a goatee. He has an after shades shadow with a more worn wood texture. He has olive fair skin with a wood texture that has silver joints in his points of articulation. He has wooden joints at his hips and knees. His eyes are hazel green or green with white highlight from the top of his cornea to the middle of his pupil. At the end of the film, he wears an eye patch. This can be seen from the description of Joaquin’s characterization through his appearance in the film.
Joaquin is a friendly, duty driven, and confident soldier. His greatest dream is to be a great hero like his father was. However, Joaquin can be very selfish as he sees
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himself as the greatest man to ever live, to the point where he starts putting his own ambitions before the feelings of his two best friends. This can be seen from the description of Joaquin’s characterization through his dialogue, external action, and internal action in the film.
Picture 3
4. La Muerte
La Muerte is the Ruler and Queen of The Land of The Remembered, and she is the minor character in the film. As a supporting (minor) character she helps the protagonist (Manolo) anytime. She is the estranged wife of Xibalba.
She has black licorice hair and glowing, multi colored eyes in shades of gold and red. She wears a red dress decorated with cempasuchil, marigold flowers, with lit white wax candles at the hem of her dress. She also wears an extremely large, wide brimmed sombrero bedecked with more lit candles and marigolds (her favorite flower), small skulls, pink plumed, curly, swirly feathers, and palm leaves. She also
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wears a circular gold locket on a choker. This can be seen from description of La
Muerte’s characterization through her appearance in the film.
La Muerte is an ancient, immortal goddess of benevolence, kindness, goodness, generosity, purity, forgiveness, mercy, hope, love, passion, light and death, kind, truthful, sweet, pureness of mortal kind stems from her own heart, as well as from that of the departed and deceased mortal people who are now her citizens and subjects. Moreover, she can levitate. This can be seen from description of La
Muerte’s characterization through her external and internal action in the film.
Picture 4
5. Xibalba
Xibalba is the main antagonist in the film. Xibalba always been a barrier for
Manolo (protagonist) in plot and he is a conflict maker. He is an ancient, immortal god, the dark ruler of the Land of the Forgotten and the husband of La Muerte. He is introduced when he makes a bet with La Muerte about a wager who will marry Maria between Manolo and Joaquin.
Xibalba is made out of black tar and ectoplasm, with green eyes and blood red skulls for pupils. He has a pair of large, black angel wings, and is the only known entity to have them. He wears black gloves, a regal black cloak covered by
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conquistador armor, and a silver crown with horns sprouting from the both sides, topped with black wax candles lit with green flames. When assuming a mortal disguise, he tends to take on the form of an elderly man. Xibalba has a white moustache and beard. Xibalba fingers are long, spindly and appear to be razor sharp.
This can be seen from description of Xibalba’s characterization through his appearance in the film.
Xibalba appears on the surface as sly, cunning and cruel. He is a trickster who will resort to lies and cheating to get his own way such as when he uses his snake staff to kill Manolo, so he could win the wager by default. Despite this, he is not pure evil, rather mischievous than malevolent. He is very suave in manner and tends to be well spoken. He believes that there is little to no good left in humanity and that it is beyond redemption. This may or may not be down to the jaded view he sees from his realm, The Land of The Forgotten. He claims that the reason he meddles in mortal affairs is because it is the only fun he gets outside of ruling. Though he is calm and confident, he is too proud of himself. Despite his actions throughout most of the story, he truly does care for his wife, La Muerte and will attempt to please her, particularly towards the end. He also gains some forms of respect for mortals who impress him. Xibalba is extremely powerful, as expected from an immortal god. He is shown to be very adept in magical activities. He cans quickly teleport from one place to another. He is capable of floating without moving his wings to suspend himself in the air. He can transform into an old man as shown in the part where he changed himself as a mortal and gave Joaquin, his champion, the medal of everlasting life.
