TENACITY OF GERMAN CONSPIRACY AGAINST NAZI REGIME IN
BRIAN SINGER‟S VALKYRIE MOVIE (2008):
A SOCIOLOGICAL APPROACH
RESEARCH PAPER
Submitted as a Partial Fulfillment of the Requirements for Getting Bachelor
Degree of Education in English Department
by
HANIF NURCHOLISH ADIANTIKA
A 320 080 061
SCHOOL OF TEACHER TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2012
ii
iii
iv
TESTIMONY
I hereby assert that there is no plagiarism in this research paper. There is
no other work that has been submitted to obtain bachelor degree and as far as I
concerned there is no opinion that has been written or published before, except the
written references which are referred in this paper and mentioned in the
bibliography. If only here will be any incorrectness proved in the future in my
statement above, I will be fully responsible.
Surakarta, June 2012
The writer
Hanif Nurcholish Adiantika
v
MOTTO
Struggle is the father of all things. If you do not fight, life will
never be won. (Adolf Hitler)
A fool thinks himself to be wise but a wise man knows himself to
be a fool. (Writer)
Never put off till tomorrow what you can do today. ( Writer)
Knowledge and skills are tools, the workman is character.
(Writer)
vi
DEDICATION
THIS RESEARCH PAPER IS DEDICATED TO :
My GOD of Islam, the way of life.
My beloved parents “Mamah and Bapak “.
My beloved sisters “eneng sifa”.
My beloved brothers “hafid kolopid and dede husni”.
My beloved “Luphy” (Rina).
My beloved best friends.
vii
ACKNOWLEDGMENT
Assalamualaikum Wr. Wb
Alhamdulillahirabbil’alamin, praise and gratitude to Allah SWT, The Most Glorious,
The Most Merciful, The Lord of Universe, who gives a million blessings, miracle and
uncountable gifts to the writter. So he can accomplish his research paper entitled “Tenacity of
German Conspiracy Against Nazi Regime in Brian Singer’s Valkyrie (2008) movie: A
Sociological Approach” as the requirement for getting the bachelor degree of Education in
English Department of Muhammadiyah University of Surakarta.
The writer realizes that this research paper would never been possible without fully
aware that people’s help and guidence. Therefore, in this occasion, he would like to extend
his gratitude and appreciation to :
1. Drs. H. Sofyan Anif, M.Si., Dean of School of Teacher Training and Education
of Muhammadiyah University of Surakarta, for approving this research paper,
2. Dr. Phil. Dewi Candraningrum, M. Ed., as the first consultant, who has given
the greatest guidence, advice, and information patiently during the arrangement of
the research paper,
3. Titis Setyabudi, S.S., M. Hum., Head of English Department Muhammadiyah
University of Surakarta, and also the second consultant who has improved the
writing of research in order to make this research paper more interesting to be read
in correct sentences,
viii
4. Drs. H. Abdillah Nugroho, M.Hum., as the examiner who has examined the
writer and giving many advices and suggestions.
5. All of the lecturers in English Department at Muhammadiyah University of
Surakarta, for transferring the knowledge and giving guidence,
6. All the staff of Muhammadiyah University of Surakarta, for the services and
helping,
7. All the librarians whose place has been visited by writer to get references,
8. His beloved parents, Mamah (Dra. Ida Rosdiana) and Bapak (Drs. Dadang
Rudianto) for their unconditional love, prayer, patience, care, sacrifices, and
tireless support the writer in every need,
9. His sweetest sister (Khalida Sifa) and two beloved brothers (Hafid Fauzan
Nurfirdaus and Husni Qoulan Syadida) for all the jokes, care, and give spirit to
the daily life,
10. His beloved “ Luphy” (Rina “painem”), for everything that has changed the
writer’s life more cheerful and meaningful, who help the writer in finishing the
research paper, for all the big supports, care, togetherness and affection,
11. His friends, Gugun, August, Willy, Yombi, Daeng, Panji, A McDean, Suji,
Wawan, for this warm friendship that has changed the writer’s life more colorful,
12. Mas Sigit, Mba Laras, Mas Juned‟s Family, Mba Ochi, Rizki, Mba Yeni,
Mas Firman, Mba Fijri, Mba Rimba „n Harris, Mba Ika, Sasa, Pandu, Arif
“bogel”, pak Sabar, Yosi, Yogi, Oka, Ilham, Huda, Ikhwan, Saga for care,
togetherness and support.
13. His friends in “Al-Hanif” boarding house, Mas Uki, Mas Frendit, Mas Alfan,
Mas Edo, Mas Adit, Mas Chandra, Imam “tuwek”, Budi “mbako”, Budi
“kubis, Shandy “gandhos”, Dhana “bajul”, Wahyu “lampung”, Ikhvan
ix
“penthol”, Rigi, Danang, Firman, Awan “boncel”, Awan kethek” and etc for
the help, support, happy days in “Al-Hanif” boarding house.
14. His friends in Futsal Team, Satrio, Narko, Juli, Miftah, Dedi, Sulis, Anggoro,
Acep, Arkin, Fian, Hermin, Juki, Bayu, Edi, and etc for the support and help in
Futsal Team..
