The Meaning of Three Fossilized Dragon Eggs in Martin's Game of Thrones Through Mise

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THE MEANING OF THREE FOSSILIZED DRAGON EGGS IN MARTIN’S GAME OF THRONES THROUGH MISE- EN- SCÈNE FILM STUDY ANALYSIS

A SARJANA PENDIDIKAN FINAL PAPER

Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education

By Gallang Purbowaseso Student Number: 101214127

ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2017 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

THE MEANING OF THREE FOSSILIZED DRAGON EGGS IN MARTIN’S GAME OF THRONES THROUGH MISE- EN- SCÈNE FILM STUDY ANALYSIS

A SARJANA PENDIDIKAN FINAL PAPER

Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education

By Gallang Purbowaseso Student Number: 101214127

ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2017 i

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

ABSTRACT

Purbowaseso, Gallang. (2017). The meaning of three fossilized dragon eggs in Martin’s Game of Thrones through mise-en-scène film study analysis. Yogyakarta: English Language Education Study Program, Department of Language and Arts Education, Faculty of Teachers Training and Education. Sanata Dharma University. Children are worth more than anything money can buy. They cannot be traded with anything in this world. Mothers love their children very much and will do anything to support them. That is the meaning which can be related to real life in Martin’s Game of Thrones series. Martin wants to show the real meaning of a mother’s love and passion by exposing Daenerys and her Dragon Eggs several times in the series. The objective of this study is to reveal the literal and deeper meaning of Three Fossilized Dragon Eggs in Martin’s Game of Thrones series. There are two formulated problems in this study; those are “What is the literal meaning of Three Fossilized Dragon Eggs?” and “What is the deeper meaning of Three Fossilized Dragon Eggs through mise-en-scène film study analysis?” This study is library study. The primary data were taken from season 1 of the series entitled Game of Thrones which is filmed based on a novel written by George R.R. Martin and the screenplay script written by David Benioff and D.B. Weiss. The secondary data were taken from other relevant sources, such as related books, journals, and the internet. The approach used in this research is Formalism Approach. The theories used are the theory of filmmaking which are the frame, composition, shot, angle, and colour value. There are two findings in this study. The first finding is the literal meaning of Three Fossilized Dragon Eggs which is three valuable things that worth more than anything money can buy. The second is the deeper meaning of Three Fossilized Dragon Eggs which is the representation of children based on the frames selected from season 1 of the series. The deeper meaning is taken after applying staging analysis. The stages are taken from mise-en-scène filmmaking technique. Four pictures are taken from the series to reveal the deeper meaning of Three Fossilized Dragon Eggs. Those pictures are selected based on the duration of appearance in the series. Keywords: Three Fossilized Dragon Eggs, literal meaning, deeper meaning, mise-en-scène, series, Game of Thrones.

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ABSTRAK

Anak lebih bernilai dari apapun yang dapat dibeli oleh uang di dunia ini. Mereka tidak dapat ditukar dengan apapun. Para ibu sangat mencintai anak-anak mereka dan akan melakukan apapun untuk mendukung mereka. Hal itulah yang dapat dikaitkan dengan kehidupan nyata dari serial Game of Thrones karya George R.R. Martin. Dia ingin menunjukkan arti sesungguhnya dari cinta dan gairah seorang ibu dengan menampilkan Daenerys dan tiga telur naganya beberapa kali di serial tersebut. Tujuan dari studi ini adalah untuk mengungkap makna literal dan makna mendalam dari Tiga Fosil Telur Naga dalam serial Game of Thrones. Ada dua hal yang menjadi permasalahan utama di studi ini, yaitu “Apa makna literal dari Tiga Fosil Telur Naga?” dan “Apa makna mendalam dari Tiga Fosil Telur Naga dengan analisis mise-en-scène?” Studi ini menggunakan studi kepustakaan. Data utama diambil dari serial berjudul Game of Thrones yang ditulis berdasarkan novel dari George R.R. Martin dan script yang ditulis oleh David Benioff dan D.B. Weiss. Data yang kedua diambil dari sumber-sumber yang relevan seperti buku, jurnal, dan internet yang berkaitan. Pendekatan yang digunakan adalah Pendekatan Formalis. Teori yang digunakan adalah teori perfilman mengenai bingkai gambar, komposisi, jenis pengambilan gambar, sudut pengambilan gambar, dan pemaknaan warna. Terdapat dua kesimpulan dalam studi ini. Kesimpulan pertama adalah makna literal dari Tiga Fosil Telur Naga yang merupakan tiga benda yang berharga dan memiliki nilai melebihi apapun yang dapat dibeli dengan uang di dunia. Kesimpulan kedua adalah makna mendalam dari Tiga Fosil Telur Naga yang merupakan penggambaran dari anak berdasarkan dari gambar-gambar yang diambil di dalam serial tersebut. Makna mendalam tersebut diambil setelah menerapkan analisis bertahap. Tahapan-tahapan tersebut diambil dari teknik pembuatan film mise-en-scène. Empat gambar telah dipilih dari serial tersebut untuk mengungkap makna mendalam dari Tiga Fosil Telur Naga tersebut. Gambar-gambar tersebut dipilih berdasarkan durasi kemunculannya di dalam serial.

Kata kunci: Three Fossilized Dragon Eggs, literal meaning, deeper meaning, mise-en-scène, series, Game of Thrones.

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ACKNOWLEDGMENTS

First of all, I would like to express my deepest gratitude to my moon and stars, my mother Sri Marsiti, who is very tough in dealing with me. Her sincere love and prayer make me able to finish this paper. I would also thank my trees and stars, my sister Moning Her Pratiwi, who always supports and encourages me through my ups and downs. I am blessed to have the best family like them.

I thank bu Yohana Veniranda, M.Hum., Ph.D. who gave me lights in the darkest path I endured. I thank her for her patience, her suggestions, advice, and supports for finishing this paper.

Eventually, I thank my housemates Angger Maulana Kasbhullah, Petrus

Kiki Kurniawan and Stefanus Kendra for being the best motivators in this world. Special thanks also go to my beloved friend, all of Rockstar Studio family, especially Mas Wowok and Mas Donny for all the sharing session and jamming moment. All Nuri Adventuria crew, especially Mas Ernest and Kak

Renda for all the chances to experience working in real world. I also thank UKM

SEXEN USD and all members that have become my second family in this city, especially to “the last minute men” Yoga Prihantara and Bondan Jiwandana for being true friends from the beginning until the very end.

Gallang Purbowaseso

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TABLE OF CONTENTS

Page

TITLE PAGE...... i APPROVAL PAGE ...... ii STATEMENT OF WORK’S ORIGINALITY ...... iv PERNYATAAN PERSETUJUAN PUBLIKASI ...... v ABSTRACT ...... vi ABSTRAK ...... vii ACKNOWLEDGMENTS ...... viii TABLE OF CONTENTS ...... ix

CHAPTER I. INTRODUCTION ...... 1 A. Background of the Study ...... 1 B. Approach of the Study ...... 7 CHAPTER II. DISCUSSION ...... 12 A. The Literal Meaning of Three Fossilized Dragon Eggs ...... 12 B. The Deeper Meaning of Three Fossilized Dragon Eggs through mise-en-scène Film Study analysis ...... 14 1. The Dragon Eggs as Wedding Gift ...... 15 2. Daenerys and The Egg ...... 18 3. Dragon Eggs and Candles ...... 20 4. Daenerys and Her Dragon ...... 22 CHAPTER III. CONCLUSIONS, RECOMMENDATIONS, AND IMPLICATIONS ...... 24 A. Conclusions ...... 24 B. Recommendations ...... 25 C. Implications ...... 25

REFERENCES ...... 27 LIST OF APPENDICES ...... 29

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CHAPTER I

INTRODUCTION

This chapter provides a brief explanation about the whole discussion of the study. The background of the study including the writer‟s reason to choose

Martin‟s A Game of Thrones, the brief summary of the case, the aim of this study and the research problem.