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Also, he disguised himself as a guard of the museum. This can lead to a fact where he can transform into anything he wishes to be. On the other hand, he can animate objects as proven in the scene where he commanded his 2 headed snake staff to “fix his problem for him”. His physical strength is worlds beyond a mortal, as shown in the part where Manolo infuriates him and Xibalba effortlessly sends Manolo flying with a flick of his finger. With the arcane magic he possesses, he can resurrect any soul he wish with the help of the queen of The Land of The Remembered, La Muerte, and the keeper of balance, the candle maker. This can be seen from description of
Xibalba’s characterization through reactions of other character, and also characterization through his dialogue, external action, and internal action in the film.
Picture 5
6. Carloz Sanchez
Carlos Sanchez is the minor character. Carlos is Manolo’s father who wanted his only child and only son Manolo to become a bullfighter like almost all the
Sanchez family bullfighters before him that was in their family. Carlos is a stern and strict father and bullfighter.
Carlos looks identical to Manolo, they have same and identical hairstyle such as the swirly curly hair, but with a very handsome mustache, a green Traje De Luces
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with various medals around, and his two swords crossed on his back. This can be seen from description of Carlos’s characterization through his appearance in the film.
Carlos is also a sweet, kind, friendly, very benevolent, selfless, very loving, very generous, very caring, compassionate father and husband who loves and truly cares for both his family and the town of San Angel very much and dearly. He is also a very courageous, very brave, fearless, bold, very daring, very strong, strong willed fighter. Carlos was also willing to defend and fight to protect the town of San Angel from an attack from The Bandit King Chakal and his army of banditos. This can be seen from description of Carlos’s characterization through his dialogue, external action, and internal action in the film.
Picture 6
7. General Ramiro Posada
General Ramiro Posada is the minor character. He is Maria’s father and general of San Angel’s army. As a general he wears army suit and much of medal completely. And also he wears the counterfeit hand on his left arm with sickle shape as cruel as pirates. This can be seen from description of General Posada’s characterization through his appearance in the film.
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He is the father and the only appearing parent of Maria. Despite seeming a very overly strict parent, such as when he sends his daughter off to Spain so that the nuns there will teach her to be a more proper young lady, he still cries when saying goodbye to Maria before she boards the train leaving for Spain. General Posada does love and care for his daughter very much and dearly, but expects her to follow in his expectations and marry Joaquin so that he will remain and protecting the town of San
Angel from Chakal and his army of banditos instead of going off elsewhere to fight the bandits. This can be seen from description of General Posadas’s characterization through his dialogue external action, and internal action in the film.
Picture 7
8. Chakal
Chakal is the minor character, later true main antagonist in the film. He is a dangerous bandit king who kills anyone who gets in his way. Chakal is a wicked and ruthless bandit who terrorizes Mexico and commands a fierce army of banditos.
Chakal is a towering giant sized mortal, gigantic, slender, elastic, muscular arms, slim barrel, short legs, large hands, sticks of highly explosive dynamite and big explosive bombs strapped on to his chest, animal skulls on his shoulders, and a large
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woven sombrero that matches his men. This can be seen from description of Chakal’s characterization through his appearance in the film.
He has razor sharp teeth or razor sharp fangs, he carries two giant, monster shark shaped swords, his name alone strikes fear and terror in the hearts and minds of all mortal beings and all mortal living things, his mere presence and his army of banditos sends everyone and everything running for their very lives and for the hills.
He intimidates everyone, though is defeated in the end. Chakal is mentioned to have battled Captain Mondragon who is the late father of Joaquin. It is also known that he steal a legendary medal from Xibalba and Chakal who becomes the king of bandits but after Xibalba steals it back. Chakal have frustrated to get back and since then he wants to get it back no matter what, and he also is able to build a whole army of bandits and begins terrorizing in all Mexico such as San Angel, home to both
Manolo, Maria and Joaquin. This can be seen from description of Chakal’s characterization through his external, and internal action in the film.
