ANALYSIS OF CAPTAIN PHILLIPS IN CAPTAIN PHILLIPS FILM:

HERO’S JOURNEY STUDY

A GRADUATING PAPER

Submitted in Partial Fulfillment of the Requirement for Gaining the Bachelor

Degree in English Literature

By:

FARA ARDIYANTI

14150055

ENGLISH DEPARTMENT

FACULTY OF ADAB AND CULTURAL SCIENCES

STATE ISLAMIC UNIVERSITY SUNAN KALIJAGA

YOGYAKARTA

2018

v

ANALYSIS OF CAPTAIN PHILLIPS IN CAPTAIN PHILLIPS FILM:

HERO’S JOURNEY STUDY

By: Fara Ardiyanti

ABSTRACT

Captain Phillips film is one of the Hollywood films based on true story that raises

the issue of heroism as the theme. The researcher chose to explain the hero’s

journey of the main character: Captain Phillips. It is because in this film Captain

Phillips is shown as an ordinary person, not a great one who has a super power like

the other superheroes in superhero films. However, the stages in Hero’s Journey

theory fit into the character of Captain Phillips. This research employed a

qualitative method in describing about heroism in this film. The purpose of this

research is to analyze and describe the steps passed through by Captain Phillips in

Captain Phillips film. The theory used in this research is Hero’s Journey Theory

proposed by Joseph Campbell and film theory by Amy Villarejo and Timothy

Heiderich. Based on Campbell theory, a hero will pass through three stages:

Departure, Initiation and Return stages. Based on the analysis, the researcher found

that Captain Phillips film contains only two stages while the stage of Return is not

discovered. On this research, the researcher found that Captain Phillips follows all

the steps in Departure and Initiation stages in Hero’s Journey theory.

Keywords: Hero’s Journey Theory, Heroism, Captain Phillips

vi

ANALYSIS OF CAPTAIN PHILLIPS IN CAPTAIN PHILLIPS

FILM: HERO’S JOURNEY STUDY

Oleh: Fara Ardiyanti

ABSTRAK

Film Captain Phillips adalah salah satu film Hollywood berdasarkan kisah nyata

yang mengangkat isu heroisme sebagai temanya. Penulis memilih untuk membahas

perjalanan menjadi hero yang di lakukan oleh karakter utamanya yaitu Captain

Phillips. Itu karena Captain Phillips di film ini di tampilkan sebagai orang biasa

yang tidak memiliki kekuatan hebat seperti film-film superhero yang lain tetapi

tahapan-tahapan perjalanan pahlawan cocok dengan karakter Captain Phillips.

Metode yang di gunakan dalam penelitian ini adalah metode kualitatif dengan

mendeskripsikan film ini. Tujuan penelitian ini adalah untuk menganalisis dan

menerangkan langkah-langkah yang di lalui oleh karakter Captain Phillips dalam

film Captain Phillips (2013). Teori yang digunakan dalam penelitian ini yaitu teori

perjalanan pahlawan oleh Joseph Campbell dan teori film oleh Amy Villarejo dan

Timothy Heiderich. Berdasarkan teori Campbell, seorang pahlawan akan melalui

tiga tahap yaitu Keberangkatan, Permulaan dan Kembali. Berdasarkan analisis

dapat ditemukan bahwa film Captain Phillips hanya mengandung 2 tahapan, yaitu

Keberangkatan dan Permulaan, sedangkan tahapan Kembali tidak ada. Dalam

penelitian ini, penulis menemukan bahwa Captain Phillips melewati semua

langkah-langkah dalam tahapan Keberangkatan dan Permulaan dalam teori

perjalanan pahlawan.

Kata Kunci: teori perjalanan pahlawan, kepahlawanan, Captain Phillips

vii

MOTTO

(QS 58:11) هللا الذين ءامنوا منكم والذين أوتوا العلم درجت يرفع

viii

DEDICATION

Sincerely, I dedicate this paper to:

My Greatest Parents Mr. Nasori, S.Pd., and Mrs. Henty Mufiyaty

My dearest sisters and brothers

ix

ACKNOWLEDGEMENTS

First of all, I would like to say to Allah for all of His blessing, help, and also

His guidance in completing this graduating paper entitled “ANALYSIS OF

CAPTAIN PHILLIPS IN CAPTAIN PHILLIPS FILM: HERO’S JOURNEY

STUDY”.

On this occasion, I specifically give my deep thanks and appreciation for

those who help me. They are:

1. Prof. Dr. Alwan Khoiri, M.A., as the Dean of Adab and Cultural Sciences

Faculty, UIN Sunan Kalijaga.

