THE EFFORT OF WILL SALAS TO DEFEND TIME

REFLECTED IN ANDREW NICCOL’S IN TIME MOVIE (2011) :

AN INDIVIDUAL PSYCHOLOGICAL APPROACH

RESEARCH PAPER

Submitted as a Partial Fulfillment of the Requirements

for Getting Bachelor Degree of Education

in English Department

Written by

ENING PERTIWI

A320090184

SCHOOL OF TEACHER TRAINING AND EDUCATION

MUHAMMADIYAH UNIVERSITY OF SURAKARTA

2013

ii

APPROVAL

THE EFFORT OF WILL SALAS TO DEFEND TIME REFLECTED IN

ANDREW NICCOL’S IN TIME MOVIE (2011) : AN INDIVIDUAL

PSYCHOLOGICAL APPROACH

RESEARCH PAPER

Written by:

ENING PERTIWI

A320090184

Approved to be Examined

by the Consultant:

First Consultant Second Consultant

Drs. Abdillah Nugroho, M.Hum. Nur Hidayat, S.Pd.

NIK. 589 NIK. 771

iii

ACCEPTANCE

THE EFFORT OF WILL SALAS TO DEFEND TIME

REFLECTED IN ANDREW NICCOL’S IN TIME MOVIE

(2011): AN INDIVIDUAL PSYCHOLOGICAL APPROACH

by

ENING PERTIWI

NIM A 320 090 184

Accepted by the Board of Examiners

School of Teacher Training and Education

Muhammadiyah University of Surakarta

On March , 2013

Team of Examiners:

1. Drs. Abdillah Nugraha, M.Hum. ( )

Chair Person

2. Nur Hidayat, S.Pd. ( )

Secretary

3. Dr. Phil. Dewi Candraningrum, M. Hum ( )

Member

Dean

TESTIMONY

I here with asserted that there is no work had been submitted to get

bachelor degree in any University in this research paper and as far as I concern

there is no work or opinion that had been written or published by someone else

except the written references which are reffered in this paper and mentioned in the

bibliography.

If only there will be any incorrectness proved in the future in my statement

above, I will be fully responsible.

Surakarta, Februari 2013

Ening Pertiwi

v

MOTTO

“Nothing is impossible, if we want to try and pray” (the writer)

“Life is choice, and in every choice have consequence” (the writer)

“Smile is the key of peace” (de’teecho)

Bagaimana engkau menginginkan sesuatu yang luar biasa, padahal

engkau sendiri tak mengubah dirimu dari kebiasaanmu? Kita banyak

meminta dan banyak berharap, tetapi sibuknya meminta kadang

membuat kita tak sempat menilai diri sendiri. Padahal, kalaukita

meminta dan bertaubat kita mengubah diri, Allah akan memberikan apa

yang kita minta karena sebetulnya do’a itu adalah pengiring agar kita

bisa mengubah diri kita. (Ibn Atha’illah)

Our friends show what we can do, our enemy teach what we must do

(Poterstein)

“Success is the combination of hard work, intelligence, self-confidence,

patience, perspiration, aptitude, sincerity and luck that counts a lot” (Dr.

Jamshed Chaudhry)

Menantang rintangan dan penderitaan itu lebih mulia daripada ke

belakang menuju ketentraman (Gibran, 1995: 150)

“Mempunyai satu sahabat sejati lebih berharga dari seribu teman yang

mementingkan diri sendiri” (de’teecho)

vi

DEDICATION

Affectionally and wholeheartedly, dedicated to:

♥ My beloved father: Ngatmin and mother: Eni Purwanti

for praying, for always support me with love and

advising me forever;

♥ My beloved lovely sister: Titis Intan Sari

My beloved lovely brothers: Tri Krisbianto & Harun Al

Fahmi

♥ My Beloved Lovely would - be – husband “My Last

Mate”

All my unforgettable best friends that

Thanks for everything

vii

ABSTRACT

ENING PERTIWI, A 320 090 184. THE EFFORT OF WILL SALAS TO

DEFEND TIME REFLECTED IN ANDREW NICCOL’S IN TIME MOVIE

(2011): INDIVIDUAL PSYCHOLOGICAL APPROACH. RESEARCH

PAPER. MUHAMMADIYAH UNIVERSITY OF SURAKARTA. 2013.

The research is proposed to analyze how the effort to defend time reflected in

In Time movie 2011 by Individual Psychological Approach. There are two

objective: the first is to analyze the movie in term of structural elements, and the

second is to analyze the movie based on the individual Psychological Perspective.

This study is a qualitative study, using Andrew Niccol’s In Time movie 2011

as of structural elements, and the secondary data. The primary data source is In

Time movie which is directed by Andrew Niccol, and the secondary data are some

articles, book of literary and internet related to the subject. The method of

collecting data in this research is library research by watching the movie, reading

some related books and articles, accessing internet, taking notes of important part,

arranging, and drawing conclusion the data. In analyzing the data, the writer

employs descriptive analysis.