A. Background of the Study

This final paper uses Martin‟s A Game of Thrones series as the subject of the study. This series has been played in HBO channel for almost 7 years now.

Game of Thrones is a series about the battle of one big kingdom against external and internal affair. Based on IMDb, this series is filmed after a novel series written by George R.R. Martin ‘A Song of Ice and Fire’. He is a very popular writer, specialized in writing novels, short stories in several genres such as fantasy, horror, and science fiction. The writers for this series are David Benioff and D.B. Weiss. David Benioff is known for writing several fantasy movies such as Troy, X-Men Origins: Wolverine, and 25th Hour. D.B. Weiss is an American writer who is known for several movies such as Dirty White Boys, The Specials, and It’s Always Sunny in Philadelphia. According to IMDb (2017), This series was released on 17 April 2011 and had won many awards. Together, David

Benioff and D.B. Weiss won Prime Time Emmy for Outstanding Directing for

Drama Series, Outstanding Writing for Drama Series, Outstanding Sound Mixing for a Comedy or Drama Series, Outstanding Drama Series, Outstanding Casting

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for a Drama Series, Outstanding Single-Camera Picture Editing for a Drama

Series (“Game of Thrones”, 2015). This series was also nominated as Best

Television Series for Golden Globe in 2012, 2015, 2016 and 2017. These facts made the writer realize that this series is interesting to be used as subject to analyze.

According to IMDb (2017), this series tells about several noble families who are fighting each other to conquer the kingdom and become the true king of

Westeros. The first noble family is the house of Baratheon, represented by Robert

Baratheon, Stannis Baratheon and Renly Baratheon. Robert was originaly the

King of Westeros after defeating the previous king, Aerys II Targaryen.

IMDb (2017), also states that the second noble family is the house of

Lannister, represented by Tyrion, Jaime, Cersei, and Tywin Lannister. The

Lannisters are known for wealth and proud. The third noble family is the house of

Stark, represented by Eddard, Catlyn, Robb, Sansa, Arya, Brandon and Rickon

Stark. The house of Stark is known as the warden of the north for about hundred of years. The fourth noble family is the house of Targaryen, represented by

Viserys, Daenerys, and Aemon Targaryen. House Targaryen were known as a big and powerful family for the posession of dragons. The house Targaryen is slaughtered by the rebelions during the rebel of Robert Baratheon. Dragons are extinct, the last dragon is seen back 300 years ago. The remaining succesor for this house is only Daenerys Targaryen.

According to IMDb (2017), the fifth noble family is the Martell family, represented by Oberyn Martell, Doran Martell, Trystane Martell and Ellaria Sand. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Martell family lives in an Island called Dorne, Oberyn Martell is killed by Ser

Gregor Clegane or as usually mentioned as The Mountain. His brother, Doran

Martell who ruled Dorne was also assassinated by Ellaria Sand who was not part of Martell‟s family. She also killed Trystane Martell to claim Sunspear‟s throne.

According to IMDb (2017), The sixth noble family is the house Tyrell, represented by Olenna, Mace, Loras, and Margery Tyrell. Loras Tyrell or known as The Knight of the Flowers, is a skillful knight and also a lover to Renly

Baratheon, together they march to rebel against the Throne but they are defeated by Stannis Baratheon using black magic of Lady Melisandre. The house Tyrell are entirely gone after Cersei Lannister orders the little birds to use wildfire to burn the Great Sept of Baelor and kill those inside the building including the Tyrell families who are attending the trial for Loras Tyrell. The next noble family is the house Greyjoy, represented by Balon, Theon, Yara and Euron Greyjoy. The house of Greyjoy lives in Iron Island, the house Greyjoy once tried to rebel against

Robert, but they failed and Eddard Stark took Theon Greyjoy as a captive until he decides to break oath against Robb Stark. After the death of Balon Greyjoy, Yara

Greyjoy claimed the throne replacing Theon that does not want to be a king, but the people of Iron Island does not want to be ruled by a woman, Euron Greyjoy, brother of Balon Greyjoy claims the throne and become the king of the Iron

Island. Theon and Yara steal the best boats from the kingdom and sail to Essos to meet Daenerys Targaryen and make alliance with the Mother of Dragon. Theon and Yara offer their fleet and demand the Iron Island in return. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

While those families are fighting each other to claim the throne, the true enemy rose in the north. According to the series, the White Walkers that have been gone for hundreds of years suddenly appear and kill those who are living.

The only thing standing between the living and the dead is The Wall. It is guarded by The Night‟s Watch that is put aside by the Kingdom for the war of those who claim the throne.

According to IMDb (2017), Daenerys Targaryen is the only Targaryen left in the world, she is sold by his brother to Khal Drogo from a savage tribe,

Dothraki. His brother demands an army to march against the Kingdom in return, but Khal Drogo kills his brother after tossing a jar full of melted gold to his head as a replacement to a golden crown. In the wedding day, Daenerys receives 3 fossilized dragon eggs as a gift from Illyrio Mopatis. He says that the eggs are from Shadow Lands beyond Asshai and have been turned to stone over eons of time.

This final paper aims to reveal the meaning of Daenerys‟ 3 Fossilized

Dragon Eggs which later on become one of the keys to rule the Seven Kingdom in

Game of Thrones series. The problem of the study is formulated into two problems. The first problem is the literal meaning of 3 Fossilized Dragon Eggs according to Game of Thrones. The second is to reveal the deeper meaning of 3

Fossilized Dragon Eggs using the term of Mise-en-scène film study analysis.

Mise-en-scène is pronounced meez-on-sen, with the second syllable nasalized.

According to Giannetti (1987) the term was originally a French theatrical term, PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

meaning „placing on stage‟, refers to the arrangement of all the visual elements of a theatrical production within a given playing area or stage.

There are five elements used to support the term. They are the object placement in the frame, composition, shot and camera proxemics, angles, and color values. Those five elements are easily found in the specific frame meant.

According to Bordwell (2003) when applied to cinema, mise-en-scène refers to everything that appears before the camera and its arrangement. Barsam (2010) added that mise-en-scène also includes the composition, which consists of the positioning and movement of actors, as well as objects in the shot.

The first aspect is the frame. According to Giannetti (1987), each movie image is enclosed by the frame of the screen, which defines the world of the film.

The frame functions as the basis of composition in a movie image. Giannetti also suggested that the movie frame can function as a metaphor for other types of enclosures. He added that certain areas within the frame can suggest symbolic ideas (Giannetti, 1987, p.39). There are four major sections used in frame: center, top, bottom, and sides; each of them gives different purposes.