2. The Head of English Department, UIN Sunan Kalijaga, Dr. Ubaidillah, S.S.,

M.Hum.

3. Arif Budiman, S.S, M.A., as my academic advisor.

4. Danial Hidayatullah, M.Hum. as my research advisor who has given advice

and encouragement to the researcher.

5. Dr. Witriani S.S., M.Hum, Ulyati Retno Sari, M.Hum., Fuad Arif

Fudiyartanto, S.Pd., M.Hum., Dwi Margo Yuwono, S.Pd., M.Hum.,

Bambang Hariyanto, SS., MA., Jiah Fauziah, M.Hum. (RIP), Aninda Aji

Siwi, S.Pd., M.Pd., Harsiwi Fajarsari, S.S., M.A., Miftahus Sa’adah, S.Pd.I.,

Febriyanti Dwiratna L., M.Hum., M.Ed, Rosiana Wijayanti, S.Hum., and

Nisa Syuhda, M.Hum. for the guidance.

x

6. My super parents; Henty Mufiyaty and Nasori who always loved me

unconditionally and thank you for giving strength to reach for the stars and

chase my dreams.

7. My beloved sisters and brothers Firna Firdausia, Zahra Ariza F, Firza Akvila,

Zidana Zianida and Filah Azzami who had colored my day with your laughing

and jokes.

8. My Cabe Squad; Izzah Atikah Fauziah, Deni Kurniawati and Rexy Ade

Irawan who always been a constant source of support and encouragement

during the challenges of my whole college life. Thanks guys.

9. My supernatural aid; Rivky Wahyu Yulianto. Thanks for being my support

system and for late night talks, the endless laughs whenever I need. Stay receh

and humble bro.

10. My English Literature friends chapter 2014; Nurrochmah, Nur Watik,

Nurrahimah L, Umi Afini, Fatma Umayfa, Ulvi Faiza, Ridho Hanif, Budi

Rahmat, M. Ihsan Baihaki, Alfian Muhaiminan, Nurrunnisa, Satriya

Wibowo, Yusuf PST, M. Primastri Jati, Arif Bahtiar, Rani Meilia and others

whose names cannot be mentioned one by one.

11. My KKN Team; Listriyah, Hawa Mustika, Diana Wahyu Nurrohmah, Eva

Musdzalifah, Barokah Juniasri, M. Slamet Fadli, and Harun Hooh, thanks for

the laughing and the spirits.

12. My UNO team a.k.a GGS; Fathur, Beni, Lintang, Dwi, Fika, Nabila, Tyas and

Rizqi. Thanks for made me the part of your “receh” time.

xi

13. My Receh Squad Rizqi Aulia Putri, Alfi Ramadhani and Ummul Ummatul

Fatimah. Thanks for every moment we spent together sist.

14. My New Family in Babarsari; Sis Ainun, Ratih, Reni, Danang, Agus, Lintang,

Andi, Luffi, Rosa, Fera. Thanks for the silly jokes and the sweet moments as

long as we work together.

15. My Old Friends; Ririn, Dwi Dana, Nurul Qisti, Sigit Siswanto, Bang Nasrul,

Cahayani, Dini Fajriyah and Ika Blackpink for the spirits and best advices.

16. Last but not least, thank you to those of you that I cannot name one by one,

thanks a lot.

Finally, I realize that there are many errors in the writing of this paper.

Because of that, I really hope and allow all of you the readers to give any

suggestions to improve this paper.

Yogyakarta, 3 July 2018

The Researcher,

Fara Ardiyanti

Student No. 14150055

xii

TABLE OF CONTENTS

COVER ................................................................................................................... i

A FINAL PROJECT STATEMENTS ................................................................ ii

APPROVAL ......................................................................................................... iii

NOTA DINAS ...................................................................................................... iv

ABSTRACT ............................................................................................................ v

ABSTRAK ............................................................................................................ vi

MOTTO ............................................................................................................... vii

DEDICATION .................................................................................................... viii

