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COPING BEHAVIOR OF MILO HOFFMAN IN PETER HOWITT’S
‘ANTITRUST’ MOVIE (2001)
AN INDIVIDUAL PSYCHOLOGICAL APPROACH
A. Background of the Study
Antitrust is one of the best computing hacking thriller film ever produced in
2001. It is directed by Peter Howitt, an English actor and director. He first found success
playing Joey Boswell in the British TV series Bread. In 1998 he wrote and directed his
first film, Sliding Doors (1998). In this movie, he got several awards, Best British
Director from Empire Awards and European Screenwriter from European Film Awards.
Since then he has directed several films, including AntiTrust (2001), Johnny English
(2003), Laws of Attraction (2004) and Dangerous Parking (2008) which he adapted
from the novel by Stuart Browne, produced and directed as well as playing the lead role.
The screenplay was written by Howard Franklin, an American writer and
director. He wrote and directed the '90's comedy Quick Change, starring Bill Murray,
Geena Davis and Jason Robards and The Public Eye, a thinly-veiled biography of the
tabloid photographer, Weegee (starring Joe Pesci). His other screenplays include:
Someone to Watch Over Me (directed by Ridley Scott); The Name of the Rose (starring
Sean Connery); and The Man Who Knew Too Little with Bill Murray.
Antitrust portrays young idealistic programmers and a large corporation, NURV,
(Never Underestimate Radical Vision), that offers significant money, a low-keyed
working environment, and creative opportunities for those talented programmers willing
to work for them. The charismatic CEO of NURV, Garry Winston who featured by Tim
Robbins, seems to be good natured, but recent employee and protagonist Milo Hoffman,
featured by Ryan Phillippe, begins to unravel the terrible hidden truth of NURV's
operation.
Working with his three friends at their new software development company
Skullbocks, Stanford graduate Milo Hoffman contacted by CEO (Gary Winston) of
NURV for a very attractive programming position: a fat paycheck, an almost-
unrestrained working environment, and extensive creative control over his work.
Accepting Winston's offer, Hoffman and his girlfriend, Alice Poulson (Forlani), move to
NURV headquarters in Portland, Oregon.
The environment of NURV seems as advertised: A friendly, family-oriented
company that places great value on individual creativity. NERF footballs fly around the
office, the atmosphere is relaxed, and Winston personally shows Milo to his workstation
and introduces him to his co-workers. Despite development of the flagship product
(Synapse, a worldwide media distribution network) being well on schedule, Hoffman
soon becomes suspicious of the excellent source code Winston personally provides to
him, seemingly when needed most, while refusing to divulge the code's origin.
After his best friend, Teddy Chin (staring Yee Jee Tso), is murdered, Hoffman
discovers that NURV is stealing the code they need from programmers around the world
— including Chin — and then killing them to cover their tracks. Hoffman learns that not
only does NURV employ an extensive surveillance system to observe and steals code,
the company has infiltrated the Justice Department and most of the mainstream media.
Even his girlfriend is a plant, an ex-con hired by the company to manipulate him.
While searching through a secret NURV database containing surveillance
dossiers on employees, he finds that the company has information of a very personal
nature about a friend and co-worker, Lisa Calighan. When he reveals to her that the
company has this information, she agrees to help him expose NURV's crimes to the
world. Coordinating with one of Hoffman's friends from his old startup, they plan to use
a local cable access station to hijack Synapse and broadcast their charges against NURV
to the world. However, Calighan turns out to be a double agent, foils Hoffman's plan,
and turns him over to Winston.
Hoffman had already confronted Poulson and convinced her to side with him
against Winston and NURV. When it became clear that Hoffman had not succeeded, a
backup plan was put into motion by Poulson, the fourth member of Skullbocks, and the
incorruptible internal security firm hired by NURV. While Hoffman is mocked by
Winston, the second team successfully usurps one of NURV's own work centers
—"Building 21"—and transmits the incriminating evidence as well as the Synapse code.
Winston and his entourage are publicly arrested for their crimes. Parting ways with the
redeemed Poulson, Hoffman rejoins Skullbocks.