The second aspect is composition. According to Pramaggiore (2005), composition is the organization of objects, actors and space within the frame. The most important thing in composition is to maintain the balance of symmetry

(distribution of light, color and objects or figures in a shot). Unbalanced composition sometimes used by the director to emphasize certain elements that are given particular attention. This is meant so that the message of the composition is delivered to the readers. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

According to Giannetti (2014), shot and camera proxemics are the vocabulary of film, they differ one shot from another, the type of shots and the distance of the image taken. The shots represent the word describing each frame.

Giannetti (2014), also states that there are several kinds of shots in the film: wide/long, establishing shot, full shot, cowboy, two-shot, medium, close-up, clean single, ECU (Extreme Close-Up), over the shoulder, cut away, insert, connection short, and traditional shot. Each shot carries different perspective on telling the meaning of the frame. Giannetti (1987), states that although shots are not always defined by the literal space between the camera and the object, in terms of psychological effect, shots tend to suggest physical distances. Shots are related closely to proxemics pattern. Hall (Giannetti, 1987, p59) discovered that proxemic patterns is the relationships of organisms in the frame that possibly influenced by the external considerations. Hall subdivides them into four major proxemic patterns: the intimate, the personal, the social, and the public distances.

According to Douglass (1996), Camera Angles help us to see an action from revealing perspectives, they help us to create the illusion of three- dimensional image, and they help us to create pleasing compositions. Giannetti

(1987), states that the angle from which an object is photograph, can often serve as an authorial commentary on the subject matter, angles can be likened to a writer‟s use of adjectives: They often reflect his or her attitude toward a subject.

“There are five basic angles in the cinema: bird‟s-eye view, the high angle, the eye-level shot, the low angle, the oblique angle” (Giannetti, 1987). PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Giannetti (1987), states that visual artists have used colour for symbolic purposes, it is probably culturally acquired, though its implications are surprisingly similar in otherwise differing societies. He also adds that colour tends to be a subconscious element in film, it‟s strongly emotional in its appeal, expresive and atmospheric rather than conspicuous or intellectual. Corrigan &

White (2012), states that color profoundly affects our experience and understanding of a film shot; even black-and-white films use contrast and gradations to create atmosphere or emphasize certain motifs. Each colour conveys its symbolic meaning in its origin where the background of the film is intentionally taken.

Using mise-en-scène as a method to analyze the series has several benefits for the readers. By knowing the technique used to make movies or series allows the reader to decide whether the quality of the movie or series is good or not. After understanding the method of mise-en-scène, the reader will have the ability to question the reason behind a particular scene made.

B. Approach of the Study

This study uses the formalism approach. According to Corrigan (2012), formalism is concerned with problem of form, over issues of content, formal exploration of light, the poetry in motion, and the juxtaposition of sound and image, as well as phenomenological inquiry into our ways of seeing, motivate and many different experimental practices. Giannetti (1987), also says that formalism is often referred to expressionists, because of the self-expression is as important as the subject matter itself. According to Ryan (2012), a Formailst tends to focus on PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

how a work of art is done or made, including the techniques and the procedures used to construct a story or convey a feeling or and idea. This approach is related closely to the term that is used in this study, which is mise-en-scène, technique used in filmmaking. Formalism that is concerning about technical issues in filmmaking can be used as the approach to help the writer analyze how the technical form from the series convey the story or its meaning.

This final paper was conducted using library study. There were two sources used in completing the paper, the first one was the TV series entitled

„Game of Thrones‟ as the research object. The series is based on a novel series entitled „a Song of Ice and Fire‟ written by George R.R. Martin, a famous

American novelist, screenwriter, and a television producer. The screenwritings for this series are also written by David Benioff and D.B. Weiss, they are also famous

American screenwriter known for screenwriting several movies and series. This series was firstly shown on TV on April 11th, 2011 in HBO (Home Box Office)

USA.

In this paper, the writer focused on the first season, where the eggs were not hatched just yet. This TV series was nominated in Golden Globe for Best

Television Series in 2012, 2015, 2016, 2017. Game of Thrones also won AFI

Awards for TV Program of the Year in 2012, 2013, 2014, 2015, 2016 and 2017.

The data were taken from four frames of episode one, episode three, episode six and episode ten from season one of the series. The frames are the picture of the

Dragon Eggs and its surrounding and also its transformation into dragon. The PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

secondary sources were the library studies of books from several authors, journals, and websites related to Game of Thrones and the formalism critical approach.

The first step is watching the series containing the selected problems. The three fossilized dragon eggs only appeared in the first season of Game of Thrones.

After watching the whole first season, the writer looked for the problem to be analyzed. The problem selected was the literal meaning of three fossilized dragon eggs and the deeper meaning of three fossilized dragon eggs through mise-en- scène film study analysis.

The next step was giving limitation to the problems. According to

Giannetti (1987), Mise-en-scène alone has fifteen elements. Those elements are: dominant, lighting key, shot and camera proxemics, angle, colour values, lens/filter/stock, subsidiary contrasts, density, composition, form, framing, depth, character placement, staging position, and character proxemics. Based on the frame taken from the TV series as the source, the writer chose five out of fifteen elements to be used to analyze the problems.

The theories used in this study are found in Understanding Movies by

Giannetti (1987). Those theories are object placement in the frame, composition, shot and camera proxemics, angle, and colour values used to analyze selected frame of the TV series. After analyzing and discussing the findings from the data frames, the writer came to conclusion as the result of the analysis.

The following is the definition of terms used in this study:

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1. Three Fossilized Dragon Eggs

These eggs are technically a fossil, because these eggs were not hatched for eons of time. These eggs were given to Daenerys Targaryen as a wedding gift when she was urged to marry Khal Drogo. According to Illyrio Mopatis (Season 1

Episode 1, 00:53:27-00:53:39), the ages have turned them to stone, but they will always be beautiful. In this study, these three fossilized dragon eggs are not ordinary eggs but they have very important roles as Daenerys‟ weapons to rule

Westeros in the Game of Thrones.

2. Literal Meaning

According to Jaszczolt (2003), literal usage confers meaning to words, in the sense of the meaning they have by themselves, outside any figure of speech.

Glucksberg (2001) also says that literal meaning maintains a consistent meaning regardless of the context. This means the literal meaning of the problem can be concludes from its surface. The literal meaning of three fossilized dragon eggs can be seen by watching the first season of the series.

3. Deeper Meaning

According to Barnet, Berman and Burto (1993), deeper meanings are meant to tell the readers implicitly. Some of the symbols in movies or films tend to use symbol to hide the true meaning of things. By analyzing the deeper meaning, the writer tries to see the meaning of three fossilized dragon eggs in the

Game of Thrones TV series by digging the frame using the mise-en-scène terms.

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4. Mise-en-scène

According to Phillips (2009), the term refers to everything put before the camera in preparation for filming. It is also known as director‟s staging of a play.

Giannetti (1987) says that mise-en-scène is originally a French theatrical term, meaning „placing on stage‟. The phrase refers to the arrangement of all the visual elements of a theatrical production. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

CHAPTER II

DISCUSSION

This chapter discusses 2 problems. The first problem is the literal meaning of three fossilized dragon eggs in the Game of Thrones TV series. The second problem is the deeper meaning of three fossilized dragon eggs in the Game of

Thrones TV series through mise-en-scène film study analysis. The writer needs to discuss the literal meaning to show the differences between the literal meaning shown in the movie and the deeper meaning shown after applying stages of analysis.