The outcome of the study shows that the movie illustrates the effort to defend

time. The time here is used as money. The people work to get time, buy and pay

everything use time. And it shows that the rich people will be immortal, the poor

people will die.

Surakarta, March 2013

First Consultant Second Consultant

Drs.Abdillah Nugroho, M. Hum. Nur Hidayat, S.Pd.

NIK. 586 NIK. 771

viii

ACKNOWLEDGMENT

Praise for the Almighty God, Allah SWT, the Rab of Universe. The writer

finally finished her research paper as one of the requirements for achieving

Bachelor Degree in English Department at Muhammadiyah University of

Surakarta. The first and most important, she would like to thank Allah for

blessing, loving, helping, and protecting him, because without all of those, she is

nothing at all. Second, she would like to thank to the real revolutionary,

Muhammadur Rosulullah SAW who had opened and broken the Jahiliyah

(darkness) period to the recent world. She would also like to thank for everyone

who deserves to receive this and it becomes an honor for her for receiving her or

her love and help:

1. Drs. H. Abdillah Nugroho, M.Hum., as the first consultant for giving her a

valuable guidance,

2. Nur Hidayat, S.Pd., as the second consultant who has corrected and criticized

his research paper,

3. Dr. Phil. Dewi Candraningrum, M.Ed., as the third consultant who has

corrected and examined his research paper,

4. Drs. H. Sofyan Anif,M.Si., as the Temporary Dean of Teacher Training and

Education Faculty in Muhammadiyah University of Surakarta,

5. Titis Setyabudi, S.Pd., M.Hum., as the Chief of English Department,

6. Susiati, S.Pd., as Academic Consultant of Class D

7. Her late of lovely mother (Eni Purwanti), father (Ngatmin), sister (Titis

Cuplies), brothers (Krisby and Fahmi), Yanguti, Yangkung, Om Fery, Mbah

ix

Harto, Mbah Poniyem and the big family of Ngatmin for all; love, spirit, and

financial support,

8. Her lovely, Odonk for the spirit and makes her days so beautiful.

9. Her true friend, De’teecho for keeping the beautiful relationship and giving

the wonderful spirit.

10. Her best friend, Most-TOP for the time, joking, and sharing information. The

Ghendhis Teather crew; de’teecho “The Great and Wonderful of OZ”, Aci

“Doroti”, Amel “Tin Girl”, Papi “Lion”, Pradyan “Scarecrow”, all of the

Munchkins, Mirul “Goblin”, Anang, Bapak Vian, Pakdhe Fakhih, Bang Dody,

Mak Niken, Kriting and all of other crews for keeping the nice friendship and

the wonderful action,

11. Her best friends in the house, Mbak Jenk and her son, Item, Risma and Mbak

Atik, for keeping the friendship.

12. All of Eganda boarding house’s members for everything: Jannah, Vivit, Nuri,

Ayu 1, Ayu 2, Wiwik, Tatik, Indah, Fitri, Pak Bu Kost, and others for

supporting,

The last but not least, the writer would also like to thank for everyone who

had helped her that could not be mentioned one by one. The writer realizes that

there are many weaknesses in this research paper because of the limited capability

and knowledge. Finally, she expects this research paper will be useful for the

readers.

Surakarta, Februari 2013

The writer

Tiwy Cute

x

TABLE OF CONTENT

Page

TITLE ................................................................................................................ i

APPROVAL ...................................................................................................... ii

ACCEPTANCE ................................................................................................. iii

TESTIMONY .................................................................................................... iv

MOTTO ............................................................................................................. v

DEDICATION ................................................................................................... vi

ABSTRACT ....................................................................................................... vii

ACKNOWLEDGMENT .................................................................................. viii

TABLE OF CONTENT .................................................................................... x

LIST OF FIGURE ........................................................................................... xiii

CHAPTER I INTRODUCTION ..................................................................... 1

A. Background of the Study ...................................................... 1

B. Previous Studies ................................................................... 5

C. Problem Statement .............................................................. 5

D. Limitation of the Study ......................................................... 6

E. Objective of the Study .......................................................... 6

F. Benefit of the Study .............................................................. 6

G. Research Method .................................................................. 7

H. Research Paper Organization ............................................... 8

xi

CHAPTER II UNDERLYING THEORY ................................................ 10

A. Notion of Individual Psychology ........................................ 10

B. Major Principle of Individual Psychology ........................... 12

C. The Notion of Effort ............................................................. 18

D. The Aspects of Effort .......................................................... 20

E. Structural Element of the Movie .......................................... 22

F. Theoretical Application ........................................................ 35

CHAPTER III STRUCTURAL ANALYSIS ............................................. 36

A. Structural Elements of In Time ............................................ 36

1. Narrative Elements ............................................................ 36

a. Characters and Characterizations ................................ 36

b. Setting ......................................................................... 46

c. Plot .............................................................................. 51

d. Point of View .............................................................. 58

e. Theme ......................................................................... 60