Antitrust was released as a "Special Edition" DVD on May 15, 2001 and on VHS
on December 26, 2001. The DVD features audio commentary by the director and editor,
an exclusive documentary, deleted scenes and alternative opening and closing sequences
with director's commentary, the music video for "When It All Goes Wrong Again" by
Everclear, and the original theatrical trailer.
Antitrust movie is a major critical issue in computer software bussiness
especially, an area that is very strange for most people. The ideas of open-source
become the interesting parts of the story. Its open source story excited industry leaders
and professionals with the prospects of expanding the public's awareness and knowledge
level of the availability of open-source software. The film heavily features Linux and its
community, using screenshots of the Gnome desktop, consulting Linux professionals, as
well as cameos by Miguel de Icaza and Scott McNealy (the later appearing in the film's
trailers). Jon Hall, executive director of Linux International and consultant on the film
said "[Antitrust] is a way of bringing the concept of open source and the fact that there is
an alternative to the general public, who often don't even know that there is one."
Unfortunately, despite the film's message about open source computing, MGM (Metro
Goldwin Mayer) didn't follow-through with their marketing: the official website for
Antitrust featured some videotaped interviews which were only available in Apple's
proprietary QuickTime format.
Antitrust movie clearly shows the confrontation of two mainstreams in
computing world, open-source ideas in one side and proprierty ideas in another one.
Open source describes practices in production and development that promote access to
the end product's source materials. Some consider open source a philosophy, others
consider it a pragmatic methodology. Before the term open source became widely
adopted, computer software developers and producers used a variety of phrases to
describe the concept. Open source gained hold with the rise of the Internet, and the
attendant need for massive retooling of the computing source code. Opening the source
code enabled a self-enhancing diversity of production models, communication paths,
and interactive communities. Subsequently, a new, three-word phrase "open source
software" was born to describe the environment that the new copyright, licensing,
domain, and consumer issues created.
The open source model includes the concept of concurrent yet different agendas
and differing approaches in production, in contrast with more centralized models of
development such as those typically used in commercial software companies. A main
principle and practice of open source software development is peer production by
bartering and collaboration, with the end-product (and source-material) available at no
cost to the public. Linux variants, such as Ubuntu, Mandriva, and Slackware are the
examples of open source softwares in the level of Operating System, while, the
powerfull internet browser Mozilla Firefox, office suite OpenOffice.org are other
examples in the level of aplication.
In other side, proprierty ideas deliver different concepts. Commonly, it often
used to mean computer software in which is neither free nor open source. A literal
meaning of "proprietary" in relation to software is that it has a copyright owner who can
exercise control over what users can do with the software, in contrast to public domain.
However, the term is commonly used in a narrower sense to describe software with
restrictions on use or private modification, or with restrictions judged to be excessive on
copying or publishing of modified or unmodified versions. These restrictions are placed
on it by one of its proprietors. In this sense it is also known as "non-free software" and is
the opposite of free software, generally speaking. A related term is "closed-source
software" which usually describes software whose source code is not published, in
contrast with "open source". Hence, most proprietary software is closed-source, the
opposite term for open-source.
There are several reasons that make the movie interesting for the author. First,
Solidarity, idealism and striving for truth are the center of the story. Secondly, the main
protagonist character, Millo Hoffman, a computer geek played by Ryan Phillips, seems
to be so alive. Thirdly, the director made the movie is very much close to the real life.
Several scenes of the movie obviously show the using of Linux commands within its
desktop Gnome, it is very common used by the author who loves Linux very much.
Fourthly, open-source software campaign becomes the basis of the story.
According to the reasons above the author decides to observe Antitrust movie by
using individual psychology theory proposed by Alfred Adler. Therefore, the author
proposes the research paper entitled “COPING BEHAVIOR OF MILO
HOFFMAN IN PETER HOWITT’S ‘ANTITRUST’ MOVIE (2001):
AN INDIVIDUAL PSYCHOLOGICAL APPROACH”.
B. Literature Review
In this study, the author does not find any other researcher in line with Antitrust
movie, so this is the first research paper that conducts Antitrust movie to be analyzed
through Individual Psychological Approach, at least IN UMS (Muhammadiyah
University of Surakarta).
C. Problem Statement
In this research, the author proposes single problem statement. The problem of
the research is “how Milo Hoffman as the main character of Peter Howitt’s film
Antitrust copes with his life problem”.