A. The Literal Meaning of Three Fossilized Dragon Eggs

The three fossilized dragon eggs are technically ordinary dragon eggs that have turned into fossil/stone because they failed to hatch eon of years ago. After watching the first season of the series, the writer concluded that the literal meaning of three fossilized dragon eggs could be seen noticeably after finishing the first season of the series. According to Harley (2001), literal meaning means that the intended meaning is literally corresponding to the meaning of the individual words, meaning that the object that is mentioned or previewed does not have hidden meaning behind. According to Martin (1996), Illyrio Mopatis gives

Daenerys Targaryen three fossilized dragon eggs as a wedding gift. Those eggs are from the Shadow Lands beyond Asshai. Those Eggs have turned into stone over eons of time. Daenerys thinks that those eggs are huge and the most beautiful things she has ever seen. As the strory goes, Daenerys’ brother, Prince Viserys

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decides to abandon her sister because Khal Drogo is not fulfilling his promise to give him army to invade the kingdom and claim the throne. He tries to take the eggs with him, but Jorah Mormont stops him and demands the eggs back (Season

1 Episode 6, 00:19:40-00:21:53). Viserys also says that if he sells one egg, he can buy ships, two eggs he will get ships and army, and if he sells three eggs he will have a very large army. According to the series, these three fossilized dragon eggs are worth ships and army. It means that these eggs are very valuable and can bring wealth to those who have them.

After Khal Drogo passes away, Daenerys put those Dragon Eggs together with the body of her husband to be burned. She finds a way to hatch the egg, but

Jorah Mormont misunderstands Daenerys’ purpose. Jorah thinks that Daenerys is so sad that she wants to be burned together with her husband and her Dragon

Eggs. Jorah Mormont persuades her not to do that, instead he suggests Daenerys to sell the eggs and return to the free cities and live as a wealthy woman for the rest of her life (Season 1 Episode 10, 00:45:45- 00:46:00). Daenerys ignores the suggestion and insist to put the Eggs alongside his husband to be burned. She also asks Jorah Mormont to bind the woman who killed her husband in the pile that is meant to burn her husband’s body. She burns the pile and when the fire is getting wild, she climbs to the pile alongside her husband and hatches her Dragon Eggs.

In this part Jorah Mormont’s suggestion is another proof that the Dragon’s Eggs have extraordinary values in the story. He suggests Daenerys to sell the Eggs and start a new life as a wealthy woman in the free cities. He also mentions that if

Daenerys sells the Eggs, she will be a wealthy woman for the rest of her life, PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

meaning that these Eggs are valuable treasures. This story takes place where dragons no longer exist. The Dragon’s Eggs become another evidence of living

Dragons hundreds years ago. Considering the Dragons no longer exist, the numbers of Dragon Eggs that can be found in the world are very rare and this makes the Dragon’s Eggs worth more than anything money can buy.

After watching the first season of the series, the writer concludes that three fossilized dragon eggs in this Game of Thrones TV series by literal meaning means three valuable things that can bring wealth to those who have them.

B. The Deeper Meaning of Three Fossilized Dragon Eggs through mise-

en-scène Film Study Analysis

After analyzing the literal meaning of three fossilized dragon eggs in

Game of Thrones, the writer concludes that the three fossilized dragon eggs are three valuable things that the value is worth more than anything money can buy.

This study uses formalism approach. In order to complete the analysis, the writer conducts the analysis on its deeper meaning of three fossilized dragon eggs by applying the staging analysis of object placement in the frame, composition, type of shots, type of angle, and the dominant colour on each selected frame.

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1. The Dragon Eggs as Wedding Gift

Picture 1 (The Dragon Eggs as Wedding Gift) Picture 1 above appears in season one episode one Game of Thrones on the 00:53:20 and lasted for 3 seconds. It was the first time Daenerys saw Dragon

Eggs. She was surprised and amazed by their beauty. Based on staging analysis, these Dragon Eggs are placed in the center of the frame. According to Giannetti

(1987), central framing is formally the most intense kind of framing, the central portions of the screen are generally reserved for the most important visual elements. The viewer is allowed to concentrate on the subject matter without being distracted by visual elements that seem off-center (p.40). The Dragon Eggs are also contained by a box that exposes the Dragon Eggs fully.

The frame on Picture 1 has a certain composition which can be seen noticeably by the eyes of viewers. According to Phillips (2009), Composition is the arrangement of lighting and subjects in relation to each other and to the sides PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

of the frame. Giannetti (1987), compositions are about the arrangement of shapes, colors, lines, and textures. According to Giannetti (1987) the visual interest of the dominant corresponds with the dramatic interest of the image (p.46). Picture 1 shows that the dominant (Dragon Eggs) corresponds with the dramatic interest of the image (the box). According to Chevalier (1996) number three as in three eggs is interpreted as a fundamental number, expressive on an intellectual and spiritual order. Ferguson (1975) interprets eggs as the symbol of hope and resurrection, this means that it is derived from the manner in which the small chick breaks from the egg as its birth. According to Chevalier (1996), the box is interpreted as a female symbol of the unconscious and the maternal. It always holds secret, enclosing and keeping from the world something precious, fragile or awesome. Furthermore, box-wood as appears in Picture 1 is interpreted as a symbol of burial and at the same time, of immortality, because it is an evergreen. It means that the eggs and the box represent the symbol of hope that is kept away from the world.

According to Corrigan (2012), Béla Baláz said that By means of the close- up the camera in the days of the silent film revealed also the hidden main-springs of a life which we had thought we already knew so well. She also added that the close-up could reveal the soul onscreen. The shot on this frame focuses on the symbol that is shown by the composition itself.

The angle used in Picture 1 is an eye-level shot, that makes the Eggs look very clear. According to Giannetti (1987), the eye-level shots are seldom intrinsically dramatic, because they tend to be the norm, by using eye-level shots, the viewers will capture the clearest view of an object. By capturing the clearest PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

view of an object, the eye-level shots allow the viewers to observe the detail of the objects shown. The eye-level shots allow the viewers to observe the beauty of the eggs, and have the same feelings with Daenerys who received the eggs as wedding gifts.

The dominant colour of the frame contributes to signify the meaning of the frame itself. According to Chevalier (1996), brown is interpreted with the colour of earth, of ploughed land and soil, it calls to mind dead leaves, autumn and melancholy. As the colour of earth that represents mother (mother earth). Brown is interpreted as motherhood, giving life and receiving it back. It is noticeably related to the rebirth of the Dragons after Daenerys sacrifices two lives in return of her dragons (season 1 episode 10, 00:45:16 - 00:51:27).

From the analysis above, the writer concludes that three fossilized dragon eggs which are shown in Picture 1 is the representation of hope, the sign of rebirth. The placement of the eggs in the center of the frame with a close-up, eye- level shot indicates that the three fossilized dragon eggs have important role in the

Game of Thrones series, the Eggs represents the hope, and resurrections, while the box represents the holder, the keeper and the sign of immortality which is also correlated with the dominant colour of the frame. Picture 1 is associated with hopes or the rebirth of something that is powerful, immortal and has been kept away from the world for too long.

