THE MORAL VALUES REVEALED THROUGH ANDY’S WAYS …

THE MORAL VALUES REVEALED THROUGH ANDY’S

WAYS OF OVERCOMING HIS CONFLICTS IN CARGO

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra

in English Letters

By PUTU SEKAR KINARYANING LANGIT

Student Number: 154214026

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

UNIVERSITAS SANATA DHARMA

YOGYAKARTA

2019

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

ii

THE MORAL VALUES REVEALED THROUGH ANDY’S

WAYS OF OVERCOMING HIS CONFLICTS IN CARGO

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra

in English Letters

By PUTU SEKAR KINARYANING LANGIT


DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

UNIVERSITAS SANATA DHARMA

YOGYAKARTA

2019


A Sarjana Sastra Undergraduate Thesis

THE MORAL VALUES REVEALED THROUGH ANDY'SWAYS OF OVERCOMlNG ms CONFLICTS IN CARGO

ByPUTU SEKAR KlNARYANlNG LANGlT


Approved by

AElLAdvisor

Dr. GabrielCo-Advisor

iii

July 10,2019

July 10,2019


A SalJana Sastra Undergraduate Thesis

THE MORAL VALUES REVEALED THROUGH ANDY'SWAYS OF OVERCOMING IDS CONFLICTS IN CARGO

ByPlJTlJ SEKARKJNARYANlNG LANGJT


Defended before the Board of ExaminersOn July 22, 2019

And Declared Acceptable

BOARD OF EXAMINERS

NAME

Chairperson : A.B. Sri Mulyani, M.A., Ph.D.

Secretary : Dr. Gabriel Faiar Sasmita AiL M.Hum.

Member 1 : Elisabeth Oseanita Pukan, S.S.. M.A.

Member 2 : A.B. Sri Mulyani, M.A., Ph.D.

Member 3 : Dr. Gabriel Fajar Sasmita AiL M.Hum.

SIGNATURE

iv


STATEMENT OF ORIGINALITY

I certifY that this undergraduate thesis contains no material which has been

previously submitted for the award of any other degree at any university, and that,

to the best of my knowledge, this undergraduate thesis contains no material

previously written by any other person except where due reverence is made in the

text of the undergraduate thesis.

Yogyakarta, July 6

Putu Sekar Kinaryaning Langit

v


LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAHUNTUK KEPENTINGAN AKADEMIS

Yang bertanda tangan dibawab ini, saya mabasiswa Universitas Sanata Dharma

Nama : Putu Sekar Kinaryaning Langit

Nomor Mabasiswa : 154214026

Delni pengembangan ilmu pengetabuan, saya memberikan kepada Perpustakaan

Universitas Sanata Dharma karya ilmiab saya yang beljudul

THE MORAL VALUES REVEALED THROUGH ANDY'SWAYS OF OVERCOMING IDS CONFLICTS IN CARGO

Beserta perangkat yang diperlukan. Dengan demikian saya memberikan kepada

Perpustakaan Universitas Sanata Dharma hak untuk menyimpan. mengalihkan

dalam bentuk media lain, mengelola dalam bentuk pangkalan data,

mendistribusikan secara terbatas, dan mempublikasikannya di internet atau media

lain untuk kepentingan akadetnis tanpa periu meminta ijin kepada saya mauptrn

memberikan royalty kepada saya selama tetap mencantumkan nama saya sebagai

penulis.

Demooan pernyataan ini saya buat dengan sebenarnya.

Dibuat di YogyakartaPada tanggal6 Juli 2019

Yang menyatakan,

vi


vii

“You is kind, You is smart, You is important.” – Aibileen Clark, The Help


viii

Mama, Bapak, Phu,

I dedicate this one for you.


ix

ACKNOWLEDGEMENTS

My greatest gratitude goes to Ida Sang Hyang Widhi Wasa for His blessing

and guidance that lead me on finishing this study. I would not be on this phase of

my life if it was not because of His Love.

My deepest gratitude goes to my thesis advisor, A.B. Sri Mulyani M.A., Ph.D.

for her time, patience, suggestions, and kindness from the beginning. Her support

and guidance have helped me a lot on finishing this thesis. I would also like to thank

my thesis co-advisor, Dr. Gabriel Fajar Sasmita Aji, M.Hum. for his willing to give

me the additional suggestions and advices for this thesis. For Miss Sisca, thank you

for being such a supportive lecturer and a great DPA.

My appreciation goes to my mama, bapak, and Phu for their endless love and

support since the beginning. Thank you for accepting me for who I am and

encouraging me to be a better version of myself every day. This one is for you and

I love you all so much.

I would also like to appreciate Prema for his every day love and company

during my thesis making. Lastly, I want to thank my dudes Adel, Thalia, Lucy,

Hugo, Nonik, Deany, Eduardine, Tirza, also Gitta and Oven for making these past

four years felt more fun and easier. For every member of Keluarga Mahasiswa

Hindu Dharma Sadhar, thank you for offering me a feeling of having a new family.

Putu Sekar Kinaryaning Langit


x

TABLE OF CONTENTS

TITLE PAGE ........................................................................................................ ii

APPROVAL PAGE ............................................................................................. iii

ACCEPTANCE PAGE ........................................................................................ iv

STATEMENT OF ORIGINALITY .................................................................... v

LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH .. vi

ACKNOWLEDGEMENTS ................................................................................. ix

TABLE OF CONTENTS ...................................................................................... x

ABSTRACT ......................................................................................................... xii

ABSTRAK ............................................................................................................. xii

CHAPTER I: INTRODUCTION ........................................................................ 1 A. Background of the Study ............................................................................. 1 B. Problem Formulations ................................................................................. 4 C. Objectives of the Study ............................................................................... 4 D. Definition of Terms ..................................................................................... 5

1. Moral Value ............................................................................................ 5 2. Conflict .................................................................................................... 5

CHAPTER II: REVIEW OF LITERATURE .................................................... 6 A. Review of Related Studies .......................................................................... 6 B. Review of Related Theories ...................................................................... 10

1. Theory of Character and Characterization ............................................ 11 2. Theory of Conflict ................................................................................. 14 3. Cinematic Points of View ..................................................................... 15 4. Theory of Moral Value in Literature ..................................................... 17

C. Theoretical Framework ............................................................................. 20

CHAPTER III: METHODOLOGY .................................................................. 22 A. Object of the Study .................................................................................... 22 B. Approach of the Study ............................................................................... 24 C. Method of the Study .................................................................................. 26

CHAPTER IV: ANALYSIS ............................................................................... 28 A. The Descriptions of Andy’s Characteristics in Cargo .............................. 28

1. Compassionate ...................................................................................... 29 2. Cooperative ........................................................................................... 35 3. Rational ................................................................................................. 39

B. The Conflicts that Andy Faces in Relation with his Characteristics in Cargo ......................................................................................................... 41 1. External Conflicts.................................................................................. 42 a. Andy vs Kay .......................................................................................... 42


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b. Andy vs Vic .......................................................................................... 45 2. Internal Conflicts ................................................................................... 48 a. Dispiritedness vs Responsibility ........................................................... 48 b. Soreness vs Determination .................................................................... 51

C. The Moral Values Revealed from Andy’s Ways of Overcoming His Conflicts in Cargo ..................................................................................... 53 1. Rationality is the Key to Solve a Problem ............................................ 54 2. Unconditional Love is the Best Thing that A Family Has .....................533. People will Always Need the Help of Others ........................................55

CHAPTER V: CONCLUSION .......................................................................... 60

REFERENCES .................................................................................................... 63


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ABSTRACT

PUTU SEKAR KINARYANING LANGIT, The Moral Values Revealed

Through Andy’s Ways of Overcoming his Conflicts in Cargo. Yogyakarta: Department of English Letters, Faculty of Letters, Universitas Sanata Dharma.

This study analyses an Australian film entitled Cargo that tells about a journey of a father named Andy to save and bring his only daughter, Rosie to a safe place during the zombie apocalypse. There are many conflicts that Andy faces throughout this journey. However, Andy successfully solves them and brings Rosie to a place where she can continue her life safely.

There are three objectives of this study. The first one is to reveal how Andy’s

characteristics are described in Cargo. The second one is to identify the conflicts that Andy faces in relations with his characteristics in Cargo. The last one is to reveal the moral values from Andy’s ways of overcoming the conflicts he faces in Cargo.

In this study, the writer uses formalist approach as the study only focuses on the intrinsic elements of Cargo such as the character’s characteristics, conflicts, and

moral values. There are two kinds of sources that are used in this study: primary and secondary sources. The primary source is a film entitled Cargo. The secondary sources are a journal article, thesis, books, and internet articles. Therefore, it is concluded that the suitable method for this study is the library research one.

The study reveals that Andy has three main characteristics within himself: compassionate, cooperative, and rational which are described through his speeches, actions and the cinematic points of view which shoot his expressions and actions perfectly. These three characteristics that Andy has within himself enable him to solve the conflicts he faces in the second question. In Cargo, Andy experiences two kinds of conflicts which are external and internal ones. The external conflicts are between Andy versus Kay and Andy versus Vic. The conflicts are successfully solved by Andy as he remains rational, compassionate, and cooperative when overcoming them. The internal conflicts Andy faces are between his dispirited versus responsibility and soreness vs determination. Fortunately, both the internal conflicts are solved by Andy because he remains compassionate and cooperative when coping with them. There are three moral values revealed from Andy’s ways

of coping with his conflicts. First, rationality is the key to solve a problem. Second, unconditional love is the best thing that a family has. Lastly, people will always need the help of others. Keywords: Characteristic, Conflict, Moral Value.


xiii

ABSTRAK

PUTU SEKAR KINARYANING LANGIT, The Moral Values Revealed

Through Andy’s Ways of Overcoming his Conflicts in Cargo. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma.

Penelitian ini menganalisis sebuah film Australia berjudul Cargo yang mengisahkan tentang perjalanan seorang ayah bernama Andy untuk menyelamatkan dan membawa anak semata wayangnya, Rosie ke tempat aman saat wabah zombie sedang berlangsung. Andy menjumpai banyak konflik disepanjang perjalanan yang ia tempuh. Namun, Andy berhasil menyelesaikan semuanya dan membawa Rosie ke tempat dimana dia dapat melanjutkan hidup dengan aman.

Terdapat tiga objektif dalam studi ini. Yang pertama adalah untuk mengungkap bagaimana karakteristik Andy digambarkan dalam Cargo. Yang kedua adalah untuk mengidentifikasi konflik-konflik yang ditemui Andy, yang juga memiliki kaitan dengan karakteristiknya dalam Cargo. Terakhir adalah mengungkap nilai moral yang tercermin dari cara Andy mengatasi masalah yang dihadapinya dalam Cargo.

Dalam studi ini, penulis menggunakan pendekatan formalis sebab studi ini hanya berfokus pada elemen dalam pada Cargo seperti karakteristik yang dimiliki karakter, konflik, serta nilai moral. Terdapat dua sumber yang digunakan dalam studi ini: sumber utama dan tambahan. Sumber utama studi ini adalam sebuah film berjudul Cargo. Sumber lainnya berasal dari jurnal artikel, skripsi, buku-buku, dan artikel-artikel internet. Oleh sebab itu, dapat disimpulkan bahwa metode penelitian yang tepat pada studi ini adalah metode penelitian kepustakaan.