D. Limitation of the Study
In this study, the author focus on analyzing the movie based on its structural
elements by finding characterization, setting, point of view, plot and teme. The author
give great emphasize toward the main character of Millo Hofmman using the Individual
Psychology Approach.
E. Objectives of the Study
Dealing with the problem statement above, the objectives of the study are as follows:
1. To analyze the movie based on its structural elements by finding characters
and characterizations, setting, point of view, plot and theme.
2. To analyze the movie especially the main character of Milo Hoffman use the
Individual Psychological Approach.
F. The Benefits of the Study
Here, the author point out several benefits can be gain from the research hopefully.
1. Theoritical Benefit
The study is expected to contribute to the development of the larger body of
knowledge, particularly literary studies on Peter Howitt’s Antitrust.
2. Practical Benefit
The study is dedicated to the development of literary study in Muhammadiyah
University of Surakarta, especially in English Departement and to give deeper
understanding in literary field as the reference to the other researchers in analyzing
the film that is analyzed in this research into different perspective.
G. Theoretical Approach
The author uses individual phsychological approach in this study, the theory of
Alfred adler. He likes to present two main points, Notion of Individual Phsychology and
the Basic Assumption of Individual Psychology.
I) Notion of Individual Psychology
According to Adler ( in Ryckman, 1985:95), Individual Psyhology is a
science that attemps to understand the experience and behaviour of each person as an
organized entity. He believes further that the major purpose or personality should be
to serve as fruitful guide for therapist and ultimately for everyone, in affecting
change toward more psychologically healthy behaviour.
Adler (in Feist, 1985:64) statest that Individual Psychology insists on
fundamental unity of personality. All apparent dichotomies and multiplicities of life
are organized in one self-consistent totally. No definite division can be made
between mind and body, between concious and unconciuos or between reason and
emotion. All behavior is seen in relation to the final goal of superiority or succes.
This goal gives direction and unity to the individual.
Adler as in psychology depicts that human beings as single, invisible, self-
consistent, and unified (Adler in Hjelle and Ziegler, 1992:139). Adler makes
conciousness of the center of personality, which makes him pioneer of the ego-
oriented psychology. Man is a conscious being. He is ordinary aware of the reason
for this behavior. He is concious of his inferiorities and concious of the goal for
which he strives. More than that, he is a self conscious individual who is capable of
planning and guiding his action with full awareness of their meaning for his own
self-realizarion (Hall and Lindzey, 1981:121).
Adler and his earliest writings mainatained the final goal of human stuggle
was to be agrgressive and all powerful to dominate others. Human were seen as
selfish and ceoncerned only with self-aggrandizement. Later, Adler revised his
thinking and claimed that the final goal is to be superior (Ryckman, 1985:95)
There are four ideas that serve as a basis for the concept of Adler’s Individual
Psychology. The first, human attitude occurs under concious condition. As thinking
creature, people certainly realize the weakness and the strength of their condition
both on mental and physic as well as they conduct their life goal. That is why people
absolutely will understand about their own attitude toward life problem. They
conciously think and act how to solve life problem and how to get what they want,
as Adler’s points out that “man is a concious being: he is ordinary aware of the
reasons for his behavior” (action with full awareness of their meaning for his own
self realization (Hall and Lindzey, 1981:121).
Secondly, human attitude is the result of creative potency of human itself. As
Hall and Lindzey (1981:120) state that “Adler’s second major contribution to
personality theory is his concept of the creative self, Adler’s self is highly
personalized, subjective system which interprets and makes meaningful the
experiences of the organism”. However since human is conscious for his or her
behavior, creative potency is utilized as long as it is helpful to solve life problem or
to achieve life goal. Certainly creative self of an individual and cannot always
accomplished by the others because each one has different personality from the
other’s one. The personality of an individual, therefore, can be seen from his or her
creative self.
The third idea is human attitude is influenced by social concern. It relates to
the concept of that human is a social creature, not individual one. As a social one,
people interact with others and then form a certain relationship with such as,
friendship, brotherhood, and lover. Consequently, that relationship will control them
not to hurt the other’s feeling in which they care the other’s life too. Therefore social
feeling is a human attitude controller, as Adler assumes that “man is motivated by
social urge” (Hall and Lindzey, 1981:120).