Picture 8
Based on the description of characters above, it can bee seen how the characters become the important parts in the film. They fill and present the Mexican cultures through many aspect appearances, dialogue, external action, internal action,
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conflict, habits, behavior and so on. In the film there are eight main characters are
Manolo, Maria, Joaquin, La Muerte, Xibalba, Carlos, General Posada, and Chakal.
And all characters are representing the Mexican cultures. It mean, the film’s story is never had going better without them and the role of Mexican reflection is never happening, and also the character makes big impact to the plot of film.
B. The Representation of Mexican Cultures
This part explains about the representation of Mexican cultures which is discussed from some aspects in The Book of Life film. The analysis is devided in three scopes. First, the representation about mexican religion. Second, family matter.
Third, cultural tradition which it devided into five categories, Mexican house design,
The Day of the Death, Matador, Mariachi and Mexican clothes.
1. Religion
From the beginning, The Book of Life film shows the glorious of Mexico.
Then, the film is clearly talks about Mexico. In chapter one and two I describe about historical, social, traditions, cultures, and Mexico present.
In chapter one, Talia Wager said that much of Mexican culture revolves around religious values and the church, as well as the concept of family and inclusiveness, around 82 percent of Mexicans identify themselves as Catholic
(Zimmermann, livescience.com). This film also shows some details of religious apects. In many scenes there are religious nun.
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Picture 9
Picture 10
From the image above, nuns are represented a religion of Mexico especially
Catholic. In the film, they are shown in many scenes from the beginning until the end of the film, and they always sing likes a ballad of the church. Moreover, It is shown that The Book of Life film is represented the Mexican religion through the description of the nuns in many scenes even though they are not major character.
2. Family Mater
Mexicans put a high value on hierarchy and structure in business and family matter. Families are typically large and Mexicans are very conscious of their responsibilities to immediate family members and extended family such as cousins and friend mate. Hosting Parties at their homes plays a large part of Mexican life and making visitors feel comfortable is a large part of the values and customs of the country (Zimmermann, livescience.com). It is represented when Maria attends on San
Angel and by pleasure her father presents home party to celebrate Maria’s return from
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Spain, but she gets annoyed when she finds out that her father also arranges her to marry Joaquin.
Picture 11
From the image above, people of San Angel gather in home party of General
Posada to celebrate Maria’s return, because Mexican put a high value on hierarchy and structure in business and family matter. In that party, General Posada invites
Joaquin as a guess. Besides that, there is a big plan from General Posada to marry her with Joaquin. but she gets annoyed when she knows that her father arranges her to marry Joaquin. It can be seen how the tradition of Mexican is represented in this film.
Family units are usually large, with traditional gender roles and extensive family involvement from the external members who assist one another in day to day life. There is a strong connection between family members. Parents are treated with a high degree of respectable, as in the Mexican family and there may be constant struggle, between what the children want and the parents (family) want. Its mean that
Mexican always put a big deals for the family, they can sabotaged their children to be what family wants. This film shows that traditions clearly, for example when Maria is sent to Spain to be a good woman, and Manolo must be a bullfighter just like his
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father Carlos and all Sanchez families that he must burry Manolos’s dream to be a musician.
Picture 12
General Posada : Maria! This rebellious nonsense ends now! You are going to become a proper lady. Maria : Why? General Posada : Because I said so! I’m sending you to Spain. The sisters at the Convent of the Perpetual Flame of Purity will straighten you out. Joaquin : What? Maria : But, Papa! General Posada : No. It is decided. Now go home! (The Book of Life, 00:15:19 – 00:15:43)
From the picture above, it can be seen how father becomes a high value in
Mexico that father is the first commander of family hierarchy. In that case, General
Posada is really angry to Maria because what she does, she releases the pigs and she makes some chaos in the town. Then, General Posada decided to send Maria to Spain.