ACKNOWLEDGMENT ..................................................................................... ix

TABLE OF CONTENTS .................................................................................... xii

LIST OF FIGURES ............................................................................................. xv

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

1.1 Background of Choosing the Subject ........................................................... 1

1.2 Research Question ........................................................................................ 6

1.3 Objective of Study ........................................................................................ 7

1.4 Significance of Study ................................................................................... 7

1.5 Literature Review ......................................................................................... 7

1.6 Theoretical Approach ................................................................................... 9

1.6.1 Hero’s Journey Theory .......................................................................... 9

1.6.2 Film Theory ........................................................................................ 10

1.7 Method of Research ................................................................................... 13

1.7.1 Type of Research .............................................................................. 13

1.7.2 Data Sources ..................................................................................... 14

1.7.3 Data Collection Technique ............................................................... 14

1.7.4 Data Analysis Technique .................................................................. 15

1.8 Paper Organization ....................................................................................... 15

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CHAPTER II INTRINSIC ELEMENTS .......................................................... 17

2.1 About Captain Phillips Film ..................................................................... 17

2.2 The Intrinsic Elements of the Film ........................................................... 18

2.2.1 Theme .................................................................................................. 18

2.2.2 Setting .................................................................................................. 19

2.2.2.1 Setting of Place .......................................................................... 19

2.2.2.1.1 Underhill, Vermont, America ............................................ 19

2.2.2.1.2 Eyl, Somali ......................................................................... 20

2.2.2.1.3 Salalah Port, Oman ............................................................ 21

2.2.2.1.4 Somali Basin ...................................................................... 22

2.2.2.2 Setting of Time .......................................................................... 23

2.2.3 Character and Characterization ............................................................ 23

2.2.3.1 Round Character ........................................................................ 24

2.2.3.1.1 Captain Phillips .................................................................. 24

2.2.3.1.2 Muse ................................................................................... 27

2.2.3.2 Flat Character ............................................................................ 27

2.2.3.2.1 Andrea Phillips .................................................................. 29

2.2.3.2.2 Najee .................................................................................. 30

2.2.4 Summary of Captain Phillips Film ...................................................... 30

2.2.5 Plot ....................................................................................................... 32

2.2.5.1 Plot Diagram ..................................................................................... 33

CHAPTER III ANALYSIS ................................................................................. 35

3.1 Departure ................................................................................................ 35

3.1.1 Call to Adventure ............................................................................ 35

3.1.2 Refusal of the Call .......................................................................... 37

3.1.3 Supernatural Aid ............................................................................. 41

xiv

3.1.4 The Crossing of the First Threshold ............................................... 43

3.1.5 The Belly of the Whale ................................................................... 44

3.2 Initiation .................................................................................................. 46

3.2.1 The Road of Trials .......................................................................... 46

3.2.2 Meeting with the Goddess .............................................................. 48

3.2.3 Woman as the Temptress ................................................................ 51

3.2.4 Atonement with the Father .............................................................. 54

3.2.5 Apotheosis....................................................................................... 56

3.2.6 The Ultimate Boon .......................................................................... 58

CHAPTER IV CONCLUSION ........................................................................... 60

4.1 Conclusion ............................................................................................. 60

4.2 Suggestion .............................................................................................. 61

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

CURRICULUM VITAE ..........................................................................................

xv

LIST OF FIGURES

Figure 1: Captain Phillips’s Home ......................................................................... 19

Figure 2: Somalian gathering together ................................................................... 20

Figure 3: The shot of Salalah Port, Oman .............................................................. 21

Figure 4: US crew is monitoring the location of Alabama’s lifeboat .................... 23

Figure 5: The Shot of Captain Phillips ................................................................... 24

Figure 6: The Shot of Abduwali Muse ................................................................... 27

Figure 7: The Shot of Andrea Phillips ................................................................... 29

Figure 8: The Shot of Najee ................................................................................... 30

Figure 9: Captain Phillips is reading the captain’s itinerary .................................. 36

Figure 10 a: Andrea Phillips is asking about her husband’s job ............................ 37

Figure 10 b: Captain Phillips is answering his wife’s question ............................. 38

Figure 10 c: The shot of Captain Phillips on the rear-mirror car ........................... 39

Figure 10 d: Captain Phillips and his wife are talking about their kids ................. 40

Figure 11: Captain Phillips and his wife are kissing each other ............................ 42

Figure 12: Captain Phillips arrives in Salalah Port, Oman .................................... 43

Figure 13: Alabama ship is on the Somali waters .................................................. 44

Figure 14: Captain Phillips walks around and checks the ship .............................. 45

Figure 15: Captain Phillips is reading an email from UKMTO ............................. 47

Figure 16 a: Captain Phillips is looking the radar screen....................................... 49

Figure 16 b: The shot of radar screen..................................................................... 50

xvi

Figure 17 a: Crew 1 tells about his objection to Captain Phillips .......................... 51

Figure 17 b: Ken tells his objection to Captain Phillips......................................... 52

