themeaningofinterpersonalconflictsbetween ... · and sadness as seen in pete docter’s inside out...

THEMEANING OF INTERPERSONAL CONFLICTS BETWEENJOY AND SADNESS AS SEEN IN PETE DOCTER’S INSIDE OUT

FILM SCREENPLAY

A SARJANA PENDIDIKAN THESIS

Presented as a Partial Fulfillment of the Requirementsto Obtain Sarjana Pendidikan Degree

in English Language Education

ByCaroline Lalita Agra

Student Number: 121214034

ENGLISH LANGUANGE EDUCATION STUDY PROGRAMDEPARTMENT OF LANGUAGE AND ARTS EDUCATIONFACULTY OF TEACHERS TRAINING AND EDUCATION

SANATA DHARMA UNIVERSITYYOGYAKARTA

2016

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

i

THE MEANING OF INTERPERSONAL CONFLICTS BETWEEN JOY

AND SADNESS AS SEEN IN PETE DOCTER’S INSIDE OUT FILM

SCREENPLAY

A SARJANA PENDIDIKAN THESIS

Presented as a Partial Fulfillment of the Requirements

to Obtain Sarjana Pendidikan Degree

in English Language Education

By

Caroline Lalita Agra

Student Number: 121214034

ENGLISH LANGUANGE EDUCATION STUDY PROGRAM

DEPARTMENT OF LANGUAGE AND ARTS EDUCATION

FACULTY OF TEACHER TRAINING AND EDUCATION

SANATA DHARMA UNIVERSITY

YOGYAKARTA

2016


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“All I can do is follow my instinct,

because I’ll never please everyone.”

-Emma Watson-


vii

ABSTRACT

Agra, L. C. (2016). The Meaning of Interpersonal Conflicts Between Joy and Sadnessas Seen in Pete Docter’s Inside Out Film Screenplay. Yogyakarta: Sanata DharmaUniversity.

This study discusses the interpersonal conflict between Joy and Sadness. Theyfight over controlling the console. The purpose of this study is to find the meaning ofinterpersonal conflict between Joy and Sadness, the main character of Pete Docter’sfilm, Inside Out.

This study has two problem to answer. The first problem is “ How are Joy andSadness described in Pete Docter’s film, Inside Out?”. The second one is “What is themeaning of their interpersonal conflict?”.

This study is a library study. The primary data of this study is the film screenplay,and to support this study some data are collected from books, journals, and theinternet. To answer these problems, this study uses theory of character andcharacterization, theory of personality, theory of conflict, theory of interpersonalrelationship, theory of interpersonal communication, theory of motivation, and theoryof meaning. The approach used is psychological approach.

There are two findings of this study. The first one is the description of Joy andSadness. Joy is an optimistic, hardworking, reliable, and supportive. In the meantimeSadness is a pessimistic, slothful, and intelligent one. The meaning of theinterpersonal conflict is divided into two, surface meaning and deeper meaning. Thesurface meaning of this conflict is that Joy has the will to power. The deeper meaningof the interpersonal conflict is that both Joy and Sadness have suffered from violating“not to have the desire of somebody else’s love possessions”.

It is suggested that this screenplay be used as the material to teach PlayPerformance class of the English Language Education Study Program. As for furtherresearchers, they are recommended to deal with the intrapersonal conflict from Joypoint of view.

Keywords: meaning, Inside Out, interpersonal, conflict, character


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ABSTRAK

Agra, L. C. (2016). The Meaning of Interpersonal Conflicts Between Joy and Sadnessas Seen in Pete Docter’s Inside Out Film Screenplay. Yogyakarta: Sanata DharmaUniversity.

Penelitian ini membahas mengenai konflik interpersonal antara Joy dan Sadness.Mereka berebut dalam menguasai pusat kendali. Fungsi dari penelitian ini adalahuntuk menemukan arti dari konflik interpersonal yang terjadi antara Joy dan Sadness,pemeran utama dalam film oleh Pete Docter yang berjudul Inside Out.

Penelitian ini memiliki dua permasalahan. Permasalahan pertama adalah“Bagaimana Joy dan Sadness digambarkan di dalam film oleh Pete Docter yangberjudul Inside Out?”. Kedua adalah “Apa arti dari konflik interpersonal mereka?”.

Penelitian ini merupakan penelitian kepustakaan. Data utama penelitian iniadalah naskah skenario film, dan untuk mendukung penelitian ini beberapa datadikumpulkan dari buku-buku, jurnal-jurnal, dan internet.

Terdapat dua hasil dari penelitian ini. Pertama adalah deskripsi Joy dan Sadness.Joy merupakan pribadi yang optimis, pekerja keras, sangat dipercaya, dan pribadiyang mendukung sesamanya. Di sisi lain, Sadness merupakan pribadi yang memilikipemikiran pesimis, pemalas, dan pintar. Arti dari konflik interpersonal mereka dibagimenjadi dua, surface meaning dan deeper meaning. Surface meaning dari konflik iniadalah bahwa Joy memiliki keinginan untuk menguasai. Deeper meaning dari konflikini adalah bahwa keduanya, Joy dan Sadness, memiliki keinginan untuk memilikimilik orang lain.

Disarankan bahwa naskah skenario film ini digunakan sebagai materi dalammengajar di dalam kelas Play Performance di Program Studi Pendidikan BahasaInggris. Saran bagi peneliti selanjutnya adalah untuk meneliti konflik intrapersonaldari sudut pandang Joy.

Katakunci: arti, Inside out, interpersonal, konflik, tokoh


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ACKNOWLEDGEMENTS

Foremost, I would like to thank to Jesus Christ for giving me a healthy long life

so that I could finish my study. I thank him for the blessing he has given me and the

strength for me to reach my dream.

My deepest gratitude goes to my advisor, Dr. Retno Muljani M.Pd., for her

guidance and tremendous patience. She really helps me and guides me in the process

of my writing. My gratitude also goes to my co-advisor, Dr. Antonius Herujiyanto,

M.A., who gives inspiration and knowledge in literature. I thank him for helping me

in managing my content. I also would like to thank my friends - Isaac Bennett, Fabi,

Barel, Mas eko, and Mbak Catherin - for their willingness to be my proofreader. I

give my gratitude for them to spare some times for checking my grammar and

language.

I want to give my greatest gratitude to my beloved family who always love and

pray for me. I thank my father (Bambang Parmadi N.), my mother (Errie

Retnowati) and my brother (Berto Belarminus) for the patience they gave on facing

me who only get mad and lock myself whenever I get tired. They never stop wishing

the best for me.

I thank my bestfriend (a.k.a. my sister from different parent, a.k.a. my beloved

duplicate) “Bibib” Apfia Tamariska whom her big heart, harsh criticism, and lovely


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smile lead me to understand who I am now. Then I would like to thank my role model,

the shadow that I always follow, Enrico Brayan Schiavon. I thank him for the help

to understand the value of myself, for the sincere “D” smile he shares, and foe the

effort to comfort me.

I give my love to my partners Adisya Valya the friend that always assist me on

finishing my thesis and spare time for me to listen to my burdens. A love for my little

sister and brother from KKN, Lea “Neno” and Suronto, who never stop bothering

me with silly things that accidentally make me forget my burdens.

Best Regards,

Caroline Lalita Agra


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TABLE OF CONTENTS

TITLE PAGE............................................................................................................ i

APPROVAL PAGE................................................................................................. ii

MOTTO.................................................................................................................. vi

STATEMENT OF WORK’S ORIGINALITY........................................................ v

LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI....................................... vi

ABSTRACT...........................................................................................................vii

ABSTRAK..............................................................................................................viii

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

TABLE OF CONTENTS........................................................................................xi

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

A. Research Background.......................................................................1

B. Objective of The Study.....................................................................4

C. Problem Formulation........................................................................4

D. Definition of Terms......................................................................... .5

CHAPTER II REVIEW OF RELATED LITERATURE........................................ 7

A. Theoretical Description.................................................................... 7

1. The Theory of Character and Characterization.......................7

a. Theory of Character............................................................ 7

b. Theory of Characterization................................................. 8

2. Psychology Approach........................................................... 10

3. Personality Theory................................................................ 11

4. Theory of Conflic..................................................................14

5. Theory of Motivation............................................................19

6. Interpersonal Communication...............................................22

7. Theory of Interpersonal Relationship................................... 23

8. Theory of Meaning............................................................... 25


1

CHAPTER I

INTRODUCTION

In this chapter, the researcher would like to present the introduction of this

research. There are four sections included in this chapter. They are the background of

the study, objective of the study, problem formulation, and definition of terms. In the

background of the study the researcher explains the reason why the Inside Out film

screenplay becomes the object of the research. The next section is problem

formulation where the researcher will discuss the questions which will be the focus of

the research. Then, there is objective of the study. In objective of the study, the

researcher discusses the aims of the study. The last is definition of terms where the

researcher discusses the meanings of the keywords.

A. Background of the Study

Literature is one of creative works in human’s life. Literature is the portray of

reality and human’s life experiences. In An Introduction to The Study of Literature

book, Hudson (1958) states that “ Literature is a vital record of what men have seen

in life, what they have experienced of it, what they thought and felt about life through

the medium of language”. Rees (1973), in English Literature: An Introduction for


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Foreign Readers, provides another conclusion that literature is a permanent

expression in words of some thought or feeling in ideas about life and the world.

Thus, the readers are able to enhance the knowledge of understanding human’s point

of view in many ways by studying literature.

Other experts develop point of views of literature. Moody (1968) states that

literature springs from our inborn love of telling story, arranging words in pleasing

patterns, expressing in words some special aspects of our human experience. From

several statements above, it can be concluded that literature is human way of

expressing feelings where there is explicit emotions or tones, as well as poem which

is able to be seen from written or spoken form (p.2). Guerin (2011) broadens the

concept of literature from several points as perpetually being used in literary works.

Those points of literary works are setting, plot, character, structure, style, and

atmosphere (pp.6-16).

In this study, the researcher put concern on analyzing a film which has basics of

fictional structures, such as; characters, conflicts, and resolutions. A film always

includes at least one character to fulfill a plotlines so that the story gets more complex

and larger. It can be said that character in the film has big influence on how the film

flows. According to Phillips (2009), a character helps the viewers to understand the

character of the film itself and also to make the viewers involve themselves in the

story (p. 24). The characters have their characterization which can be seen explicitly

or even unseen. This conditions make the researcher analyze literary works from the


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conflicts between characters in the film. This study specifically scrutinizes the

characters from a film through their words, facial expressions, and gestures.