Studi ini menunjukkan bahwa Andy memiliki tiga karakteristik utama dalam dirinya: penuh kasih sayang, koperatif, dan rasional yang digambarkan melalui perkataan dan perilaku Andy, serta sudut pandang sinematik yang mampu merekam ekspresi dan tindakan Andy dengan baik. Karakteristik-karakteristik yang tertanam dalam diri Andy inilah yang membuatnya mampu menyelesaikan konflik yang ia hadapi pada pertanyaan kedua. Dalam Cargo, Andy mengalami dua jenis konflik yaitu konflik eksternal dan internal. Konflik eksternal terjadi antara Andy melawan Kay dan Andy melawan Vic. Konflik-konflik tersebut berhasil terselesaikan karena Andy tetap bersikap rasional, penuh kasih sayang, dan koperatif saat menghadapinya. Konflik internal yang dirasakan Andy adalah antara keputusasaan melawan tanggungjawab dan kesakitan melawan kebulatan tekad yang dimilikinya. Beruntung, kedua konflik internal tersebut dapat Andy atasi karena ia tetap bersikap penuh kasih sayang dan koperatif saat menanganinya. Adapun tiga nilai moral yang dicerminkan dari cara Andy mengatasi konflik-konflik yang ia hadapi. Pertama, rasionalitas adalah kunci untuk menyelesaikan masalah. Kedua, kasih sayang tanpa syarat adalah hal terbaik yang dimiliki sebuah keluarga. Terakhir, manusia akan selalu membutuhkan bantuan dari orang lain. Keywords: Characteristic, Conflict, Moral Value.


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CHAPTER I

INTRODUCTION

A. Background of the Study

Literature is a form of art that depicts human’s life perfectly. Through

literature, people can see the portrayal of life phenomena that usually happen such

as birth, death, love, sadness, or even fear in written forms. The story and

phenomena are usually written in an aesthetic way to attract the reader or viewer’s

interest. According to Wellek and Warren,

Literature is a creative activity and art. Without artistic values, literature would be just another kind of writing, along with scientific, works, or reports (1956, p. 15).

As a form of literature, film has screenplay as its form of writing. In 19th

century when people tried to create a new form of literature, various people began

experimenting with photos and blending them together to give the illusion of a

motion picture which was accomplished using multiple cameras and assembling the

individual pictures into a single motion picture (https://headsup.boyslife.org/what-

was-the-first-movie-ever-made/). The success of film as one of people’s favorite art

forms is clearly seen as the production of it keeps going until today.

Film, just like the other forms of literature such as novel or short story, also

has a story plot. The plot is needed to keep one scene to the next one stays orderly.

As the scenes are put properly, the viewers will definitely understand the story

better. One element that is usually found in a plot is conflict. According to Brown,


https://headsup.boyslife.org/what-was-the-first-movie-ever-made/)

https://headsup.boyslife.org/what-was-the-first-movie-ever-made/)

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a good plot produces conflict to build the excitement and suspense that are needed

to keep the reader(viewer) involved (1998, p. 26). Based on the previous

explanation, conflicts both from internal or external forces can happen in the

character’s life to build the reader or viewer interest.

One film that greatly depicts someone’s struggle in facing a life conflict is

Cargo. The movie was aired in 2018 worldwide with Yolanda Ramke as the

screenplay writer. Ramke also becomes the film director along with Ben Howling.

The main idea about the film is about a father who has a journey of finding a safe

home for his baby daughter during the zombie apocalypse time.

The story starts with a little family consisting of Andy, Kay, and their baby-

daughter, Rosie, who live on a houseboat in rural Australia where a zombie

apocalypse is out-breaking. Andy’s wife is the first in the family who is bitten by a

zombie when she tries to find food in an abandoned boat. Realizing the situation

may get worse, Andy and his little family leave their boat and drive to find a cure.

On their way to find a help, they see such terrific views of many people who have

turned into zombies. As Andy drives, he does not realize that the condition of his

wife is getting worse every hour. When Andy looks at Kay in the next 48 hours

after she gets bitten, he sees that his wife has turned into a zombie. Andy tries to be

quiet, save his daughter, get out of the car, and leave his beloved wife.

Unfortunately, when Andy tries to reach Rosie in the back of the car, Kay

recognizes his moves and bites Andy. Andy immediately realizes that in the last 48

hours he will turn into a zombie as well. Wanting nothing to happen to Rosie, Andy


3

uses his time left as a human to save her. On his way of searching a safe place to

become his daughter’s new home, Andy faces many internal and external conflicts.

Andy’s condition is also getting worse every hour which makes him losing the

control over himself. On the other side, there seems to be only a few people that are

willing to give Andy a help because the situation is dangerous and no one can really

do much about it. However, at the end of the film, Andy successfully reaches his

goal to save his daughter and leave her in a safe home.

A literary work such as film is created to make the viewer, listener, or reader

feel and learn something from it. As explained by Boggs and Petrie, the best films

are built around statement that teaches us something (2006, p. 411). Someone can

experience many feelings such as sadness, happiness, relief, or anger when enjoying

a piece of literary work. Furthermore, someone can learn something and get the

moral value from the literature itself. According to Brown, moral value is our

judgements of what ought to be for ourselves and others in moral conduct (1998,

p.45). In a literary work, the moral value is usually depicted through the character’s

life story. How the character acts or solves the problem she/he faces in the story can

inspire the viewer to do the same good thing in real life. Moreover, a literary work

also can help people on getting a new or better perspective on seeing something in

life.

As a film, Cargo is one of many works of literature which has many moral

values that can be learned and applied in real life. By analysing Andy’s

characteristics, conflicts, and how he overcomes them, the writer finds the moral


4

values depicted from Cargo. A literary work’s moral values, as the main focus of

this study, is one of the most important elements of a literary work that is put to

give the reader or viewer something good to be inspired by.

B. Problem Formulations

To be able to see the moral values from Andy’s ways of solving the conflicts

that he faces in Cargo, three questions are formulated as follows:

1. How are Andy’s characteristics described in Cargo?

2. What are the conflicts that Andy faces in relation with his characteristics in

Cargo?

3. What are the moral values revealed from Andy’s ways of overcoming the

conflicts in Cargo?

C. Objectives of the Study

This research aims to reveal the moral values found in Cargo by analysing

Andy’s ways of overcoming the conflicts he faces. The writer believes that Andy’s

characteristics and the ways he overcomes the conflicts he faces in Cargo reveal

many moral values which are positive to be learnt. This research has three

objectives to be fulfilled. The first one is to identify how Andy’s characteristics are

described in Cargo. The second objective is to find the conflicts that are faced by

Andy and the ways he overcomes them. The last objective is to reveal the moral

values depicted from Andy’s ways of overcoming the conflicts he faces.


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D. Definition of Terms

1. Moral Value

According to Gonsalves,

Moral values are understood to be those that make a person good and simply as a person. Moral values reside both in the acts a person chooses to do and in the results of those acts on the character of the person. There are morally good and bad human acts and morally good and bad person (1986, p. 75). Based on the statement above, moral value is seen as the idea that differs

between good and bad. Moral value is seen in people when they choose to do good

actions which have good impacts towards themselves or society.

2. Conflict

According to Boggs and Petrie,

Conflict is the mainspring of every story, whether it be told on the printed page, on the stage, or on the screen. It is the element that really captures our interest, heightens the intensity of our experience, quickens our pulses, and challenges our minds (2006, p. 57). Conflict holds such a big role in a story. Conflict is the struggle or problem that

is depicted in a story which enables the reader or viewer feels excited, interested,

or motivated when enjoying a literary work.


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CHAPTER II

REVIEW OF LITERATURE

This chapter concerns with the review of literature and it is divided into three

main parts: review of related studies, review of related theories, and theoretical

framework.

A. Review of Related Studies

In this part of the chapter, some related studies are necessarily put as the

references on finishing this study. The first study is a journal article written by

Desfika Beti Utami and Restu Arini (2017) titled “An Analysis of Moral Values in

Burnett’s Little Lord Fauntleroy”. In this study, Utami and Arini use objective

approach as the study focuses more on the intrinsic elements of the novel. There

are four theories that are used in this study: theory of character traits, theory of

useful character traits, theory of conscientiousness, and theory of motives. Those

theories are used to answer two questions formulated: 1) How is Cedric’s

personality depicted in the novel? 2) What are the moral values that can be taken

from Cedric’s personality in the novel? The results show that the main character,

Cedric has such positive personalities. Cedric is an honest, kind-hearted, friendly,

humble, wise, sympathetic, and responsible boy. Those personalities are depicted

by the way Cedric interacts with people in his everyday life. The personalities

Cedric has successfully lead the writers on finding the moral values behind them

all. Cedric, as the main character, positively gives many life lessons to the novel,


7

readers. The life lessons that Cedric teaches to the reader are about honesty,

kindness, hospitality, modesty, wisdom, empathy, and responsibility from his

personalities (2017, pp. 35-38).

There are some similarities found between Utami and Arini’s journal article

and this study. Both the studies analyse the moral values that are found in a literary

work. Moreover, the two studies analyse the main character’s personalities or

characteristics in the first question formulated. However, some differences are also

found between these two studies. Utami and Arini’s journal article only focuses on

Little Lord Fauntleroy’s main character’s personalities to find the moral values by

using theory of character traits, theory of useful character traits, theory of

conscientiousness, and theory of motives. Different from Utami and Arini’s journal

article, this study does not only focus on the way Cargo’s main character’s

characteristics described, but also the conflicts he faces to find the moral values of

the film. Unlike Utami and Arini’s journal, in this study, the writer chooses to use

theory of character and characterization, theory of conflict, cinematic points of view

methods, and theory of moral value in literature to analyse the questions in the

problem formulation.

The second study is Martina Veni Handayani’s undergraduate thesis entitled

Moral Values Revealed by the Major Character in Solving Her Conflict in Neil

Gaiman’s Coraline (2017). In this study, Handayani uses moral philosophy

approach and three theories: theory of character and characterization, theory of

conflict, and theory of moral values in literature. Those theories are used to answer

the three questions mentioned in the problem formulation which are 1) How is the


8

main character Coraline described in the novel? 2) What are the conflicts Coraline

faces? 3) What are the moral values revealed in the way Coraline overcomes the

conflict? The results show that the main character, Coraline is described as an

adventurous, brave, curious, and creative woman. These characteristics that

Coraline has successfully makes her go into the magical world. In the novel,

Coraline experiences several conflicts which are mostly external conflicts between

Coraline versus the other mother and Coraline versus the environment. However,

there is also an internal conflict Coraline experiences within herself. Fortunately, in

the end of the novel, Coraline succeeded on overcoming those conflicts. The ways

Coraline solves the conflicts she faces successfully creates several moral values.

Handayani says, moral value is the idea of principle that teaches person to be better

in behavior (2017, p. 35). Those moral values are to be grateful and appreciate what

you have in life, to do something with courage although you are scared, and to be

careful of what you wish for. The conflicts Coraline experiences teaches her to have

a new way of thinking in seeing life.

Handayani’s undergraduate thesis has some similarities and differences with

this study. The questions found in Handayani’s problem formulation are similar

with this study’s questions in the problem formulation. Both Handayani’s

undergraduate thesis and this study talk about moral values and use some similar

theories which are theory of character and characterization, theory of conflict, and

theory of moral value. However, most of the theories that both the studies use come

from different sources. Moreover, this study has one additional theory used which

is cinematic points of view methods. Another thing that differs this study from


9

Handayani’s undergraduate thesis is how this study uses formalist approach, while

Handayani’s uses moral philosophy approach to analyse the study. The last

difference between this study and Handayani’s undergraduate thesis is how this

study has Cargo as its object of the study, while Handayani’s has Coraline.