Figure 18: Captain Phillips is writing a letter to his family ................................... 55

Figure 19: Captain Phillips fights with Najee ........................................................ 57

Figure 20: Captain Phillips is crying after the American sniper shot the pirates ... 58

1

CHAPTER I

INTRODUCTION

1.1 Background of Choosing the Subject

Literature is a way to experience life. As narrative creatures,

people can express lives they experience through literature. It can be a

medium to share and to broaden their thought and knowledge. The thought

and knowledge could be a fact or an imaginative event. Literature,

according to Terry Eagleton (1996:1), is an “imaginative writing which is

not literally true”. As its form of fiction-writing, it can be a medium for an

author to share their imaginative ideas about a matter to others. The form

of its writing is called literary works, which demand their readers to read,

react to, think about and interpret the text (Sharon James, 2001:1).

There are some kinds of literary works, such as poetry, novels,

drama, short-story and film. A film is a communication medium that is

supported with visual and audiovisual components. According to

Pramaggiore & Wallis (2005:3-4), watching films can be both emotionally

satisfying and intellectually stimulating. It offers an essential tool for

developing a critical approach to the film medium based on the knowledge

about the way films are made and the way they can be interpreted in

aesthetic, technological, and cultural contexts. By watching films, people

can take advantages from them as a learning medium. The knowledge

2

channeled into the films can be taken through the characters that are

portrayed in the films.

Films become a popular literary work that is favored by elders,

teenagers and also children. Right now, films become an entertainment

and pleasure for the viewers because in this era films have been produced

in many genres and it is so easy to enjoy them in theaters and at homes. In

addition, films are made of moving pictures that make them different from

other literary works.

Motion pictures are so much part of our lives that it’s hard to

imagine a world without them. We enjoy them in theaters, at

home, in offices, in cars and buses, and on airplanes. We carry

films with us in our laptops and iPods. We press the button, and

our machines conjure up movies for our pleasure.”

(Bordwell&Thomson, 2008: 2).

In this era, there is a rapid development in all literary works,

especially in films. There are big film companies from America that

produce film in many genres, for example Paramount Pictures and Disney.

They have produced many box office films that can be enjoyed by people

around the world. They compete to make great films in any genres such as

adventures, action, romance, horror, even historical films. They usually

take the themes from various phenomena happening in the world, such as

science or events that happened in the past, like a piracy incident that is

being researched in this paper.

3

American films often raise the issue of heroism, such as Captain

America, Superman, Batman, and Captain Phillips. Heroism-themed films

are usually more attractive and contain tense scenes like shooting,

torturing and violence. The viewers can feel the shuddered and strained

situation. Moreover, the viewers can get carried away emotionally through

the tense scenes. Some of them are based on true stories. Captain Phillips

film is chosen to be analyzed because Captain Phillips film is very

different in portraying the real hero. In this film, Captain Phillips is shown

as a common man, not a great one who has a superpower. As people have

already known, Hollywood films which take heroism as the theme always

show a hero as a person with an extraordinary power. Besides, the film

maker of Captain Phillips unconsciously put the characteristics of a hero

into the hero who has been created. Therefore, Captain Phillips is

interesting to be analyzed. Additionally, the character Captain Phillips

takes his actions as a hero in common situations. As people might have

known, the incidents of piracy in the Horn of Africa, especially in Somali,

are part of long traditions. Even, the crime is increasing every year.

International Maritime Bureau (IMB) state that the number of

piracy incidents in Somali coast increases every year.

The number of ships hijacked by Somali pirates is increasing

almost doubled in 2014 from the previous year’s level, despite an

overall decline in the number of attacks. Pirates took over 21

vessels in 2014, up from 12 the previous year, with 442 sailors

taken hostage. The bureau’s annual piracy report said that while

downward trend in the total number of attacks continued,

4

dropping by 19 to 245 – its lowest level in eight years and a fall

of 44pc on the 2011 peak when Somali pirates were at that most

active – the risk of being attacked while at sea remains a danger.

As well as the 21 hijackings, 183 vessels were boarded, 13 ships

were fired upon and there were 28 attempted attacks (Tovey,

Alan. “Piracy on the rise as ship hijacking almost double”.

Telegraph. 15 January 2015 retrieved from

https://www.telegraph.co.uk/finance/newsbysector/transport/1134

5278/Mapped-Piracy-on-the-rise-as-ship-hijackings-near-

double.html. Accessed on 15 April 2018).