However, in order to make a good and understandable film, the player/actor

needs a screenplay to synchronize every single piece of the plot and also synchronize

one character to another. This powerful film from Walt Disney Pictures and Pixar

Animation Studios, Inside Out, is an unusual film. The directors, Pete Docter and

Ronnie del Carmen, collaborate with the well known Paul Ekman as an expert on

Psychology of Universal Emotions. The film which was released on June, 19th 2015,

has brought a scientific world into an animation. Inside Out tells a story about the

struggles of an eleven-year-old Rilley, who has to move to a different city, away from

her friends, away from her hockey league, and has a hard time pretending to be happy

for her parents. This film deals with her two dominant emotions, namely (her) Joy

and Sadness.

In this study, the researcher chooses the interpersonal conflict between Joy and

Sadness as the topic. Since the researcher’s major is in language teaching, later on

when having teenage students, the researcher and also the readers of this study will

have more knowledge in dealing with the students’ mood swing. Nowadays, a lot of

adults think that teenagers are always rebellious. This conditions make teenagers

feeling insecure on telling their interpersonal struggle with their surroundings.

Understanding teenage students struggle on their interpersonal conflict with others

give benefits for teachers and parents to help the students on solving their problems.


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The other reason is that this topic has never been discuss by any other studies.

There are several blogs and articles which talking about Inside Out (2015) but it only

refer to the characteristic of Joy and Sadness. Those articles never mention about the

meaning behind Joy and Sadness interpersonal conflict and what it caused toward

their personalities. Analyzing this topic will make the researcher and also the readers

understand how interpersonal conflict will bring great effect on someone’s

personality, especially in teenagers’ period.

B. Objective of the study

The aim of this study is to find the meaning of the interpersonal conflict

experienced by Rilley through her emotions, called Joy and Sadness, as seen in the

screenplay of Pete Docter’s Inside Out (2015).

C. Problem Formulation

The problems of this study can be formulated as follows:

1. How are Joy and Sadness described in Pete Docter’s film, Inside Out?

2. What is the meaning of their interpersonal conflict?


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D. Definition of Term

1. Interpersonal

Interpersonal is a skill where people is able to communicate with one

another. According to Sullivan, cited in Interpersonal Communication Relating

to Others (2009), interpersonal communication is a distinctive, transactional form

of human communication involving mutual influence, usually for the purpose of

managing relationship (p. 3). Beebes and Redmond (2009) elaborates

interpersonal into a connection which established when someone interact with

another person. This theory is one of the important theory which will be

elaborated into three other theories; the theory of interpersonal relationship,

theory of interpersonal communication, and the theory of conflict.

2. Conflict

Fadipe (2000) sees conflict as a form of disagreement in an establishment

between two individuals or groups who have cause to interact formally or

informally. Similarly, Miller and King (2005), see it as basically a disagreement

between two or more individuals or groups over compatible goals. Beebes and

Redmond (2009) explains that conflict occurs because of the differences of

personality which leads to have a different goals, needs, and experiences (p.216).

This conflict theory from Beebes and Redmond will be used to analyze the

conflict occurs between the two main character. Later on, this theory will be


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elaborate into two ways on how a person sees conflict. The first is to see conflict

through its sources and the resolves of the conflict.

3. Personality

Personality originated from the Latin persona, means a theatrical mask worn

by actor. According to Feist (2009), personality is a pattern of relatively

permanent traits and unique characteristics that give both consistency and

individuality to a person’s behaviour (p. 4). in this study, the theory of

personality by Freud (1927) will be used in order to understand the background

on how conflict occurs between two or more parties. This theory will understand

the background through the person point of view which differs from others’ point

of view.

4. Film Screenplay

Making film needs the processes on transforming written and graphic

sources into film. It takes three forms, one of those is a film screenplay. Phillips

(2009) states that a film screenplay is the very first version of the script.

Screenplay is made before the filming begins. It describes or supplies the setting,

action, vocals including dialogue, and structure (p. 204).


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CHAPTER II

REVIEW OF RELATED LITERATURE

The chapter consists of three parts; review of related literature, theoretical

framework, and context of the film screenplay. The review of related theory consist

of the theories which function is to support or answering the problem formulations.

The theoretical framework consist of the importance and contribution of the theory on

supporting and solving the problems of the study. The last is context of the film

screenplay, which consists of the background of the primary data.

A. Review of Related Theories

1. Theory of Character and Characterization

a. Character

Abrams (1999), states that characters are the people who represented in

a dramatic or narrative work, who are interpreted by the reader as being

endowed with particular moral, intellectual, and emotional qualities by

inferences from what the persons say and their distinctive ways of saying it -

the dialogue - and from what they do - the action (p. 23).


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Forster (1927), differentiates characters into two parts: flat character

and round character. The flat character is presented without much

individualizing detail, and therefore can be fairly adequately described in a

single phrase or sentence. Barnet, Burto, and Cain (2010) add that a flat

character is a static character, who at the end of the story the character is

pretty much what he or she was at the start. Meanwhile, a round character is

complex in temperament and motivation and is represented with subtle

particularity; such a character therefore is as difficult to describe with any

adequacy as a person in real life, and like real persons, is capable of

surprising the reader. In short, round character is dynamic, changing

considerably as the story progresses.

According to Phillips (2009), a character on a film is imaginary

personages in fictional story. A character based on a real person or

combination of traits from several people. Character’s action and language -

and sometimes thoughts, dreams, and fantasies - are the main ways viewers

come to understand the character and to involves the viewers in the story.

b. Characterization

As Rohberger and Woods (1971) state that characterization is a

particular personalities and physical attributes distinguish each character

from other characters. They further explain that characterization is divided


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into two sections. The first section is direct mean which can bee seen from

the character physical appearance. The second section, dramatic means,

shown by the situation where the character is involved, how the character

behaves, and how the character speaks.

Murphy (1972) then adds that there are nine ways to understand

characterization: (1) A characterization can be seen by its personal

description where the author of the novel gives picture of someone form it’s

way of appearing and what the character is wearing. In short, the author

describes a character by its appearances and clothes. (2) A characterization

of a character can be described trough the eyes and opinions of another.

Instead of describing a character directly the author gives a reflected image.

(3) Characterization also can be seen from it’s speech. In this part, the author

usually gives the image from the way the character speaks. Whenever a

character speaks, whenever the character is in conversation with another,

whenever the character puts forward an opinion, the character gives the

reader some clues to his character. (4) Past life also become one of the way

for an author to make a characterization. From past life the author can give

the reader a clue to events that have helped to shape a characterization of a

character. (5) A conversation of other characters and the things that other

characters describe about others characterization also included as one of the

way to understand character’s characterization. When other characters talk


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about a character, the things that the other characters say often give the

reader clue to a character’s characterization. (6) Reaction is a clue to a

characterization by letting the reader understand how the character reacts to

various situations and events. sometimes helps the character to reveal its

characterization from how it react towards something that happen. (7) The

easiest way to make characterization of a character is by the author simply

mention the characterization directly in their novel. (8) Characterization also

comes from the way they think. (9) The last way is mannerism, where the

reader can analyze the character from its habit or mode of behavior (pp. 161-

173).

2. Psychological Approach

Literature is not something that can be analyzed by counting the data or

using an interview - it’s not possible because sometimes the researcher of a

particular literature had passed away. The researcher finds that there are several

approaches that can be used to analyze literary work. One of them is called

Critical Approach from Rohberger and Woods (1971). Critical approach has

several branches of its own. Rohberger and Woods elaborate critical approach

into five other approaches. Those are formalist approach, biographical approach,

sociocultural-historical approach, mythopoeic approach, and psychological

approach (p. 3-15).


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This problem of this study is focusing on the interpersonal conflicts between

Joy and Sadness and the meaning of their interpersonal conflicts delivered from

the film screenplay. The conflicts triggered by their inside needs that can not be

fulfilled easily because the existence of others. The screenplay gives clue that

each character has their own needs with different ways on fulfilling their needs.

For that reason, psychological approach is being used to analyze the matters

between Joy and Sadness through psychological point of view. According to

Rohberger and Woods (1971), psychological approach is involving the effort of

the character to locate and demonstrate certain recurrent patterns. Moreover,

psychological approach can also help the readers understand about the thoughts

of the character and its behavior (p. 13). Guerin (2011) adds that psychology

approach is a psychology interpretation which afford many profound clues

toward solving a work’s thematic and symbolic mysteries (p. 201).

3. Personality Theory (Sigmund Freud)

When talking about character, personality will be discussed as it will be seen

in character’s behavior. Freud (1927) states in his book The Id and The Ego that

in every movement of a person, including what they think and what they do are

possible to happen consciously or unconsciously. The division of the physical

into what is conscious and what is unconscious is the fundamental premiss of

psycho-analysis; and it alone makes it possible for psycho-analysis to understand

the pathological processes in mental life (p. 2).


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Guerin (2011) then explains further about the Freudian Theory of

Personality. Freud separates mental process to three psychic zones: the id, the

ego, and the superego. The diagram (Fig. 2.3) helps to clarify the relationship

between ego, id, and superego, as well as their collective relationship to the

conscious and the unconscious and that only small portions of the ego and the

superego are conscious (pp. 204-205).

Fig. 2.1.2: Theory of Personality Diagram

The id it self is the reservoir of libido, the primary source of all psychic

theory. It functions to fulfill the primordial life principle, which Freud considers

to be the “pleasure principle”. Without consciousness of rational order, the id is

characterized by a tremendous and amorphous vitality. The id, in short, the

source of all our aggressions and desires. It is lawless, asocial, and amoral. Its

function is to gratify our instincts for pleasure without regard for social

conventions, legal ethics, or moral restraint. Unchecked, it would lead us to any


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length - the destruction and even self-destruction - to satisfy its impulses for

pleasure.

The ego is the rational governing agent of the psyche. Though the ego lacks

the strong vitality of the id, it regulates the instinctual drives of the id so that they

may be released in nondestructive behavioral patterns. Though a large portion of

the ego is unconscious, the ego nevertheless comprises what we ordinarily think

of as the conscious mind. The ego stands for reasons and good sense. It also

governed by the “reality principle”. Consequently, the ego serves as intermediary

between the world within and the world without.

The superego is largely unconscious. It is the moral censoring agency, the

respiratory of conscience and pride. It is the representative of all moral

restrictions the advocate of the impulse toward perfection. In short, as Freud

stated, it is as much as people have been able to apprehend psychologically of

what people call the higher things in human life. The superego serves to repress

or inhibit the drives of the id, to block off and thrust back into the unconscious

those impulses toward pleasure that society regards as unacceptable. Freud

attributes the development of the superego to the parental influence that

manifests itself in terms of punishment for what society considers to be bad

behavior and reward for what society considers good behavior. An overactive

superego creates an unconscious sense of guilt. The superego is dominated by

the “morality principle”.