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2. Daenerys and The Egg

Picture 2 (Daenerys and The Dragon Egg) The frame in Picture 2 appears in season one episode one in 00:53:37. The frame shows the intimacy between Daenerys and the Egg. The egg is placed on the bottom of the frame, according to Giannetti (1987), the areas near the bottom of the frame tend to suggest subservience, vulnerability, and powerlessness. For this reason, these areas are often exploited symbolically to suggest fragility. This frame also shows how Daenerys admires the Egg. Based on the scene and related to the story, this frame wants the viewers to be focused on the egg that is very beautiful, rare, fragile and cannot be produced anymore.

The composition in Picture 2 also supports the meaning. According to

Brown (2012), visual basic elements such as lines, sinuous S, X, triangular, and circular shapes can be deployed in an image to create a hierarchy of perception which guide the eye and the brain of the audience to perceive certain symbol

(p.45). Circular shape of the egg is interpreted as a symbol of eternity and never PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

ending existence according to Ferguson (1975). The egg itself according to

Chevalier (1996), an egg is clearly symbolizes rebirth and repetition (p.340). It means that the circular symbol of the Egg has the meaning to convey that the Egg is representing something that is eternal and going to rebirth any time soon.

The shot used in this frame is also a close-up shot. According to Giannetti

(1987), close up shot magnifies the size of an object. It tends to elevate the importance of things, often suggesting a symbolic significance (p.8). Picture 1 frame shows that the egg is being exposed closely. Corrigan & White (2012), also suggest that close-ups show details of a person or an object, such as the face or hands, indicating nuances of the characters’ feelings or thoughts or suggesting the special significance of the object. The shot of this frame allows the viewers to focus on the symbol of the egg which signifies the composition.

The angle used in this frame is eye-level shots. By using this angle, the viewers are having the same experience with the subject. According to Philips

(2009), by using an eye-level shots, the viewer looks neither up nor down, but focused on the subject. By using this angle, viewers are allowed to see the symbolic meaning between Daenerys and the Egg.

The dominant colour of this frame is green. According to Ferguson (1975), green is the colour of vegetation and of spring over winter, or of life over death.

Being a mixture of yellow and blue, it also suggests charity and the regeneration of the soul through good works (p.151). This means that the egg is meant to be regenerated and be reborn again as life beats death. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Therefore, the frame in Picture 2 conveyed strongly that the Egg is the representation of a child. Based on the analysis and the story, it is shown that the eggs are very fragile and cannot defend themselves, but after they grow and hatch as dragons, they hold very strong power that they can defend themselves and others.

3. Dragon Eggs and Candles

Picture 3 (The Dragon Eggs and Candles) Picture 3 appears on season 1 episode 3 on 00:50:42 and last for about 3 seconds. These eggs are also placed in the center of the frame. As described before, staging is meant to put the viewers’ focus to the Eggs. This allows the viewers to understand the importance of those Eggs.

The composition of Picture 3 also supports the meaning. As described before that Eggs are interpreted as the symbol of rebirth and repetitions. Ferguson

(1975), states that candles play a great and varied role in churches. They are used PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

in almost all aspects of Christianity, in other words, candle is closely related to spiritual and religious aspect. According to Chevalier (1996), candles symbolize light, their wick melts the wax and thus the wax shares the flame, emblems the flesh and the spirits. Chevalier (1996) also says that fire is a symbol of purification and regeneration. The composition of this frame allows the viewers to identify that the eggs are sacred. They are treated as religious matters, as if the

Eggs were very important.

The medium shot used in this frame is meant to let the viewers see the properties used to magnify the symbol contained by the Eggs as the composition has described. According to Giannetti (1987), this is also called the three-shot, because it contains three Pictures. The viewers are also allowed to see the other symbol carried by the use of candles as the properties. The use of bird’s-eye angle is also meant to make the subject shown fully. According to Giannetti (1987), bird’s eye angle allows us to hover above a scene like all-powerful Gods. The medium shot and the bird’s-eye angle convey its dramatic moment of how sacred the Eggs are.

The dominant colour of this frame is gold. According to Ferguson (1975), a golden yellow is the emblem of the sun, and of divinity. Supporting the composition, gold is also interpreted as the symbol of sacredness of that which is depicted. By using golden as the dominant colour, the viewers are shown how sacred the treatment done to the Eggs. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

The analysis of Picture 3 reveals that the Eggs are treated sacredly as it is very important for the whole Game of Thrones story. It also supports the interpretation of the Eggs as children. The Eggs are treated extraordinarily, by putting candles around them.

4. Daenerys and Her Dragon

Picture 4 (Daenerys and The Dragon)

Picture 4 is shown on season 1 episode 10 on 00:50:32 at the final episode of the first season. The subject on Picture 4 is placed in the center of the frame, allowing the viewers to see the importance of the scene.

The composition is dominantly taken from the intimacy between Daenerys and her dragon. According to Giannetti (1987), the intimate distances range from skin contact to about eighteen inches away. This is the distance of physical involvement of love, comfort and tenderness between individuals. It supports the PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

interpretation of the Eggs as the children and Daenerys as the mother. By climbing on her shoulder, the dragon shows love, comfort and tenderness, as a child to his mother.

The close-up shot shows the intimacy between the two characters. It also conveys the composition in a close distance so that the viewers can see the meaning of the frame by recognizing the transformation of the Eggs. The angle used in this frame is also quite different from the other frame selected. High angle is used to capture this frame, Phillips (2009) states that high angles make the subject appear smaller and in some contexts shut off from the surroundings, in other contexts, the subject seen from high angle appears vulnerable. This means that the viewers are allowed to see the dragon as a vulnerable child.

The dominant colour in this frame is white. Ferguson (1975), states that white has always been accepted as symbolic of innocence of soul, of purity, and of holiness (p.152). This supports the interpretation of the Eggs/ Dragons as children, Chevalier (1996), states that childhood also symbolizes innocence.

The analysis of Picture 4 supports the interpretation of the Eggs/ Dragons as children, the closeness between the two subjects in the frame indicates the intimacy, love, comfort and tenderness, the shot and the angle support the interpretation by giving close distance to show the clear view to the frame. The colour also conveys the meaning of innocence, as a newborn child. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

CHAPTER III

CONCLUSIONS, RECOMMENDATIONS, AND

IMPLICATIONS

This chapter consists of three sub-chapters, the conclusions, recommendations, and implications. The conclusions are the brief summary about the findings of the study. The recommendations are the writer’s suggestions or recommendations for future researchers. The implications are the reflection on the meaning and the implications of the study for educational purposes.

A. Conclusions

After analyzing the meaning of three fossilized dragon eggs in Game of

Thrones TV series through mise-en-scène film study analysis in chapter II, the writer has revealed the answers of two formulated problems. Those are “What is the literal meaning of three fossilized dragon eggs in Game of Thrones?” and

“What is the deeper meaning of three fossilized dragon eggs in Game of Thrones through mise-en-scène film study analysis?” The answers to those formulated problems are the conclusions of this study.

The literal meaning of three fossilized dragon eggs is three precious wedding gifts in form of three fossilized dragon eggs that has turned into stone after eons of time. Those fossilized dragon eggs are worth more than anything money can buy. The deeper meaning of three fossilized dragon eggs through staging analysis is revealed that the eggs are the representation of children. Since this study is conducted using staging analysis on the selected frames, the

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representation of children can be seen on the four elements of staging: by the placement of the object in the frame, composition, shot, camera angle and the dominant colour of the frame. This deeper meaning is not easily noticed by only watching the whole series, but by analyzing selected frame using staging analysis can reveal its deeper meaning out of surface.