The last study is an undergraduate thesis written by Desilva Putri Utami (2016)

titled The Moral Values Revealed Through the Major Character’s Bad Experiences

in Toni Morrison’s A Mercy. In this study, Utami uses three different theories:

theory of character and characterization, theory moral value, also message and

moral values in literature to answer the three questions formulated which are (1)

How is Florens depicted in A Mercy? (2) What are Florens’s bad experiences

revealed in the novel? (3) What are the moral values revealed through Florens’s bad

experiences? The results show that Florens is a kind, smart, brave, trustworthy, yet

sometimes naïve and unyielding woman. Those characteristics of Florens are

shown through her conversations, actions, and the comments of another character.

Florens is a black slave woman who experiences many bad things during her life.

At that time, white people like to treat black people unequally. Utami says,

Sometimes they were sold just like stuff. The white people pretended them as a material that can be profitable to their own. They discriminated the slave especially black woman (2016, p. 57). The bad experiences Florens experienced such as being abandoned by her

mother, being abandoned by Blacksmith, being abandoned by the widow’s

neighbor, and being treated unfairly by white woman successfully make Florens

stronger and tougher throughout the story. Moreover, the bad experiences that

Florens feels successfully depict several moral values that are important to be learnt.


10

The moral values that are taken from Florens’s experiences are judge somebody

based on reality, be sincere and serves somebody sincerely, be resilient to face

problem, be respectful and be responsible to somebody, and be positive to look back

at bad experiences.

Utami’s undergraduate thesis has several similarities with this study. Utami’s

undergraduate thesis and this study only focus on the main character of the literary

works. Moreover, both the studies use theory of character and characterization also

theory of moral value in order to answer the questions in the problem formulations.

However, there are also some differences found between Utami’s and this

undergraduate study. Utami’s undergraduate thesis focuses on the main character’s

bad experiences in the second question, while this study focuses on the conflicts

that the main character faces in the film. Furthermore, this study uses theory of

conflict and cinematic points of view method as the additional theories to answer

the questions in the problem formulation. Lastly, both Utami and this study have

different literary works as the object of the study which are A Mercy and Cargo.

B. Review of Related Theories

This part presents review of the theories that are applied in this study: theory

of character and characterization, theory of conflict, cinematic points of view

method, and theory of moral value in literature. These four conflicts are used to

help the analysis of the moral values that are revealed through Andy’s ways of

overcoming his conflicts in Cargo.


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1. Theory of Character and Characterization

A character has a significant role in a story. She/he is the person whose live

and experiences are told in the story. In The Art of Watching Films, Joseph M.

Boggs and Dennis W. Petrie explain,

To be interesting, characters must seem real, understandable, and worth caring about. For the most part, the characters in a story are believable in the same way that the story is believable (2006, p. 60).

Based on the statement above, the role of a character in a literary work is really

important. A character needs to be realistic, entertaining, and understandable in

order to gain the audiences’ attention. Boggs and Petrie also mention seven methods

for analysing film characterization.

a. Characterization Through Appearance: A major aspect of film characterization

is revealed visually and instantaneously—The minute we see most actors on

the screen, we make certain assumptions about them because of their facial

features, dress, physical build, and mannerism and the way they move.

b. Characterization Through Dialogue: Characters in a fictional film naturally

reveal a great deal about themselves by what they say. But a great deal is also

revealed by how they say it. Their true thoughts, attitudes, and emotions can

be revealed in subtle through word choice and through the stress, pitch, and

pause patterns of their speech.

c. Characterization Through External Action: Perhaps the best reflection of

character is a person’s action—There should be a clear relationship between a

character and his or her actions; the actions should grow naturally out of the

character’s personality.


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d. Characterization Through Internal Action: Inner action occurs within the

character’s minds and emotions and consists of secret, unspoken thoughts,

daydreams, aspirations, memories, fears, and fantasies. People’s hopes,

dreams, and aspirations can be as important to an understanding of their

character as any real achievements, and their fears and insecurities can be more

terrible to them than any real catastrophic failure.

e. Characterization through Reactions of Other Characters: The way other

characters view a person often serves as an excellent means of characterization.

Sometimes, a great deal of information about a character is already provided

through such means before the character first appears on the screen

f. Characterization Through Contrast: Dramatic Foils: One of the most effective

techniques of characterization is the use of foils—contrasting characters whose

behavior, attitudes, opinions, lifestyles, physical appearance, and so on are the

opposite of those of the main characters.

g. Characterization Through Choice of Name: One important method of

characterization is the use of names possessing appropriate qualities of sound,

meaning, or connotation. This technique is known as name typing.

h. Characterization Through Caricature and Leitmotif: In order to etch a character

quickly and deeply in our minds and memories, actors often exaggerate or

distort one or more dominant features or personality traits (2006, pp. 60-66).

Another way of analysing the characters and their characterizations in a literary

work is also explained by M.J. Murphy in Understanding Unseen. According to


13

Murphy, there are nine ways in which the author of a story attempts to make the

readers understand the character of her/his work.

a. Personal description: The author can describe a person’s appearance and

clothes.

b. Character as seen by another: Instead of describing a character directly, the

author can describe him through the eyes and opinions of another.

c. Speech: The author can give us an insight into the character of one of the

persons in the book through what that person says.

d. Past life: By letting the reader learn something about a person’s past life, the

author can give us a clue to events that have helped to shape a person’s

character. This can be done by direct comment by the author, through the

person’s thoughts, through his conversation or through the medium of another

person.

e. Conversation of others: The author can also give us clues to a person’s

character through the conversations of other people and the things they say

about him.

f. Reactions: The author can also give us a clue to a person’s character by letting

us know how that person reacts to various situations and events.

g. Direct comment: The author can describe or comment on a person’s character

directly.

h. Thoughts: The author can give us direct knowledge of what a person is thinking

about. In this aspect, he is able to do what we cannot do in real life. He can tell

us what different people are thinking. In the novel, we accept this. The reader


14

then is privileged position; he has, as it were, a secret listening device plugged

in to the inmost thoughts of a person in a novel.

i. Mannerism: The author can describe a person’s mannerism, habits or

idiosyncrasies which may also tell us something about his character (1972, pp.

161-173).

2. Theory of Conflict

In A Handbook to Literature, Harmon and Holman explain,

Conflict is the struggle that grows out of the interplay of two opposing forces. Conflict provides interest, suspense, and tension. At least one of the opposing forces is customarily a person. (2012, p. 123)

A similar statement is mentioned by Boggs and Petrie in The Art of Watching

Films. Boggs and Petrie mention two kinds of major conflicts that the central

character usually involved in:

a. Internal Conflict: In all such internal conflict, we see a character squeezed

between the two sides of his or her personality, torn between equally strong but

conflicting desires, goals, or value systems. For example, in James Thurber’s

The Secret Life or Walter Mitty, we have a conflict between what a man

actually is and what he wants to be. By escaping constantly into the world of

his daydream, Mitty reveals himself to be living in a permanent state of conflict

between his heroic dreams and the drab of reality of his existence.

b. External Conflict: Consist of a personal and individual struggle between the

central character and another character—Conflicts can seldom be isolated

completely from other individuals, society as a whole, or the value systems of

the individuals involved. Thus, they often grow into representative struggles


15

between groups of people, different segments of society or social institutions,

or different value systems. Another type of external conflict pits the central

character or characters against some nonhuman force or agency, such as fate,

the gods, the forces of nature, or the social system (2006, pp. 58-59).

Based on the statements above, conflict is a problem or struggle that is usually

found in a story. A conflict usually happens in a character’s life. The conflict can

happen between a character versus herself/himself or the other forces. In internal

conflict, a character usually has a conflict within herself/himself. The conflict

happens as two desires within oneself are against one another. However, in external

conflict, a character usually has a conflict with a force outside herself/himself. The

conflict she/he faces can be against another character, a society, or even nature.

3. Cinematic Points of View

According to Boggs and Petrie, to appreciate fully the workings of the

cinematic film, we must be willing to watch in a little different way, focusing not

just on what we are seeing but also on how it is being shown and why it is being

shown that way (2006, p. 126). Based on the previous explanation, it is clear

explained that when we want to understand a film better, we need to focus and

understand why an action is taken in a certain way by the camera. The camera

positioning in the film that can involve the viewer within the film and makes them

understand the film deeper is called cinematic points of view.

In The Art of Watching Films, Boggs and Petrie mention four points of view

that are employed in motion pictures:


16

a. Objective Point of View: As cited by Boggs and Petrie, according to Ford the

camera is considered to be a window and the audience to be outside the window

viewing the people and events within. We are asked to watch the actions as if

they were taking place at a distance, and we are not asked to participate.

b. Subjective Point of View: It provides us with the visual viewpoint and

emotional intensity felt by a character participating in the action. According to

Alfred Hitchcock, as cited by Boggs and Petrie, the point is to draw the

audience right into the situation—instead of leaving them to watch it from

outside, from a distance. Generally, this viewpoint is maintained by a moving

camera, which forces us to see exactly what the character is seeing and in a

sense to become the character.

c. Indirect-Subjective Point of View: It does not provide a participant’s point of

view, but it does bring us close to the action so that we feel intimately involved

and our visual experience is intense. Consider a close-up that conveys the

emotional reaction of a character. We recognize that we are not the character,

yet we are drawn into the feeling that is being conveyed in a subjective way.

d. Director’s Interpretive Point of View: The director is always manipulating our

viewpoint in subtle ways. The film-maker chooses not only what to show us

but also how we will see it. by photo-graphing a scene from special angles or

with special lenses, or in slow or fast motion, and so on, he or she imposes on

the image a certain tone, emotional attitude, or style (2006, pp. 126-132).

Based on the explanations above, it is concluded that the four points of view

are really distinct from one another. The objective point of view is how a camera


17

only show us the characters and actions in the film from one side which will be

boring if this point of view is used in the whole film. The subjective point of view,

on the other hand, let us participate in the film by making us enable to see from the

character’s point of view as the camera not only focus on one angle but also the

others. Similar to subjective point of view, indirect-subjective point of view also let

us participate on the action of the character, but we do not see directly from the

character’s point of view. The last one is the director’s interpretive point of view

which is the director’s way of making the film with his special angle, motion, tone,

and more to make it interesting to be watched.

4. Theory of Moral Value in Literature

In Why Good is Good: The Source of Morality, Robert A. Hinde explains about

the meaning of morality, morals, and moral values.

‘Morality’ concerns the distinction between good and evil, and ‘morals’ are

usually taken to refer to rules about what people ought to do and what they ought not to do—‘moral’ values or behavior, we usually mean values that we

see as ‘good’, or how someone ‘ought’ to behave. Although – as we shall see – the mechanism by which people come to hold moral values and behavior are acquired, our main interest is with the former (2002, p. 3). The similar idea about moral value, along with nonmoral value is also

explained by Thomas Lickona in Educating for Character. He tells,

Values are two kinds: moral and nonmoral. Moral values such as honesty, responsibility, and fairness carry obligation. Moral values tell us what we ought to do and we must abide by them even when we’d rather not. However,

nonmoral values carry no obligation and express what we want or like to do. (1991, p.38)


18

In accordance with moral value, Lickona mentions three components of good

character: moral knowing, moral feeling, and moral behavior. These components

can lead a person’s moral life and create her/his moral maturity.

a. Moral Knowing: there are many different kinds of moral knowing we need

to draw on as we deal with life’s moral challenges. The moral knowing

such as moral awareness, knowing moral value, perspective-taking, moral

reasoning, decision making, and self-knowledge make an important

contribution to the cognitive side of character.

b. Moral Feeling: the emotional side of character has been vastly neglected in

discussions of moral education, but it is profoundly important. Simply

knowing what is right is no guarantee of right conduct. With the six aspects

of moral feeling: conscience, self-esteem, empathy, loving the good, self-

control, and humility, people can make up the emotional side of

themselves. The moral feelings are important as the absence or presence of

it explains in large part why some people practice their moral principles

and others do not.

c. Moral Action: It is the outcome of the moral knowing and moral feeling of

character. If people have the moral qualities of intellect and emotion we

have just examined, they are likely to do what they know and feel to be

right. Three aspects of moral action: competence, will, and habit will move

a person to act morally. (1991, p. 51-62).