II) Basic Assumption of Individual Psychology
1. Inferiority Feelings and Compensation
It originates from one’s imperfection like physical defeat, lack of social
life: or inability to overcome the life problems. Adler (in Ryckman, 1985:96-97)
notes that an individual with defective organ typically tries to compensate their
weaknesses by intensive training. The feeling of inferiority or a sense of
incompleteness is the great driving force of mankind. In other words, man is
pushed by the need to overcome his inferiority and pulled by the desire to be
superior (Hall and Lindzey, 1981:124).
Adler (in Hjelle and Ziegler, 1992:142) suggest that the process of
compensate alsso occurs in the psychologycal sphere; that people often strive to
compensate not only for organ inferiorities but also for subjective feeling of
onferiority, those arise from uniquely felt psychological or social disabilities.
The feeling of inferiority is not the defective organ motivation, inferiority by
itself, however, can never produce greatness. It must be combined with talent,
and social interest (Feist, 1985:67). Adler (in Hall and Lindzey, 1981:163) states
as follows:
“Adler equated inferiority with unmanliness or feminist, the compensation for which
called “the masculine protest” later, however, he sub-ordinate this view to the more
general one that feeling of inferiority arise from a sense of incompetion or inperfection
in any sphere of life. Adler contented that inferiority feeling is not a design of
abnormality, they are the case of all improvement in the human lot”.
Adler (in Hjelle and Ziegler, 1992:142) observes that people with
severe organic weakness or defect wil often try to compensate for them by
training and excercise, which often result in development of the individual’s
greatness or strength.
2. Striving for Superiority
Striving for superiority refers to the desire to be better than others. Each
individual is forced by driving to be superior, powerful and regarded. This is the
response of the feeling of inferiority. By inferioruty feeling, person will make
some efforts to cover it. Person will strive to cover their weakness to be perfect,
superior and regarded. The one dynamic force behind the person’s activity is the
striving for success or superiority (Feist, 1985:68). Adler (in Ryckman
1985:219) states as follow:
“I should like to emphasize first of all that striving for perfection is innate. This is not
menats in a concrete way, as if were a drive, which would later in life be capable of
bringing everything to completion and which only needed to develop it. The striving for
perfection is innate in the sense that it is a part of life, as striving, an urge, a something
without which life would be unlikeable...”
Adler (in Hall and Lindzey, 1981:123) acknowledge that the striving for
superiority may manifest itself in a thousand different ways and that each person
has his own concrete made of achieving or trying to achieve perfection. Adler (in
Hjelle and Ziegler, 1992:143) believes that the great dynamic force governing
human behavior is a striving to be aggressive. There are distinct stages in his
theorizing on the ultimate goal of human life; to be aggreassive, to be powerful
and superior.
3. Fictional Finalism
It deals with individual goal of life, which is unreal in nature or as a
fiction. According to Adler as quoted by Hjelle and Ziegler (1992:154) each
person guests for superiority guided by the fictional goal that he or she adopted.
He also believes that the person’s fictional goal of superiority is self-determined.
It is formed by the person’s own creative power, therefore making it individually
unique.
Adler (in Ryckman 1985: 98) urgues that people create ideas that guide
their behavior and he concluded that no one various striving can occur without
the perception of goals. Adler (in Hall and Lindzey, 1981:122) states as follows:
“Individual psychology insists absolutely on the indispensabilty or finalism for the
understanding of all psychological phenomena causes; power, instinct, impluses, and the
like cannot serve as explanatory principles. The final goal alone can man’s behavior.
Experiences, trauma, sexual development menachanism cannot yield and explanation,
but the perspective in ehich there are regarded the individual way of seeing them, which
subordinate all life to the final goal, can do so’.
Adler’s concept of fictional finalism in the idea the human behavior
directed toward futute goal of its own making. Adler (in Hjelle and Ziegler,
1992:153) theorizes that our ultimate goals (these goals which give our life
direction and purpose) are fictional goals can neither be tasted nor confirmed
against reality.