In chapter one and two previously, I explain that Mexico is colonized by
Spain in view years ago. Commonly, colonizing country adopts and imitates colonizer in many aspects. In this case, Mexico imitates Spain in culture, social, behavior, appearance, even in perspective. Maria’s father for example, he believes that by sending Maria to Spain his daughter will be a proper lady. Besides that,
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Domination of Maria’s father continues until Maria become an adult. After she returns from Spain, she has an opportunity to marry Joaquin to make him stay in San
Angel by her father orders.
Picture 13
Maria : Joaquin, what are you doing? Joaquin : Maria, Will you... Will you marry me? Don’t worry, your father already said you could Maria : He did... what? General Posada : Who else could protect us from Chakal? (The Book of Life, 00:35:34 – 00:35:53)
From the picture above, her father has compels Maria to accept Joaquin’s proposal. Her father becomes a selfish and he does not care about what his child wants, in his perspective, only Joaquin who can protect the town from Chakal (bandit king). This is the reason of her father’s dessision.
Domination father’s rules also affect Manolo. His father (Carlos) asserts him to be a Matador. In fact, his father knows that Manolo likes to sing and plays guitar, but he ignores it.
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Picture 14
Carlos Sanchez : You live under my roof! You live under my rules. You will be a matador! Manolo : Papa, this is my life. Carlos Sanchez : All the Sanchez are bullfighters! Every single one of us. Manolo’s Grand mam : I was a beast in the arena. A beast! Carlos Sanchez : It’s in your blood. It’s your destiny. How many times do I have to say it? Manolo : This is not me. This is you. I’m out of here. Carlos Sanchez : Don’t you love your family? Then go get that bull mijo. Don’t dishonor our name. Just be a Sanchez! (The Book of Life, 00:21:09 – 00:22:14)
This scene begin when Manolo has the first bullfighting show in arena that declarated by his father. But until the time almost start he just enjoy sings a song with the Mariachi group. His father is really out of anger then he tooks Manolo’s ear and leads him to their house. Then, it can be seen the domination of father to push
Manolo to be a Matador by ignoring Manolo’s feels about it. But his father’s business is to keep family tradition still alive for generations after him. It proved that Mexican sosialite is matched with the representation in this film.
3. Cultural Tradition
Cultural traditions of Mexico has transformed from Spain colonized from few years ago, Mexico adopted Spanish cultures until 90 percent such as Matador or
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bullfighting, Mariachi, body style, behavior, and so on as I explained in chapter one and two previously. However, Mexico and Spain is just like one country in different continent.
In this part, the analysis of cultural tradition is devided into five categories, namely: Mexican house design, The Day of The Death, Matador or bullfighting,
Mariachi, and Mexican clothes or dress.
a. Mexican House Design
Base on the explanation about Mexican house design in chapter two previously, Essley said that Mexican house design is fascinating. The warmth of that region spawned homes that were open to the elements. An inner court yard became the central element around which the house was organized. The various rooms of house surrounded this interior green space. Given a limited lot size, push the walls out to edge of the property. Thus the Mediterranean style traded green space around a home for green space inside a home. This style carried over even to smaller homes which lack an inner courtyard (house-design-coffee.com).
Picture 15
The picture above shows Mexican house design in the film that represents
Mexican house design. There are large yard for multi-function especially for family’s
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agendas. The picture above for example shows that they have a hosting party and use a large yard. An inner courtyard became the central element and also the flowers also shows the various rooms of house surrounded interior green space that give a lot size and push the walls out to edge of the property inside.
And also Essley also said that the bulk of Mexican homes are plain on their exterior there are a lot of creative Mexican homeowners who love decorate the exterior of their homes. Since Mexican art is often very colorful, the exterior decorations often follow suit. What would seem gaudy in Minneapolis suburb seems natural in the context of a Mexican city (house-design-coffee.com).
A striking feature of many Mexican houses is their vibrant use of color.
However, in the areas most houses with white or mutes earth tones. While the color houses are a minority the quite nature of their neighbors make them stand out all the more (house-design-coffee.com).