19

The existence of moral value in literary works is explained by Moody in The

Teaching of Literature with special Reference to Developing Countries. Moody

explains,

Moral value exists in a literary works that connect with human’s noble behavior and attitude. The moral value is seen through character behavior, the way the character thinks and the way the character faces the problem. Besides a good character, the evil/bad behavior sometimes is carried by the antagonist character (1971, p. 48). Similar to Moody’s statement, Nurgiyantoro explains how literature cannot be

separated with moral value.

“Moral, seperti halnya tema, dilihat dari segi dikhotomi bentuk isi karya sastra

merupakan unsur isi. Moral merupakan makna yang terkandung dalam sebuah

karya, makna yang disarankan lewat cerita.” (1998, p. 320). “Moral, as well as theme, are the parts of a literary work. Moral is the message

that is stated in a literary work, message that is delivered through a story.” Kenny as stated in Nurgiyantoro also gives an explanation about moral value

in literary work. He states,

“Moral dalam cerita biasanya dimaksudkan sebagai suatu saran yang

berhubungan dengan ajaran moral tertentu yang bersifat praktis, yang dapat

diambil lewat cerita yang bersangkutan oleh pembaca. Moral merupakan

“petunjuk” yang sengaja diberikan tentang berbagai hal yang berhubungan

dengan masalah kehidupan, seperti sikap, tingkah laku, dan sopan santun

pergaulan.” (1998, p. 321). “Moral that is found in a story is stated as a message that is related with practical moral teaching. The moral teaching can be taken by the readers directly from the story. Moral is a “direction” about things related with life

problems, such as manners, attitude, and politeness.”

Based on the explanations above, moral value is the standard about how

someone should behave in the society which can lead her/him to do positive and

valuable behavior. There are three components of good character which are moral


20

knowing, moral feeling, and moral action. A person ought to know or understand

about moral, desire moral things in their life, and act based on the moral conduct.

When someone successfully has these three components in life, she/he will create

the moral maturity. Moral values are also existed in literary works as messages to

the readers or viewers which are shown by how the characters of the literary work

act, speak, and think. The characters of a literary work can be the inspirations for

the viewer or reader to behave positively and stay with the moral conduct.

C. Theoretical Framework

This study has three questions in the problem formulation. The first question

reveals how Andy’s characteristics are described in Cargo, the second question

reveals the conflicts that Andy faces in relation with his characteristics, and the last

question shows the moral values that are revealed from Andy’s ways of overoming

the conflicts he faces in Cargo. To help with the analysis, the writer chooses some

theories which are theory of character and characterization, theory of conflict,

cinematic points of view methods, and theory of moral value in literature.

In this study, theory of character and characterization is considered suitable in

order to be able to see how Andy’s characteristics are depicted in Cargo, as later,

his characteristics affect the ways he overcomes the conflicts he faces.

The second one is theory of conflict. This theory is used to reveal the kind of

conflicts that are faced by Andy in Cargo and how he overcomes them as he has

the characteristics mentioned in the first question.


21

The third one is the cinematic points of view methods. These methods help the

writer to get a better understanding of the meaning of Andy’s expressions and

actions in Cargo. Some scenes in Cargo do not provide dialogues, but the

expressions and actions made by Andy. Therefore, by using these methods, some

of Andy’s characteristics which cannot be revealed by dialogues can be understood

correctly.

The last one is theory of moral value in literature which is a suitable theory to

reveal the moral values that are found in Cargo. The writer believes that Cargo has

many moral values which are depicted from the ways Andy overcomes his conflicts

in the film.


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CHAPTER III

METHODOLOGY

This chapter concerns with the method of the study and it is divided into three

main parts: object of the study, approach, and method of the study.

A. Object of the Study

The object of this study is a film entitled Cargo. The film was directed by Ben

Howling and Yolanda Ramke. Besides being the director, Ramke was also the one

who wrote the screenplay of this thriller film. Cargo was released on October 6th,

2017 in Adelaide and on May 18th, 2018 worldwide. This film which lasted for 105

minutes long has nominated for Best Film, Best Adapted Screenplay, Best Sound,

and Best Production Design in AACTA Awards.

The film tells about a little family consists of Andy, Kay, and their baby

daughter, Rosie, who live on a houseboat in rural Australia. One day, the family’s

food supplies are shorted and it makes Andy and Kay retrieve some supplies from

an abandoned boat. While collecting the supplies, Kay’s foot is attacked by a

zombie who stays inside that boat. Kay is bleeding and only has 48 hours left before

she becomes a zombie. Unable to give up on her wife, Andy and his family decide

to leave their boat to find a help in the nearest hospital. They see many zombies

walking and buried along the way, but they choose to keep going.

Many hours have passed by with the family being on the road. However, all

their efforts are failed as Kay turns into a zombie and bites Andy in the hand. Andy

is frustrated realizing the fact that he loses both his wife and his chance of living


23

normally at the same time. Fortunately, Andy is successful on gaining his strength

back as he looks at Rosie, his one and only baby daughter who stays quietly and

innocently as she does not understand the thing that happens to her family. From

that moment, Andy decides to dedicate his hours left as a human to find a safe place

where Rosie can continue her life safely before he dies.

Andy starts his journey by carrying Rosie and walking to find a help in the

nearest hospital. When both of them arrive, they meet Etta, a former teacher who

later encourages Andy to continue his journey instead of staying there. The second

people they meet are Vic and Lorraine. One night, Vic finds out that Andy talks

with Lorraine in his yard. Feeling jealous and angry, Vic immediately punches

Andy and puts him inside a cage where he also traps a native girl named Thoomi to

become zombies’ bait. Thoomi is a young girl who chooses to leave her mother and

family in order to take care of her zombie father.

As both of them want to escape from the cage, Andy and Thoomi team up to

make a way out which ends up successful. When Vic sees both Andy and Thoomi

run from the cage, he pulls the trigger of his gun in order to shoot Andy. However,

the bullet accidently goes into Lorraine’s chest and the woman dies immediately.

Vic feels broken-hearted as he just loses the love of his life. He keeps searching for

Andy to do a revenge as he thinks that Lorraine’s death is because of him.

Andy and Thoomi, on the other side, become friends right after their escape

together and the first thing they do is checking the condition of Thoomi’s father.

They find out that Thoomi’s father has died and trapped inside a tree by Thoomi’s

family. Thoomi feels upset and blames herself unstoppably, but Andy successfully


24

cheers her up and asks her to join his journey of finding a safe place for Rosie.

Having no one to take care of after losing her father, Thoomi decides to follow

Andy and encourages him to bring Rosie to her village along with her. On their way

to Thoomi’s village, Andy, Rosie, and Thoomi meet Vic again on a railroad. The

hate Vic feels towards Andy makes him want to hurt Rosie, so Andy can feel the

hurt he feels. However, as Vic and Andy get in an argument, Vic changes his mind,

and let Andy, Rosie, and Thoomi go.

As time goes by, Andy realizes that his time is getting shorter as he starts

feeling unwell around his body. There, Andy asks Thoomi to take care of Rosie for

the rest of her life, and as a good friend, Thoomi agrees. Afterwards, Andy places

a guard on his mouth, binds his wrist, and wraps an animal’s carcass on a stick to

be his only focus as he starts becoming a zombie. Andy walks to Thoomi’s village,

while carrying Rosie and Thoomi on his back. When the three of them arrive,

Thoomi sprays Kay’s perfume in front of Andy to let him know that they have

reached the destination. Rosie is welcomed and loved right away by the native

people, while at the same time, a warrior of the village puts Andy out of his misery

by stabbing him in the chest.

B. Approach of the Study

In this study, the writer uses formalist approach in order to be able to answer

the questions in the problem formulation. M. H. Abrams in A Glossary of Literary

Terms (1998) explains.

Formalism views literature primarily as a specialized mode of language, and proposes a fundamental opposition between the literary (or poetical) use of


25

language and the ordinary, “practical” use of language. It conceives that the central function of ordinary language is to communicate to auditors a message, or information, by reference to the world existing outside of language. In contrast, formalist conceives literary language to be self-focused. Moreover, just like American New Critcism, formalist stresses the analysis of the literary work as a self-sufficient verbal entity, constituted by internal relations and independent of reference either to the state of mind of the author or to the “external” world (p. 102-104)

Another explanation is also delivered by Guerin in his book entitled A

Handbook of Critical Approach to Literature (2005). Guerin mentions a way to

analyse a literary work such as a poem with formalist approach.

We don’t know the name of the author, the nationality, or the era of

composition. We don’t know who the speaker is, not even the sex of the

speaker. We do not know if the poem concerns a real-life situation or a totally fictive one. We don’t know whether the author took some similar real-life situation or incident that he or she then adapted and transmuted into a poem. We know only the poem itself, a short piece of richly textured literary art that bears up well under close analysis and resolves its tensions by means of irony and paradox (p. 93).

Similar to Guerin’s explanation, Rohrberger and Woods states how a formalist

approach is different from the other approaches:

The extreme formalist critic examines the literary piece without reference to the fact of the author’s life, without the reference to the genre of the piece or to

its place in the development of the genre or in literary history, and without reference to its social condition in which a work was created (1971, p.7).

Based on those statements, formalist approach defamiliarizes literature from

our everyday language. Literature offers experiences to the reader by focusing on

its own formal features and not on the extrinsic ones. Formalist approach focuses

more on the intrinsic elements of the literature such as character, setting, moral

value/message, conflict, or point of view, and not on the extrinsic ones such as the


26

biography of the author, cultural, or historical background. This approach is related

with this study as the focus of this study is on the intrinsic elements of Cargo such

as the characteristics of the character, conflicts, and moral values.

C. Method of the Study

In analysing this study, the writer used library research to gain the necessary

information. There are two types of sources that supported this study: primary

source and secondary source. The primary source is Cargo a film by Ben Howling

and Yolanda Ramke and its screenplay. The secondary sources are from journal

article, books, thesis, and internet sources which are necessary to aid the analysis.

There were some steps done to do the research. First, the writer watched Cargo,

the film which became the literary work that is discussed in this research. The

focuses of the writer were on the main character’s characteristics and the conflicts

he faces in the film.

Second, the writer wrote the title of the study which is The Moral Values

Revealed by Andy’s Way of Overcoming his Conflict in Cargo.

The next step was choosing the suitable approach that is used in this study. The

writer chose Formalist approach as the suitable one. The writer believes that to find

the main character’s characteristics, conflicts, and the moral values in Cargo, the

analysis should focus on the intrinsic elements only.

The fourth step was organizing the problem formulation which contains of

three questions: 1) How are Andy’s characteristics described in Cargo? 2) What are


27

the conflicts Andy faces in relation with his characteristics in Cargo? 3) What are

the moral values revealed from the way Andy overcome the conflicts in Cargo?