B. Recommendations

1. Recommendation for Future Research

The writer is aware that this research is lack of perfection. Game of

Thrones is a unique yet full of surprises series and it is challenging for the future researchers to be used as materials for thesis. For the future researchers, the writer recommends to analyze the meaning of Iron Throne, The Three Eyed Raven, and

The Direwolf as they have important role in the series. Those characters can be analyzed through different elements of staging.

2. Recommendation for Teaching Learning Process

A film is one of many media to teach English. This series has very rich vocabularies for teachers to teach. This series contains culture, life values, manners, imaginations, dignity, honor and bravery. This series can develop critical thinking for the students by watching the series and analyzing the story.

C. Implication

Game of Thrones is a great series. The series tells about the complicated life of ruling the seven kingdoms. Many conflicts happen in the story: war between one kingdom againsts another, yet the true enemies are not the one who live, but they who are dead. Daenerys Targaryen is marching to the westeros with PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

big army and three huge dragons, she wants to claim the throne that once belongs to her father. Her three dragons are interpreted as children by the writers. In the story, it is noticeably seen that the eggs were treated sacredly as they are precious and vulnerable. The dragons and Daenerys have special bound just like children to their mother. They show the important relation between mother and children, it is love. It is important for people to have and feel love to and from their parents or other people.

Love is an essential thing. According to Fromm (1956), Love is described as the compassionate and affectioanate actions towards other humans, one’s self or animals. This means that love is not only aplicable for other person, loving ourselves can be interpreted in a general ways like keeping ourselves in the best form by doing our best for our future.

In education, love can be related to passion. Passion is very important for both teachers and students. Teachers should have passion in teaching,especially

English teachers. teaching is not only a job that produces money. By teaching people can also touch someone’s soul. Teachers are the representation of parents for students. To teach is to touch. Students also have to develop the passion.

Students are not meant to receive everything that the teachers taught them instantly, students are meant to impove and grow to become better than those who taught them.

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REFERENCES

Barnet, S., Berman, M. & Burto, W. (1993). An introduction to literature (10thed.). New York: Harper Collins College Publishers.

Barsam, R., M. & Monahan, D. (2010). Looking at movies: an introduction to film. New York: W.W. Norton.

Bordwell, D. & Thompson, K. (2003). Film art: an introduction (7thed.). New York: Mc Graw-Hill.

Brown, B. (2012). Cinematography: theory and practice (2nded.). Oxford: Focal Press.

Chevalier, J., & Gheerbrant, A. (1996). Dictionary of symbols. London: Penguin Reference.

Corrigan, T., & White, P. (2012). The film experience: an introduction. New York: Bedford/ St. Martin’s.

Douglass, J.,S., & Den, G.,P.,H. (1996). The art of technique: an aesthetic approach to film and video production. Boston: Allyn and Bacon.

Fromm, E. (1956). The art of loving. New York: Harper Perennial.

Giannetti, L. (1987). Understanding movies (4thed.). New York: Pearson Education, Inc.

Glucksberg, S. (2001). Understanding figurative language: from metaphor to idioms. Oxford: Oxford University Press.

Harley, T., A. (2001). The psychology of language: from data to theory (4thed.). Hove: Psychology Press.

IMDb Incorporated. (2017). Game of thrones. Retrieved June 8th, 2017, from Internet Movie Database: http://m.imdb.com/title/tt0944947/.

Jaszczolt, K., M. & Turner, K. (2003). Meaning through language contrast (Vol.2). Amsterdam: John Benjamins.

Lapsley, R. & Westlake, M. (1988). Film theory: an introduction. Manchester: Manchester University Press.

Martin, G., R., R. (1996). Game of thrones. New York: Bantam Spectra.

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Pamaggiore, M. & Wallis, T. (2005). Film: a critical introduction. Boston: Laurence King.

Phillips, W.H. (2009). Film: an introduction. New York: Bedford/ St. Martin’s.

Ryan, M. (2012). An introduction to criticism literature/film/culture. West Sussex: John Wiley-Black Well.

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Appendix 1

Summary of Season 1 Game of Thrones

In the land of Winterfell, Lord Ned Stark begins to believe that something is amiss. A deserter from the Night Watch, the guardians of the giant ice wall at the northern boundary of their territory, says he's seen the white walkers. Later, Ned and his sons find animals slain in the woods, including a she-wolf whose six pups they keep, one for each of Ned's children. They also welcome the arrival of Ned's good friend King

Robert who was once betrothed to Ned's sister. She was killed before they could marry and he wed Cersei Lannister who has given him a son, Joffrey. Along with them are

Cersei's two brothers, the handsome Jaime and Tyrion, a dwarf with very large appetites.

The King wants Ned to return with him to his capital, King's Landing, and become the

King's Hand. Ned accepts but his young son Bran accidentally sees something he should not have and suffers a serious fall as a result. Meanwhile, in the land across the narrow sea, Viserys Targaryen needs an army to attack Kingdom.

Although his son Bran is lying in bed unconscious from his fall, Ned Stark must return with King Robert to King's Landing. His wife Catelyn stays behind in Winterfell,

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though there appears to be little hope of Bran's recovery. The King has agreed that his son

Joffrey and Ned's daughter Sansa should marry, uniting their families forever. Problems arise when Joffrey challenges the butcher's boy who is out playing with Sansa's younger sister Arya. Joffrey is injured when Arya's pet wolf attacks him. The King's justice is swift but fair even if his wife Cersei doesn't agree. Meanwhile, Ned illegitimate son heads north to join the Night Watch. Across the Narrow Sea, Daenerys is having some difficulty accommodating herself to married life. She turns to one of her servants, a slave whose job it once was to pleasure men, to learn how she could make her husband happy.

After the attempted assassination of young Bran, Catelyn leaves for King's

Landing to see her husband, convinced that the Lannisters were behind the attempt. On arrival, she is met by a former beau, Petyr Baelish, who tells her that the knife used in the attack on Bran was his - until he lost it in a wager to Tyrion Lannister a year ago. When presented with the evidence, Ned isn't convinced. He's kept busy as the King's Hand and is shocked at King Robert's spendthrift ways. Cersei tells her son Joffrey that when he is

King, he can do anything he wants. Across the Narrow Sea, Daenerys begins to act like a queen and has a confrontation with her brother who makes it clear that he is in charge.

She also realizes she is pregnant. At the wall, Ned's illegitimate son Jon Snow undergoes training to become a member of the Night's Watch.

Ned begins to look into the death of his predecessor and mentor John Arryn. He learns that Arryn was interested in a particular book and also visited a local blacksmith known for making quality arms. There he meets someone quite interesting. At the northern wall, Jon befriends Samwell Tarly an overweight, bumbling young man whose father gave him the choice of joining the Night's Watch or dying in a hunting 'accident'.

Sam is the object of scorn from other trainees and their instructor. Jon makes it clear that no harm will come him. Sansa is still not speaking to her father after he was forced to kill PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

her wolf. She is preparing to become Queen someday. Her sister Arya meanwhile is taking sword fighting lessons and sees herself as a knight. Across the Narrow Sea,

Daenerys defends herself when her brother Vyseris slaps her making it very clear that she too can exercise some authority.

