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Immigrant's Cultural Intelligence in the U.S. As IMMIGRANT’S CULTURAL INTELLIGENCE IN THE U.S. AS DEPICTED IN RICH BRIAN’S CHAOS MUSIC VIDEO TITLE A THESIS In Partial Fulfillment of the Requirements for the Sarjana Degree Majoring American Cultural Studies in English Department Faculty of Humanities Diponegoro University Submitted by: RESKY OKTAVIA 13020114190079 ENGLISH DEPARTMENT FACULTY OF HUMANITIES DIPONEGORO UNIVERSITY 2018 PRONOUNCEMENT The writer confirms honestly that this thesis entitled Immigrant‘s Cultural Intelligence in the U.S. as Depicted in Rich Brian‘s Chaos Music Video is compiled by herself without taking any result from other research in any university, whether from S-1, S-2, S-3, and diploma degree. The writer also ascertains that she does not take any material from other publications or someone else‘s work except for the sources that are mentioned in references. Semarang, October 2018 MOTTO AND DEDICATION ―To be great is to be misunderstood.‖ – Ralph Waldo Emerson ―There is absolutely nothing that can be taken for granted in this world.‖ – Robert Anton Wilson ―Yang udah, yaudah‖ – Iwan Esjepe I proudly dedicate this thesis to the reader APPROVAL IMMIGRANT’S CULTURAL INTELLIGENCE IN THE U.S. AS DEPICTED IN RICH BRIAN’S CHAOS MUSIC VIDEO Written by: Resky Oktavia NIM: 13020114190079 Approved by, Thesis Advisor M. Irfan Zamzami, S.S., M.Hum., NIP. 198609230115091000 The Head of the English Department, Dr. Agus Subiyanto, M.A. NIP. 196408141990011001 ACKNOWLEDGEMENT Praise be to God Almighty, who has given strength and true spirit so the thesis entitled “Immigrant‟s Cultural Intelligence as Depicted in Rich Brian‟s Chaos Music Video” came into a completion. On this occasion, I would like to thank all those people who have contributed to the completion of this research report. The greatest gratitude and appreciation are extended to Mr. Irfan Zamzami, S.S., M.Hum. – my advisor- who has given his continuous guidance, helpful correction, moral support , advice, and suggestion, without which it is doubtful that this thesis came into completion. The writer‘s deepest gratitude and appreciation belongs to the following: 1. Dr. Redyanto Noor, M.Hum as the Dean of Faculty of Humanities Diponegoro University. 2. Dr. Agus Subiyanto, M.A. as the chairman of English Department, Faculty of Humanities Diponegoro University. 3. All of lecturers in the English Department, Faculty of Humanities Diponegoro University who have shared their precious knowledge. 4. Hadiyanto, S.S., M.Hum., as the writer‘s academic supervisor. 5. Irfan Zamzami, S.S., M.Hum., as the writer‘s thesis advisor, who has given hiscontinuous guidance,advices and suggestions in completing this thesis. 6. The writer‘s beloved parents, Mardianto and Darlismawati, and also the writer‘s dearest sister and brothers; Irma Wulandari, Muhammad Haikal Fikri and Fadhilul Rahman. Thank you for trusting me and letting me responsible for my choices in life. 7. The writer‘s close friends; Farid, Lala, Denissa, Herman, Taufik, Hesti, Giusty, Ria, Tikah, Ilham, Ipung and Bintang. Thank you for the time and countless profound talks. May we cross path somewhere again in the future. 8. To EDSA 2016-2017, Rangers of FLS 2017, Rangers and Delegates of FLS 2018, Global Heroes India 2017 and PPAN 2017. Thank you for giving the writer chances to experience life changing moments. 9. To all students of English Department Faculty of Humanities Diponegoro University 2014, especially Gourbachev family. Thank you for the joyful memento. The writer realizes that this thesis is far from perfection. Therefore, the writer will be glad to receive any constructive criticism and recommendation to make this thesis better. Finally, the writer expects that this thesis will be useful to the reader who wishes to learn something about benefits of Cultural Intelligence represented in Chaos by Rich Brian. Semarang, October 2018 ii TABLE OF CONTENTS TITLE .................................................................................................................. i PRONOUNCEMENT ......................................................................................... ii MOTTO AND DEDICATION ........................................................................... iii APPROVAL ........................................................................................................ iv VALIDATION .................................................................................................... v ACKNOWLEDGEMENT .................................................................................. vi TABLE OF CONTENTS ....................................................................................viii LIST OF PICTURES .......................................................................................... x ABSTRACT ........................................................................................................ xi CHAPTER I INTRODUCTION ......................................................................... 