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"Penelitian ini bertujuan untuk melihat representasi sejarah holocaust dalam film The Reader. Representasi ini dapat dilihat dengan menganalisis tiga tokoh utama dalam film tersebut, yaitu Ilana, Hanna, dan Michael, dalam mengangkat kembali ingatan kolektif mereka tentang peristiwa holocaust. Tokoh Ilana merepresentasikan wacana dari para korban yang selamat. Tokoh Hanna merepresentasikan wacana dari para pelaku, sedangkan Michael merepresentasikan wacana dari generasi pasca holocaust. Wacana ini dilihat melalui ingatan kolektif mereka. Ingatan kolektif masing-masing tokoh dianalisis dengan menggunakan teori struktur dan dinamika kepribadian Sigmund Freud. Berdasarkan analisis tersebut, terlihat bahwa dalam mengingat masa lalu yang kelam, individu cenderung merepresi ingatannya, apalagi ingatan yang menyangkut aib diri. Dalam proses mencapai represi ini terjadi pertentangan kepentingan antara Id berupa ingatan masa lalu dan superego berupa nilai-nilai dalam masyarakat saat ini. Tiap-tiap tokoh mengalami pertentangan dengan pola yang sama namun dengan definisi nilai-nilai yang berbeda. Pada akhirnya penyampaian wacana tersebut dilakukan secara netral oleh tokoh Michael, yaitu wacana bahwa sejarah masa lalu yang kelam sebaiknya diceritakan apa adanya agar tidak terjadi kebohongan, konflik, dan kebencian antargenerasi yang berbeda. Wacana netral ini menyampaikan pesan bahwa ketiga tokoh telah berdamai dengan masa lalu mereka.

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The Objective of this study is to find the representation of holocaust history in The Reader movie. This representation can be viewed by analyzing three main characters in the film, who are Ilana, Hanna, and Michael, and tracing their collective memory of the holocaust. Ilana represents the discourse of the survivors. Hanna represents the discourse of the perpetrators. Michael represents the discourse of the after-holocaust generation. The discourses are viewed by tracing their collective memory. The collective memory of each character is analyzed using the theory of personality structure and the dynamics of personality of Sigmund Freud.

The analysis shows that in considering a dark past, individuals tend to repress their memory, especially memory which involves their own shame. In the process of this repression there is a conflict of interest between the Id in the form of past memories and the superego as values in today's society. Each character has the same model of conflict but in the context of different values.

Finally, the discourse of holocaust history, which is the dark past, must be told of what it is to avoid fraud, conflict, and hatred among different generations, which is represented neutrally by Michael. This neutral discourse told that the three characters in the movie had made peace with their past memory."

"Skripsi ini membahas mengenai representasi sejarah Jerman Timur dalam film Goodbye, Lenin!. Penelitian ini menggunakan teori Reperesentasi dan Identitas dari Stuart Hall dalam menganalisis keseharian masyarakat Jerman Timur dalam narasi film. Penelitian ini membuktikan bahwa terdapat paradoks dalam rekonstruksi sejarah yang direpresentasikan dalam sumber resmi (film dokumenter, siaran televisi, koran dan sebagainya) dengan keseharian masyarakatnya. Perbedaan ini memperlihatkan adanya propaganda ideologi rezim yang berkuasa dalam sejarah yang ditampilkan ke hadapan masyarakat melalui sumber-sumber resmi tersebut. Sejarah sebagi produk budaya adalah media propaganda bagi pemerintah dan tidak pernah tampil sebenar-benarnya.

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This thesis is about the representation of East Germany_s history in the film Goodbye, Lenin!. This thesis is using the theory of Stuart Hall i.e. the representation and cultural identity as the tool to analyze the images of East German_s daily life. The research proves that there is an oppositional image in the reconstruction of history that is represented in official sources (documentary film, broadcast television, newspaper and so on) and in everyday life. Furthermore it also proves that ideological propaganda of the ruling regimes does exist in the history through those official sources. History as a cultural product is media propaganda for the government and never appears in truth, whereas the daily routine of ordinary people is the opposite of the ideology. This film also shows that the aftermath of the German Reunification, which was propagated as a success still has another side of the story, the dissatisfaction of the former people of GDR."