When King Robert learns that Daenerys and the Dothrakis are preparing for war, he decides to attack first. Ned is against the idea saying they should go slowly and learn more but the King calls him a weakling and dismisses him as the King's Hand. Playing in the dungeons, Arya overhears two men plotting against her father. She tells him what she heard and he decides the time has come for him to return to Winterfell. He delays his departure when given the opportunity to speak to the last person his predecessor spoke to, a whore who gave Robert another illegitimate son. The delay is costly however and leads to a serious injury. Catelyn meanwhile takes Tyrion to her sister Lysa, who also happens to be the John Arryn's widow.

A calmer King Robert mends fences with Ned Stark and reinstates him as the

King's Hand despite the objections of his wife Cersei. While he goes hunting with his brother Renly he puts Ned on the throne. A group of farmers complain of having been attacked by a Knight and his army and knowing the culprit orders him stripped of all titles and lands. Ned decides to send Arya and Sansa back to Winterfell for their protection.

Sansa in particular doesn't want to leave saying she wants to marry Joffre and have blond babies. Her offhand remark leads Ned back to the book his predecessor was so interested in and he now understands why John Arryn was visiting King Robert's bastard children.

Meanwhile, Daenerys and her brother Viserys have yet another confrontation but this one is settled by Drogo himself. An imprisoned Tyrion Lannister demands to be tried and asks for trial by combat. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Ned confronts Cersei about her children but she dismisses his allegations. The head of the Lannister clan tells his son Jaime to be a leader and sends him to rescue

Tyrion. Ros, the prostitute from Winterfell begins working for Littlefinger in King's

Landing. At the wall, a riderless horse belonging to Jon Snow's uncle Benjen returns to the wall. Jon takes his vows as a Night's Watchman but is disappointed to not having been named a Ranger but Sam sees it differently. King Robert is injured while out boar hunting with his brother. He knows he will not survive and names Ned Lord Regent until

Joffrey comes of age. Knowing that Joffrey is not Robert's son, he feels Robert's brother should succeed him but Littlefinger counsel's otherwise. A wine vendor tries to poison

Daenerys and Drogo promises to put their son on the throne of the Seven Kingdoms.

Joffrey has claimed the throne and he and is mother eliminate Ned Stark's supporters. Ned is imprisoned and Sansa remains engaged to Joffrey but Arya seems to have escaped. Cersei gets Sansa to write to her eldest brother Robb to ask him to swear loyalty to the new King. Robb agrees to go, but at the head of an army. Catelyn receives word of her husband's imprisonment and learns that her sister will not support her. Tyrion and Bronn encounter the Stone Crows and makes them an offer they can't refuse. At the wall Jon's wolf, Ghost, alerts him to trouble and it seems that the White Walkers have returned. Daenarys has trouble accepting the rape of new female slaves and when Drogo supports her, he is called out by one his men.

Sansa begs King Joffrey to spare her father's life. With his mother's support he agrees to spare him provided Ned publicly confesses that he is a traitor and recognizes him as the rightful king. Ned refuses at first but soon recognizes that the lives of his children are at stake and eventually agrees. Arya has eluded capture living in the town and scrounging for food. She goes to the square when she hears her father is to appear.

What happens is something no child should have to witness. Tyrion arrives at his father's PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

camp but the elder Lannister is dismissive of his diminutive son. He also tells him that he will be in the vanguard of the attack to take place the next day against Robb Stark's forces arriving from the north. For his part, Robb is proving to be an able field general and takes a Lannister prisoner. Daenerys finds she has little influence after Drogo falls ill and is unable to ride.

News of Ned Stark's execution spreads quickly and Robb Stark vows to get vengeance. Robb's banner-men declare him to be King of the North. At Castle Black, Jon decides to desert the brotherhood and join Robb's army. Sam and his other friends have something else in mind. Having been rescued by a Night's Watchman, Arya begins her travels north to the wall. Impressed by Tyrion's good advice, Tywin sends him to King's

Landing to act as the King's Hand while he is occupied with the war. Daenerys learns that she has lost the baby and realizes the error she made in trying to keep Drogo alive. At his funeral, she boldly walks into his funeral pyre and the outcome is a surprise to everyone but her.

Adapted from: http://www.imdb.com/title/tt0944947/?ref_=tt_ov_inf PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Appendix 2

Biography of George R.R. Martin

Born in 1948, fantasy writer George R. R. Martin grew up in Bayonne, New

Jersey. He developed a love for writing early on. His first novel, Dying of the Light, debuted in 1977. In 1996, he published his first installment of the A Song of Ice and Fire series. Martin became a best-selling author in 2005 with the fourth title A Feast for Crows and again in 2011 with the fifth A Dance with Dragons.

A leading fantasy author, George R. R. Martin grew up in Bayonne, New Jersey where his world "was five blocks long." He may have spent his early years never straying far from home, but his imagination seemed to take him places. The oldest of three children, Martin liked to watch offbeat and suspenseful television shows, such as Thriller and The Twilight Zone.

The son of a longshoreman, Martin started writing in elementary school. He sold monster stories to other kids in his working-class neighborhood. During his high school years, Martin moved on to other subjects. He started writing fan fiction based on the comic books he adored and began creating new superheroes as well. At Marist High

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School, a Catholic boys school, Martin played on the chess team and spent several years on the school's newspaper. After graduating in 1966, he went to Northwestern University where he continued to pursue his passion for writing. He earned first a bachelor's degree in journalism in 1970 and then a master's degree in the same subject the following year.

A conscientious objector during the Vietnam War, Martin worked with the Cook

County Legal Assistance Foundation as part of his alternative service from 1973 to 1976.

He then spent two years as a college professor at Clarke College in Dubuque, Iowa.

Martin sold his first short story, "The Hero," to Galaxy, a science fiction magazine, which was published in 1971. Continuing to write short stories, he released a collection of his tales as A Song for Lya and Others in 1976. His debut novel, Dying of the Light, came out the following year. Martin also served as an editor on numerous book projects, including New Voices in Science Fiction (1977) and the Wild Cards series.

While he became well regarded in the fantasy and science fiction worlds, Martin had yet to achieve a huge commercial success by the 1980s. He did, however, attract some attention from Hollywood. He worked as story editor for a remake of the old favorite Twilight Zone in 1986, and then became involved with the series Beauty and the

Beast. Writing for television posed certain challenges for Martin. "Whenever I would turn in a script, the producers would always say to me: George, this is wonderful, but it would cost five times our budget to produce it," he said in a National Public Radio interview.

Weary of the limitations of television, Martin embarked on a new writing project in the early 1990s—a fantasy series inspired by medieval England's Wars of the Roses.

A Song of Ice and Fire PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

The first installment of A Song of Ice and Fire may not have been an overnight success, but the strong word of mouth boosted sales as the series progressed. By the fourth volume, 2005's A Feast for Crows, Martin found his work at the top of the best- sellers list. His books were introduced to an even larger audience with the critically acclaimed television adaptation of Game of Thrones, which debuted in 2011 and eventually won a 2015 Emmy for Outstanding Drama Series. Later in 2011, Martin published the fifth title in the series, A Dance with Dragons. Eager fans from around the world snapped up the new book, creating yet another best-selling novel.