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4. Theory of Conflict

As cited in Collaborative Approaches to Resolving Conflict as writen by

Isenhart (2000), there are severals definitions of conflict according to experts;

they are Edelman and Crain, Coser, Hocker and Wilmot (p.3).

According to Edelman and Crain (1993) conflict occurs when two people

cannot agree on the actions that one person takes or that he or she does not take

(p. 18).

Coser (1967) explains that conflict involves a struggle over values and

claims to scarce status, power and resources in which the aim of opponents is to

neutralize, injure, or eliminate rivals (p. 8).

Hocker and Wilmot (1991) explain further that conflict is an expressed

struggle between at least two interdependent parties who perceive incompatible

goals, scarce resources and interference from the other party in achieving their

goals (p. 23).

According to William Wilmot and Joyce Hocker (1995), interpersonal

conflict is an expressed struggle. Which means that someone expresses their

displeasure with a remark or by a nonverbal behavior such as glare, a steely

facial expression, or an emotion-laden tone of voice.


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An expressed struggle at least occurs between two interdependent people. In

fact, people are interdependent on each other, what one person says or does

affects the others. People are more likely to have conflict with others whom they

spend time with because one person is connected to the other in some way. The

conflict that weighs most heavily on a person is those with people with whom we

interact most frequently. Conflict takes at least two people to have interpersonal

conflict.

The conflict may occur because two parties recognize they have

incompatible goals, scarce resources, and interference. Conflict often happens

because two people want the same thing, but both can’t have it, or because what

one person wants is the opposite of what the other wants. The other reason is

when resources (time, money, or something else) are scarce. Also happens when

there are conflicting or incompatible goals, not enough of something to go

around, or someone is blocking what you belive is rightfully theirs, conflict

happens.

Isenhart (2000) states that conflict is a struggle for power, the way decisions

are made, the way we talk with each other, or unresolved problems from past

interactions (p. 2). Isenhart then adds in his book that there are several ways on

how conflicts occur and several ways that people approach conflict. There are

seven sources of conflict, this theories give clear knowledge on how conflict

mostly occurs (pp. 14-15), those are;


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1. Data

People have differences of opinion about the best sources, reliability,

and interpretation of data. Disputes about contractual, environmental, or

physical loss even reimbursement for damages often require objective

interpretation by neutral third parties to resolve the disagreement.

2. Interest

Every single person has their own of interests. The most common

sources of disagreement happens when people have their own specific

interest that different. This disagreement happen in where people bargain to

get their own needs - their own interests - such as; organizational policies,

work agreements, an divorce settlement.

3. Procedures

People may engage in a discussion if they agree with a way to solve

problems, make a decision, or resolve conflict. People put their interest on

the election result because they believe that election procedures are fair.

People trust on a certain thing or condition where it managed systematically.

4. Values

The hardest conflict to resolve involve differences of opinion about the

importance or priority of interests, opinions, or choices of directions.

Problems begins with a value about the way things should be. People see


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value of certain things or conditions differently, these differences of point of

view mostly arouse conflicts.

5. Relationships

People cooperates with with others if they trust other people, feel

respected by others, do believe that other person is honest. A relationship

collaborates when there is a high level of comfort.

6. Roles

Roles often create conflict because of expectations for the role or power

imbalances created by the role. Every role where people takes positions can

be the reason why the conflicts occur. People from a different roles, have

different knowledge, and also different point of view on understanding

certain things or conditions.

7. Communication

Conflict is due to the results from how something is said. People’s

emotion become triggered by words that other person takes it personally or

interprets it as threatening. Conflict also occur when other people have

certain information that they believe is relevant that not being shared.

There are factors that influence the choice of style include in the importance

of the issue to the party, contextual or cultural norms for how the conflict should


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be approached. There are also several common ways of people approach

conflicts that Isenhart found. Those common ways are (pp. 26-27) ;

1. Avoiding

Avoidance occur when a person denies that there is conflict, changes

topics, and avoids discussion, and is noncommittal. This is the most effective

style in situations in which the complexity of the situation prevents solutions.

2. Accommodation

This condition happens when a person sacrifices its interests and

concerns while enabling others to achieve their interests. This style is

effective in situations in which there is not much chance of achieving one’s

own interests.

3. Compromising

This condition means that concessions by all parties, each party settles

for partial satisfaction interests. This kind of style becomes effective when

there will be no hard feelings for settling for less than expected.

4. Competitive

This style is characterized by aggressive, self-focused, forcing, verbally

assertive, and uncooperative behaviors that strive to satisfy one party’s

interests at the expense of the interests of others. This style is effective when

the situation which decision must be made quickly.


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5. Collaborative

Collaborative is characterized by active listening and issue-focused,

emphatic communication that seeks to satisfy the interests and concern of all

parties. This style os effective when both parties reasonably balanced and

also valued the long-term relationship. It also perfect for both parties when

there is sufficient time and energy to create an integrative solution that will

satisfy both parties.

Ricaud-Droisy and Zaouche-Gaudron (2003) add that after realization of the

conflict, both parties will be able to elaborate resolution strategies of their

conflict. People in conflict want something. Many conflict occur because both

people can’t (or perceive that they can’t) achieve their own goals. Understanding

what the individuals in conflict want is an important step toward finding a way to

manage the conflict on achieving both goals, wants, or needs (p.158)

5. Theory of Motivation

In order to relate the idea of motivation itself with literary work, Petri (1981)

aims that Motivation is the concept the author use to describe the forces acting

on or within an organism to initiate and direct behavior. Concept of motivation

also used to explain the differences in the intensity of behavior. The author use

the concept of motivation to indicate the direction of the behavior (pp. 3-4)


20

Then, Maslow as cited in Petri (1981) states that people’s desire in this

world is never satisfied. People are still struggling to get other things after

achieving a goal (p. 302). This part will mention about motivation which

underlying the interpersonal conflicts between Joy and Sadness through Inside

Out screenplay. Maslow (1943) mentions that there are five motives and needs

inside the hierarchy of needs.

Fig. 2.1.2: Maslow’s The Hierarchy of Needs diagram

The lowest part or the first need is physical needs, then safety needs, the

third is belongingness and love needs, then esteem needs, and the last is self-

actualization needs. Food, water, warmth, and rest are things or conditions to

fulfill the psychological needs. Then in safety needs is a condition where a

person can be free from physical threat and emotional harm. Then belongingness

and love needs is being fulfilled with interaction with others and also


21

belongingness in the society. After belongingness being fulfilled, people tend to

fulfill the next stage, esteem needs. Esteem needs can be categorized into two

parts, internal needs and external needs. Internal needs itself being fulfilled with

self-esteem such as accomplishment and self-respect. External needs are social

status and recognition. Then, the highest level of Maslow’s Hierarchy of Needs

is self-actualization needs.

Feist (2009) explains that Maslow develops the hierarchy of need during

1970’s into seven-stage models. Between esteem needs and self-actualization,

there are two other stage. Those stages are cognitive needs and aesthetic needs.

Cognitive needs are needs of knowledge and understanding, curiosity,

exploration, need for meaning and predictability. It tends to know more theorize,

to test hypotheses, or to find out how something works just for satisfaction. Then,

aesthetic needs are needs of appreciation, search for beauty and balance (p. 284).

Jung John (1978) adds that motivation is a motive that is regarded as causes

of behavior. Jung elaborates that motivation sometimes has the same way of

operates in generating response like emotion. In general, motivation is more

likely to be the cause or reason that underlie a given behavior. In short, compare

to emotions, motivation is rather rational (p. 4).


22

6. Interpersonal Communication

Beebes and Redmond (2009) state that interpersonal communication is a

distinctive, transactional form of human communication involving mutual

influence, usually for the purpose of managing relationships (p. 3). Furthermore;

interpersonal communication has degrees of intimacy when interacting with

others, eventhough interpersonal communication itself is a closer interaction of a

person with others. First, interpersonal communication transaction between one

person and another influence themselves. All partners which join a

communication are affected by a transactions. For example, a person will not

really affected by a brief smile that you received from a traveling companion, but

a person will get highly affected when his/her lover telling he/she that the lover

leaving them. Second degree is that interpersonal communication helps

individuals manage their relationships. This condition happens when two

individuals are in relationship, what one person says or does influences to the

other person.

Interpersonal communication is a really important communication which

occurs every single time and it has it is reasons. Beebes and Redmond (2009),

further explain that interpersonal communication can improve relationships with

family, friends and lovers, colleagues, and physical and emotional health (p. 5).


23

Interpersonal communication has several principles which explained by

Beebes and Redmond. This principles explain further about the nature of

interpersonal communication itself (p. 21). Those principles are ; (1)

Interpersonal communication connect use to others, (2) Interpersonal

communication is irreversible, (3) Interpersonal communication is complicated,

(4) Interpersonal communication is governed by rules, (5) Interpersonal

communication involves both content and relationship dimensions.

7. Theory of Interpersonal Relationship

Interpersonal relationship happens because the interpersonal communication

that occurs become more dependent with one another. According to Steven

Beebe, Susan Beebe and Mark Redmond (2009) relationship itself is a

connection which established when someone communicate with another person

(p. 252). Beebes and Redmond stated that interpersonal relationship is a

perception shared by two people of an ongoing interdependent connection that

results in the development of relational expectations and varies in interpersonal

intimacy. Beebes and Redmond explain further about the elements of

interpersonal relationship. There are four elements of interpersonal relationship

(pp. 252-253), those are;


24

a. Shared Perception

Both individuals must share a perception that they have an ongoing

relationship. Generally, the greater the similarity in perceptions of the

relationship, the stronger the relationship.

b. Ongoing Interdependent Connection

An ongoing interdependent connection, means that the interpersonal

relationship is a system and a process. Interdependence occurs because each

partner relies on the other to meet the needs. As a system, an interpersonal

relationship is transactional; that is both partners affect each other

simultaneously. As a result, a change in one partner has a direct impact on

the relationship and on the other partner. As a process, a relationship is

dynamic, constantly changing, and evolving.

c. Relational Expectations

Any time a person interact with someone, they will bring a set of

performed expectation based on your socialization and experiences; but as

someone develop an international relationship, a person and their partner

establish expectations specific to that relationship. These expectations are

part of the relationship process and are continually developing and changing.


25

d. Interpersonal Intimacy

Interpersonal intimacy is the degree to which relational partners

mutually confirm and accept each other’s sense of self. The closer the

relationship, the more someone depend on a partner to accept and confirm

their own sense of self; and the other hand their partner does the same.

8. Theory of Meaning

Meaning has two different parts, surface meaning and deeper meaning.

Holman and Harmon (1972) elaborate that surface or denotation meaning is the

exact meaning of a word, independent of its emotional coloration or association,

without embellishment (p.108). Then, deeper or connotation meaning is the

emotional implications that words may carry. Deeper meaning may be private

and personal. It shows the result of individual experiences (p.133).