"Penulisan ini bertujuan untuk menganalisis pelanggaran terhadap Tatanan Simbolik dan konflik yang timbul sebagai akibatnya dalam Film Normal. Keinginan tokoh Roy untuk mengubah identitas gendernya melanggar Tatanan Simbolik sehingga menimbulkan sejumlah konflik. Konflik yang muncul antara lain adalah konflik di dalam ruang publik, ruang privat, dan di dalam diri Roy sendiri. Konflik pada ruang publik terbagi menjadi konflik di dalam tempat kerja Roy dan gereja, dan konflik pada ruang privat merupakan konflik di dalam keluarga Roy yang terbagi menjadi konflik di antara Roy dengan istrinya, ayahnya, dan anaknya. Konflik-konflik yang muncul sebagai akibat pelanggaran Tatanan Simbolik yang dilakukan Roy dengan mengganti identitas gendernya inilah yang akan menjadi akan menjadi fokus pada penelitian ini. Teori psikoanalisa Jacques Lacan akan digunakan untuk menganalisis fokus permasalahan tersebut.

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This writing intends to analyze the transgression of the Symbolic order and the conflicts that appear in the movie Normal. The character Roy’s wish to change his gender identity breaks The Symbolic Order, and thus creates conflicts. The conflicts that appear are those in the public room, in the private room, and inside Roy himself. The conflict in the public room consists of the conflicts in Roy’s workplace and the church, while the conflict in the private room consists of those between Roy and his wife, Roy and his father, and Roy and his son. The conflicts that arise as the cause of the transgression of the Symbolic Order by changing his gender identity will be the focus of this research. Jacques Lacan’s psychoanalytic theory will be used to analyze this focus."

"Penulisan ini bertujun untuk menganalisis proses identifikasi tokoh Nina Slayers yang berhubungan dengan fenomea psychosis dalam film Black Swan. Nina yang terobsesi dengan karakter Black Swan berusaha untuk menguasai karakter tersebut melalui proses identifikasinya terhadap Lily yang merupakan personifikasi dari Black Swan. Namun demikian, untuk mendapatkan untuk mendapatkan citra Black Swan, Nina harus membuang citra dirinya sebagai White Swan. Hal itu dilakukannya dengan memberontak terhadap kekuasaan ibu. Tekanan psikologis yang dialami Nina kemudian memperparah kondisi psikologis Nina. Kajian mengenai karakter Nina akan dilakukan menggunakan teori psikoanalisis Lacan dengan fokus terhadap mirror stage dan psychosis.

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This writing aims to analyze the identification process of the character Nina Slayers, which is related to psychotic phenomenon in Black Swan movie. Nina who is obsessed with the Black Swan, tries to embody the character through her identification with Lily who is the personification of the Black Swan. However, to embody the image of Black Swan, Nina has to dispose of her image as the White Swan. This is done by rebelling to the omniscient mother. Psychological pressure which is experienced by Nina then deteriorates her psychological condition. The analysis of Nina Slayers will be done by using Lacanian psychoanalysis which focuses on the mirror stage and psychosis."

"Skripsi ini membahas tentang penggunaan konsep Hero’s Journey di dalam film Черная Mолния / Chernaya Molniya dalam kajian psikoanalisis Carl Jung. Untuk membuktikan hipotesa digunakan teori psikoanalis Carl Jung, konsep arketipe dan Hero’s Journey dengan metode deskriptif-analitis. Hasil analisis menyimpulkan bahwa dalam film Черная Mолния / Chernaya Molniya terdapat konsep Hero’s Journey dari tahap awal hingga tahap akhir.