Captain Phillips film is based on a biographical book of Captain

Richard Phillips with the title of A Captain’s Duty: Somali Pirates, Navy

SEALs, and Dangerous Days at Sea written by Richard Phillips and

Stephan Talty. The film tells about an American cargo ship named Maersk

Alabama that arrives in Mombasa, Kenya from Salalah Port and the

captain of the ship is Richard Phillips. The ship is about to sail across the

dangerous Somali waters which are notoriously known as “home of

pirates”. As a result, before the ship sails, Captain Phillips and all crews

make sure that all of the doors are locked safely. At the same time, the

Somali pirates have overseen them from distance and are ready to hijack

the ship. They use a traditional ship with powerful speed and try to reach

the forecastle by ladder. Although Captain Phillips and his crews have

sailed at a high speed and opened all the hoses, finally they can reach up

and control the ship, including paralyzing Captain Phillips and his crews.

5

To face this situation, Captain Phillips tries to be calm and think

about the strategy. In the anticipation of piracy, he orders all crews to hide

in the bottom deck because he does not want anyone to become pirates’

hostage. He offers the money to the pirates several times, but they force

him to search all the rooms in the ship. He is threatened by a gun, so he

has to show every room to the pirates. Finally, with all their tricks, they

arrest Captain Phillips and take him to Somalia in order to ask for million

dollars ransom. Before they arrive in Somalia, assistance from Navy Force

of America comes and they negotiate with the pirates. Shortly after, the

Navy Force of America succeeds to trick the pirates and takes the pirates’

leader to the American ship. Captain Phillips is released after they shoot

all of the pirates to death. The leader of the pirates is brought to America

and he is jailed for 33 years.

The researcher saw the heroism of Captain Phillips. As a ship

captain, he is fully responsible for the safety of all of his crews. When all

his crews want to go back to Salalah, Captain Phillips tries to convince

them that they can struggle under difficulties to face the Somali pirates.

Besides, he does everything the pirates say. It can be seen that when one

of the pirates threatens one of his crews with a gun, he sacrifices himself

to his crew. He really sets a strategy so that the pirates do not find all the

ship’s crews who are hiding in the bottom deck. He is also willing to be a

hostage and to be treated badly. As a hostage, he also thinks about his

safety starting from deceive the pirates until plunge himself into the sea.

6

Based on the explanation above, the researcher found out that

everyone will certainly have heroism in themselves. It is because a hero

definitely exists in a real life. According to Abrams (1970:128), a hero or

a protagonist is the chief character of a work on whom our interest centers.

Another definition of hero by Joseph Campbell is “the man of self-

achieved submission the primary virtue and historic deed of the hero to

have solved”. According to Campbell’s criteria, heroes are those who

“succeed where others would either or never try” and another important

feature in a hero is that they “serve their communities” as well as

themselves (Kesti, 2017: 32 as cited in Rahmad Khanafi, 2016: 22).

Campbell also stated that to be a hero is like a journey and someone has to

pass it to be a hero. There are some stages in the hero’s journey that are

being analyzed in this paper.

By applying Joseph Campbell’s theory in the discussion, the

readers can get more perspectives and views about what a hero exactly is

through Captain Phillips film. The discussion of hero by Campbell is

about mythological stories, like Hercules, who is a very famous hero in

the Greek mythology. It becomes different when Campbell’s theory is

applied in non-mythological stories.

1.2 Research Question

How could Captain Phillips (2013) film fit into Joseph Campbell’s

Hero’s Journey theory?

7

1.3 Objective of Study

In line with the introduction and the research question above, this

research aims at analyzing the steps of Hero’s Journeys in Captain

Phillips (2013) based on Joseph Campbell’s Hero’s Journey theory and at

explaining it.

1.4 Significance of Study

In proving the heroism in Captain Phillips film, the theory of

Hero’s Journey is appropriate to be applied for its stages that can be seen

in the film. Then, the hegemony of structure in the realm of any culture.

1.5 Literary Review

Related to the current research, the writer found some studies

about the same films and about Hero’s Journey. First is the research

written by Totok Zunianto from State Islamic University of Sunan

Kalijaga Yogyakarta entitled “The Stages to Be Hero: The Analysis of

Hercules in Hercules (2014) film”. The research discussed Hercules’

journey to become a hero and what stages Hercules had to pass to be the

real hero. The second research was conductedby Anindita Dewi

Nurcahyani from State Islamic University of Sunan Kalijaga Yogyakarta

with the ttitle “Hero’s Journey of Sam and Jack in The Day After

Tomorrow Film”. The research discussed Hero’s Journey of Sam and Jack

as the main characters. Nurcahyani discussed two characters and

explained the steps passed by both of the main characters by using hero’s

journey theory.