While often compared to J. R. R. Tolkien, Martin writes a grittier, earthier type of fantasy fiction than the man who created The Lord of the Rings. Martin's Westeros is mainly populated by humans who live morally complex lives and follow their own agendas. And his plots are masterfully handled, much like the game of chess he so enjoys.

As one critic wrote, "Martin is a literary dervish, enthralled by complicated characters and vivid language, and bursting with the wild vision of the very best tale tellers."

As an author, Martin has also shown no mercy to his characters, killing off main characters and other favorites unexpectedly. Martin feels that he has "a certain moral obligation" to reflect the reality of war in his fantasy tales. "People die in wars. People get maimed in wars, and many of them are good, likable people who you would like to not see die," Martin once explained.

Martin lives in Santa Fe, New Mexico, with his wife, Parris McBride. He was previously married to Gale Burnick, from 1975 to 1979.

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Adapted from: https://www.biography.com/people/george-r-r-martin-20786615 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Appendix 3

Biography of David Benioff

David Benioff (born David Friedman; September 25, 1970) is an American novelist, screenwriter, television producer and director. He is best known for being the co-creator and showrunner of the widely acclaimed award-winning HBO series Game of

Thrones.

Benioff was born David Friedman in New York City, to a Jewish family. He is the son of Barbara (Benioff) and Stephen Friedman, who is a former head of Goldman

Sachs. He is a distant cousin of Marc Benioff. As an adult, he uses the last name of

Benioff, his mother's maiden name, to avoid confusion with other writers named David

Friedman. He is the youngest of three children. He grew up in Manhattan, first in Peter

Cooper Village, then on 86th Street where he spent most of his childhood, before eventually moving near the U.N. headquarters when he was sixteen.

He is an alumnus of The Collegiate School and of Dartmouth College. While at

Dartmouth College, he was a member of Phi Delta Alpha Fraternity and the Sphinx

Senior Society. After graduating in 1992, he worked for a time as a club bouncer in San

Francisco, became a high school English teacher at Poly Prep in Brooklyn, New York

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City for two years, and served as the school's wrestling coach. Benioff became interested in pursuing an academic career, and went to Trinity College Dublin in 1995 for a one- year program to study Irish literature, and while in Dublin he met D. B. Weiss, who would later become his collaborator. He wrote a thesis on Samuel Beckett while at Trinity

College, but decided against a career in academia after writing the thesis. He worked as a radio DJ in Moose, Wyoming for a while. He then attended the University of California

Irvine, where he received a Master of Fine Arts degree in creative writing in 1999.

Benioff spent two years writing his first published novel The 25th Hour, originally titled Fireman Down, and completed the book as his thesis for his master's degree at Irvine. He was asked to adapt the book into a screenplay after Tobey Maguire read a preliminary trade copy and became interested in making a film of the book. It was filmed as 25th Hour, starring Edward Norton and directed by Spike Lee. He then wrote a collection of short stories titled When the Nines Roll Over (And Other Stories) in 2004.

Benioff drafted a screenplay of the mythological epic Troy (2004) for which

Warner Bros pictures paid him $2.5 million. He also wrote the script for the psychological thriller Stay (2005), which was directed by Marc Forster and starred Ewan

McGregor and Naomi Watts. His screenplay for The Kite Runner (2007), adapted from the novel of the same name, marked his second collaboration with director Marc Forster.

He was hired in 2004 to write the screenplay for the X-Men spin-off X-Men Origins:

Wolverine (2009), and worked on the script for three years.

In 2006, Benioff became interested in adapting the A Song of Ice and Fire novel series by George R.R. Martin and began working with D. B. Weiss on a proposed television series Game of Thrones. The pilot was put into development by HBO in 2007 and the series greenlit in 2010. They act as the executive producer, showrunner and writer PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

of the show, which began airing on HBO in 2011. Benioff and Weiss had previously worked together on a script for a horror film titled The Headmaster, but it was never made.

In 2008, his second novel, City of Thieves was published. He has been hired by

Universal Pictures in October 2007 to write an adapted screenplay of the Charles R. Cross biography of Kurt Cobain but as of today, the screenplay has not been used.

On April 10, 2014, Benioff announced he and D. B. Weiss had taken on their first feature film project to write, produce and direct Dirty White Boys, a novel by

Pulitzer prize-winning author Stephen Hunter.

Benioff and Weiss both directed a couple of episodes together, but used a coin- flip to decide who would get the credit on the show. Benioff was given the credit for

Game of Thrones (season 3), episode 3 "Walk of Punishment", while Weiss was credited with "Two Swords" of season 4. On September 30, 2006, Benioff married actress

Amanda Peet in New York City. Together they have three children: Frances "Frankie"

Pen Friedman, born February 20, 2007; Molly June Friedman, born in 2010; and Henry

Peet Friedman, born December 6, 2014. To avoid any confusion, Benioff's three children use the last name of Friedman, which is his given last name—he uses his mother's maiden name as his professional name. The family lives in Manhattan and Beverly Hills.

Adapted from: https://en.wikipedia.org/wiki/David_Benioff PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Appendix 4

Biography of D.B. Weiss

Daniel Brett Weiss (born April 23, 1971) is an American author, screenwriter, producer, and director. Along with his collaborator David Benioff, he is best known as screenwriter, executive producer, and sometimes director of Game of Thrones, the HBO adaptation of George R. R. Martin's series of books A Song of Ice and Fire.

His 2003 debut novel, Lucky Wander Boy, is themed around video games.

Weiss was born and raised in Chicago, Illinois. His family is Jewish. He is a graduate of Wesleyan University. He earned a Master of Philosophy in Irish literature from Trinity College, Dublin with a thesis on James Joyce's Finnegans Wake, and a

Master of Fine Arts in creative writing from the Iowa Writers' Workshop.

Weiss worked as personal assistant on films such as The Viking Sagas for New

Line Cinema. For a brief period, Weiss also worked as a personal assistant for Glenn

Frey. Weiss then went to Dublin in 1995 to study Anglo-Irish literature and met David

Benioff, and three years later they met again in Santa Monica, California around 1998.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Weiss and Benioff wrote a screenplay for a film titled The Headmaster together, but it was never made. In 2003, Weiss and Benioff were hired to collaborate on a new script of Orson Scott Card's book Ender's Game in consultation with the then-designated director Wolfgang Petersen. It was not used.

In 2006, Weiss said he has a second novel finished that "needs a second draft".

That same year, Weiss completed a screenplay for a film adaptation of the video game series Halo, based on a script written by Alex Garland. However, director Neill

Blomkamp declared the project dead in late 2007.

Weiss also worked on a script for a prequel to I Am Legend. However, in May

2011, director Francis Lawrence stated that he did not think the prequel was ever going to happen.

Weiss currently works with David Benioff, the writer of Troy, on the television series Game of Thrones, based on George R. R. Martin's book series A Song of Ice and

Fire.[14] Benioff and Weiss both directed a couple of episodes together, but used a coin- flip to decide who would get the credit on the show. Weiss received the credit for season

4, episode 1 "Two Swords" , while Benioff was credited for "Walk of Punishment" in season 3.

Weiss and his wife Andrea have two children, Leo and Hugo.

Adapted from: https://en.wikipedia.org/wiki/D._B._Weiss