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The focus of this study is to discuss about the Hero’s Journey concept that use in the Черная Mолния / Chernaya Molniya movie by using the Carl Jung’s psychoanalysis theorem. The Carl Jung’s psychoanalysis theorem, archetype concept and Hero’s Journey are used to prove the hypothesis and the method that been used is the descriptive analytical method. The result from the analysis concluded that there are a Hero’s Journey concepts in the movie from the initial stage to the final stage. "

"Perilaku-perilaku tak wajar seorang tokoh tertentu di dalam sebuah karya sastra atau film terkadang menimbulkan pertanyaan apakah perilaku-perilaku tersebut dapat dipercaya atau tidak. Terkadang memang tidak mudah untuk memahami alasan yang membuat tokoh tersebut berperilaku sebagaimana digambarkan dalam cerita di karya sastra atau film tersebut. Di sinilah pendekatan psikoanalisis bisa menjadi alat yang sesuai untuk memahami hal tersebut. Kajian ini bertujuan untuk menunjukkan bagaimana prinsip-prinsip psikoanalisis dapat digunakan untuk lebih memahami sebuah film yang berjudul Mereka Bilang, Saya Monyet!, terutama tokoh utamanya, yaitu Adjeng. Secara lebih spesifik, tujuan dari penelitian kualitatif ini adalah untuk menemukan bagaimana (1) unsur-unsur naratif dan sinematografis film ini mencerminkan prinsip-prinsip psikoanalisis Freud, dan (2) bagaimana gejala-gejalan neurosis tokoh utama di dalam film ini ditunjukkan di dalam film, dan bagaimana gejala-gejala tersebut terkait dengan masa lalunya. Dari hasil analisis unsur-unsur naratif film (tema, alur, penokohan, simbol, metafor, ironi, dan alegori) ditemukan bahwa semua unsur naratif tersebut sangat terkait dengan prinsip-prinsip psikoanalisis Freud. Keterkaitan yang sama juga ditemukan pada unsur-unsur sinematografisnya (gambar, gerakan, dan suara). Keterkaitan unsurunsur sinematografis ini mungkin tidak sejelas keterkaitan dengan unsur-unsur naratif. Meski begitu, unsur-unsur sinematografis tetap mempertegas keterkaitan antara struktur film ini dengan prinsip-prinsip psikoanalisis. Sementara itu, analisis gejala-gejala neurosis pada tokoh utama film ini, Adjeng, menemukan adanya dua macam gejala neurosis yang diderita Adjeng, yaitu ketakutan akan keintiman dan ketakutan akan ditinggalkan (ditelantarkan). Gejala-gejala tersebut ditunjukkan oleh sekuen-sekuen yang menunjukkan hubungannya dengan orang-orang terdekatnya, seperti ibunya, kekasih-kekasihnya, dan teman-teman dekatnya. Gejala-gejala neurosis tersebut terkait erat dengan kejadian-kejadian traumatis yang dialami Adjeng ketika masih kecil dulu, khususnya saat ia mengalami kompleks Oedipus.

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Uncommon behaviors of a certain character in a literary work or movie sometimes raise a question if such behaviors are really believable or not. In fact, it is sometimes difficult to understand why such character does the things s/he does in the story told by the literary work or movie. In this case, a psychoanalysis approach can be a very effective tool to understand such thing.

This study aims at showing how psychoanalysis principles can be used to get a better understanding of a movie entitled Mereka Bilang, Saya Monyet! (They Say, I am a Monkey!), in general, and its character(s), in particular. To be more specific, the objective of this qualitative research is to find out (1) how the narrative and cinematographic elements of this movie reflect Freud's Psychoanalysis principles and (2) how the neurosis symptoms of the main character in this movie, Adjeng, which are related to her childhood memories, are shown in the movie.

The analysis of its narrative elements (theme, plot, characterization, symbolism, metaphor, irony, and allegory) shows that all the elements are closely related to Freud's Psychoanalysis principles. The same finding also goes to the analysis of its cinematographic elements (picture, motion, dan sounds). Such relation might not be as vivid as the one found in its narrative elements, but cinematographic elements certainly give strong emphasis on such principles.

As for the neurotic symptoms of the main character, Adjeng, it is found that there are basically 2 kinds of neurotic symptoms that she suffers from; fear of intimacy and fear of abandonment. Such symptoms are shown by the sequences that show her relationship with the people she is close to, including her mother, her lovers, and her close friends. These neurotic symptoms are deeply rooted to her traumatic experiences in her childhood when Oedipus Complex took place."