8

Zunianto and Nurcahyani employed the theory of Hero’s Journey

by Joseph Campbell which is the same with the theory used by the writer,

but the films they analyzed are different from the film the writer analyzed

in the current research. Zunianto analyzed a film telling a mythological

story while Nurcahyani analyzed two characters who are the heroes in the

film.

There are also other studies analyzing the same film but with a

different theory. The first is the research written by Ginarsih from State

Islamic Institute Tulungagung. The research is entitled “The Flouting of

Conversational Maxims in Captain Phillips Movie”. Ginarsih employed

Conversational Maxims Approach and aimed to find out the

conversational maxims that are flouted in Captain Phillips Movie and the

hidden meaning behind it. The second is the study conducted by

Rahmaddhony P.F. Hulalata from Telkom University entitled “Telaah

Kepemimpinan Melalui Semiotika Peircean dalam Film Captain Phillips

Karya Paul Greengrass (2013). The research aimed to find out about the

understanding of leadership described by Richard Phillips, the leadership

between employees in his work environment as the Captain. Peircean

signs found on the scenes support the leader character building in Richard

Phillips figure.

9

1.6 Theoretical Approach

1.6.1 Hero’s Journey Theory by Joseph Campbell

Theory means the generalization about a phenomenon, an

explanation of how or why something occurs (Kaplan, 1964: 91). In this

research, the researcher uses Joseph Campbell’s theory about monomyth

or the stages of the hero’s journey.

In his book, The Hero with A Thousand Faces (2004), Joseph

Campbell talks about the three stages of hero’s journey. The first stage is

the stage of Departure. This stage is divided into five steps; call to

adventure, refusal of the call, supernatural aid, the crossing of the first

threshold and the belly of the whale (Campbell, 2004: 45). The first step

of Departure is call to adventure in which the hero begins his journey from

“world of common day into a region of supernatural wonder” (Campbell,

2004:28). The call to adventure does not immediately respond in most of

myth and popular tales. The second step is refusal of the call. According

to Campbell, refusal of the summons converts the adventure into its

negative. The third step is supernatural aid. It means that a hero definitely

has a helper or a guardian who always helps and protects them along the

journey. The next step is the crossing of the first threshold. This step is the

entrance zone of magnified power. The last step is the belly of the whale.

It means that the hero arrives in the hero’s world.

The second stage is Initiation. It comprises six steps: the road of

trials, the meeting with the goddess, woman as the temptress, atonement

10

with the father, apotheosis, and the ultimate boon (Campbell, 2004:89).

The first one is the road of trials. It refers to the hero entering the

unknown world full of danger and undergoing a lot of test and trials. The

second step is meeting with the goddess. In this step, the hero meets his

friend, or in some cases a woman when he faces the problem along the

journey. The next step is woman as the temptress. The hero is tempted by

something which will stray him: the temptress is represented by a woman.

The next is atonement with the father which means the hero meets the

villain who wants to defeat him. The last one is apotheosis which refers to

the hero who has passed their problems and trials along the journey.

The last stage is Return. It contains six stages: the refusal of the

return, the magic flight, the rescue from without, the crossing of the return

threshold, the master of the two worlds, and the freedom to live

(Campbell, 2004: 179). It is the stage where a hero has completed their

journey. They have overcome the major obstacle, returned to the ordinary

world as a transformed person and become the master of ordinary world.

It is a timeless story pattern that assumed countless in the story of hero

around the world.

1.6.2 Film Theory

A film is the main data source of this research, so the researcher

applied film theory as the second theory to support the analysis of the

data. There are many film theories available; one of the most familiar

theories is Mise-En-Scene that was applied in this paper. According to

11

Bordwell& Thompson (2008:112), mise en scène (pronounced meez-ahn-

sen) means “putting into the scene,” and it was first applied to the practice

of directing plays. Mise-En-Scene includes those aspects of film that

overlap with the art of the theatre; setting, lighting, costume, and the

behavior of the figures.

In the book of Film Studies the Basics written by Amy Villarejo,

she stated that every placement of the camera can be analyzed in term of

the distance between the camera and its objects (2007:38). There are some

types of shot according to Amy Villarejo as follows:

1. Extreme Long Shot (ELS), in which one can barely distinguish the human

figure.

2. Long Shot (LS), in which humans are distinguishable but remain dwarfed

by the background.

3. Medium Long Shot (MLS), in which the human is framed from the knees

up.