B. Theoretical Framework

The researcher implements several theories to support the two formulated

problems mentioned in Chapter I. To solve the formulated problems, the researcher

has to find several theories to conduct the study. Even though each problem has main

strong theories, other theory which not strongly mentioned also included to make the

basic mind of the problems. The other theories also support the to answer the problem


26

formulation which will make the statement stronger. Those theories are theory of

character and characterization, psychology approach, personality theory, theory of

conflict, theory of motivation, theory of relationship, and the last important theory is.

To answer the first problem formulation, the researcher uses theory of character and

charactrization from Barnet (2010) and Murphy (1972). these theories are used to

analyzed what kind of personality the characters have, so that the researcher will find

the motives behind their reactions of events. Then to solve the second problem

formulations the researcher uses interpersonal relationship theory also from Beebes

and Redmond (2009). This theory will help the researcher to reveal the reaction

behind their conflicts - the meaning why the conflicts occur.

C. Context of the Film Screenplay

In this part, the researcher gives information about the author of the novel. Inside

Out (2015) is an animation film by Pete Docter. The director who was born in 9th

October 1968 is a famous director which films also become big hits, Monster

Inc.(2001) and Up (2009). He is such a famous director with bizarre and imaginative

mind (The New York Times; 2015). Inside Out is in the top rank of PIXAR inspiring

film. This film began developing in 2009 after Ellie’s, Pete’s eleven-year-old

daughter, changing personality through her emotions was being noticed by Pete. This


27

film wins a “film of the Year” from AFI AWARDS, USA (2016) and also “Best

Writing, Original Screenplay” from ACADEMY AWARDS, USA (2016).

Throughout the film screenplay, the setting of the film is in Rilley’s head, called

“Personality Island”. The journey starts when Joy suddenly appeard and followed by

Sadness, Fear, Disgust, and Anger. These five are monitoring Rilley’s life and

producing her responses to every situations. This condition pictures how preteen girl

reacts to everything around. The five emotions are being validated by the help of Paul

Ekman, a well-known psychologist of emotions, and Dacher Kelther, a professor of

psychology. Indise Out, according to Pete Docter and his team, has functions to find

an answer of how emotional life on an eleven-year-old girl will be.

After all, Inside Out film by Pete Docter, is a film that describes how emotions

drive a preteen girl. In the film Docter gives clear personage of those emotions as Joy,

Sadness, Fear, Disgust, and Anger, who grapple for control of the mind of preteen

girl during the tumult of a move from Minnesota to San Franscisco. Docter

personages each character with its own characterizations. The emotions also have

their own struggle to resolve problems.


28

CHAPTER III

METHODOLOGY

This chapter consists of three parts. The first part is the Object of the Study. In

this part, the researcher provides the summary of the film. The next part is the

Approach of the Study. In this part, the researcher elaborates the approach to solved

the research problems. The last part is the Method of the Study. It explains more

about the way or steps of accomplishing the objective of this research.

A. Object of the Study

The object of the study is a film screenplay of “Inside Out” by Pete Docter. The

film produced in 2009 then released in 2015 under the production company of

PIXAR Animations Studios and Walt Disney Pictures. This film is 1 hour and 34

minutes in length and the screenplay itself consists of 130 pages. The screenplay

depicts the characters and its dialogues, setting, and the detail explanations of certain

point, such as the details of the setting and the characters’ movements. The script also

gives signs on the dialogues to indicate how the characters speak their dialogues, such

as (CONT’D), (V.O.), and (S.O.).

Inside Out film itself is a 3D animation film of Pete Docter and the story itself


29

comes from Pete Docter personal experiences. Pete Docter has eleven-year-old

daughter, Ellie, who is a lot like the character of young Ellie, Up (2009). The active

and hyperactive Ellie has made Pete Docter wander what was going on inside his

daughter’s head. The wandering makes Docter start the story of Inside Out film in

2009. In the end of Pete Docter’s idea, this film becomes a real portrayal of how

emotions work inside a person’s head, how people perceive the world, how they

express themselves, and how they evoke their responses to others.

In making the story, Pete Docter spoke to Paul Ekman - an expert on human

emotions - and Dacher Keltner - the founder of an institution called The Greater

Good Science Center. Docter and these two people agree on using five basic

emotions. The two of the five emotions becomes the focus who gives a big impact on

Rilley’s life. Joy defines Rilley’s personality and Sadness is the real star in the film

who guides the responses of Rilley towards the changes she is going through.

B. Approach of the Study

In this study, the researcher uses psychological approach. This approach’s

function’s is to analyze a person psychologically. By using this approach, the

researcher understands the reasons behind the interpersonal conflict happening

between Joy and Sadness . The researcher can also find several ways of Joy solving


30

problems which are caused by Sadness and the importance of Sadness.

McLeod (2007) states that an approach that involves certain assumptions about

human behavior: the way they function, which aspects of them are worthy of study

and what research methods are appropriate for undertaking this study. There may be

several different theories within an approach, but they all share these common

assumptions.

In this research, the researcher focuses the most on the use of behaviorist theory

initiated by Skinner (1974). He says that people (and animals) are controlled by their

environment. Behaviorism is concerned with how environmental factors (called

stimuli) affect observable behavior (called the response).

C. Method of the Study

In conducting this study, the researcher uses document analysis to analyze the

film through the screenplay and also library research on solving the problem

formulation. From the document analysis, the researcher uses the film screenplay

which will be useful for the researcher. It is because the condition which happens in

the film screenplay is captured and put as evidence.

There are general steps used by the researcher to do the research. First, was

watching the film as the primary data. By watching this film, the researcher was able


31

to understand the story deeper. After understanding the film, the researcher found

some important and strong points to be analyzed. Then the researcher broadened the

point in other particular point.

After that the researcher tries to answer the problem formulation on how Joy and

Sadness are described in the film through their interpersonal conflict. The next step is

to find the meaning behind the interpersonal conflict. Then the researcher tries to

relate the finding with the theories. The researcher also states several opinion about

the answers to the research problems After doing all those research, the researcher

comes up with to conclusion.


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CHAPTER IV

ANALYSIS

This chapter deals with the answers to the questions of this study. The first one

discusses the description of Joy and Sadness. The second question aims to analyze the

meaning behind the characters’ interpersonal conflict.

A. The Description of Characters

1. The Description of Joy

Joy is actually an emotion of preteen girl, Rilley, however, in Inside Out

film she becomes the central character. She becomes the central character

because she involved in all of the events in the story. Joy is a round character,

who has different side at the end of film. Joy has several direct characteristics

which can be seen from her physical appearance.

Since her physical appearances have meanings, then the researcher will

elaborate deeper about Joy’s appearances. Those appearances give brief

explanation that Joy is an energetic character. Starting from her skin with vibrant

light color which follows her like a spotlight. It means that she is a center of

Rilley’s life which is more important than any other characters of emotion. Just

like spotlight, the story - or can be said as Rilley’s life - is focusing on Joy. It


33

happens because without Joy Rilley can not be happy since Joy is the only

one who can make Rilley happy. In the screenplay, Sadness says if Joy was not

in Headquarters, Rilley would not be happy and they need to make Joy back to

the Headquarters (p.45). Bing Bong also realizes that without Joy, Rilley can not

be happy, so Bing Bong asks Joy and Sadness to follow him to go back to the

Headquarters (p.66).

Then her messy hair explains that she has no time to comb her hair because

whenever she wakes up, the things that she wants to do is to jump into

everything which is interesting for her. This condition can be seen from her

behavior in several situations mentioned in the screenplay. It mentions that “Joy

jumps back into driving position”(p.3) and “Joy pops up the Core Memory

Holder. Inside are five intensely bright golden memories” (p.6).

“Joy plays the accordion around Headquarters. The others appear, lookinggrumpy. Joy yells over the noise.Joy : Hello! Did I wake you?Anger : Do you have to play that?Joy : Well, I have to practice. And I don’t think of it as playing so

much as hugging.She tosses aside the accordion and runs off.Joy : Okay, first day of school! Very, very exciting! I was up late last

night figuring out a new plan. Here it is.”(p.34)

The next point is her green dress. Joy’s green dress’ means that Joy is giving

harmony, balance, center, and refreshment either for the other emotions or Rilley

herself. Joy’s green dress shows that she is actually the center of other four

emotions. A color experts and a researcher of color, Angela Wright (2016), has


34

widely-known theory called The Wright Theory about the meaning of colors

toward psychology.

“GREEN.BalancePositive: Harmony, balance, refreshment, universal love, rest,

restoration, reassurance, environmental awareness,equilibrium, peace.Green strikes the eye in such a way as to require no adjustment

whatever and is, therefore, restful. Being in the centre of the spectrum, it isthe colour of balance - a more important concept than many people realise.When the world about us contains plenty of green, this indicates thepresence of water, and little danger of famine, so we are reassured by green,on a primitive level.”.

Other meaning comes from her bare feet. Her bare feet are an express of a

person that fully energize and difficult to control. Like in the screenplay, shown

that Joy likes to jump here and there. In an interview of a USA Online News

(2016), called USATODAY, the director explains the meaning behind Joy’s bare

feet. On the interview, Pete Docter declares that Joy’s bare feet and pixie

reinforce her rambunctious character.

After all the direct meaning have been elaborate, it can be concluded that

Joy is an energetic character. The next part of all is Joy’s dramatic meaning

which can bee seen by the situation where the character involves.

1. Optimistic

Joy is an optimistic character. She like to see the positive on everything.

When other characters are giving up to face certain things then Joy will

think the other way around to make other characters believe that there are


35

ways to solve it. As seen in the screenplay that Joy positively thinks that the

new house will be great for Rilley to live when the other characters are

feeling doubtful. She keeps saying good things so the other characters will

think the same way.

“Anger : I can’t believe Mom and Dad moved us here!Joy : Look, I get it. You guys have concerns. But we’ve been

through worse! Tell you what: let’s make a list of all thethings Riley should be HAPPY about!

Anger : Fine. Let’s see... this house stinks, our room stinks...Disgust : Pizza is weird here...Sadness : Our friends are back home...Fear : And all of our stuff is in the missing van!Joy : Oh c’mon, it could be worse...Disgust : Yeah, Joy. We could be lying on the dirty floor. In a bag”(p.29)

Then there is a condition where Joy and Sadness are lost in long term

memories, which is like labyrinth. When the islands break down, Joy tries

even harder to go out from the long term memories to save Rilley. As can be

seen from the screenplay that Joy positively thinks that there is a way out of

there.

“Sadness: Wait! Joy, you could get lost in there!Joy : Think positive!Sadness : Okay. I’m positive you will get lost in there. That’s Long-

Term Memory. An endless warren of corridors and shelves. Iread about it in the manuals.