Afterward, the writer began to find the relatable theories, studies, and

information related to this research. In this part, the related theories, studies, and

information were taken from books and internet sources.

After the theories, studies, and information were collected, the writer started

analysing the object of the study. First, the writer revealed the way Andy’s

characteristics described in Cargo. After revealing the answer, the writer started to

answer the second question about the conflicts that Andy faces and how he

overcomes them with the characteristics he has. After answering the second

question, the writer started to answer the last question about the moral values that

are revealed from the way Andy overcomes the conflicts he faces. The last step was

writing the conclusion where the writer summed up all the discussion in the

analysis.


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CHAPTER IV

ANALYSIS

In this chapter, the writer analyses the three formulated questions of this study.

First, the writer analyses the descriptions of Andy’s characteristics in Cargo.

Second, the writer analyses the conflicts that Andy faces in relations with his

characteristics. Finally, after the two previous questions are answered, the writer

analyses the moral values that are revealed from Andy’s ways of overcoming the

conflicts he faces in Cargo. From the following analysis, it will be shown that the

suitable approach for this study is formalist as the study only focuses on the intrinsic

elements of Cargo such as characteristics and conflicts. Moreover, in this study, the

moral values are also categories as the intrinsic elements as they are revealed

through the ways the main character solves his conflict in Cargo. As explained by

M. H. Abrams, the function of formalist approach is not to convey information by

making extrinsic references, but to offer the reader a special mode of experience by

drawing attention to its own “formal” features—that is, to the qualities and internal

relations of the linguistic signs themselves (p. 103).

A. The Descriptions of Andy’s Characteristics in Cargo

In this part of the chapter, the writer analyses the descriptions of Andy’s

characteristics. In Cargo, Andy has three main characteristics which are

compassionate, cooperative, and rational. Those characteristics of Andy are

described mostly through his speeches and actions. Andy’s dialogues with the other


29

characters such as Kay, Thoomi, Lorraine, or Vic. Andy’s monologues when he

tries to talk to his baby daughter, Rosie also helps the writer on describing his

characteristic. Another way of describing Andy’s characteristics are by analysing

his actions towards the situations that he faces. In this analysis, the writer uses

theory of character and characterization by M. J Murphy, also Boggs and Petrie.

The last way of describing Andy’s characteristics is by using cinematic points of

view methods by Boggs and Petrie. These methods enable the writer to feel and

understand Andy’s expressions when he experiences something through the

camera’s shoots.

1. Compassionate

As a father, husband, and friend, Andy shows how compassionate he truly is

to others through his actions, speeches, and expressions. A compassionate person

likes showing their love and compassion to the ones she/he cares about by words

or actions she/he takes. The first evidence showing Andy’s compassionate

characteristic is when he finds blood scattered on the floor of his boat. Andy

searches for Kay right away as he worries about his wife’s condition. He finds Kay

inside the bathroom with a leg full of blood. At that moment, Andy tries to calm

Kay down, and helps her covering her wound as seen in this dialogue:

ANDY. Kay? [knocks on door] ANDY. Are you in there? Kay! Come on, let me in, babe. Let me in. Shit, Kay, what... What have you done? KAY. No, don't... ANDY. Let me see. KAY. No. ANDY. Well, keep pressure on it. ROSIE. Mama. ANDY. It's all right. It's okay.


30

[Rosie crying] KAY. Oh, shit. [sneaker squeaks] ANDY. Come on, let me see. Oh, fuck. Right, Kay, just... Oh, what have you done? KAY. I'm sorry, sweetheart. ANDY. It's all right. It's okay. All right, keep that pressure on it. Keep pressure on. Shit. Okay. All right? You okay? KAY. Yeah. ANDY. All right? Look at me. KAY. It's okay. ANDY. It's going to be okay. (Ramke, 2018, pp. 7-9)

After finding out that something bad has happened to his wife, Andy decides

to take Kay and Rosie to the shore. They try to find the nearest hospital to get a help

for Kay. Andy’s compassionate characteristic is shown again when he talks to his

one and only daughter, Rosie who stays calm as her father carries her to the car.

Andy takes Rosie to the car (C, 2018: 00:17:34-00:17:45) ANDY. Come on, little darling. Okay. Oh, good girl. Come here. Put you in here for a minute. There we go. (Ramke, 2018, pp. 11-12)

Andy keeps checking about Kay’s condition during their way to the hospital.

In this scene, Andy’s compassionate characteristic is seen through his conversation

with his wife. Andy asks about Kay’s condition to make sure that she is okay. As

mentioned by Murphy, whenever a character speaks, whenever he is in

conversation with another, whenever he puts forward an opinion, he is giving us

some clue to his character (1972, p. 164).


31

ANDY. How're you feeling? KAY. Like me. ANDY. Good. (Ramke, 2018, p. 13)

Andy is always on his wife’s side during this hard time. There is a moment

when Kay loses her hope as her condition is getting worse, but Andy keeps staying

by her side. However, Andy’s efforts on saving his wife is unsuccessful as Kay

turns into a zombie in the next day and bites Andy in the hand. Andy feels hopeless

for a moment as he just loses his wife and life expectancy at the same time.

However, when he looks at Rosie, Andy gains his power back and decides to

dedicate his last hours left to find a safe place for Rosie to continue her life. As

Andy and Rosie pass the forest, Rosie suddenly cries trying to find herself a

comfort. Knowing what his daughter actually needs, Andy takes his wife’s perfume

out from his bag and sprays it in front of Rosie. The smell of her mommy

successfully calms Rosie down. Andy’s reaction towards Rosie’s sadness in this

scene is another evidence of his love towards his daughter. As explained by M. J.

Murphy, the author can also give us a clue to a person’s character by letting us

know how that person reacts to various situations and events (1972, p. 168).

Andy sprays Kay’s parfume to calm Rosie (C, 2018: 00:27:42-00:29:49) [Rosie crying] ANDY. Oh. No. No. Mmm? It's all right. I know what you like. [Andy sprays Kay’s perfume] ANDY. Umm. Hey, Rosie. It's Mommy. I can smell Mommy. I can smell Mommy too. (Ramke, 2018, pp. 19-20)


32

The next evidence showing the compassionate characteristic of Andy is when

both, the father and daughter are on their way to find a help and a new home for

Rosie. The sun shines bright and Andy notices that the heat makes his daughter

thirsty. He takes Rosie’s water bottle and hands it to Rosie to drink.

Andy hands Rosie a bottle of water for her to drink (C, 2018: 00:41:12-00:41:14).

ANDY. Let's give you some water, darling. (Ramke, 2018, p. 25)

On half of their journey, Andy and Rosie are accompanied by Thoomi, a native

Australian girl who happens to be their friend. There is a time when Thoomi hits

her head to bleed with a stone as she blames herself for her father’s death. They

decide to continue the journey after Andy successfully helps Thoomi to calm down.

They arrive in an abandoned car that has foods, toys, books, and many things

including first aid kit inside. In this scene, Andy shows how caring he is as a friend

by helping Thoomi to treat her wound with the first aid. Besides from the

monologue, the indirect-subjective point of view also successfully shows Andy’s

characteristic. According to Hitchcock as cited by Boggs and Petrie, what the

camera doing is taking the audience right close up into the scene, and the montage

of the various effects gets the audience involved. That is its purpose (2006, p. 131).


33

The shots of Andy’s serious expression when he tells Thoomi that the treat will hurt

a bit and his action of treating Thoomi’s wound depict Andy’s compassionate

characteristic perfectly.

Andy treats Thoomi’s wound (C, 2018: 01:13:50-01:14:01)

ANDY. This might sting a little bit. Where is it? There? Ready? (Ramke, 2018, pp. 46-47)

Andy, Rosie, and Thoomi continue walking after Thoomi gets the treat she

needs. Their journey is almost finished as their destination, Thoomi’s village is not

so far from where they are already. However, when they pass an abandoned

railroad, they meet Vic who has been searching for them to do a revenge. Vic pulls

Thoomi to the ground and makes her head hit the railroad. Andy runs to Thoomi

immediately to make sure she is fine as Thoomi seems unconscious.

ANDY. Thoomi! You all right? (Ramke, 2018, p.53)

Andy keeps helping Thoomi to stay conscious after ending his argument with

Vic. Andy shows his compassionate characteristic when he tries to make Thoomi

conscious by keep talking and holding her as she tries to walk slowly in order to

continue their journey.

ANDY. I know you're hurt, darling. Stay with me. Thoomi. Thoomi, please. We can't go any further if you don't walk, okay? Do you understand me? Thoomi, wake up. Wake up, darling. (Ramke, 2018, pp. 54-55)


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The last evidence of Andy showing his compassionate characteristic is when

Andy talks to his daughter for the last time before he turns into a zombie. Andy

shows his love to his daughter unstoppably in Cargo. He carries her everywhere,

he talks to her, and has this journey done only for Rosie herself. In this scene, the

camera takes the moment of Andy’s farewell with his daughter by using indirect-

subjective point of view method as the scene shows Andy’s expression and action

closely. The shot successfully shows the love Andy expresses towards his daughter

for the last time. Moreover, the compassion of this father is also shown by his

speech when he tells Rosie about how she is already in a good hand now and that

he loves her.

Andy says his last words to his daughter, Rosie

(C, 2018: 01:30:32-01:30:42)

ANDY. Hey, Rosie, you're in good hands. You're in good hands. She's gonna look after you, mate. I love you. Love you. (Ramke, 2018, pp. 58-59)

The moment after that, Andy starts losing his control as a human. He protects

his teeth from biting another human, binds his hands, and has carcass put on a stick

to be his only focus while carrying Rosie and Thoomi to continue their journey.


35

These previous evidences show how Andy as the main character of Cargo is

truly compassionate towards the people around him through his speeches, actions,

and expressions in the film. Andy always makes sure that the people he loves are

in a good condition. This characteristic of Andy starts showing when he takes care

of his wounded wife. Andy always tries to calm Kay down and be there for her

through her hard time. Andy is also a very compassionate person towards his friend,

Thoomi. Andy cares about Thoomi when she gets in trouble. However, Andy’s love

is mostly shown to his daughter, Rosie as this tough journey he does is dedicated

only for her.

2. Cooperative

The main character of Cargo, Andy is also a cooperative person as he is willing

to work with other people whether it is in term of achieving both his and the other

person’s goal, or just helping the others to achieve their goals. As mentioned by

Boogs and Petrie in The Art of Watching Film, perhaps the best reflection of a

character is a person’s action—There should be a clear relationship between a

character and his or her actions (2006, p. 62). The first evidence showing Andy’s

cooperative characteristic is when he and Rosie cross a grassland and meet a

stranger named Vic who is holding a gun while being trapped in a hole. From where

they are, some zombies are seen walking down the hill heading to them. Vic asks

Andy to help him tow off the tube that traps him, so he can get out of the hole. Andy

is offered a place to hide if he is willing to help Vic on pulling the tube out with a

car. Andy agrees and successfully pulls Vic out of the hole.