Picture 16
In this film, the picture above shows that the color and art in the outside of house is presented. There are colorful exterior with red, blue, white, and grey. The ornament in the outside also present the wood carves in the door and windows. It is represents Mexican house design with colorful and artistic.
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b. El Dia De Los Muertos
According to Elizabeth and Sayer, cultures and traditions in Mexico have a big day in November 1 and 2 called The Day of The Dead, El Dia De Los Muertos or
The Day of The Dead is the November second holiday that focuses on gatherings of family and friends to pray for and remember friends and family members who have died, and help support their spiritual journey (30).
Honoring the dead is not a new tradition in Mexico and Central America.
Thousands of years prior to the Spanish Conquest numerous ethnic groups of the region including Aztecs, Mayans, and Toltecs had specific times that they commemorated the deceased. Special months were dedicated to honor the deceased based on whether it was the death of a child or the death of adult. Other months were specifically associated with how the person died like a drowning, in childbirth, or in warfare. During these months of celebration, the indigenous people belief that the decease will return and they will need to offer them gifts. According to Carmichael and Sayer, providing flowers, food, incense, dances, and music was a way of gaining the favor of the deceased (31).
Picture 17
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Picture 18
The picture above show flowers, foods, incenses, candles, dances, and music in one night more like a hundred parties birthday. They decorate the tomb as good as possible and also they sing and dance in the tomb yard. This celebration focuses on gathering family and friends to pray and remembered to people who have died, by hope it can help and support them on their spiritual journey.
Similary with The Day of The Dead, which reflects diverse cultural traditions,
The Day of The Dead also serve the bread it called “bread of the dead”. Bread of the dead is made in variety of ways across different regions of Mexico and in other countries which have adapted the recipe to their own tastes. The ingredient of the bread is like the beard’s ingredient as well, but the bread’s shape is circle and there is a list in every side like equator lines in the earth. In addition, The Dead Bread or Pan
De Muerto can consume for all visitors, and everyone can make it with it no need any special cooking skills.
Picture 19
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Picture 20
From the picture above, it can be seen that the bread is just present with the celebration of The Day of The Dead, and no more present in many scenes after. The scenes in picture above is takes when the strange old lady (La Muerte) visits Manolo to requires the bread for eat, and the strange old man (Xibalba) visits Joaquin also do the same thing. It means that the bread can eat by any visitor with it can taste it without see the social status they had.
Mexican people believe that their families who have passed away, their spirits will end in the “The Land of The Remembered” when their families still remember them, and their spirit will end in the “The Land of The Forgotten” when their families forget them. In this case, “The Land of The Remembered” is like the heaven and “The Land of The Forgotten” as hell.
Picture 21
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Picture 22
The image above shows the representation of Mexican’s heaven and hell.
Picture 21 represents “The Land of The Remembered” as a vibrant and joyous that everything is more colorful, more beautiful, more festive, and it is was bursting with endless parties and spectacular parades. Picture 22 represents “The Land of The
Forgotten” as the bleak wasteland, so sad, and so lonely. This land is the opposite of
The Land of The Remembered.
c. Matador
Matador or bullfighting is a traditional spectacle of Spain, Portugal, parts of southern France and some Latin American countries such a Mexico, Colombia,
Ecuador, Venezuela, and Peru. In which one or more bulls are fought in a bullring, it can be defined as a blood sport, within the areas where it is practiced. It is not considered a sport but a cultural event and art form. Bullfighting or corrida de toros is a 500 years old traditional Mexican sport played in a bullring for the entertainment of the audience (Harrison, telegraph.co.uk).
This sport, brought to Mexico by Spanish conquistadores (conquerors), involves bulls getting maimed and injured with lances before finally being ceremonially slaughtered by sword. According to Mc Cormick, the bullfight involves
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professional toreros who execute various formal which are performed at close range, after the bull has first been weakened and tired by lances and short spears with barbs which are thrust into and then hang from the bull. The close proximity places the bullfighter at some risk of being gored or trampled by the weakened bull. After the bull has been hooked multiple times behind the shoulder by other matadors in the arena, the bullfight usually concludes with the killing of the bull by a single sword thrust called estocada (22-23).