1 1.1. Background of the Study .................................................................. 1 1.2. Scope of the Study ............................................................................ 3 1.3. Objectives of the Study .................................................................... 3 1.4. Method of the Study ......................................................................... 4 1.4.1. Research Method ................................................................. 4 1.4.2. Approach Method ................................................................ 4 1.5. Organization of the Thesis ............................................................... 5 CHAPTER II BIOGRAPHY OF BRIAN IMMANUEL AND SYNOPSIS OF CHAOS ................................................................................................................ 6 2.1. Biography of Brian Immanuel .......................................................... 6 2.2. Synopsis of Chaos ............................................................................ 8 CHAPTER III THEORETICAL FRAMEWORK .............................................. 10 3.1. Intrinsic Elements ............................................................................. 10 3.1.1. Narrative Aspects ................................................................. 10 3.1.1.1. Theme ............................................................................... 11 3.1.1.2. Setting ............................................................................... 11 3.1.1.3. Symbols ............................................................................ 12 3.1.2. Cinematic Aspects ............................................................... 13 3.1.2.1. Editing ............................................................................... 13 3.1.2.2. Sound ................................................................................ 14 3.2. Extrinsic Elements ............................................................................ 14 3.2.1 Cultural Quotient (CQ) Drive: Showing Interest, Confidence, and Drive to Adapt Cross Culturally ......................... 16 3.2.2. Cultural Quotient (CQ) Knowledge: Understanding Cross- Cultural Issues and Differences ..................................................... 17 3.2.3. Cultural Quotient (CQ) Strategy: Strategizing and Making Sense of Culturally Diverse Experience ........................................ 18 iii 3.2.4 Cultural Quotient (CQ) Action: Changing Verbal and Non- Verbal Actions Appropriately When Interacting Cross Culturally ......................................................................................19 CHAPTER IV DISCUSSION ............................................................................. 23 4.1. Intrinsic Elements ............................................................................. 23 4.1.1. Narrative Aspects ................................................................. 23 4.1.1.1. Theme ............................................................................... 23 4.1.1.2. Setting ............................................................................... 25 4.1.1.3. Symbols ............................................................................ 26 4.1.2. Cinematic Aspects ............................................................... 31 4.1.2.1. Editing ............................................................................... 31 4.1.2.2. Sound ................................................................................ 32 4.2. Extrinsic Elements ............................................................................ 35 4.2.1 Cultural Quotient (CQ) Drive: Showing Interest, Confidence, and Drive to Adapt Cross Cuturally .......................... 35 4.2.2. Cultural Quotient (CQ) Knowledge: Understanding Cross- Cultural Issues and Differences ..................................................... 36 4.2.3. Cultural Quotient (CQ) Strategy: Strategizing and Making Sense of Culturally Diverse Experince .......................................... 38 4.2.4 Cultural Quotient (CQ) Action: Changing Verbal and Non- Verbal Actions Appropriately When Interacting Cross Culturally ....................................................................................... 39 CHAPTER 5 CONCLUSION ............................................................................. 41 BIBLIOGRAPHY ............................................................................................... 43 iv LIST OF PICTURES 1. Picture 1 (00:03) ................................................................................
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