"Konsep kota utopia telah menjadi ide ideal yang menarik perhatian sejak zaman kuno, dengan Atlantis sebagai salah satu representasi paling terkenal melalui kisah Plato. Atlantis digambarkan sebagai kota sempurna yang memiliki harmoni antara alam dan peradaban, namun tenggelam akibat kesombongan yang membawa kehancuran. Pada era modern, konsep ini dihidupkan kembali melalui berbagai media, termasuk film animasi Atlantis: The Lost Empire (2001). Film ini menginterpretasikan Atlantis sebagai kota ideal dengan tata ruang simetris, pusat energi kristal, dan perpaduan harmonis antara teknologi dan alam. Skripsi ini bertujuan menganalisis penggambaran Atlantis sebagai kota utopia dalam film tersebut dengan pendekatan teori semiotika Roland Barthes. Fokusnya adalah bagaimana mitos kota utopia diadaptasi dalam visual dan narasi sinematik, serta pesan yang disampaikan. Hasil penelitian menunjukkan bahwa melalui tanda-tanda visual dan narasi, film ini menyampaikan makna tentang keseimbangan peradaban dan bahaya keserakahan, sekaligus merepresentasikan konsep kota yang ideal berdasarkan interpretasi budaya dan teknologi modern.

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The concept of a utopian city has been an ideal idea that has attracted attention since ancient times, with Atlantis as one of the most famous representations through Plato's story. Atlantis is depicted as a perfect city that has harmony between nature and civilization, but sank due to arrogance that brought destruction. In the modern era, this concept is revived through various media, including the animated film Atlantis: The Lost Empire (2001). This film interprets Atlantis as an ideal city with a symmetrical layout, a crystal energy center, and a harmonious blend of technology and nature. This thesis aims to analyze the depiction of Atlantis as a utopian city in the film using Roland Barthes' semiotic theory approach. The focus is on how the myth of the utopian city is adapted in cinematic visuals and narratives, as well as the messages conveyed. The results of the study show that through visual signs and narratives, this film conveys meaning about the balance of civilization and the dangers of greed, while also representing the concept of an ideal city based on the interpretation of modern culture and technology. "

"Skripsi ini membahas bagaimana novel The Picture of Dorian Gray merepresentasikan pandangan Oscar Wilde mengenai filosofi New Hedonism, yang dapat dilihat melalui analisis empat tokoh utama dalam novel yang berlatar belakang era Victoria di Inggris ini. Keempat tokoh tersebut adalah Basil Hallward, Sybil Vane, Lord Henry Wotton, and Dorian Gray. Pendekatan utama yang digunakan untuk menganalisis teks tersebut adalah teori Psikoanalisis Sigmund Freud mengenai agen-agen psikis, insting, dan mekanisme pertahanan, serta teori New Hedonism Walter Lippmann. Penelitian ini bertujuan untuk melihat kecenderungan Oscar Wilde dalam memandang filosofi hedonisme baru dan nilai-nilai masyarakat era Victoria guna membalik persepsi pembaca pada umumnya, yang memercayai bahwa novel ini memberikan pengaruh buruk bagi moralitas masyarakat. Dengan mengkaji hal apa yang mendorong tindakan-tindakan keempat tokoh dan menghubungkannya dengan nilai moral masyarakat era Victoria, penelitian ini berusaha memahami pesan moral yang ingin disampaikan Wilde melalui tulisannya tersebut. Kesimpulan yang diambil penulis adalah bahwa novel ini, melalui tokoh-tokohnya, menunjukkan ambivalensi Wilde dalam merepresentasikan filosofi New Hedonism dan nilai-nilai masyarakat era Victoria.

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This undergraduate thesis discusses how the novel The Picture of Dorian Gray represents Oscar Wilde's perspective towards the philosophy of New Hedonism, which is analysed through the four most significant characters in this Victorian English novel, Basil Hallward, Sybil Vane, Lord Henry Wotton, and Dorian Gray. The major approaches applied in analysing the text are Sigmund Freud's psychoanalitical theories on the psychic apparatus, instincts, and defense mechanisms, and Walter Lippmann‟s philosophical theory on New Hedonism.

The research aims at determining Wilde‟s position towards the new hedonistic philosophy and the Victorian values in order to counter the general belief that this novel serves as an immoral influence for the society. By analysing the characters' motives in choosing their actions and relating them to the moral values held by the Victorian society, this research tries to understand the message Wilde wants to convey in his work.