4. Style of life
For Adler, the individual style of life is one’s personality, the unity of
the personality, the individual form of creative opinion about oneself, the
problem of life and his whole attitude to life and others. The life style of the
individualis considered the key of his behavior. His major goal is superiority and
compensation for his feeling of inferiority, but he may achieve his goal in a great
veriety of ways.
Style of life refers to the flavor of a person’s life. It includes not only the
person’s goal but also self concept, feelings toward others, and attitude toward
the world. It is the product of interaction of heredity, environment, goal of
success, social interest and creative power (Feist, 1985:74).
Adler (in Feist, 1985:75) proposes four general life style attitudes. “His
proposal made to classify individual according to their attitude and behavior to
watch the outside world”.
a. Ruling Type
People of this type have little social interest, but a high degree of
activity. The proposes a dominating attitude toward the outside world, and
approaching three major problem of life (friendship, sex, and occupation).
They are aggressive in individually, but stagnant in socially. “People of the
ruling type with an extreme high degrees of activity or potentially dangerous;
they are the murderers, rapits, tyrants, and suicides.” (Adler in Feist,
1985:75).
b. Getting Type
Individuals with this attitude relate to the outside world in a
parasitic manner, depending on the other to satisfy most of their need. Their
mind concern is getting as musch as possible from others, “they possess a
low degree of activity and little social interest, however they are not likely
hurt others.” (Adler in Feist, 1985:75).
c. Avoidig Type
The avoiding type person like to become neurotic or psychotic.
They are characterized by an attitude of avoidance. Fearing failure more than
desiring success, their life are marked by the socially useless behavior of
running away from the task of life. They lack of the courage to struggle with
the problem, instead to ignore them or to pause them aside. In other words,
their goal is to avoid, all problems in life because avoiding any possibility of
failure (Feist, 1985:76).
d. Socially Useful Type
The person with sociallyuseful attitude, according to Adler (in Feist,
1985:75), “struggles to solve life’s problem in a manner beneficial to society.
This person rightly identifies three major social problems; neighborly love,
sexual love, and occupation.” The solution to social problem demands to the
welfare of another (Adler in Feist, 1985:76).
5. Social Interest
The concept of social interest reflect Adler strong belief that we as
human are social creature that must consider our relationship to others and to the
larger sociocultural context in which we life if we are fully understand ourselves
(Hjelle and Ziegler 1992:147). Social interest is a part of human nature and some
amount of it;s existence is everyone — the criminal, the psychotic and the
mentally healthy: like striving for success, social interest is rooted as potentially
in everyone. However it must be developed (Adler in Feist, 1985:71).
According to Adler as quoted by Hall and Lindzey (1981:164), social
interest is true and inevitable compensation for all the natural weakness of
individual human being. Social interest means a striving for a form of
community which must be thought of as overlasting, as it could be thought of if
mankind had reached the goal of others, we help ourselves toward the same goal
(Adler in Ryckman 1985:96).
6. Creative Self
Creative self is the yeast that acts upon the facts of the world that
transform this facts into personality that is subjective, dynamic, unified, personal
and uniquely stylized. The creative self gives meaning to life. It creates the as
well as the means of the goal. The creative self is the anctive principle of human
life (Hall and Lindzey, 1981:166).
The concept of creative self inplies that we each create our own
personality that we actively construct it out of our experinces and heredities
(Ryckman, 1985:98). Adler concepts of the creative self is under covered his
belief that human being are the matters of their own fate. (Adler in Hjelle and
Ziegler, 1992:150).
III) Structural Elements of the Movie
a. Narrative Elements
1) Character and Characterization
Characterization is the description of the quality of character, which in
includes physical, mentally, social and moral element of character. Character
in the story can be divided into two parts, namely major and minor characters.
Major character has crucial role to the movement of the story. It has roles in
the story and usually has conflicts. Menawhile, minor character is the
character that supports and completes the existence of the major character
(Bordwell and Thompson, 1990:207).
2) Setting
In film, setting describes the scene of every shot. In film script, there
are EXT and INT designations to indicate exterior and interior settings, the
setting also indicates time and place, it can be seen from the building, a
familiar place in one location, scenery, etc. the written information about
place and time often spears in the scene (Bordwell and Thompson, 1990:207).
