Narrative Structure Analysis of Marvel Cinematic Universe(MCU) Movies Through ‘Save the Cat’ Paradigm with Focus on Iron Man Character

2020 ◽  
Vol 14 (1) ◽  
pp. 75-89
Author(s):  
Hee-Young Cho
Author(s):  
Bernard Realino Danu Kristianto ◽  
Adra Ophira Goenawan

<p><strong>Abstrak </strong></p><p>Alur cerita yang dikemas dalam sebuah tontonan film tentunya menjadi modal utama keberhasilan film tersebut dalam menarik perhatian penonton. Dari berbagai genre yang ada, tidak banyak film drama Indonesia yang menggunakan alur mundur dalam penyajian ceritanya. Tujuan penelitian ini adalah untuk mengetahui tahapan dramatik tiga babak film Story of Kale dan alur yang digunakan dalam mengemas cerita film <em>spin off</em> garapan sutradara Angga Dwimas Sasongko. Metode penelitian yang digunakan adalah deskripsi kualitatif untuk melihat secara mendalam struktur naratif dan unsur dramatis yang digunakan mulai dari tahap awal, tahap tengah dan tahap akhir. Analisis data pada objek penelitian ini menggunakan teknik analisis struktur naratif tiga babak menurut Syd Field. Hasil analisis penelitian ini menemukan bahwa alur mundur yang disajikan dalam film Story of Kale tidak menggunakan kaidah struktur naratif tiga babak. Penggunaan struktur tiga babak terlihat dalam urutan kronologis cerita film Story of Kale tahap awal, munculnya persoalan dan konflik. Penelitian ini menyimpulkan bahwa penggunaan plot <em>flashback</em> dan teknik editing yang simultan dapat mengubah keseluruhan bentuk cerita naratif.</p><p><em><br /></em></p><p><em><strong>Abstract</strong><br /></em></p><p><em>This study discusses the narrative structure of the three-act film Story Of Kale by looking at the dramatic elements in the story presented. The purpose of this study was to determine the dramatic stages of the three-act film Story of Kale and the plots used in packaging the story of the spin-off film directed by Angga Dwimas Sasongko. The research method used is a qualitative description to see in depth the narrative structure and dramatic elements used starting from the early, middle and final stages. Analysis of the data on the object of this research uses the three-act narrative structure analysis technique according to Syd Field. The results of the analysis of this study found that the backward plot presented in the film Story of Kale does not use the rules of the three-act narrative structure. The use of a three-act structure is seen in the chronological order of the story of the early Story of Kale film, the emergence of problems and conflicts. This study concludes that the simultaneous use of flashback plots and editing techniques can change the overall form of the narrative story.</em></p>


2020 ◽  
Vol 20 (1) ◽  
pp. 251-271
Author(s):  
Yasar Arafat ◽  
Nauman Sial ◽  
Abid Zafar

It is highly perceived that most of the stories of Urdu televise dramas in Pakistan are revolving around the problems of wedded couple. It is point of discussion that plots of the contemporary Pakistani Urdu televise dramas is depicting more extramarital relations. Through narrative structure analysis, the current study revealed that drama serials start with a family and then a quarrel arises between married couple. At that point, a protagonist enters in the scene which also becomes as catalyst in making separation between the married spouses. The bad and harsh attitude of the husband appears to be the enough reason to bend toward extramarital relation. Divorce seems to be the only solution in case of incompatible relations between the spouses. Consequently, the divorced lady marries with her protagonist and starts living a happy life with her second husband. It is apparent that these dramas are promoting extramarital relations in positive ways. The current bombardment of such issues by electronic media seems to be trying to legitimize the illegitimate relation. The analyses depict that televise Urdu dramas of Pakistan are violating the family values and promoting the extramarital relations in positive ways.


2019 ◽  
Vol 10 (1) ◽  
pp. 37-45
Author(s):  
Joko Utomo Hadibroto

This research or analysis uses Vladimir Propp's narrative structure analysis of the genre of superhero film titled Gundala, which is based on Indonesian comics. Gundala is a superhero character or hero who has supernatural powers that come from the energy of lightning. Through the power of his lightning energy, Gundala as a hero is able to defeat villain as a criminal. This is the narration presented from the film Gundala. Thus, the use of the concept of narrative structure aims to reveal the role and position of each character in the frame of binary opposition. Next, an understanding of his supernatural powers was analyzed using the concept of anomalous categories from Claude Levi-Strauss. Furthermore, the film Gundala has its appeal in presenting the narratives of the characters. Both superhero and villain characters. Related to that, the use of the concept of brand aura aims to find an element of attraction for the characters of the shop for the cinema audience.


2020 ◽  
Vol 11 (5) ◽  
pp. 682
Author(s):  
Yue Wang

According to Labov’s (1972) narrative elements, this paper attempts to analyze one narrative of Hannah Gadsby’s farewell stand-up show. And will discourse how a comedian combines humor with the idea in a story. Narrative structure analysis is one of the most crucial discourse types. In a stand-up show, the comedian prefers to use anecdotes to enhance their performance. Good comedians can present not only humor but their own unique viewpoint in narratives. Concentration is placed on the narrative structure to find out the relationship between humor and the speaker’s voice. It reveals that the six narrative elements can be found in Gadsby’s oral narrative. By combining the narrative elements, Gadsby expresses her consideration of females’ social situation in a humorous story. The function of her narrative is more than entertainment. This paper also found that when analyzing the speaker's humor, the audience's response is also a useful reference. Recording audiences in the transcript as the second speaker can bring the audience into Labov’s narrative framework analysis.


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