Picture 23
Picture 24
Picture 25
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From the picture above, it can be seen that Manolo fights with the bull named
Asseseno. In picture 23, Manolo prepares his skill to finish the bull, he fights until the bull tired without sword and he just uses his red cape. Then picture 24 and 25 show after the bull tired, his father as a Bullfighter assistant gives the sword to kill that bull to dead. The arena of bullring represents the largest bullfighting ring in the world, the
Plaza Mexico in Mexico City. The Book of Life film tries to represents the bullfighter in Mexico as it knows by the world.
In addition, bullfighter wear a dress called the Traje de Luces. Traje de Luces is the traditional clothing that Spanish bullfighters wear in the bullring. The term originates from the sequins and reflective threads of gold or silver. These Trajes are based on the flamboyant costumes of the 18th-century dandies and showmen involved in tauromachia, which later became exclusive to bullfighting ritual (Mc Cormick 25).
Picture 26
Picture 27
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Manolo and his father (Carlos) wears the Traje de Luces. Manolo wears the black Traje and his father wears the green Traje. They always bring the estocada or sword for bullfighter in the back. This is a symbol of the matador bullfighter. These can be seen in the picture below.
d. Mariachi
This film also represents the Mexican traditional music called Mariachi. This music is sign of girl maturity. Mariachi in that moment is played by form serenade or band with much of the member. Serenade consists of two violins, two trumpets,
Spanish guitars, and another kind of guitars called Vihuela and Guitarron. Charro is a traditional dress that wears by serenade’s member (Henriques 3).
Picture 28
From the picture above, the serenade of Mariachi with one trumpet is played by Pablo Rodriguez, one guitar is played by Pancho Rodriguez, and one violin is played by Pepe Rodriguez. In addition, they wear red Charro as they dress. This shows representation of Mexican Music called Mariachi.
e. Mexican Clothes
In chapter two previously, it is explained about Mexican national clothing that is very bright and beautiful. Actually, there are many different designs of traditional
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costume. Some of them are used for celebrations and holidays, some for ceremonies, some for festivals. The main characteristics of Mexican national attire are: sun protection (that is why sombrero has such a wide brims and the clothing itself is made of natural materials), brightness (the fabric for garments is mostly colorful and heavily embroidered; a lot of colorful ribbons are used), and moderate modesty (the clothing is elegant, not shameless or vulgar at all; skirts are long, blouses are delicate; flowers are often used to beautify the costume, hairdo and headdress) (Portales, facts- about-mexico.com).
Traditional Mexican men’s costume has changed very little during centuries.
But we cannot say the same about women’s clothing. Most of costumes were formed by mixing the culture of Native Americans and European people (mostly Spanish new settlers). The national clothing of Mexico is made of various fabrics: wool, cotton, silk, agave, and bark. Usually the colors of traditional dress are red, brown, green and yellow. Mexicans used to dye their clothes with natural components, but today they don’t have to do that (nationalclothing.org).
According to Dahl, the most popular and men’s pieces of clothing in Mexico are Sarape, Charro suit, Sombrero, Guayabero, Baja Jacket, and Poncho. Sarape is a vibrantly colored garment with a fringe. It is used as a shawl like coat and also as a blanket. And the most popular and well-known women’s pieces of clothing in
Mexico are Huipil, Quechquémitl, Rebozo, Mexican skirts (they have various names in different region Senredo, Chincuete, Posahuanco, Refajo, Enagua, Campeche,
Tabasco) (15).
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Picture 29
Picture 30
Picture 31
Picture 32
Picture 33
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From the picture above, traditionals clothes of Mexico are represented through some characters. In picture 29, the Mariachi group wears the red Charro and red
Sombero. In picture 30 and 31, that is two couples and four ladies wear Traditional
Attire. In picture 32, the lady wears Campeche but it is some mixings from Huipil.