3) Point of View
Point of view is one of the most interesting aspects in the narrative
elements. For some story tellers, deciding whose point of view to tell the story
is Adler fundamental consideration in making Adler story (Bordwell and
Thompson, 1990:207).
4) Theme
A filmmaker should determine first the theme in story before stepping
ahead into the next path. In discovering the theme, the filmmaker will
examine their attitude toward the subject, study the material and also analyze
their knowledge of the audience (Bordwell and Thompson, 1990:207).
5) Intent/Message
In movie, sometimes the moviemakers intend to show a message
through their movie to the audience. Sometimes the message in the movie is
obvious but sometimes the moviemakers are not sure of their message, it
depends on the interpretation of the audience to catch the message of the.
movie So, the moviemakers should involve the message clearly.
6) Symbol
Symbol is a conventional sign which refers to the object that is
interpreted as refferring to the object. According to Piere (Chandler,2005).
7) Cast
In the process of making movies, cast is very important, through the
process of casting, the actors and actress play their role as their characters.
b. Technical Elements
Technical elements here deal with the film production medium (Bordwell
and Thompson, 1979:126). Often technical elements support and enhance
narrative element, it can function to advance the cause-effect chain, manipulate
story-plot relations, or sustain the narration’s flow of information (Bordwell and
Thompson, 1979:126). The elements cover mise-en-scene, cinematography,
sound, and editing (Bordwell and Thompson, 1979:126).
1) Mise-en-scene
In the original French, mise-en-scene (Pronounced meez-ahn-sen)
means staging action, and it was first applied to the practice of directing plays
(Bordwell and Thompson, 1990:127). The element of mise-enscene has some
aspects: setting, costume and make up, lighting, and figure expression and
movement.
a) Setting
Setting in Cinema plays more active role than in most the atrical styles
(Bordwell and Thompson, 1979:130). In, movie setting describes the
scene of every shot. In movie script, there are EXT and INT designations
to indicate exterior and interior settings. Setting itself will be
distinguished into two: Setting of Place and Setting of Time
b) Costume and Make Up
Costumes for movie usually must be believable in close up. It is selected
or designed for authenticity (Douglas, 1996:134). N Authenticity is
important, leads in the atrical pieces will have clothes that set them apart
from other characters (Douglas, 1996:134). Make-up was originally
necessary because actor’s faces would be analyze in terms of how it
contributes to an unified characterization (Bordwell and Thompson,
1990:133).
c) Lighting
Lighting in Cinema production is also the important element. It helps the
viewers to see the action as the function of lighting shaping the objects
by creating highlights and shadows and shaping audience understanding
of the shot’s composition. (Bordwell and Thompson, 1979:134). There
some lighting used in movie: Frontal lighting can be recognized by its
tendency to eliminate shadows, Side lighting is used to sculpt the
characters, Back lighting defines depth by sharply distinguishing and
object from its background Under lighting suggests that the light comes
from below the subject, Top lighting usually appears along with light
coming from other directions, The key light is the primary lighting source
of the image, and a Fill light is used to fill the darkness (Bordwell and
Thompson, 1990:134-135).
d) Figure Expression and Movement (Acting)
According to Bordwell and Thompson (1990:137), the director may also
control the behavior of various figure expression and movement as
acting. An actor’s performance in a movie consists of visual elements
(appearances, gestures, facial expressions) and sound (voice, effects).
2) Cinematography
Cinematography (Literarily,” writing in movement”) depends to a large
extent on photography. (Bordwell and Thompson, 1990:156). Within the same
formal context in mise-en-scene, the moviemaker controls the cinematographic
qualities of the shot, how the image is photographed and framed, how long the
image lasts on the screen. (Bordwell and Thompson, 1990:199).
a) The range of tonalities
The moviemaker may control all the visual qualities by manipulating
movie stock and exposure. Movie stocks or different types of photographic
movie, vary in their light sensitivity. Color film stock may produce a wider
range of the spectrum, not only blacks, whites, and shades of gray.
(Bordwell and Thompson, 1990:156-157).
b) Speed of motion
Besides the range of tonalities of movie, there is the variation speed
of motion that gives effect on movie. It can be slow, ordinary, and fast
motion or maybe freeze on frame (Bordwell and Thompson, 1979:160).
