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The Representationofninja in Ninja Assassin Film

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The Representationofninja in Ninja Assassin Film THE REPRESENTATIONOFNINJA IN NINJA ASSASSIN FILM A Thesis Submitted in the Faculty of Adab and Humanities in Partial Fulfillment of the Requirements for the Degree of Strata I (SI) NANDA TINAHADI NIM: 109026000111 ENGLISH LETTERS DEPARTMENT FACULTY OF ADAB AND HUMANITIES STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA 2014 i ii 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 the other person nor material which 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, January 2014 Nanda Tinahadi iii ABSTRACT Nanda Tinahadi, NIM: 109026000111, The Representation of Ninja in Ninja Assassin Film. Thesis: English Literature Department, Adab and Humanities Faculty, State Islamic University Syarif Hidayatullah Jakarta, 2014. This research analyzes the Ninja in Ninja Assassin film in 2009. This research is aimed to know representation the Ninja in this film according to history of Ninja and also the concept of Ninja. I use qualitative method and descriptive analysis technique to analyze the film. I also use the representation theory of Stuart Hall to explain the Ninja in Ninja Assassin film. Based on the research, I find that the representation of Ninja is showed through five kinds, namely: representation of Ninja through the character, through the appearances, through the equipment, through the house, and through the training and activities. Those kinds that I analyze above, each of them not only have the same part with the Ninja in reality, but also have the differences part too, ,even they are almost same and also almost difference. So that. because of the differences, there are some new representation about the Ninja. Moreover, the Ninja in the film and in the reality are not all the same, so that it concludes that this analysis is connecting with the representation theory. iv ACKNOWLEGMENT In the name of Allah, The Beneficient, The Merciful May peace and blessing of Allah be upon all of us Praise to Allah, the Cherisher and Sustainer. All praises be to Allah SWT., the lord of the universe. Alhamdulillah, with His fabulous guidance, I would to be grateful to Allah because I accomplish the fluent process in every step of making this thesis. Peace and blessing are delivered to the most honorable prophet Muhammad SAW, his families, friends, and followers. This paper is presented to English Letters Department of Letters and Humanities faculty UIN of Syarif Hidayatullah Jakarta as partial fulfillment of the requirement for strata one degree. I would like to convey my sincere gratitude particularly to: 1. Prof.Dr.Oman Faturrahman, M.Hum the Dean of Faculty of Humanities. 2. Drs. Saefudin, M.Pd., the Head of English Letters Department and also as my substitute advisor. 3. Elve Oktafiyani, M.Hum., the Secretary of English Letters Department and also my examiner I who always patience and contribution in my thesis. 4. Maria Ulfa, M.A., M.Hum., my advisor, thank you very much and much for her time, advices, suggestions, support, and great patience in finishing this thesis. v 5. Ida Rosida, M.Hum., my examiner II who give her contributions and advices on finishing this thesis. 6. All lectures of English Letters Department, who have taught and educated me during my studies at the campus. 7. The writer’s parents: Nusril Ahadi and Gustinah Wahyuningsih, who has always encouraged her to continue her study to the graduate level; and always love and give support in financial or material, and pray to me in completing this thesis. 8. Her dearest siblings: Fiddinda Afiadi Saleh, Ridho Ramadhan Saleh, Nindi Puan Maharani, who give spirit every day that makes me strong. I also dedicated this thesis for my big family of (alm) Sofyan Saleh and Soetarto. Thanks for prayer, affection, and attention. 9. All my best friends, the Struggle: Nazlia Masyhur, Isti Februari Afifah, Emile Ratna Hidayati, Zulfah Nurhanni Zulaimyta, and Tri Kusuma Astuti; and the Metal : Viny Nurulita and Nurfatmi Septiani. I also thanks to my special, Aldika Gheajaso, for the great support and time that gave to me until this thesis finished. I deeply indebted to them; therefore, I always hope and pray that Allah SWT blesses, guides, forgives and protects them. Finally, I realize this thesis is not perfect one and not only useful but also invite the others research to discuss about representation. So that, I will very open and receive any comments, suggestion or criticism. Your correction, criticism, and broad perception give me lots of lessons. Thank you. Jakarta, January 2014 The Writer vi TABLE OF CONTENTS APPROVEMENT ........................................................................................ i LEGALIZATION ........................................................................................ ii DECLARATION ......................................................................................... iii ABSTRACT ................................................................................................. iv ACKNOWLEDGMENT .............................................................................. v TABLE OF CONTENTS ............................................................................. vii CHAPTER I INTRODUCTION ........................................................... 1 A. Background of the Study ............................................. 1 B. Focus of the Research .................................................. 5 C. Research Question ....................................................... 5 D. Objective of the Research ............................................. 6 E. The Significance of the Research .................................. 6 F. Research Methodology ................................................ 6 1. Method of the Research .......................................... 7 2. Technique of Data Analysis .................................... 8 3. Instrument of the Research ..................................... 8 4. Unit of Analysis ..................................................... 8 5. Place and Time of the Research .............................. 9 CHAPTER II THEORETICAL FRAMEWORK .................................. 10 A. Character and Characterization in Film ......................... 10 1. Characterization through Appearance. .................... 12 2. Characterization through Dialogue ......................... 12 3. Characterization through External Action………… 12 4. Characterization through Internal Action………….. 13 5. Characterization through Reactions of the other Character ………………………………………….. 13 6. Characterization through Contrast: Dramatic Foils.. 13 vii 7. Characterization through Choice of Name Varieties of Characters ............................................................ 14 B. Representation of Stuart Hall ....................................... 14 C. History of Ninja .......................................................... 17 CHAPTER III RESEARCH FINDINGS ................................................ 20 A. Representation of Ninja ............................................... 20 1. Representation of Ninja through the Character…… 21 2. Representation of Ninja through the Appearances .. 30 3. Representation of Ninja through the Equipment ..... 33 4. Representation of Ninja through the House ............ 35 5. Representation of Ninja through the Training and Activities ............................................................... 37 CHAPTER IV CONCLUSIONS AND SUGGESTIONS......................... 41 A. Conclusions ................................................................. 41 B. Suggestions ................................................................. 42 BIBLIOGRAPHY ........................................................................................ ix viii BIBLIOGRAPHY Barsam, Richard and Dave Monahan2010.. Looking at Movies: An Introduction to Film 3rd Edition. New York: W. W. Norton & Company. Boggs, Joseph M. and Dennis W. Petrie. 2008. The Art of Watching Film, 7th Edition. New York: McGraw Hill, 2008. Corrigan, Timothy and Patricia White. 2012. The Film Experience: An Introduction 3rd Edition. Boston: Bedford/St. Martin’s. Dreager, Donn F. 1989. Ninjutsu The Art of Invisibility. Tokyo: Charles E Tuttle Company. Fakhan, Muhammad. 2007. Proposal Penelitian Bahasa & Sastra. Jakarta: Celia. Hayes, Stephen K. 1980. Ninja. USA: Ohara Publication Inc. Jewell, Elizabeth, ed,. 2002. The Pocket Oxford Dictionary and Thesaurus. New York: Oxford University Press, Inc. Sugiyono. 2010. Memahami Penelitian Kualitatif. Bandung: Alfabeta. Turnbull, Stephen. 2003. Ninja AD 1460-1650. UK: Osprey Publishing Ltd. Woods, Peter. 2006. Successful Writing for Qualitative Researchers. New York: Routledge. Website : Characterization in Film, www.google.com/characterization in drama/edu/http Susilo, Richard. Accessed on March 14th, 2014. Benarkah Seorang Ninja Bisa Menghilang.Source: http://www.tribunnews.com/internasional/2014/03/14/benarkah-seorang- ninja-bisa-menghilang/ ix Szczepanski, Kallie. Accessed in 2014. History of the Ninja, Source: http://asianhistory.about.con/od/warsinasia/p/NinjaProfile.html Film : Ninja Assassin, James McTeigue, Warner Bros, Pictures. 2009. x CHAPTER I INTRODUCTION A. Background of the Study Ninja is one of the warrior figures that has the unique sides. Black-clad figures with muffled faces move quickly through
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