Joy stops. Sadness is right. But wait!Joy : The manuals? The manuals! You read the manuals!Sadness : Yeah...I, guess...”(p.56)


36

Other evidence is where Sadness who is full of depressive knowing that

it is a long way to take and she does not want to go around again, Joy hugs

the core memories - which one of those is the memory while Rilley playing

around with Meg - and she wants to make it to happens again. In

consequence, she goes to the labyrinths and pulls Sadness leg.

“Joy :(trying to stay positive)We’ll just have to go the long way.They turn to look back into the deep memory shelves.Sadness :Yeah. The long, long, looong way.I’m ready.Sadness lies down on the ground, offering her leg. Joy sighs. Shedoesn’t want to do this again.Joy : Ah, yes.(pulling Sadness)There’s gotta be a better way.”(pp.63-64)

2. Determined

Determined is part of Joy character in Inside Out film. She never gives

up on whatever she wants to achieve. Her determinedness is mostly shown

when she and Sadness are out from Headquarters. In the screenplay, Joy

tries her best to go back to the Headquarters from the thin bridge that

connects Goofball Island with the Headquarters. The first strong evidence

from the screenplay is that even in labyrinth, Joy is not stopping to find the

way out even she has to pull Sadness leg here and there.

“Joy : You are my map! Let’s go! Lead on, Mind Map! Show mewhere we’re going!

Sadness : Okay! Only, I’m too sad to walk. Just give me a few... hours.Joy grabs Sadness’ leg and DRAGS her into the shelves.Joy : Which way? Left?


37

Sadness : Right.(Joy turns right)No. I mean, go left. I said left wasright, like “correct.”

Joy : Okay.Sadness : This actually feels kind of nice.Joy heads off into the COMPLICATED LABYRINTH ahead of them.Joy : Okay! Here we go. We’ll be back to Headquarters before

morning. We can do it. This’ll be easy. This is working!”(p.57)

Not only the evidence above that shows Joy is a determined character,

but there is another one when she is in the Memory Dump with Bing Bong.

Joy really tries her best - with the help of Bing Bong and his rocket - going

out from the Memory Dump. Joy and Bing Bong sing the rocket’s song over

and over again so the rocket will fly high.

“EXT. MEMORY DUMP - LATERThey perch the wagon atop a hill. Joy looks resigned.Joy : Hop in!Both inside, Bing Bong pushes off. They speed down a slope to gainmomentum, singing all the way. They reach the bottom and shoot upanother hill, launching up towards the cliff top. Joy and Bing Bongenthusiastically, if not desperately, sing at the top of their lungs. Noteven close. They crash back to the bottom.Joy(CONT’D): C’mon!

EXT. MEMORY DUMP - MOMENTS LATERThey shoot down a taller hill for another go. They SING faster andlouder. Joy reaches for the ledge but they fall with a thud. Bing Bongstands. There’s no way they’ll make it. He looks up at the ledge andthen to his hand -- it’s disappearing!Bing Bong : Come on, Joy. One more time. I’ve got a feeling about

this one.

EXT. MEMORY DUMP - MOMENTS LATERHurdling down the largest hill yet, they continue to sing BingBong’s song.Bing Bong : Louder! Louder, Joy! Sing louder!


38

Bing Bong times it just right... and jumps out of the wagon.Without hisweight, the Joy gains momentum. She’s unaware of Bing Bong’sabsence.Joy : We’re gonna make it!The rocket makes it over the ledge! It crashes atop the cliff.”(pp.110-111)

3. Reliable

Joy has a personality to lead others. She knows how to deal with

problems then solves it calmly. Most of the time she controls the situation

they had to face.

“Joy : Okay, first day of school! Very, very exciting! I was up latelast night figuring out a new plan. Here it is. (to Fear)Fear! Ineed a list of all the possible negative outcomes on the firstday at a new school.

Fear : Way ahead of you there. Does anyone know how to spell“meteor?”

Joy : Disgust! Make sure Riley stands out today... but also blendsin.

Disgust : When I’m through, Riley will look so good the other kids willlook at their own outfits and barf.

Joy : (addressing herself)Joy! Yes Joy? You’ll be in charge of theconsole, keeping Riley happy all day long. And may I add Ilove your dress, it’s adorable. Oh, This ol’ thing? Thank youso much, I love the way it twirls...

Toot Toot! A train rushes by outside.Joy : Train of Thought! Right on schedule.The engineer waves from the cab and drops off a large bag.Joy : Anger! Unload the daydreams. I ordered extra in case things

get slow in class.Anger : Might come in handy, if this new school is full of boring

useless classes, which it probably will be...” (pp.34-35)

This condition makes others depend on her. When she disappears to the

Long-Term Memory, Disgust, Anger, and Fear are unable to know what to do


39

in controlling the console. At that time of desperation, Disgust even hopes

that Joy was in the Headquarters (p.46).

4. Supportive

Over her optimistic attitude, she mostly becomes supportive to others.

She tries her best not to let others think negatively. Even when other

characters look down on themselves, Joy always gives good words to them.

This condition happens between Joy and Sadness, because Sadness likes to

think negatively, she tend to be so depressive. The screenplay gives a plot

where Joy wants to make Rilley happy, but Sadness touch one of the core

memory then the memory ball turns into blue, also Rilley start to feel sad.

Right at the moment, Joy drags Sadness to a bookshelf corner to make her

stay away from the balls.

“Sadness: I know. I’m sorry. Something’s wrong with me. It’s like I’mhaving breakdown.

Joy : You are not having a breakdown. It’s stress.Sadness : I keep making mistakes like that. I’m awful...Joy : Nooo, you’re not.Sadness : ...and annoying.Joy : Well... uh... You know what? You can’t focus on what’s

going wrong.There’s always a way to turn things around, tofind the fun!” (pp.24-25)

Then, there is a plot in the screenplay where Joy Praise to Sadness that

wake Rilley up using scary dream is a good idea. Over Joy’s praise, Sadness

feels happy about herself.


40

“Joy : Hey, that was a good idea. About scaring Riley awake.You’re not so bad.

Sadness : Really?Joy : Nice work.Joy turns to sit on a crate inside the train.” (p.102)

Then this situation goes on when finally they get in the Headquarters. In

that moment Joy asks Sadness to lead Rilley’s emotion but Sadness is not

sure about it, then Joy makes her sure that she can do it.

“Disgust: Joy, you’ve got to fix this. Get up there.Joy : Sadness, it’s up to you.Sadness : Me?Joy pushes Sadness towards the console.Anger/Fear/Disgust : Sadness?!?Sadness : I can’t, Joy.Joy : Yes you can. Riley needs you.Sadness looks at Joy. Really? Joy nods.” (pp.120-121)

Having those characterizations which already mentioned above can be

concluded that Joy is also a light-hearted character. From energetic,

optimistic, hardworking, and also supportive make her a perfect light-

hearted character which never been seen in a desperation. Joy has solving

problems as character in Inside Out film with positively think that

everything will be okay and do things without whining.

2. The Description of Sadness

Sadness is also an emotion of preteen girl, Rilley, who also becomes the

central character in Inside Out film. She becomes the central character because

she involves in every event in the film, with Joy. Sadness is also a round


41

character who has different side at the end of the film. At first, even Joy states

that she does not understand the existing purpose of Sadness (p.6). Then

everything comes in conclusion that Sadness is actually also an important

emotion for Rilley. As Joy predicts, Rilley gets sad and cries when she missed

the winning shot but her parents and friend comfort her so she can be happy

again. At that moment, Joy realizes the importance of Sadness (p.109). Sadness

has several direct means which also can be seen from her physical appearances.

Sadness is a character which being portrayed as a short chubby girl who has blue

silky hair, blue colored skin, teardrop-like shape of body, with big round glasses

and woolly sweater.

Sadness physical appearances also have meaning on it. Start from her blue

hair and blue skin which in American culture blue is a color of sadness or

depression. A gastreontologist, Peter Whorwell from University Hospital Sout

Manchester says that by using the Manchester Color Wheel, between blue and

yellow, most people with anxiety like to chose blue as a mood color. A little bit

darker blue is a favorite color for people who are feeling sad and depressed

(access on September 27th, 2016). Paul Ekman (2007) describes blue as the “blue

mood”, the mood that comes out when people feel sad for many hours and

having a melancholy personality (p. 93). From the information above, the

researcher conclude that Sadness’ blue skin color tells that she is a depression

character.


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Sadness’ woolly sweater shows that she is a less-confident character. Albert

Lazano, as Character Art Director of Inside Out film, explains that actually he

tries to portray Sadness with pajamas like most of people who like to stay in

pajamas a whole day when they are sad (access on Spetember 27th, 2016). On the

other hand, by giving Sadness pajamas which then turns into woolly sweater,

shows that Sadness is also a clumsy character. When a person is wrap in pajamas

they tend to slow things down. They do not like things with will cause to much

interactive. This condition can be seen from the screenplay when Bing Bong, Joy,

and Sadness arrived in the lava daydream. The place where the couch cushions is

floating around over a lava and they have to jump to walk pass through it. In that

place, Sadness complains with the fact that she has to be so interactive (p.75).

Then, the next thing which portray Sadness personality is her big round

glasses. This big glasses shows that she is a nerd with wide knowledge of

Headquarters and everything around it. In that condition, the big glasses must be

the cause from the reading habit. The screenplay also mentions that Sadness

reads about the Long-Term Memory labyrinth which giving her and Joy clue to

get out from the labyrinth (p.56). she also understand how the abstract mind

works when Bing Bong try to show shortcut to get to the train of thoughts

(pp.71-73).

After all the direct meanings of Sadness have been elaborated, it can be

concluded that Sadness is a depressed, clumsy, but a smart character. Then the


43

researcher will elaborate the dramatic meanings of Sadness which can be seen by

the way the situation happens where Sadness involves.

1. Pessimistic

Over all of Sadness character, pessimistic is the one show up from

Sadness until Joy makes her realize how important she is in Headquarters.

Before that, she almost never be positive over everything that happened.

Everything for Sadness is always an unable-to-be-finished problem and not

interesting. Most of the time, Joy asks Sadness to think positively. There is a

plot where Sadness is strongly believe that herself and Joy will be hard

getting out from the Long-Term Memory and it is almost impossible to get

out from there.

“Sadness: Wait! Joy, you could get lost in there!Joy : Think positive!Sadness : Okay. I’m positive you will get lost in there. That’s Long-

Term Memory. An endless warren of corridors and shelves. Iread about it in the manuals.

Joy stops. Sadness is right. But wait!Joy : The manuals? The manuals! You read the manuals!Sadness : Yeah...Joy : So you know the way back to Headquarters!Sadness : I, guess..” (p.56)

Then other evidence of her pessimistic is when the Friendship Island is

broken. When Sadness sees that the Friendship Island has vanished, all that

Sadness can say is just negative words. Like what is written in the


44

screenplay, Sadness says, “Oh, Riley loved that one. And now it's GONE.