This movie uses slow motion every time when something romantic or tragic
happens.
c) Perspective relations
The optical systems of people’s eye, registering light rays reflected
from the scene, supplies as a host of information about scale, depth, and
spatial relations among parts of the scene. (Bordwell and Thompson,
1990:161).
d) Framing
Framing in the movie production is the important term. It can be
powerfully to the image by means of the size and shape of the frame. The
way the frames define on screen and of screen space, the way framing
controls the distance angel, and height of a vantage point into the image, and
the way framing can be mobile in relation to the mise en scene. (Bordwell
and Thompson, 1979:168).
3) Editing
According to Bordwell and Thompson (1997:206) good editing is
joining and just apposing shots creates rhythms and pacing that contribute to
mood. Editing maybe thought of as the coordination of the one shot with the
next. It is needed to distinguish how editing is done in production from how
the moviemaker appears on the screen to viewers. (Bordwell and
Thompson, 1997:207). Editing has close relationship with creating filmic
time, so it is very important process in movie production because shooting
of the movie does not do in a series as written in screenplay (Sumarno,
1996:59).
4) Sound
In the process of movie production the soundtrack is recorded
separately from the images and can be manipulated independently.
(Bordwell and Thompson, 1990:224). Sound is as simply as accompaniment
to the real basis of cinema, the moving images. It gives the audiences the
unuttered description about the thing happens in the movie.
H. Theoretical Application
This research is developed by applying the Individual Psychological theory by
Alfred Adler. The author focussses on analyzing the one character in Peter Howitt’s
movie Ántitrust. By knowing the individual psychology of the character, the author tries
to explore the character of Milo Hoffman as the main character of the movie. The author
thinks that it is important to apply some steps in analyzing the story that is going to
researched. The author also studies the structural elements to find some events,
conflicts, and things that deal with Individual Psychology theory based on
characterization of the major character.
I. Research Method
1. Type of the Study
This research belongs to qualitative method because it does not neet a
statistic analysis to explore the fact. The author also applies individual psychological
approach to analyze the main characters as a means of further research.
2. There are two kinds of data, primary and secondary data
The primary data are taken from the texts of the film Antitrust, is consists of
dialogue, plot, themes, conflicts, and the whole narration, etc, which are relevant to
the object of the study. While the secondary data sources are from some books,
websites, and othe matters that supports this analysis. The source of data in this
study is the script of Antitrust movie.
3. Technique of the Data Collection
The author uses library research in collecting data, which involves the
following steps:
a. Searching script of the film from internet
b. Reading the script repeatedly
c. Mark the point in the script to make easy in analyzing it.
d. Taking notes of important in both primary and secondary data.
e. Classify the data into groups according categories of elements of
literary study.
f. Select them by rejecting the irrelevant source, this doesn’t have
important information to support the topict of the data.
4. Technique of the Data Analysis
The technique used in analyzing the data is descriptive analyisis. It concerns
with the structural element s of the movie and individual psychological approach.
J. Research Paper Organization
This research si divided into five chapters. Chapter I is Introduction, which
consists of background of the study, literary review, problem statement, objective of the
study, research method and research organization. Chapter II in underlying theory
involving the theory of Individual Psychology that will be used to analyze the data.
Chapter III is structural analysis. In this chapter, the author explains the structural
elements and technical elements of the movie. Chapter IV is Psychological Analysis.
Chapter V is conclusion and suggestion.
Bibliography
Bordwell, James and Thompson, Richard. 1990. Film and Screenplays: An
Introduction. New York: McGraw Hill.
Feist, Jess. 1985. Theory of Personality. New York: Holt Renchart and Winston..
Hall, Calvin S and Gardner, Lindzey.1981. Introduction to Theories of Personality.
New York: John Wiley and Sons, Inc
------------ .1981. Theory of Personality: Third Edition. New York: John Wiley and
Sons, Inc.
Hjelle, Larry A. and Ziegler. 1992. Personality Theories; Basic Assumption.
Research and Application. New York: McGraw-Hill, Inc.
Ryckman, Richard M. 1985. Theories of Personality. Califaornia: Wadsworth,
Belmont California