36

Vic asks Andy to pull him out from the hole. (C, 2018: 00:42:18-00:43:24)

VIC. Army base is overrun. There'll be more. They would have heard that shot for miles. Better keep that baby quiet too. Listen, how about you get me out of here and then I'll get you out of here? ANDY. To where? VIC. A place you could hole up for a bit. The little one, be real nice for the wife to have that around. You better think fast. Tow it off me. ANDY. Shit. Come on. Got the keys? VIC. Don't you fuck me. VIC. Good man. Take this. (Ramke, 2018, pp. 26-27)

After successfully helps Vic to get out from the hole, Andy and Rosie follow

the man to his house. As they arrive, Vic immediately asks Andy to follow him

straight to the forest to see a cage where he traps humans to be zombies’ bites. Andy

and Vic see many zombies have surrounded the cage as soon as they get there. In

this scene, Andy becomes cooperative as he is willing to help Vic shooting those

zombies to death by a gun. Andy follows Vic’s instructions and successfully shoots

some zombies to death as seen in this dialogue.

Andy helps Vic on shooting the zombies (C, 2018: 00:47:40-00:48:35) ANDY. What's this? VIC. Ever used one of these? ANDY. No. VIC. Move forward, Stand forty-five. Forty-five degrees to the target. Now move the stock into your shoulder...


37

ANDY. We're going to shoot them? VIC. Yeah. You're not gonna kiss 'em, are ya? Now cheek to the cheek plate. If the target's blurry, you're doing it right. ANDY. Yeah? VIC. You got it? ANDY. Uh, I'm not sure. I think so. VIC. Squeeze the trigger but don't pull it. ANDY. Really? VIC. Yeah. If you pull it, then you throw your sights out. So, back up. Now squeeze. Feel the resistance. Squeeze... ANDY. All right. VIC. Now keep shooting till you drop him... and don't stop till we got 'em all. (Ramke, 2018, pp. 31-32)

Andy helps Vic shooting the zombies to dead and accompanies him taking the

goods that the zombies bring or wear such as money or jewelry. This thing Vic does

actually far different from what Andy believes as he seems does not like the idea of

sacrificing humans’ lives for the sake of money or jewelry. However, Andy keeps

offering the help as he needs a place to stay during the apocalypse time. In this

scene, the cooperative characteristic of Andy is seen through Vic’s opinion about

him. As explained by M. J. Murphy, instead of describing a character directly, the

author can describe him through the eyes and opinions of another (Murphy, 1972,

p.194). A similar opinion about how a character’s characteristic can be seen through

reactions of the other characters is also explained by Boggs and Petrie. According

to them, the way other characters view a person often serves as an excellent means

of characterization (2008, p. 64). Vic appreciates Andy for being cooperative as

seen in this monologue.

VIC. You did well today. (Ramke, 2018, p. 35)


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From the middle through the end of the movie, Thoomi, the native girl,

accompanies Andy and Rosie on completing their journey. There is a time when

Thoomi is unconscious after Vic pulls her down and makes her head hitting the

railroad. Andy tries to wake Thoomi up and helps her walking to continue their

almost-finished journey because this journey, in the end, is not only to bring Rosie

to a safe place where she can continue her life, but also to take Thoomi back to her

family as the three of them head to Thoomi’s village. Andy reminds Thoomi that

they will help each other and keeps holding her through the journey as seen in this

dialogue.

Andy talks to Thoomi and helds her while walking (C, 2018: 01:26:30-01:26:36)

ANDY. Are you gonna help me? Let's help each other, yeah? THOOMI. Yeah. ANDY. Good girl (Ramke, 2018, p. 55).

These four evidences show how cooperative Andy is as person. Andy is always

willing to cooperate with someone to achieve a goal. Sometimes, those goals such

as teaming-up with Vic is not only beneficial for the other person, but also Andy.

When Andy helps Vic to get him out from the hole and later to shoot the zombies,

Vic provides Andy a place to stay during the apocalypse. The teaming up he does

with Thoomi is also advantageous for both of Thoomi and Andy. Andy helps

Thoomi to continue walking to her village which also becomes Andy’s destination

as he will leave his daughter live with Thoomi’s family.


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3. Rational

A rational person is someone who always uses her/his reason or knowledge

before giving an opinion or doing an action. A rational person likes to use their

logic and be broad-minded when she/he finds a problem and has to solve it.

Therefore, when a rational person speaks up about an idea or does an action, she/he

must have thought about it meticulously before she/he really does it. In Cargo,

Andy frequently shows his rational characteristic on his dialogues with the other

characters. According to Boggs and Petrie,

Characters in a fictional film naturally reveal a great deal about themselves by what they say—their true thoughts, attitudes, and emotions can be revealed in subtle through word choice and through the stress, pitch, and pause patterns of their speech (2008, p. 61).

The first evidence showing the rational characteristic of Andy is when Andy

talks to Vic’s woman, Lorraine. Andy asks Lorraine to take care of Rosie as he will

turn into a zombie in a few hours. Lorraine accepts his request, but she asks Andy

to take her somewhere to escape from Vic first. Realizing that escaping from Vic is

not the best decision Lorraine should take, Andy immediately gives Lorraine

reasons why she better stays with Vic during this dangerous apocalypse time.

ANDY. Please, just look after her for me. LORRAINE. I will. But not here. ANDY. Lorraine, this is as safe as it gets. LORRAINE. Not from him. What's your count? ANDY. It's around 20. LORRAINE. Take us somewhere else. ANDY. He is not perfect, but here it's secure (Ramke, 2018, p. 37).

Their conversation stops as Vic comes and catches Lorraine and Andy together

in the middle of the night. Feeling jealous, Vic immediately punches and traps Andy

inside a cage a long with Thoomi who has been there for days. Fortunately, both of


40

them can escape and decide to stay together during this apocalypse time. One day,

Thoomi talks about the Clever Man who she believes as a smart man who has an

ability to cure people, including those who are bitten by zombies. Being a rational

man he is, Andy argues that what Thoomi believes is unreal. Andy thinks that there

is no cure for someone who has bitten by a zombie as he believes many people has

had a research for it.

Thoomi and Andy argue about the Clever Man (C, 2018: 01:06:09-01:06:45)

THOOMI. I've gotta find the Clever Man. ANDY. Oh, look, I don't have time for... What is a Clever Man, anyway? Is he just a smart guy, or what? THOOMI. He's a magic man. If you're sick, he can give you good medicine. And if someone steals your spirit away, he can put it back again. ANDY. Hey, you think your dad is acting the way he is because he lost his soul? Thoomi, there are lots of people walking around like your dad at the moment. THOOMI. My dad's different. ANDY. No, I don't think that's true. There's no fixing what your father and I have. Lots of other smart guys have tried. (Ramke, 2018, pp. 42-43)

The first destination that Andy, Rosie, and Thoomi visit is the place where

Thoomi’s zombie father stays. When they arrive, they find out that Thoomi’s father

has died and is trapped inside a tree by her family. Thoomi keeps blaming herself

for not coming and saving her father earlier. In this scene, Andy shows his rational

characteristic by reminding Thoomi that her father’s death is not her fault and that

her family has done the right thing. Moreover, Thoomi has to stay realistic and


41

realize that the man was not her father anymore as he had turned into a zombie long

ago.

Andy tells Thoomi that her father’s death is not her fault (C, 2018: 01:08:52-01:09:29)

THOOMI. That's my dad. We get buried in the trees so the ghosts can't wake us. His spirit's still loose. It's my fault. I took too long. ANDY. No, you didn't. No, you didn't. This isn't your fault. THOOMI. I tied him here till I could bring the Clever Man back. They weren't supposed to find him. ANDY. They thought they were doing the right thing. They did. That wasn't your dad anymore. I'm sorry, but it wasn't. (Ramke, 2018, pp. 44-45)

Rational is the characteristic that Andy shows clearly in Cargo. Andy always

be a rational man when he expresses his opinions about something. He thinks about

the reasons why something should or should not be done, then immediately tells

people about his points of view. The evidences are shown at the moments Andy

talks to Lorraine and Thoomi.

B. The Conflicts that Andy Faces in Relation with his Characteristics in

Cargo

In this part of the chapter, the writer analyses the conflicts that are faced by

Cargo’s main character, Andy in relation with his characteristics. The conflicts that

Andy faces usually come from within himself or the outside forces. However, he

successfully overcomes them all by keep being compassionate, cooperative, and

realistic during the process. The analysis uses Joseph M. Boggs and Dennis W.


42

Petrie’s theory of conflict and cinematic points of view methods from The Art of

Watching Films.

1. External Conflicts

Boggs and Petrie explain that major or external conflict is of great importance

to the characters involved, and there is some worthwhile and perhaps lasting goal

to be gained by the resolution of that conflict (2006, p. 58). In Cargo, Andy

experiences some external conflicts with his wife, Kay and his friend, Vic as they

frequently have different opinions about several things.

a. Andy vs Kay

The zombie apocalypse that happens during Andy’s family’s stay in Australia

cause the couple Andy and Kay have several arguments about things. The first

conflict that happens between Andy and his wife is when their family’s food stock

is reduced. Worries about the reduced food stock, Kay wants her family to go to the

shore and find some supplies. However, Andy thinks that going to the shore is not

a good idea. In this conflict with his wife, Andy shows his rational characteristic to

solve the problem as he tells his wife the reasons why they better stay which ends

up making them follow Andy’s plan.

KAY. Look, there's a town here. Can't be more than 30 or 40 km from where we are. Right? It's rural. There's not a lot of people. I say we get a car, fill it with supplies, we just see what's out there. ANDY. But we've seen what's out there. KAY. NO. We've seen what's back there, that was weeks ago. It's quiet on the banks... ANDY. We talked about this. KAY. What if we've outrun it? ANDY. What if we haven't? Where we need to be actually, is here. The river has got us this far. If we play it smart, it'll get us all the way there, but we just have to stick to what we know.


43

KAY. What we know? Andy, You had barely set foot on a boat before we found this thing. I mean, it's older than both of us put together. What if the engine goes? What happens then? We have to think about Rosie. ANDY. Do we? I hadn't thought of that. What the fuck do you think I'm doing? We can't set foot on the shore until it is our last and only option. That's just the way it is, I'm sorry (Ramke, 2018, pp. 2-4).

The couple continues the next day full of love until Kay bleeds out as a creature

has bitten her leg when she tries to find a supply in an abandoned boat. The conflict

happens between the couple as Andy worries about Kay’s condition and insists to

bring his wife to the hospital to get a help. However, Kay does not want to take a

risk by going to the shore as there are zombies who might hurt Rosie, their daughter.

In this conflict, Andy shows his rational characteristic again as he tells Kay the

reasons why leaving their boat is the best option at the moment. In the hospital, Kay

will get a help and they will get the information about what actually happen to her.

Andy does not want to take a bigger risk by choosing to stay on the boat and doing

nothing about the wound. As a result, Kay follows Andy’s plan even though she

actually has let go of the situation and take it as her ‘call’.

KAY. So talk to me. What are you thinking? ANDY. Well, we can't stay here. KAY. But it's only been an hour. Symptoms take at least three hours to... ANDY. Yeah, I know how it works. We might not have that time. KAY. We can't take the risk. ANDY. Oh, so today it's a risk. KAY. Out there, with this? Yes, it's a risk. Let's not put Rosie in danger till we know what we're dealing with. ANDY. There are dozens of things that live and eat in this river. We have no idea what bit you. KAY. It had fingers, Andy. ANDY. Fuck! Look, if you are sick, then you've got 48 hours, and we'll deal with that. But if you're wrong, right, and you're not infected, then at the rate you're bleeding, you've got two hours, three, tops.


44

That's a risk I'm not gonna take. We need to get to the hospital, where you said. Someone will patch you up and we'll hedge our bets. KAY. What if we lose? What if we lose? It's gonna be my call. ANDY. Yeah. (Ramke, 2018, pp. 9-11).