4. Medium Shot (MS), in which we move in slightly closer and see the

human from the chest up.

5. Close-up (CU), which isolates a portion of a human (the face, most

prominently);

6. Extreme Close Up (ECU); in which we see a mere portion of the face (an

eye, the lip) (2007:38).

Meanwhile, according to Heiderich in his book of Cinematography

Technique: The Different Types of Shots in Film, the types of shots are:

12

1. Extreme Long Shot: typically used to show subjects of relatively

massive. Should the readers picture a mountain climber represented as a

tiny speck against a vast expanse of snow, the extreme long shot conveys

the relative insignificance of the character struggling against their

environment. It is a study in scale and majesty.

2. Long Shot: The distance of the camera from its subject also reflects an

emotional distance; the audience does not get as emotionally involved in

what is taking place as they would if they were closer. In a way, it makes

viewers a casual bystander, somewhat aloof to what is happening. Should

the readers take a couple arguing, where the details of their argument are

lost to the viewers, and only the big blow-ups are able to catch the

viewers’ attention. Something is happening, but the viewers cannot be

sure what it is.

3. Medium Long Shot: falling between the long and close shots, this is

more informative than emotional. It is too close for epic scale of a long

shot and too far to convey the intimacy of a close up, making it

emotionally neutral.

4. Medium Shot: The medium shot is where the viewers are starting to

engage with the characters on a personal level. It is an approximation of

how close someone would be when having a casual conversation.

5. Close Up: more intimate than the medium shot, the expression and

emotions of an actor are more visible and affecting and are meant to

engage the character in a direct and personal manner. The viewers are

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starting to lose visual information about the character’s surroundings, but

the character’s actions are more intimate and impacting.

6. Extreme Close Up: the extreme close-up puts the camera right in the

actor’s face, making even their smallest emotional cues huge and raises

the intensity of the problem behind them. This works for objects too: the

ticking hand of a clock, a bullet shell hitting the floor, the blinking cursor

of a computer terminal. What the extreme close up lacks in context, it

makes up for by taking.

The reasons why the researcher chose two film theories are that

all the components are able to explain the character and answer the

research question. Moreover, those components above will be used to help

the researcher analyze the film.

1.7 Method of Research

According to Strauss (1998:3), “method is a set of procedures and

techniques for gathering and analyzing data”. The method explains clearly

about the steps of making research completed.

1.7.1 Type of Research

This research belongs to a qualitative research. According to

Anselm L. Strauss (1998: 10), a qualitative research is any type of

research that produces findings not arrives at by statistical procedures or

other means of quantification.

Qualitative research has two ways in its completion. The first one

is field research: it means the researcher goes to the field to observe the

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phenomenon of the object. The second way is library research meaning

the researcher observes necessary books.

The researcher used library research since the researcher only

exploited literary and electronic books to get the supporting elements

needed to analyze the problem.

1.7.2 Data Sources

This research consists of primary and secondary data. Primary

data are the main data to collect and analyze as an object of the research.

The source of the primary data in this research is a 2013 film entitled

Captain Phillips. The data taken from the film are the data that have the

connection with the object of this research that is the journey taken by

Captain Phillips. The data unit in this research is the event of the story of

the film.

The secondary data are some data that support the research. The

secondary data that are used by the researcher are sourced from any

references, for example books about the hero’s journey and the

information about Captain Phillips film from the Internet.

1.7.3 Data Collection Technique

The researcher applied observation research technique to collect

the data. First, the researcher watched the Captain Phillips film to be able

to identify and to describe the intrinsic elements contained in the film,

such as theme, character and characterization, setting and plot. After

watching and identifying each element, the researcher sorted the data into

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some categories and eliminated the data which did not support the analysis

based on the theory that the researcher used. The categories of this

research were divided based on the stages in Hero’s Journey theory. In

addition, the researcher also collected some supporting data to make this

research more detailed in analysis. Finally, the researcher analyzed the

data based on the selected theories.

1.7.4 Data Analysis Technique

In this research, the analysis of the data used descriptive

qualitative approach. The researcher took several steps to analyze the data.

First, the data were analyzed by using the theory of hero’s journey

proposed by Joseph Campbell. The researcher compared the events of the

film with the characteristic features of the stages of the hero’s journey

theory which involve departure, initiation, and return. This aims to prove

the character which was analyzed as a hero.

Further analysis was carried out by employing the film theory.

The researcher used Mise-En-Scene theory to present the image of the

scene to make the analysis clearer. The final analysis step is drawing a

conclusion based on the result of the data analysis.