2. Technical Elements ........................................................... 60

a. Mise - en - Scene and Design ........................................... 60

1) Set Dressing............................................................ 61

2) Props ....................................................................... 61

3) Costume and Make-Up........................................... 62

4) Lighting .................................................................. 64

b. Sound .............................................................................. 66

c. Cinematography ............................................................... 66

xii

d. Editing.............................................................................. 73

e. Casting ............................................................................ 77

B. Discussion ............................................................................ 78

CHAPTER IV INDIVIDUAL PSYCHOLOGICAL ANALYSIS............ 82

A. Basic Concept of Psychological Analysis ............................. 82

1. Inferiority Feeling and Compensation ............................. 82

2. Striving for Superiority .................................................... 83

3. Fictional Finalism ........................................................... 84

4. Style of Life ..................................................................... 85

5. Social Interest .................................................................. 85

6. Creative Power................................................................. 86

B. Discussion ........................................................................... 86

CHAPTER V CONCLUSION AND SUGGESTION ..................................... 89

A. Conclusion ............................................................................ 89

B. Educational Implication ...................................................... 90

C. Suggestion ............................................................................ 90

BIBLIOGRAPHY

VIRTUAL REFERENCES

APPENDIX

xiii

LIST OF FIGURE

Page

Figure 1. Will Salas.................................................................................. 38

Figure 2. Sylvia Weis .............................................................................. 39

Figure 3. Rachael Salas ........................................................................... 41

Figure 4. Raymond Leon ......................................................................... 42

Figure 5. Fortis ......................................................................................... 42

Figure 6. Henry Hamilton ........................................................................ 43

Figure 7. Philippe Weis............................................................................ 44

Figure 8. Borel ......................................................................................... 45

Figure 9. Gheta......................................................................................... 46

Figure 10. Time as transaction media ........................................................ 47

Figure 11. Pay use time .............................................................................. 47

Figure 12. Will’s Apartment ...................................................................... 47

Figure 13. The Factory ............................................................................... 48

Figure 14. In the Bar .................................................................................. 48

Figure 15. The Empty Building ................................................................. 48

Figure 16. New Greenwich City ................................................................ 49

Figure 17. The Hotel .................................................................................. 49

Figure 18. The Sylvia’s House................................................................... 50

Figure 19. The Philipe’s Office ................................................................. 50

Figure 20. The Weis Timelenders .............................................................. 50

Figure 21. The Hotel in Gheto ................................................................... 51

xiv

Figure 22. The Biggest Bank ..................................................................... 51

Figure 23 Henry gave all the time that he had to Will when will was

slept........................................................................................... 53

Figure 24. When Henry wanted to die, He ended of his life in one of

bridge in Ghetto. ...................................................................... 53

Figure 25. Will Salas kidnapped Sylvia ..................................................... 55

Figure 26. Fortis make a trap to Will and Sylvia ....................................... 55

Figure 27. And then Fortis was robbed Sylvia and Will............................ 56

Figure 28. Rob the Weis’ bank .................................................................. 58

Figure 29. Many people spread on the way and move to New Greenwich 58

Figure 30. A gown and hand cover ............................................................ 61

Figure 31. Coat and bowtie ........................................................................ 61

Figure 32. Black Coat ................................................................................ 62

Figure 33. Deposite of Time Tools that are used for save the time ........... 62

Figure 34. Make up for woman ................................................................. 63

Figure 35. Dark light .................................................................................. 64

Figure 36. Bright light ............................................................................... 65

Figure 37. dark color .................................................................................. 67

Figure 38. bright color ............................................................................... 67

Figure 39. straigh-on-angle scene .............................................................. 68

Figure 40. high angle scene ....................................................................... 69

Figure 41. low angle scene......................................................................... 69

Figure 42. Extreme long shot ..................................................................... 69

xv

Figure 43. Long shot .................................................................................. 70

Figure 44. Medium long shot ..................................................................... 70

Figure 45. Medium shot frame................................................................... 70

Figure 46. Medium close up ...................................................................... 71

Figure 47. Close up .................................................................................... 71

Figure 48. Extreme close up ...................................................................... 71

Figure 49. Axis-of-Action .......................................................................... 73

Figure 50. Establishing Shot ...................................................................... 73

Figure 51. Reserve shot 1........................................................................... 73

Figure 52. Reserve 2 .................................................................................. 74

Figure 53. Reestablishing 1........................................................................ 74

Figure 54. Reestablishing 2........................................................................ 74

Figure 55. Match-on-Action 1 ................................................................... 75

Figure 56. Match-on-Action 2 ................................................................... 75

Figure 57. Match-on-Action 3 ................................................................... 75

Figure 58. Cross Cutting 1 ......................................................................... 76

Figure 59. Cross Cutting 2 ......................................................................... 76