On their way to the hospital, Kay’s condition gets worse. Her wound is covered

with yellow thick liquid which is usually found in zombie’s body. Feeling panic,

Kay insists to get out of the car. She tells Andy to leave her alone in the middle of

a grassland as she thinks that she may hurt Andy or Rosie sooner or later.

[Kay gets out of the car] KAY. Fuckin' don't touch me! Andy, you can't control this. You don't fucking keep this from me! I mean, how long were you going to play along for? What, until I turn on you? On her? ANDY. No. KAY. No, you have to take her. ANDY. What? KAY. You have to take her ANDY. What are you talking about? Leaving you? KAY. You have to take her. You have to take her. (Ramke, 2018, pp. 15-16)

In this conflict, Andy ends his argument with his wife by hugging Kay tight

which makes her cry loudly. Andy tries to calm Kay down and reminds Kay that

everything will be alright. The indirect-subjective point of view method is used in

this scene. The camera shoots both Andy and Kay’s expressions closely from

several angles which successfully show how compassionate Andy towards his wife.

Moreover, Andy’s speech when he tries to comfort his wife also greatly depicts his

compassionate characteristic.

Andy tries to calm Kay by hugging her (C, 2018: 00:22:54-00:23:06)


45

ANDY. Lou. Lou. Stop. Just stop. [Kay Crying] ANDY. Come on. I'm here, all right? It'll be all right. (Ramke, 2018, p. 16).

Based on the evidences above, it is shown that Andy successfully overcomes

the conflicts he has with Kay by being rational and compassionate. In the first

conflict, it is actually really normal for worrying about the family’s shorted food

stock as what Kay does. Fortunately, Andy successfully convinces his wife about

how they are going to be fine on the boat as long as they can manage things right.

The same thing happens when Kay bleeds her foot out. The couple is in conflict as

Andy wants to bring Kay to the hospital, but Kay chooses to stay as she does not

want any bad thing to happen during their journey there. The conflict ends when

Andy tells Kay the reasons why they have to go to the nearest hospital, so she can

get the help she needs. The last conflict the couple has happens when Kay’s

condition worsens. Kay immediately gives up about her condition and does not

want to continue their journey to the hospital. However, Andy successfully calms

her wife by showing her the love she needs and reminds Kay that everything will

be fine.

b. Andy vs Vic

In the middle of the film, Vic is actually the man who helps Andy to have a

place to stay during the zombie apocalypse and as a turn, Andy helps Vic in work.

However, the conflicts between the two men starts when Vic finds out Andy talks

to his woman, Lorraine in the middle of the night.


46

Vic is suspicious about Andy and hits him in the head (C, 2018: 00:56:34-00:56:44)

VIC. This looks cozy. If I didn't know better, I'd think you were trying to steal my girl, Andy. LORRAINE. You do know better. (Ramke, 2018, p. 38)

Vic hits Andy straight in the head even before Andy has a chance to explain

what actually happens in that moment. Vic’s hit successfully makes Andy loses his

consciousness. When Andy wakes up, he finds himself trapped in a cage with

Thoomi. He immediately asks Thoomi to cooperate with him on finding a way to

escape. Fortunately, they do the mission successfully and run away together.

Andy and Thoomi try to escape from the cage (C, 2018: 00:57:48-01:01:32)

ANDY. If you want out, I'm your ticket. Let's play ball. THOOMI. Do you want to see your friend? ANDY. He's not my friend. I just want my daughter back. THOOMI. I want something too. ANDY. What do you want? THOOMI. His keys to the Clever Man's cage. ANDY. Clever Man. Whatever that is, you can have 'em. THOOMI. They're coming. ANDY. Huh? THOOMI. The ghosts. They smell it. ANDY. Come on. Shit. When this lifts up, you gotta slide out straight away. Come on. That's it. Come on! That's it! Let's go! Go! (Ramke, 2018, pp. 38-40)


47

The second conflict Andy has with Vic happens when they both re-meet on a

railroad. Vic has been searching for Andy since the night before. He wants to do a

revenge not only because Andy successfully escapes from the cage, but also

because Vic thinks that Lorraine’s death is because of Andy. On the night before,

when Vic tries to shoot Andy, he runs from Vic straight away, and the bullet

accidently goes into Lorraine’s chest. Lorraine dies immediately at the moment

which leaves Vic broken-hearted.

In this scene, Vic wants to hurt Rosie in order to make Andy feels the broken-

heart he feels. Vic cries and starts grabbing Rosie’s hair while the baby is on his

hands. Worries that something bad may happen to his daughter, Andy asks Vic to

let go of Rosie. Andy thinks rationally and reminds Vic that everything has been

bad for two of them, so he should not make things harder. Moreover, he tells Vic

to realize that Lorraine is not actually his lover. After listening to Andy’s rational

statements, Vic decides to let go of Rosie and gives her back to Andy.

Andy reminds Vic that Loraine was not actually his (C, 2018: 01:24:59-01:25:44)

[Vic and Rosie crying] ANDY. Give her to me, Vic. Come on, mate. We're both fucked. Vic, I swear to Christ. If you hurt her... VIC. You took mine, now, I take yours. ANDY. Lorraine wasn't yours though, Vic. [Vic grabs Rosie’s hair]


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ANDY. Vic, don't... Don't you dare. Listen to me, Vic. It's done. (Ramke, 2018, pp. 53-54).

Andy takes Rosie from Vic’s hands (C, 2018: 01:25:45-01:25:50)

From these two conflicts Andy has with Vic, it is concluded that Andy

successfully overcomes both the conflicts by being cooperative and rational. In the

first conflict when Vic traps him on a cage with Thoomi, Andy successfully

overcomes it by cooperating with Thoomi to escape. In the second conflict, Andy

overcomes it by thinking rationally and reminding Vic that a revenge will not make

the situation any better.

2. Internal Conflicts

In The Art of watching Films, Boggs and Petrie explain,

An internal conflict centers on an interior, psychological conflict within the central character. The forces in opposition are simply different aspects of the same personality (2006, p. 59).

As the main character of Cargo, Andy experiences some conflicts within

himself. There are usually two conflicting desires that Andy has to deal with at the

same time.

a. Dispiritedness vs Responsibility

The moment when Andy is bitten by Kay in the hand makes him feel hopeless

immediately. Andy becomes dispirited as he realizes that the bite will turn him into

a zombie within 48 hours. The heartbreak of losing a wife who has turned into a

zombie and the idea of knowing the same thing will happen to him soon are felt by


49

Andy. On the other hand, there is still his daughter, Rosie whom he needs to take

care of. Andy is in despair yet, he has to be strong and be there for his daughter.

The first thing Andy does after he is bitten by Kay is taking Rosie out of the

car and let her sit on the ground. He hides his feeling, talks to his daughter calmly,

and leaves her for a moment.

Andy talks to Rosie before leaving her for a moment (C, 2018: 00:26:59-00:27:07) ANDY. I need you to be a very good girl. Stay here. Nice and calm for Daddy. And he'll be right back. Hey, Rosie? Be right back. (Ramke, 2018, p. 19)

Afterwards, he comes to Kay who has turned into a zombie and stabs her in the

head. Andy screams, sighs, while looking at his wound. The indirect-subjective

point of view is used in this scene as the camera focuses on Andy’s face while he

shows his anger and hopelessness by screaming and sighting.

Andy screams and looks at his wound (C, 2018: 00:27:49-00:28:18)

ANDY. Oh. No. No (Ramke, 2018, p. 19).

The moment of change happens when Andy looks into his daughter, Rosie who

sits calmly a few meters from him. As explained by Boggs and Petrie,


50

An objective shot that shows a character looking at something off-screen (called a look of outward regard) cues us to wonder what the character is looking at. The following shot, is called an eye-line shot, shows us subjectively what the character is seeing (2006, p.129).

In this scene, the camera shoots directly to Andy when he tries to look at an

object outside the screen, then the camera changes its view to Andy’s point of view

where it is actually Rosie who sits a few meters from him.

Andy looks at Rosie from distance (C, 2018: 00:28:21-00:28:27)

Andy feels compassionate towards his daughter right away. Looking at Rosie

successfully makes Andy feel stronger which is shown by his action of wearing the

wristwatch that he takes from Kay’s wrist. The watch is usually worn by people

who has just been infected by a zombie to count their time left as humans.

Andy takes and wears the wristwatch (C, 2018: 00:28:36-00:28:48)

Afterwards, Andy looks at his daughter again and smiles as he feels calmer

than before. In his last hours as a human, Andy dedicates his life to find a place

where Rosie can continue her live safely.

Andy smiles at Rosie (C, 2018: 00:28:50)


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In this conflict Andy has within himself, Andy successfully overcomes it by

feeling and realizing his compassion towards his daughter. The evidence is shown

as Andy immediately wears the wristwatch and smiles at Rosie. Moreover, Andy

decides to dedicate his hours left to save his one and only daughter.

b. Soreness vs Determination

The journey of finding a safe place for Rosie is almost done when Andy starts

feeling the soreness around his body. He starts having yellow liquid around his face

and getting weaker. Andy realizes that it is the time of him turning into a zombie.

However, Andy does not lose his hope immediately. He is determined that this

journey will be completed and Rosie will be in the right hand soon.

When Andy starts feeling the pain around his body, he asks Thoomi to help

him taking Rosie down from his back. There, he found an animal carcass and

immediately takes a piece of it. Andy puts the carcass on the top of a stick which

later becomes his only focus as he walks as a zombie.

Andy asks Thoomi to take Rosie down from his back (C, 2018: 01:29:48-01:29:52)

ANDY. Take it. Take it away. Take it away. (2018, p. 57)


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Andy asks Thoomi to treat the animal’s carcass like spaghetti, so she will not be disguised about it (C, 2018: 01:30:06-01:30:15)

ANDY. Now don't worry about this. You just treat this like it's mom's spaghetti, okay? All right. (2018, p. 58)

The pain Andy feels is getting more real as he falls into the ground

uncontrollably. In this scene of Cargo, the indirect-subjective point of view is used

to close up Andy’s face when he feels the soreness. The camera takes close shoots

to Andy’s painful face which enable the viewer to feel and understand Andy’s pain.

As explained by Boggs and Petrie,

In a motion pictures, we recognize that we are not the character, yet we are drawn into the feeling that is being conveyed in a subjective way. A close-up face contorted in pain makes us feel that pain more vividly (2006, p.130).

Andy starts feeling the soreness around his body (C, 2018: 01:30:59-01:31:04)

At that point, Andy starts losing his control as a human. However, he still feels

determined and does not immediately give up on himself.

Andy asks Thoomi to give him the zombie kits (C, 2017: 01:31:05-01:31:10)

ANDY. Thoomi. Thoomi, now. Now (Ramke, 2018, p. 59)

Andy asks Thoomi to give him the kit that he has prepared inside his bag. The

kit contains of tools which are worn right away by Andy to protect his mouth from

biting an object and to protect his hands from hurting anyone.


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Andy wears the zombie kits (C, 2017: 01:31:17-01:31:57)

Afterwards, Andy, Rosie, and Thoomi continue their journey even though

Andy has fully turned into a zombie. Andy carries both the girls on his back, while

Thoomi holds Andy’s selfmade stick to attract Andy’s attention and direct his steps.

The journey is finished as they successfully arrive in Thoomi’s village.