Goodbye friendship, hello loneliness”(p.63) with depressed expression

which can be seen from the film.

Then there is a time when Sadness does not have believe on herself

when Joy gives her the chance to take over the console.

“Disgust : Joy, you’ve got to fix this. Get up there.Joy : Sadness, it’s up to you.Sadness : Me?Joy pushes Sadness towards the console.Anger/Fear/Disgust : Sadness?!?Sadness : I can’t, Joy.Joy : Yes you can. Riley needs you.Sadness looks at Joy. Really? Joy nods.” (pp.120-121)

This pessimistic character also make her easily depressed with negative

toughts. The evidence is when Sadness touch the core memory than it turns

into blue then Joy confronts her.

“Joy (CONT’D): Sadness! You nearly touched a core memory. Andwhen you touch them, we can’t change

Sadness : I know. I’m sorry. Something’s wrong with me. It’slike I’m having a breakdown.

Joy : You are not having a breakdown.It’s stress.Sadness : I keep making mistakes like that.I’m awful...Joy : Nooo, you’re not.Sadness : ...and annoying.”(p.24-25)”


45

2. Slothful

Sadness never has the interest to move around, she hates to do

everything so active. She even complains to Joy when they have to find the

way out from the Long-Term Memory.

“Joy : You are my map! Let’s go! Lead on, Mind Map! Show mewhere we’re going!

Sadness : Okay! Only, I’m too sad to walk. Just give me a few... hours.Joy grabs Sadness’ leg and DRAGS her into the shelves.Joy : Which way? Left?Sadness : Right.(Joy turns right)No. I mean, go left. I said left was right,

like “correct.”Joy : Okay.Sadness : This actually feels kind of nice.”(p.57)

The second evidence of her passiveness is when Bing Bong, Joy, and

Sadness in the Imagination Land. They walk through the French Fries Forest

then to the Trophy Town where everybody is a winner. Joy and Bing Bong

are excited to get all the medallions, Sadness looks not satisfied. She says,

“Hohh... Participation award...” (p.75). Then she lays down in one of the

couch cushions which shown from the film. (Fig. 4a.2.2)

Other evidence of her passiveness is when Bing Bong, Joy, and Sadness

have to jump on a couch cushions over a lava. At that time Sadness also

complains that it needs to be active to pass through it. In the screenplay

written that “Sadness tries to jump to a rock, barely makes it. Sadness: Is it

all going to be so interactive?” (p.75). Then she lays down in one of the

couch cushion which shown from the film.


46

3. Intelligent

Among those five emotions, Sadness knows best about everything that

works around Headquarters. Sadness likes to read a lot. The wide

knowledge of Sadness can be seen when she is lost in Long-Term Memory

with Joy. Sadness had memorizes the wide Long-Term Memory Labyrinth

(fig. 4a.2.6). Reading the manuals give them benefits to get out from Long-

Term Memory Labyrinth (p.57).

The other evidence is when Joy, Sadness and Bing Bong want to go in

to the Abstract Thought. Sadness is not sure about going in it because she

already read of how the Abstract Thought works.

“Joy : Whoa! What's happening?!Sadness : Oh no. They turned it on.Bing Bong: Huh! I’ve never seen this before.Bing Bong’s head turns into a Picasso-like form. Joy and Sadnessscream as they become Cubist versions of themselves.Bing Bong: (CONT’D)My face! My beautiful face!Joy : What is going on?Sadness : We’re abstracting! There are four stages.This is the first: non-objective fragmentation!” (p.71)

B. The Meaning Behind Joy and Sadness’ Interpersonal Conflicts

In this study, the meaning of Joy and Sadness’ interpersonal conflict is divided

into two parts. The first part is literal meaning and the second part is the deeper

meaning. In the screenplay, it can be seen that Joy and Sadness have a hard time to


47

get a long together. Joy at the beginning does not understand the reason behind

Sadness existence, because she only makes Rilley sad (p. 6).

The two fight over controlling the console. The conflicts occurred between the

two of them can be divided into several reasons. First, conflict occurs because both

Joy and Sadness have different interpretation towards the data they get. It happens

when they argue over the decision to take: whether they go into the Abstract Thought

or not (p. 71) and whether or not they had to wake Rilley up by scaring her(p. 88).

The other conflict also occurs when Joy and Sadness have their own specific

interests. The differences of these interests cause them put less interest on everything

they do together and make the other feel tired on making other understand their own

interest. Joy is tired on making Sadness understand to see everything as beautiful as

she sees it.

Joy : Oh, hey, hey... easy. Why are you crying? That’s really the oppositeof what we’re going for here.

Sadness : Crying helps me slow down and obsess over the weight of life'sproblems.

Joy : Ugh, you know what? Let’s think about something else. How aboutwe read some mind manuals, huh? Sounds fun!

She drags Sadness over to a shelf of technical manuals.Sadness : I’ve read most of them.Joy : Well have you read this one? This seems interesting: “Long-Term

Memory Retrieval, Volume 47?”Sadness : No.Joy : Ohhh! A real page turner!Sadness : (opens manual; reads) “Long-Term Memory Data Selection via

channel sub-grouping?”Joy : See? Fun already! You lucky dog, you’re reading these cool things

and I gotta go work. Life is so unfair.Joy walks away.” (p. 27)


48

Another conflict also happens when Sadness always see everything from her

negative point of view. The first is when Sadness is not happy in receiving the trophy

(p. 57). Then when Sadness hopelessly jumps from one couch to another (p. 75).

Joy and Sadness conflict also occurs because they have different procedures to

solve problems. The conflict that happens over and over is when they fight over

taking turn in controlling the console. Another different conflict happens when Joy

wants to cross over the Goofball Island to go to the Headquarters but Sadness does

not think the same way. The also have different procedures on the way they wake

Rilley up.

“Sadness : Well, she wakes up sometimes when she has a scary dream. We couldscare her.

Joy : Scare her? No no, she’s been through enough already.Sadness : But Joy--Joy : Sadness you may know your way around down here, but I know Riley!

We’re gonna make her so happy she’ll wake up with exhilaration!We’ll excite her awake!

Sadness : That’s never happened before.Joy spots a nearby dog costume and tosses it to Sadness.Joy : Ooh, Riley loves dogs. Put this on!Sadness : I don’t think that’ll work.” (p. 88)

The way they value certain things also cause them argue. When they have

different value of certain kind of things make them underestimate each other. This

happens when Joy has never sees that the blue core memory is worth to keep than the

golden one. This condition hurts Sadness and makes her want to keep the blue core

memory even stronger.


49

“Joy : No wait... stop it! No! Ahh!Joy leaps to the holder and pops it open, preventing the new blue core memoryfrom going in. Joy grabs it.She pushes the end-of-day “memory flush” button. The tube comes down fromthe ceiling.Sadness : (trying to take her memory back from Joy) Joy, no. That’s a core

memory, Joy!Joy : Hey! Stop it. Let go.As they struggle, they bump into the Core Memory Holder, knocking allof the core memories out onto the floor.” (pp. 42 - 43)

In the Headquarters Joy has big roles and responsibility to take. It causes

imbalance condition between the two of them. The powerful roles of Joy has made

her control here and there. She, unconsciously, takes control on which emotions that

able to touch the console. The power she has allows her to prevent Sadness from

touching the console. Every emotions in Headquarters give their trust to Joy so that

everybody becomes depending on her.

Compare to other emotions, Sadness almost never touches the console. The very

simple reason she can not touch the console is that she does not make Rilley happier.

Disgust even states that the moment Sadness touches the memory, Rilley become sad.

“Joy : What did you do?Sadness : I just touched it.Joy : That shouldn’t make it change.Fear : Change it back, Joy!Joy rubs it, but the memory stays blue.Joy : I’m trying.Anger : You can’t change it back?Joy : No, I guess I can’t!Disgust : Good going Sadness. Now when Riley thinks of that moment with

Dad, she’s gonna fee l sad. Bravo.Sadness : I’m sorry Joy... I don’t really know-- I thought maybe, if you-- if I-

- if... I” (p. 22)


50

The last but significant reason why the conflict always occurs because Joy does

not put trust on Sadness. Joy doubt Sadness over everything Sadness does. This

doubtful thought of Joy makes her and Sadness apart. It also makes Joy never

communicate with Sadness and she even never ask Sadness for suggestions when

she faces with problems. This lack of trust and communication bring them to a bad

relationship. Eventhough they are together, in a same place for a quite long time,

they never understand each other.

1. Surface Meaning

In this part the researcher has more concern about the characters’ ego that

can be seen from the screenplay and with support from the film. The surface

meaning from Joy and Sadness’ interpersonal conflict is because there is no

balance in controlling the Headquarters. The imbalance situation makes the

condition even worse, they are being dragged even far away from the console.

This imbalance situation caused by the will of Joy to power. Her insecurity

comes out based on the situation that Sadness wants to take a control of the

console and brings a blue core memory. Joy always becomes the one who leads

everything. From the beginning of the film, Joy always thinks that she is the only

one that can make Rilley happy. This habit of making Rilley happy makes her

proud. In screenplay, Joy says “Anyway! These are Riley’s memories-- and

they’re mostly happy, you’ll notice, not to brag.” (p.6).


51

The facts seem unable to fulfill what Joy wants for Rilley. As they move to

San Francisco, there is no more wall of golden memories. This fact seems hurtful

for Joy, so that she badly wants to do everything to make Rilley happy. Then her

desire to make Rilley happy grows stronger.

She loves Rilley so much so that she is obsessed to make Rilley happy. It

can be seen from her statements in the screenplay that she loves Rilley and things

could not be better (p.10). Since Rilley starts to move to San Francisco, Joy only

struggles to make Rilley happy. When other emotions only think that moving to

San Francisco is a bad decision, Joy tries to be positive about it. At the beginning,

she only tries to put all good imagination for other emotions to see that

everything will be okay. Then somehow it works, other emotions also make an

imagination about how the bedroom will be (p15-16). Starting from that point,

Joy is triggered to always keep Rilley happy no matter what will happen. This

situation blinds her. She even blocks Sadness to touch the console when Rilley’s

father left after they play hockey together and thinks so hard to make a better

situation.

“Sadness: Oh, he doesn’t love us anymore. That’s sad. I should drive right?Joy blocks her.Sadness : Joy? What are you doing?Joy : Uh, just uh, gimme one second... You know what I’ve realized?