And in picture 33, Maria wears the tabasco.
In conclusion, based on the analysis of Mexican cultures in the film, The Book of Life film represents religion of Mexico, family matters, and cultural traditions including Mexican house design, the Day of the Death, matador or bullfighting, mariachi, and Mexican clothes that are related to description of those in reality.
CHAPTER IV
CONCLUSIONS AND SUGGESTIONS
A. Conclusions
The Book of Life is a film that produced by Reel FX Creative Studio in 2014, is the film with the theme of Mexican cultures. This research revealed how the
Mexican cultures represented through the animation film of The Book of Life, the answer for research question by using representation theory especially with reflective approach of Stuart Hall. This study also tries to compare that inserted in the film with the reality. This film is talks about the Mexican cultures from the beginning until the ends. Meanwhile, when people watch this film, they probably directly know about
Mexican cultures.
This study explains about Mexican cultures that shows in the film. This explanations devided into two parts. First is characters analysis. Second is the representation of Mexican Cultures through The Book of Life film. Based on characteristic and culture values, it can be devided into three scopes; religion, family matters, and cultural traditions.
From the findings in previous chapter, the conclusion that the film represented of Mexican cultures is through appearances, dialogue, actions, habits, behavior and so on. It mean from the character and characterization. in the film there are eight main characters are Manolo, Maria, Joaquin, La Muerte, Xibalba, Carlos, General Posada, and Chakal. And all characters are supports the representation of Mexican cultures for all aspect. It can bee seen that the character becomes the important parts of the film,
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the rule of the film is never had going better without them. they filled and presenting the Mexican cultures perfectly.
From the findings in previous chapter, the representation of Mexican cultures is desided in three scopes. First is Mexican religion. Second is family matters. Third is cultural traditions which is diveded into four categories; Mexican house design, the
Day of the Death, Matador, Mariachi, and Mexican clothes that are related to description of those in reality. Slightly analysed in previous chapter, all data that founded about Mexico and the culture of Mexico are matched with the film. It mean,
The Book of Life film is doing well for representing religion of Mexico, family matter, and cultural tradition including Mexican house design, the Day of the Death,
Matador or bullfighting, Mariachi, and Mexican clothes.
B. Suggestions
Based on the analysis in previous chapter, The Book of Life film is quite interesting film work. This film designated strong motif of Mexican cultures which is represented beautifully within plot and visually stunning effort that makes up for the formula storyline with enchanting atmosphere that sweeps the audience into the fantastic world, which have an obvious special appeal to Hispanic audiences. Overall, can uses for children education.
The Book of Life film can also analyze with the different theories of literary work. There are so many contained builds up from the film beside the cultural values, hopefully the other researcher interests to continue the research from this corpus (The
Book of Life). Firstly, you may have to sees correctly to the character of Maria.
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Maria is the women that free and revolt, she feel unfair for her life which is expectation and reality is contradiction. She is struggle for it and finally she makes it happen of what he fight for, and you can analyze by “Feminism” Theory focus on
Maria. Secondly, this film seems has strong indication from “Masculinity” between character Manolo and Joaquin which they fight to get Maria’s heart with their own way; Manolo with his guitar sing for Maria and becomes a bullfighter to impress her.
And Joaquin with his mustache and becomes honorable soldier. Thirdly, this film also has strong “Discrimination” value between parent wants (family) and their children wants and “Psychological” transformation for the impact. You can see Maria sent to
Spain and ordered to marry Joaquin by his father, Manolo’s case, he wants to be a musician but his father ordered to becomes a bullfighter base on family background.
In addition, this research is the little value that shown, there are a lot of value that can take. At least you can take more deep understanding for the corpus and the result will follows. Hopefully, this research gives significant contribution to all students of
English letters who want to analyze Mexican Culture in a film work.
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