Andy walks and carries the two girls on his back (C, 2018: 01:33:53)

In this conflict Andy experiences within himself, Andy successfully defeats it

by being cooperative with Thoomi. When Andy starts feeling the sore around his

body, he chooses to stay determined and does everything to make it possible for

him to continue the journey. With the help of Thoomi such as taking down Rosie

from Andy’s back, handing the zombie kit, and leading him the way to their

destination, Andy successfully completes his journey and leaves Rosie on the right

hand.

C. The Moral Values Revealed from Andy’s Ways of Overcoming His

Conflicts in Cargo

In this part of the study, the writer analyses the moral values that are revealed

through Andy’s ways of overcoming his conflicts in Cargo. When facing the


54

conflicts, Andy stays on being rational, shows his compassion, and cooperates with

Thoomi which are fruitful as he ends up completing his mission successfully. The

analysis uses Thomas Lickona’s components of good character methods in order to

find the moral values from Andy’s ways of solving problems in Cargo.

1. Rationality is the Key to Solve a Problem

The first moral value that is learnt from Andy is his great rationality when

facing some conflicts. When Andy has to solve a problem, he tries being rational

by thinking why one action is better than the others and understands every action’s

consequences. In this case, Andy has one component of moral knowing within

himself: decision making, before doing the moral action. As explained by Lickona,

the reflective of decision-making are a what-are-my-choices, what-are-the-

consequences approach to make moral decision (1991, p. 56). On solving problems,

Andy does not only become a rational one by his own. He also helps the others to

see the reasons why an action should be or should not be taken. Andy helps the

other characters to see the lights of his perspectives to find the solutions. As

explained by Lickona, to solve a conflict fairly, we need practical skills: listening,

communicating our viewpoint without denigrating the other, and working out a

mutually acceptable solution (1991, p. 61-62).

The first evidence of Andy being a rational one is when he has a conflict about

the shorted food stock with Kay. In that scene, Kay wants to go to the shore and

find some supplies to be stocked. Hearing his wife’s plan, Andy immediately

reminds Kay that they have been going far and that the stocks will be enough if they

can manage them well.


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ANDY. The river has got us this far. If we play it smart, it'll get us all the way there, but we just have to stick to what we know. (Ramke, 2018, p. 3)

Andy also thinks that the boat is the best place to be at the moment. The only

time they may leave the boat is when it is the last option they have.

ANDY. We can't set foot on the shore until it is our last and only option. That's just the way it is, I'm sorry. (Ramke, 2018, pp. 3-4)

The next evidence is when Kay does not want to go to the hospital after she is

bitten by an unknown creature. Kay gives up about her condition and immediately

takes it as her ‘call’. Disagree with his wife, Andy stays rational and tells Kay the

reasons why they should go. Unlike Kay, Andy does not immediately think that the

bite comes from a zombie. Andy wants to know the real condition of his wife by

bringing her to the hospital.

ANDY. Look, if you are sick, then you've got 48 hours, and we'll deal with that. But if you're wrong, right, and you're not infected, then at the rate you're bleeding, you've got two hours, three, tops. That's a risk I'm not gonna take. We need to get to the hospital, where you said. Someone will patch you up and we'll hedge our bets (Ramke, 2018, pp. 10-11).

In the middle of the film, Andy also gets in a conflict with Vic where Vic wants

to hurt Rosie. In this scene, Andy does not try to harm Vic back, but chooses to talk

to him. He reminds Vic that they are both already in a bad condition, so he should

not make anything gets worse. Moreover, Vic has to be rational and realize that

Lorraine was not actually his woman. Andy’s words successfully make Vic give up

on his plan and let go of Rosie.


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Andy takes Rosie from Vic’s hands (C, 2018: 01:25:45-01:25:50)

Those are the evidences of Andy solving the conflicts he faces by being

rational. Andy keeps being a rational man and tries to make the other people he has

conflicts with see from his points of view. These evidences show that when

someone is rational, she/he will be able to solve a problem rightly as she/he thinks

and does something based on logic and reasons.

2. Unconditional Love is the Best Thing that A Family has

The second moral value that can be learnt from Andy in Cargo is how he shows

his love towards the people he cares about, especially his wife and daughter, Kay

and Rosie unstoppably. Some of the conflicts that Andy faces are solved by him

because Andy constantly shows his compassionate characteristic towards his loved

ones. According to Lickona, moral value such as kindness and compassion define

the ways of being a good person (1991, p. 54).

The first evidence of Andy solving his conflict by showing compassion

towards another person is when he gets in conflict with Kay. When Kay gives up

about her condition which worsens every single hour, Andy immediately shows his

love by letting his wife cries and hugging her tight. Andy reminds his wife that he

is on her side and everything will be just fine. Andy’s hug and words successfully

calms Kay down and ends their argument.

ANDY. Come on. I'm here, all right? It'll be all right (Ramke, 2018, p. 16).


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The next evidence of Andy overcoming his conflict because of the

compassionate characteristic he has is when he feels dispirited about his life after

he gets bitten by Kay, yet he feels responsible for his daughter still. He fakes his

smile in front of his daughter, then screams and cries behind her. However, after

looking at Rosie, Andy realizes that he loves his daughter unconditionally. He

successfully gains his strength back and decides to use his time left finding a safe

place for Rosie to continue her life.

Andy smiles at Rosie (C, 2018: 00:28:50)

These evidences show how a family love is an unconditional one. Andy always

tries to show Kay and Rosie how much he loves them even in this tough time. The

love is shown in several forms such as a hug and calming words as what Andy does

to Kay or by doing a big journey such as what Andy does in order to make Rosie

has a brighter future. The love that Andy shows to his family successfully make

them feel loved and safe.

3. People will always Need the Help of Others

On completing his journey to find a safe place for his daughter, Andy is not

always enable to overcome the conflicts he faces by himself. However, Andy’s will

to solve the problems is big. The right choice in a moral situation is usually the hard

one. Being good frequently requires a real act of will, a mobilizing of moral energy

to do what we think we should (Lickona, 1991, p. 62). Therefore, in order to


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overcome the conflicts that he faces and reach his goal, Andy is willing to ask for

Thoomi’s help.

The first evidence showing how Andy overcomes the conflict he faces by

cooperating with Thoomi is when Andy gets a conflict with Vic which ends up

making him trapped inside a cage. Andy asks Thoomi to cooperate with him on

finding a way to escape. Andy wants to get out as soon as possible, but he is unable

to do it alone as his hand is handcuffed with Thoomi’s. Therefore, Andy asks

Thoomi to team up with him in order to get out of the cage together.

ANDY. If you want out, I'm your ticket. Let's play ball. THOOMI. Do you want to see your friend? ANDY. He's not my friend. I just want my daughter back. THOOMI. I want something too. ANDY. What do you want? THOOMI. His keys to the Clever Man's cage. ANDY. Clever Man. Whatever that is, you can have 'em (Ramke, 2018, p. 39).

The cooperation between Andy and Thoomi successfully makes them escape

from the cage. After that moment, Thoomi decides to follow Andy on completing

his journey up until the end of the film.

The next evidence showing how Andy solves the problem he faces by

cooperating with Thoomi is when Andy’s condition worsens in the end of Cargo.

Realizing that he will turn into zombie soon, Andy asks Thoomi to hand him the kit

which contains of the tools that he needs to wear. He also wraps an animal carcass’

piece on a stick to be his only focus when he turns into a zombie. The journey is

continued to the finish as Andy carries Rosie and Thoomi on his back, while

Thoomi directs Andy’s steps by pointing a stick that Andy made.


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Andy walks and carries the two girls on his back (C, 2018: 01:33:53)

These evidences show how people always need the help of the others. In the

first conflict, Andy asks Thoomi to team up with him to get out of the cage. In the

second one, Andy asks Thoomi to hand him the kit contains of tools that he is about

to wear and to directs his steps to their destination. The journey Andy has will not

be done if Andy does not have Thoomi by his side because a cooperation with a

helpful friend will make a goal seems easier to be reached.


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CHAPTER V

CONCLUSION

The story of Cargo tells about Andy, a father who does a journey of finding a

safe ‘home’ for his daughter named Rosie. Andy, his wife, and Rosie live safely in

a boat during a zombie apocalypse time. Things start changing when Andy’s wife,

Kay is bitten by a zombie. The condition makes the family decide to go to the shore

in order to find a help for Kay in the nearest hospital. Their plan is failed as Kay

turns into a zombie and unconsciously bites Andy in the hand. Andy immediately

realizes that he will turn into a zombie like his wife does within 48 hours. In that

moment, Andy chooses to dedicate his last hours to live to find a safe ‘home’ for

his daughter before he dies.

The writer focuses on answering the three questions found in this study’s

problem formulation. The first question is about how Andy’s characteristics are

described in Cargo. The second one is about the conflicts that Andy faces in relation

with his characteristics in Cargo. The last question is about the moral values that

are revealed from Andy’s ways of overcoming his conflicts in Cargo.

In Cargo, Andy has three main characteristics: compassionate, cooperative,

and rational which are described mostly through his speeches and actions.

Moreover, Andy’s characteristics are also revealed through the way the camera

shoots the expressions and actions of Andy perfectly by using the cinematic points

of view methods. Later, these three characteristics that Andy has within himself

enable him to solve the problems that he faces in the second question.


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The conflicts that Andy faces are divided into two kinds: external and internal

conflicts. The first external conflict is Andy versus his wife, Kay. In Cargo, Andy

has three conflicts with his wife. The first one is when Andy and Kay argue about

the shorted food stock they have on their boat. In this conflict, Andy stays rational

and successfully convinces his wife that the food supply left will be enough for

them. The second conflict is when Kay is bitten by a zombie. Kay insists to stay on

the boat without going to the hospital as she thinks that the bite is her ‘call’, while

Andy wants her wife to get the help she needs and know what actually happen to

her. In this conflict, Andy shows his rational characteristic by telling Kay the

reasons why they should go and check her condition in the hospital. The last conflict

the couple has happens when Kay gives up about her condition as it gets worse,

while Andy keeps wanting her to get a help she needs in the hospital. In this

problem, Andy stops their argument by being compassionate and loving which

successfully calms Kay down.

The second external conflict is Andy versus Vic. Andy and Vic have two

conflicts shared during their short meeting. The first one is when Vic traps Andy

inside a cage. Andy successfully overcomes the conflict by cooperating with

Thoomi to escape. The second problem happens when Vic wants to hurt Rosie as

his revenge to Andy. Andy successfully overcomes it by being rational and telling

Vic about how a revenge will not make the situation better and that Lorraine is not

actually his lover. Andy’s words successfully make Vic let Rosie go from him.

The next are internal conflicts. Andy faces two internal conflicts within

himself. The first one is dispirited versus responsibility which occurs at the time


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when Andy loses his hope as he just gets bitten in the hand by his zombie wife. In

the same time, Andy still has a responsibility to take care of his daughter, Rosie.

Fortunately, the conflict Andy feels within himself is successfully solved as Andy

looks at Rosie and realizes his compassion towards her. Andy successfully gains

his strength back and decides to start a journey of finding safe place where Rosie

can continue her life safely. The last internal conflict Andy feels within himself is

soreness versus determination which occurs when Andy feels the sore within

himself as he starts turning into a zombie. At the same time, he still wants to finish

his journey to find a safe ‘home’ for his daughter. Fortunately, Andy successfully

overcomes the conflict he feels within himself and finishes his journey by getting a

help and cooperating with Thoomi.

There are three moral values revealed from Andy’s ways of overcoming the

conflicts he faces in Cargo. First, rationality is the key to solve a problem. Second,

unconditional love is the best thing that a family has. Lastly, people will always

need the help of others.


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