As a conclusion, the analysis on the characters proves that the novel shows Wilde's ambivalent attitude towards the New Hedonism as well as the Victorian values."

"ABSTRAKBertentangan dengan tujuan peradaban dengan nilai-nilai Utopisnya yang dimaksudkan untuk memberi manfaat kepada masyarakat, Freud mengajukan konsekuensi lain yang menunjukkan ambivalensi peradaban. Dalam masyarakat beradab, menurut dia, orang menghilangkan bahaya yang berasal dari manusia lain melalui penciptaan institusi sosial, seperti budaya, moralitas, atau regulasi sistem yang lebih kompleks. Lembaga sosial ini selain manfaat yang diberikan, juga memberikan bahaya lain yang menurut Freud menyebabkan benturan antara individu dan naluri utamanya untuk memenuhi prinsip. Untuk menjadi bagian dari masyarakat, anggota masyarakat harus menyesuaikan diri dengan sistem sosial masyarakatnya. Dalam sistem sosial ini, naluri fundamental manusia terbatas atau ditolak melalui adanya peraturan, moralitas, dan budaya yang perlu dipatuhi dan diprioritaskan di atas keinginan individu. Dengan demikian, untuk hidup bersama dalam masyarakat, individu seharusnya melepaskan aspek tertentu dari keinginannya dengan menindasnya.Dengan begitu masyarakat yang terlihat memiliki peradaban tinggi ternyata adalah sebuah masyarakat totaliter yang merupakan masyarakat distopis.ABSTRACT

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ABSTRACTContrary to the purpose of civilization which is meant for benefiting the community, Freud proposed another its consequence that shows the ambivalence of civilization. In civilized society, he stated, people eliminated the danger which comes from other human beings through creating social institution, such as culture, morality, or more complex system regulation. This social institution, despites of the benefits that it can bring, also brings another danger which according to Freud causes a clash between individual and its primal instinct to fulfill the pleasure principle Dalley, 1977 . To become of a part of society, a member of society must adapt to its society rsquo s established social system. In this social system, Tthe fundamental instinct of human beings is limited or denied through the existence of which needs to obey and prioritize above individual rsquo s will. Thus,to live together in a society, individual is supposed to giving up certain aspect of his or her desire by repressing them. Introduction The Giver was released in the United States on August 15, 2014 and based on the 1993 novel of the same title by Lois Lowry. It depicts a civilized community with the inexistence of inequalities and discriminations. The community is shaped and governed by the old generation based on their ideal values they believe have created an ideal community. A community which is a great place and considered as a solution to live where every member of the community succeed in eliminating all the things that can create undesirable feelings and conditions such as disorder, bad weather, chaos, pain, envy, fear and hatred. Watching The Giver, the audience will be given a depiction of a community where no poverty exists. There are no the rich and the poor. The citizens rsquo behavior and attitude during interaction to other member of the community are extremely polite even to their own family member or colleagues to avoid internal aggression. Thus, there are no crimes because everyone behaves perfectly well according the norms strictly regulated.In addition, the advanced technology has made many improvements in the quality of human life by successfully avoiding danger from bad weather or natural disaster as external dangers. In the movie, the community seems have perfectly avoided both internal aggressions and external dangers that lead to sorrow and unhappiness. However, the community also cannot feel the pleasure of the real world, such as to love or to be loved since showing emotion is considered not proper. They also have no choice about what job they will be assigned to, whom they will marry to or who their future children will be. Every child never sees his or her birthmother as the Elders or the old generation will choose his or her family. Everything is decided by the elder as the leader of the community, including when a member of the community will need to be lsquo released rsquo which means lsquo will be killed or dead rsquo without his or her knowing what is the real meaning of death.This journal will show that The Giver gives realization that there is a cost of such ideal society to individualism. Using Sigmund Freud rsquo s social theory of civilization, a seemingly ideal Utopian of civilized society in the Giver is actually a repressed society that have lead the society to totalitarian state which is a dystopian. Thus, from the depiction of The Giver society, civilization and its fundamental nature are actually incompatible with the individual needs of human being to please the primal instinct."