1.8 Paper Organization

This research consists of four chapters and each of them is

subdivided in subsequent divisions. The organization of each chapter is as

follows. Chapter one presents the introduction which consists of

background of choosing the subject, research question, objective of study,

16

significances of study, literary review, theoretical approach, methods of

research and paper organization. Chapter two consists of the Joseph

Campbell’s theory about the stages of hero’s journey and Mise-en-Scene

theory that were used to analyze the data. Chapter three presents the

analysis of Captain Phillips film contents in reference to the conception of

the theories. Chapter four provides conclusion.

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CHAPTER IV

CONCLUSION AND SUGGESTION

After discussing the content of Captain Phillips film based on Joseph

Campbell’s Hero’s Journey, this chapter presents of the conclusion the

discussion. Besides, there are also some suggestions readers and other

researchers presented here.

4.1 Conclusion

After analyzing Captain Phillips to be hero in Captain Phillips film,

there is a conclusion that can be presented. The phases are fit into the theory

about Hero’s Journey presented by Joseph Campbell in two stages. Here,

Captain Phillips passes the all stage in the first and the second phases; that is

Departure and Initiation. Here the researcher conclude that Captain Phillips

called as the real hero, he is as the hero for Alabama crew. Captain Phillips uses

many smart strategies to trick the pirates in order they can not find his crews.

He also willing to be a hostage and he is treated bad by the pirates.

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4.2 Suggestion

4.2.1 Suggestion for Future Researchers

This research is done by using Hero’s Journey theory composed by

Joseph Campbell in Captain Phillips film. The writer then suggests future

researchers to make this research as a compare for the similar research. Besides,

the researcher only analyzes Captain Phillips to be a hero in the film. The

researcher suggests future writer to analyze psychological condition of Captain

Phillips. It is because Joseph Campbell in his book also often mentions

Sigmund Freud and Carl Gustav Jung about the psychoanalysis theory.

4.2.2 Suggestion for Common Reader

The people who watch Captain Phillips film could learn something

from the film. That can be different between one person and another. Here the

researcher suggests one possible learning to be taken from that.

The film presents the story about Captain Phillips who willing himself

to be a hostage when Alabama ship is hijacked by the Somali pirates. After

talking heroism in this research, the researcher completely knows that everyone

has a heroism in their life and the concept of heroism in Islamic perspective can

be found in the figure of Prophet Muhammad PBUH. Muhammad PBUH is the

last messenger of ALLAH Swt. As knowing by Muslims, Muhammad PBUH

is known as the prophet who have good character and he is the role model for

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all Muslims. In the Holly Qur’an Surah At-Taubah: 128 there is a statement

about the Muhammad’s sacrifice for his clans.

Translation: Now hath come unto you a Messenger from amongst

yourselves: it grieves him that ye should perish: ardently anxious is he over

you: to the Believers is he most kind and merciful. (Ali, 1987: 93).

This verse has a relationship with this research, in this verse Allah SWT

said that there is figure named Muhammad that wishes kindness and safety to

his clans. It is like Captain Phillips who willing himself and responsibility to

the safety of his crews.

63

REFERENCES

Abrams, M.H. And Geoffry Galt Harpham. 2009. A Glosary of Literary Terms.

Ninth Edition. USA: Wadsworth Cengage Learning.

Ali, Abdullah Yusuf. 1989. The Holy Qur’an: Text, Translation and

Commentary. Maryland: Amana Corporation.

Bordwell, David and Kristin Thompson. 2008. Film Art: An Introduction. USA:

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Bowen, Christopher J. and Roy Thompson. 2009. Grammar of the Shot Second

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After Tomorrow”. Yogyakarta: State Islamic University of Sunan Kalijaga

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Campbell, Joseph. 2004. The Hero with A Thousand Faces. England: Princeton

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Eagelton, Terry. 1996. Literary Theory: An Introduction Second Edition. UK:

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CURRICULUM VITAE

Name : Fara Ardiyanti

Place/Date of Birth : Brebes, August 9th, 1996

Address : Jl. Sunan Gunung Djati 1

Limbangan Wetan Brebes

Email : fara.ardiyanti@gmail.com

HP : 085876753386

Educational Background

TK Kuntum Melati Brebes (2001)

SDN Kaligangsa Kulon 1 Brebes (2002-2008)

SMPN 2 Brebes (2008-2011)

MAN Kendal (2011-2014)

UIN Sunan Kalijaga Yogyakarta (2014-2018)