Riley hasn’t had lunch!(takes a memory off the wall and plays it)Remember?” (p.19)


52

This situation shows that Joy extremely wants to make Rilley happy. Then

when the night comes and Rilley falls asleep, the Dream Production gives Rilley

a bad dream. Knowing this, Joy takes firm decision with stopping the dream

eventhough she knows exactly that what she done is not the right thing to do.

Still, she does it.

“Joy : Ah, no, who is in charge of programming down there?! I knowI’m not supposed to do this, but...

Joy ducks behind the console and REBOOTS it. The dream ends.Joy : We are not going to end the day like this.Joy has a thought. She recalls a memory.ON THE SCREEN: Riley ice skates with her parents.Joy watches, loving this kid. She shadows Riley, “skating” aroundHeadquarters.Joy : Don’t you worry. I’m gonna make sure that tomorrow is another

great day. I promise.” (pp.33-34)

Big trouble starts when Joy wants to throw the blue core memory to the

Long-Term Memory. From the theory of Maslow’s Hierarchy of Needs (1943)

diagram, in this situation Joy is trying to fulfill her esteem needs. Joy does not

want Rilley to have blue core memory because she thinks it will only make

Rilley sad. Joy then struggles to protect the golden core memories and Sadness

tries to protect the blue core memory from get thrown. This struggle makes them

bump to the core memory holder, knocking all of the core memories out onto the

floor. Without core memories in core memory holder, the islands of personality

get dark and silent (pp.42-43).


53

As the result, these conditions show that Joy has the will to power. The will

to power of Joy makes Sadness lack of aesthetic needs. She does everything to

take control over the console. She does not let Sadness to touch the console, she

even blocks Sadness on touching it. Joy’s will to power bring the imbalance

situation between Joy and Sadness caused them to battle with one another.

2. Deeper Meaning

In this part, the deeper meaning will be revealed from the effect of conflict

towards their inner personalities. After all, the condition of the story is having a

great correlation with the tittle “Inside Out”. Pete Docter gives an inconsistent

character in his film. The reversed character shows that a person in reality can

not be easily seen as it is. To understand a character needs different point of view

from different situations. When a person fight to get other belonging, it makes

the person itself change. Joy, who actually has to be positive and reliable,

becomes dependent. She does not put trust on everything she does. According to

Ekman (2007) joy (as emotion) occurs when someone feels proud and positive

about themselves (p. 306). Ekman also explain that sadness (as emotion) is

dependent. The negativity and agony that this emotion has, needs social support

in order to cure the sadness. (p. 88). Meanwhile, in this situation, the positive Joy

becomes less confident but she is able to cover her doubtful thought and anger

with her smile and every suggestions she speaks. Then Sadness, the one who has


54

to be dependent, becomes dependent. The empathy she has, makes her able to

calm and solve problems. She becomes more reliable than Joy.


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CHAPTER V

CONCLUSIONS AND SUGGESTIONS

This chapter consists of two parts. They are conclusions and suggestions.

Conclusions are related to the characterization of Joy and Sadness, also the surface

meaning and deeper meaning. Then, the suggestions consist of recommendation for

the future researcher and English teacher.

A. Conclusions

In this section the researcher gives over all conclusion from the findings of the

problem formulations. The first finding is about Joy and Sadness’ characters, then the

second is about the meaning behind Joy and Sadness interpersonal conflicts.

The first is Joy and Sadness character. In this screenplay, Joy and Sadness are

emotions which portrayed as real human. Both Joy and Sadness are the central

characters. They both also have round characters.

Joy is a cheerful girl. She is an extroverted person so it is easy for her to express

her feelings in front of others. She jumps here and there, she dances, and easily

excited over something new. Joy is an optimistic person. When things get hard over


56

the moving to San Francisco, she becomes so supportive for others. Joy bring the best

imaginations to enjoy the new house so others won’t feeling depressed. Her positivity

makes her easy to adapt. By being optimistic, Joy becomes a hardworking person.

Even Joy seems so playful, she is actually has good manner of leadership. She leads

her friends to face the crisis of Rilley’s condition. Other emotions believe her so

much which make them more dependent.

Different situation happens to Sadness. Sadness is an introverted character. She

does not like to be so interactive, its because she is so passive. Compared to Joy,

Sadness is extremely pessimistic. Her pessimistic personality always placed Joy in

hard position, especially when they get thrown to the Long-Term Memory. Everytime

things get hard, she only lays down and look up like there is nothing she can do about

it. Her negativity make other emotions looks down on her. For the other emotions,

Sadness is like someone that can not take any responsibility. In contrast, Sadness is a

character with wide knowledge. She reads almost all the books in the Headquarters

and remember the contents of the books. She even understand the way to get out from

Long-Term Memory labyrinth. She is also a person with compassion, who comfort

Bing Bong when he is depressed.

From the surface meaning which discussed in Chapter 4, it can be concluded that

there are imbalance situations in the Headquarters between Joy and Sadness. Joy has

a big will to power the console. Then the deeper meaning is that both of them have

suffered from violating “not to have the desire of somebody else’s love possessions.”.


57

Both Joy and Sadness have a big desire to have others belonging that makes them

switch their own character with others. In sort, Joy becomes more Sadness and

Sadness becomes more Joy, like the title of Pete Docter’s film, Inside out.

B. Suggestions

This part give suggestions for the next researchers who are interested in

analyzing a film screenplay, especially Inside Out film screenplay. The other

suggestion is for English Teachers in using Inside Out screen play as a learning

material.

1. Suggestion for Future Researchers

This study is limited to the analysis on the true meaning of Joy and Sadness’

interpersonal conflict. After analyzing the screenplay, the researcher suggest to

the future researcher on conducting the study about an analysis of intrapersonal

conflicts from Joy’s point of view.

2. Suggestion for Englsih Teacher

Analyzing a story or character trough a screenplay is a fresh class activity.

By analyzing the screenplay the students will understand how the director makes


58

a film from the leads of screenplay. Screenplay consist of all the movement with

the exact sayings at a time.

From Inside Out story point of view, there are so many things to analyze.

Whether analyze it from its story or psychological struggle of preteen girl on

finding their personalities and overcome problems in live. In conclusion, this

Inside Out story can be used for Play Performance class.


59

REFERENCES

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Abrams, M.H. (2005). A Glossary of Literary Terms (9th ed). Boston: Wadsworth.

Barnet, S., Burto, W.E., & William, E.C. (1994). An Introduction to the Literature.Boston: Little Brown Bressler

Beebe, S.A., Beebe S.J., Redmond M.V. (2009). Interpersonal Communication:Relating To Others (6th ed). United States: Pearson Education, Inc.

Ekman, P. (2007). Emotions Revealed: recognizing faces and feelings to improvecommunication and emotional life (2nd ed). New York: St. Martin’s Press.

Feist, G., Feist, J. (2009). Theories of Personality (7th ed). New York: TheMcGrawhill.

Freud, S. (1958). A General Introduction to Psychoanalysis. New York: Permabooks.

Forster, E. M. (1974). Aspects of the Novel. Harmonworth: Penguin Book.

Guerin, W. L. (2011). A Handbook of Critical Approaches to Literature (6th ed). NewYork: Oxford University Press.

Hartz, L. (1991). The Liberal Tradition in America/Louis Hartz: With an Introductionby Tom Wickers. New York: Harcourt Brace & Company.

Heider, F. (1958). The Psychology of Interpersonal Relations. New York: John Wiley& Sons.

Hocker, J. L., & Wilmot, W. W. (1995). Interpersonal Conflict (3th ed). Dubuque:Brown & Benchmark Publishers

Holman, C. H. (1972). A Handbook to Literature. United States of America: Bobbs-Merrill Education Publishing Company, Inc.

Isenhart, M. W. (2000). Collaborative Approaches to Resolving Conflict. UnitedStates of America: Sage Publications, Inc.

Jung, J. (1978). Understanding Human Motivation: A Cognitive Approach. NewYork: MacMillan Publishing.


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McClelland, D. C. (1985). Human Motivation. United States of America: Scott,Foresman and Company.

Moody, H. L. B. (1968). Literary Appreciation. English: Prentice Hall Press.

Murphy, M. J. (1972). Understanding Unseen: An Introduction to English poetry andthe English Novel Overseas Students. London: George Allen & Unwin.

Petri, L. H. (1981). Motivation: Theory and Research. Belmont: WadsworthPublishing Company.

Ricaud-Droisy, H., & Zaouche-Gaudron, C. (2003). Interpersonal Conflict ResolutionStrategies in Children: A Father-Child Co-Construction. France: EuropeanJournal of Psychology of Education.

Phillips, W. H. (2009). Film: An Introduction.North America: Bedford/St. Martin’s.

Rohberger, M., & Woods, S. H. (1971). Reading and Writing Literature. New York:Oxford University Press.

Online References:

Alexander, B. (June 18, 2015). How Pixar worked emotions 'Inside Out'. Retrievedfrom http://www.usatoday.com/story/life/movies/2015/06/18/pixar-inside-out making-the-emotions-characters/28648779/

Docter, P. (2015). Inside Out Screenplay. Retrieved fromhttp://www.dailyscript.com/scripts/inside-out-screenplay.pdf

Wright, A. (2008). Psychological Properties Of Colours. Retrieved fromhttp://www.colour-affects.co.uk/psychological-properties-of-colours

Whorwell, P. (2016). Manchester Colour Wheel. Retrieved fromhttp://www.soulnutrition.org/manchester-colour-wheel.php


http://www.usatoday.com/story/life/movies/2015/06/18/pixar-inside-out%20making-the-emotions-characters/28648779/

http://www.usatoday.com/story/life/movies/2015/06/18/pixar-inside-out%20making-the-emotions-characters/28648779/

http://www.dailyscript.com/scripts/inside-out-screenplay.pdf

http://www.colour-affects.co.uk/psychological-properties-of-colours

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APENDICES


62

Appendix A

Inside Out (2015)

Summary

A girl named Riley Andersen is born in Minnesota. In her mind, which is

commonly referred to as "Headquarters," five personified emotions are created over

time: Joy, Sadness, Fear, Disgust and Anger, each one being introduced in this

specific order. The emotions are charged with reacting to Riley's circumstances and

forming her memories, which are housed in spheres that produce a certain color

depending on the emotion of the memory. The most important memories, which are

known as "Core Memories," power five "Islands of Personality" that each reflect a

different aspect of Riley's personality: Family Island, Friendship Island, Hockey

Island, Honesty Island, and Goofball Island.

