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CHAPTER 2 THEORETICAL BACKGROUND This Chapter CHAPTER 2 THEORETICAL BACKGROUND This chapter contains of main theories and supporting theories. These include information on elements of fiction (character, characterization, and symbol), and psychoanalysis theories by Sigmund Freud. Sigmund Freud psychoanalysis theory is chosen as the main theory as it matches with the problem found in Whiplash movie, in example, defense mechanism . Freud believes that defense mechanism is used in order to release a person’s anxiety and determing the self-esteem level. In this paper, Freud’s few basic human defense mechanisms will be discussed as one of the most important element, however the main aim is to determine isolation and obsession issue within the film. In order to support the evidence that will be analyzed in the following chapter, the writer will provide several clips related to the psychoanalysis issues. Before applying the theories, the movie will be analyzed by using three elements of literature: plot, character and characterization, and symbols. 2.1. Plot In order to understand character’s connection with the story of a literary work then the readers have to understand the plot of a movie. According to DiYanni (2000), plot is defined the arrangement of events that make up a story (p.44). Many fictional plots turn on a conflict. In addition, DiYanni stated that typical fiction is often conceived as moving through five distinct sections or stages (p.45). The stages can be diagrammed in Picture 2.1 as follows: 3. Climax 2. Rising Action 4. Falling Action 1. Exposition 5. Resolution Beginning Middle End Picture 2.1: Diagram of Plot’s Five-stage Structure Exposition Most of literary works begin with an exposition. Exposition is the first part of story that provides background information to the reader in order to understanding about the current situation. Furthermore, DiYanni stated that exposition also describes the setting and introduces the major character (p.44). 2.1.1. Rising Action Complication or rising action is the part where usually the tension of the story is reaching its highest level before the main conflict revealed. It is also known as an intensification of the conflict that leads to a crisis or moment of great tension (p.45). 2.1.2. Conflict The conflict part also known as the climax part. It is the moment at which the plot reaches its greatest point of the main character’s crisis in the movie. It is the turning point of the plot and directly precipitating its resolution (p.45). 2.1.3. Falling Action Falling action is a part of the plot that happens after the climax. Once the climax has been reached, the tension reduced, the action falls off as the conflict’s been resolved. Then, the plot moves toward its appointed conclusion (p.45). 2.2. Resolution The last section of the plot is its resolution. Pickering and Hoeper (1981) stated that resolution records the outcome of the conflict and establishes some new equilibrium or stability. In addition, they also said that resolution is also referred as the conclusion or the denouement, a French word means ‘unknotting’ or ‘untying’ (p.17). 2.2. Character and Characterization In literary works , the character element is the person, animal, or sometimes even an object in a story (such as tree, mirror, and wand). The action of the story is centered between the characters in the story. One central character usually dominates the story. Kennedy and Gioia (2004:91) stated that basically a character is presumably an imagined person who inhabits a story. Most of the character appearance is presented as a human being, however it can also be presented as an anomal, things, or an unreal person who inhabits a story. There are two types of characters. The first one is major character, which will be the center of the story in generating plot. Major character’s development will determine the element to the story’s creation. Characters can be either round, or flat, depending on their level of development and the extent to which they change. characterization is the author’s tool to present and reveal character that inhabits the story. Characterization is basically the representation of character’s personality, in order to develop the characters within a story. In short fiction, there are two ways to emphasize character’s personality; they are direct characterization and indirect characterization. Direct characterization is the method of delivering character’s personality by using narrator’s guidance, another character, or by making the main character reveals his or her identity. Indirect characterization is when the writer reveals the character’s personality through thoughts, feelings, and actions of the character. There are few method use to reveal character’s personality as well. The writer can also use character’s monologue or dialogue the musical element, setting placement, and also the minor character’s thoughts. Arp and Johnson (2006) said that there are two ways to describe a character, either directly or indirectly. In direct presentation, a character is described directly by the author through exposition or analysis. In indirect presentation, the author shows the character through their actions. Reader or audience determines what the characters are like by what they say and they do (p.104). 2.3. Symbol According to Arp and Johnson (2006) a literary symbol is something that means more than what it suggests on the surface. It may be an object, a person, a situation, and action, or some other elements that have literal meaning in the story but suggest or represent other meanings as well (p.216). Pickering Hoeper (1981) also added that symbolism thus strengthen the story by holding the value that symbolism is parts of literary which work together in the service of a whole in a such way to helps readers organize and enlarge their experience of the work (p.69). The ability to interpret symbols is essential for a full understanding of literature. However, interpreting symbols in literary works is not an easy things to do. Arp and Johnson (2006) stated that in interpreting symbols, reader must observe some following cautions. First the story itself must furnish a clue that a detail is to be taken symbolically. Symbol nearly as always signal their existence by emphasis repetition, or position. Secondly, the meaning of a literary symbol must be established and supported by the entire context of the story, The symbol has its meaning in the story, not outside it. Thirdly, to be called, an intern must suggest a meaning different in kind from its literal meaning; a symbol is something more than the representative of class or type. Lastly, a symbol must have more than one meaning. It may suggest a cluster of meanings (p.221-223). 2.4. Setting Setting is an essential element in the process. It helps reader to picture the situation and also the atmosphere of an event that is going on in a story. Setting is basically the condition surrounding a story. Stories come to life, are imagined as occurring in a place, rooted in the soil of a write’s memories. According to DiYanni (2001, p.61) in every story there is a series of event that are connected from one another. The continuation of one event to the next is what makes a story. In these events there will be indication of time and place or even just a small detail of the surrounding environment. The time could be in minutes, hours, or even days and months. At times the period of time is also told in seasons and century. The function of telling a time description to a story is so that the readers would have sketch of the certain era that is going on in the story. Then the place of which the story or an even in a story is taken could be told very explicitly, for instance the writer mentioned a name of a place a city, a country, etc). By telling the readers in which place a story is taking place, it helps to picture the ambience of the story. 2.5. Psychoanalysis Criticism Psychoanalysis criticism derives from psychoanalysis method. Barry (2017) stated that psychoanalysis is a form of therapy which aims to cure mental disorders ‘by investigating the interaction of conscious and unconscious element in the mind.’ Thus, psychoanalysis criticism is a form of literary criticism which uses some of the techniques of psychoanalysis in the interpretation of literature (p. 96). 2.5.1. Sigmund Freud’s Psychology Barry (2017) believed that psychoanalysis is a form of therapy which ains to cure mental disorders by investigating the interaction of conscious and unconscious elements in the mind (p.96). In order to form ones mind there are three determiner aspects. They are id, ego, and superego. Id basically is people desire, which triggers people’s action. For instance, A person eat because they wanted to eat or hungry. While ego represent the way people satisfy their desire. For instance, people eat because they have to fulfill their desire to satisfy their hunger. Superego is basically people common sense, culture, and conscience. These thee have to be in balance in order to make sane person. When a person cannot fulfill their desire then it will become anxiety, according to Barry (2017) the anxiety felt by the young man is shown to suffose the mind, in what seems to me a very plausible way, rather than being locked away in some specific compartment; hence it is likely to surface anyway at all. In order to release a person’s anxiety, the mind defense mechanism is playing an important role (p.73). According to Freud there are twelve defense mechanisms.
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