Each emotion also has a defined purpose in Riley's life: Joy makes sure she is

happy, Fear keeps her safe, Anger keeps her life fair and Disgust prevents her from

being poisoned, both physically and socially. Sadness, however, doesn't believe she

has a purpose in her mind, or that of the other emotions. As a result, she is constantly

ignored and kept from using the Headquarters controls, mainly by Joy, who prefers to

keep Riley happy as much as possible.


http://pixar.wikia.com/wiki/Riley_Andersen

http://pixar.wikia.com/wiki/Riley's_Mind

http://pixar.wikia.com/wiki/Headquarters

http://pixar.wikia.com/wiki/Joy

http://pixar.wikia.com/wiki/Sadness

http://pixar.wikia.com/wiki/Fear

http://pixar.wikia.com/wiki/Disgust

http://pixar.wikia.com/wiki/Anger

http://pixar.wikia.com/wiki/Memory_Orbs

http://pixar.wikia.com/wiki/Core_Memories

http://pixar.wikia.com/wiki/Islands_of_Personality

63

When Riley turns eleven, her family relocates to San Francisco after her father

gets a new job. Joy tries to make the move a pleasant experience for Riley and the

other emotions, but several events leading up to the move make the other emotions

think otherwise. And Sadness messes things up further when she turns a happy

memory into a sad one by touching it and causes a core memory to fall out of the

container it is housed in. Aware that memories can't be changed back once turned sad,

Joy keeps Sadness occupied by having her memorize a stack of "mind manuals" all

through the day and into the night.

On Riley's first day at her new school, Joy attempts to keep Sadness from

touching anything by having her stand completely still inside a circle of chalk. But

Sadness ventures outside the circle and creates a new core memory after making

Riley cry in front of her new classmates. Joy attempts to dispose of the new memory,

but her struggle with Sadness leads to all the core memories being knocked out from

their container. Before Joy can put them back, she, Sadness, and the core memories

are sent up a memory tube and into the far reaches of Riley's mind.

As Joy and Sadness make their way through "Long Term Memory," a labyrinth-

like place where all of Riley's past memories are stored, they run into Riley's former

imaginary friend Bing Bong, who is desperate to reconnect with Riley. When Bing

Bong discovers that his song-powered imaginary wagon has been dumped into

"the Memory Dump," a pit where obsolete memories are erased, he breaks down in

tears of candy and is comforted by Sadness as Joy watches on in confusion.


http://pixar.wikia.com/wiki/Long_Term_Memory

http://pixar.wikia.com/wiki/Bing_Bong

http://pixar.wikia.com/wiki/Memory_Dump

64

Meanwhile, back at Headquarters, Anger, Disgust, and Fear attempt to take charge in

the wake of Joy's absence. But they are unable to make Riley joyful, and instead

instigate a confrontation with Riley's parents, and cause Goofball Island to fall into

the Memory Dump. The three soon realize that tampering with Riley's personality

will cause it to slowly destroy itself with potentially disastrous results.

Joy, Sadness and Bing Bong hatch a plan to ride the "Train of Thought" back to

Headquarters and trek through the various parts of Riley's mind, unaware that Riley's

life is slowly starting to crumble. She alienates both her parents and her former best

friend, struggles in her new surroundings and quits hockey after failing to do well in

the first tryout. Anger reasons that the only way to restore Riley's personality and

keep the remaining islands from falling into the Memory Dump is to persuade her to

run away to Minnesota.

Later that night, while Riley is sleeping, Joy, Sadness, and Bing Bong arrive at

the loading dock for the Train of Thought, only to realize the train does not run

during nighttime. In an attempt to jump-start the train, the three infiltrate "Dream

Productions", where Riley's dreams and nightmares are created. Onstage, they

infiltrate a monstrous birthday clown named Jangles, who scares Riley and wakes her

up. As Joy, Sadness, and Bing Bong board the Train of Thought and make their way

towards Headquarters, Anger enacts his plan of running away. Riley is led to steal her

mother's credit card, which causes Honesty Island to crumble, destroying the Train of

Thought in the process. Joy, Sadness and Bing Bong take refuge on Family Island


http://pixar.wikia.com/wiki/Train_of_Thought

http://pixar.wikia.com/wiki/Meg

http://pixar.wikia.com/wiki/Meg

http://pixar.wikia.com/wiki/Dream_Productions

http://pixar.wikia.com/wiki/Dream_Productions

http://pixar.wikia.com/wiki/Jangles

65

only for the island to begin to fall in pieces when Riley boards a waiting bus to

Minnesota. Then, after a failed attempt to hitch a ride to Headquarters through an

exposed memory recall tube, Joy and Bing Bong fall into the dump, leaving Sadness

on her own.

Joy, in despair and on the verge of giving up, bursts into tears and shifts through

Riley's memories, locating a sad one in which Riley missed a shot in a hockey game

and cost her team the win. Realizing that Sadness was the one who caused both her

teammates and her parents to console her, changing the memory into a happy one,

Joy helps Bing Bong find his rocket wagon and attempts to jumpstart it only to

realize it falls short of reaching the cliff every time. Bing Bong, in a moment of self-

realization, starts the rocket again and jumps off before it flies away. As Joy looks

over her shoulder after barely making it to the cliff, Bing Bong thanks her for letting

him be important one last time and fades away.

Joy emerges from the dump and finds Sadness, who has come to the conclusion

that her doings can only hurt Riley and flees her. Using a huge pile of imaginary

boyfriends from Imagination Land, Joy launches herself towards Sadness with a large

trampoline and grabs her before flying towards Headquarters, where Anger and

Disgust work together to get them inside. Everyone then looks to Joy to save the

situation, but she steps back and lets Sadness take control. Riley, now in control of

her emotions, gets off the bus before it leaves the station and returns home to her

parents, where she breaks down in tears after admitting she misses her old life. As her


http://pixar.wikia.com/wiki/Imaginary_Boyfriends

http://pixar.wikia.com/wiki/Imaginary_Boyfriends

http://pixar.wikia.com/wiki/Imagination_Land

66

parents comfort her, Joy and Sadness create a new core memory together, which

glows both blue and yellow, beginning the restoration of Riley's personality.

With Riley now adapting to life in a new city and Sadness finally having found

her place among her fellow emotions, everyone works together to help lead Riley to a

happy life as she turns 12.

(Access on October 4, 2016)

http://pixar.wikia.com/wiki/Inside_Out



67

Appendix B

Pete Docter

Biography

Docter was born in Bloomington, Minnesota, growing up socially isolated,

preferring to work alone and having to remind himself to connect with others. He

often played in the creek beside his house, pretending to be Indiana Jones and acting

out scenes. A junior-high classmate later described him as "this kid who was really

tall, but who was kind of awkward, maybe getting picked on by the school bullies

because his voice change at puberty was very rough".

Both his parents worked in education: his mother, Rita, taught music and his

father, Dave, was a choral director at Normandale Community College. He attended

Nine Mile Elementary School, Oak Grove Junior High, and John F. Kennedy High

School in Bloomington. Unlike his two sisters, Kirsten Docter, who is now the violist

of the Cavani String Quartet,and Kari Docter, a cellist with the Metropolitan Opera,

Docter was not particularly interested in music. Nevertheless, he can be seen playing

on Michael Giacchino's score on the Up Blu-Rayextra features. He taught himself

cartooning, making flip books and homemade animated shorts with a family movie

camera. He later described his interest in animation as a way to "play God", making

up nearly living characters. Cartoon director Chuck Jones and producer Walt Disney

and cartoonist Jack Davis were major inspirations.


http://pixar.wikia.com/wiki/Michael_Giacchino

http://pixar.wikia.com/wiki/Up_Home_Video

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Before joining Pixar, Docter had created three non-computer animations, Next

Door, Palm Springs, and Winter. He was a fan of the company's early short films, but

he knew nothing about them otherwise. He commented in an October 2009 interview,

"Looking back, I kind of go, what was I thinking?”

He started at Pixar at the age of 21, and began work the day after his college

graduation, the tenth employee the company hired, and its third animator. He first met

owner Steve Jobs when Jobs came to lay off some older workers. Docter instantly felt

at home in the tight-knit atmosphere of the company. He has said, "Growing up... a

lot of us felt we were the only person in the world who had this weird obsession with

animation. Coming to Pixar you feel like, 'Oh! There are others!”

Docter had been brought in with limited responsibilities, but John

Lasseter quickly assigned him larger and larger roles in writing, animation, sound

recording, and orchestra scoring. He was one of the three key screenwriters behind

the concept of Toy Story, and partially based the character of Buzz Lightyear on

himself. He had a mirror on his desk and made faces with it as he conceptualized the

character.

Docter has been an integral part of some of Pixar's most seminal works,

including Toy Story, Toy Story 2, A Bug's Life and Monsters, Inc., all of which

received critical acclaim and honors. He contributed to these animated films as a co-

author to the scripts, and worked with CGI stalwarts such as John Lasseter, Ronnie


http://pixar.wikia.com/wiki/John_Lasseter

http://pixar.wikia.com/wiki/John_Lasseter

http://pixar.wikia.com/wiki/Toy_Story

http://pixar.wikia.com/wiki/Buzz_Lightyear

http://pixar.wikia.com/wiki/Toy_Story_2

http://pixar.wikia.com/wiki/A_Bug's_Life

http://pixar.wikia.com/wiki/Monsters,_Inc.

http://pixar.wikia.com/wiki/Ronnie_del_Carmen

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del Carmen, Bob Peterson, Andrew Stanton, Brad Bird, and the late Joe Ranft. Docter

has referred to his colleagues at Pixar as a bunch of "wild stallions".

In 2004, he was asked by John Lasseter to direct the English translation

of Howl's Moving Castle. Docter made his directorial debut with Monsters, Inc.,

which occurred right after the birth of his first child, Nick. Docter has said that the

abrupt move from a complete, single-minded devotion to his career to parenting

drove him "upside down" and formed the inspiration for the storyline. Docter then

directed the 2009 film Up, released on May 29, 2009. He based

the protagonist of Up partially on himself, based on his frequent feelings of social

awkwardness and his desire to get away from crowds to contemplate. Then, in 2015,

Docter left the Newtproject (which was later scrapped) to direct his idea for a new

movie, which later became Inside Out. In an interview with Jonathan Carlin, Docter

said that he has an idea for an upcoming Pixar movie about a bird and the subway

system.

(Access on October 4, 2016)

http://pixar.wikia.com/wiki/Pete_Docter


http://pixar.wikia.com/wiki/Ronnie_del_Carmen

http://pixar.wikia.com/wiki/Bob_Peterson

http://pixar.wikia.com/wiki/Andrew_Stanton

http://pixar.wikia.com/wiki/Brad_Bird

http://pixar.wikia.com/wiki/Joe_Ranft

http://pixar.wikia.com/wiki/2004


http://pixar.wikia.com/wiki/Up

http://pixar.wikia.com/wiki/Carl_Fredricksen


http://pixar.wikia.com/wiki/Newt


http://pixar.wikia.com/wiki/Pete_Docter

themeaningofinterpersonalconflictsbetween ... · and sadness as seen in pete docter’s inside out...

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