15. His big family, Aki, Eni, Apih, Enin, Wa Dedi‟s family, Wa Toto‟s family,
Irfan, Riza, Isal, A Reza, teh Nisa, the Riska, de Nurul, Eki, and etc, for a true
love, cares, valuable lessons, gifts and everything that have created a beautiful
family.
16. His friends in English Department ’08 for companionship and togetherness.
17. His “Toshiba, Axio, which help the writer in finishing the research paper.
18. His “KARISMA E 6243 YJ, MIO K 3786 Z, V-IXION E 2602 ZD and V-
IXION E 6193 ZE“, for help, togetherness the accompanying the writer in
finishing the research paper.
19. His partner who has helped to finish his research paper, Maz Odix Rental.
20. And others which cannot be mentioned one by one, who help the writer in
finishing the research paper and for all the supports.
The writer realizes that this research paper is still far from being perfect and
still needs many improvements. However, the writer hopes this research paper will
give useful significance to readers.
Wassalamu’alaikum Wr.Wb
Surakarta, June 2012
Hanif Nurcholish Adiantika
x
TABLE OF CONTENT
Page
TITLE ............................................................................................................. i
APPROVAL ................................................................................................... ii
ACCEPTANCE .............................................................................................. iii
TESTIMONY ................................................................................................. iv
MOTTO .......................................................................................................... v
DEDICATION ................................................................................................ vi
ACKNOWLEDGMENT ............................................................................... vii
TABLE OF CONTENT ................................................................................. x
LIST OF FIGURE ......................................................................................... xvi
ABSTRACT .................................................................................................... xxi
CHAPTER I : INTRODUCTION
A. Background of the Study .................................................... 1
B. Literature Review ............................................................... 13
C. Problem Statement ............................................................. 16
D. Limitation of the Study ...................................................... 16
E. The Objective of the Study................................................. 16
F. Benefits of the Study .......................................................... 16
G. Research Method ................................................................ 17
H. Research Paper Organization ............................................. 19
xi
CHAPTER II : UNDERLYING THEORY
A. Sociology of Literature .................................................... 21
B. The Perspective of Sociology of Literature
1. Sociology of the Document ........................................ 24
2. Sociology of the Writer .............................................. 25
3. Sociology of the Reader ............................................. 27
C. Structural Elements of the Movie
1. Narrative Elements ..................................................... 29
2. Technical Elements .................................................... 34
D. Theoretical Application .................................................... 40
CHAPTER III: SOCIAL HISTORICAL BACKGROUND OF AMERICAN
SOCIETY IN THE EARLY TWENTIETH CENTURY
A. Social Aspect .................................................................... 43
1. Upper Class or Higher Class ...................................... 44
2. Middle Class .............................................................. 44
3. The Working Class ..................................................... 46
a. Immigration .............................................. 47
b. Urbanization ............................................. 49
B. Economic Aspect ............................................................. 50
C. Political Aspect ................................................................ 53
1. Party ....................................................................... 53
xii
2. Government Control ............................................... 54
3. Women Opportunities ............................................ 57
4. Negro Rights .......................................................... 58
D. Science and Technology Aspect ..................................... 58
1. New Sources of Energy .......................................... 58
2. The Assembly Line ................................................ 59
3. Advertising and Marketing ..................................... 59
4. The Automobile Industry ....................................... 59
5. New Industries ........................................................ 60
6. Innovation and Invention ....................................... 60
E. Cultural Aspect ................................................................ 62
1. Education ................................................................ 62
2. Literature ................................................................ 63
3. Painting and Design ............................................... 64
4. Architecture ............................................................ 64
5. Music ...................................................................... 65
6. Movie ..................................................................... 65
7. Sport ....................................................................... 65
F. Religious Aspect .............................................................. 66
1. The Catholic Foundation ........................................ 66
2. The Protestant Mainstream ..................................... 67
3. The Enlightenment Contribution ............................ 67
4. Present Trends in American Religious Life ........... 67
xiii
G. Life of Brian Singer ......................................................... 68
1. Early Life ................................................................ 68
2. Professional Career ................................................ 69
3. Filmography ........................................................... 71
CHAPTER IV : STRUCTURAL ANALYSIS
A. The Structural Analysis of the Movie
1. Narrative Elements
a. Character and Characterization ............................ 73
1) Major Character ....................................... 74
2) Minor Character ....................................... 84
b. Casting .................................................................. 113
c. Plot ........................................................................ 117
1) Exposition ................................................. 117
2) Complication ............................................ 119
3) Climax ...................................................... 120
4) Resolution ................................................. 120
d. Setting ................................................................... 122
1) Setting of Place ........................................ 122
2) Setting of Time ......................................... 128
e. Point of View ........................................................ 129
f. Style ...................................................................... 130
1) Grammatical Structure .............................. 130
xiv
2) Sentence Construction ............................... 131
3) Diction ...................................................... 132
4) Figurative Language .................................. 133
g. Theme ................................................................... 145
h. Intent or Message ................................................. 146
2. Technical Elements
a. Mise-en-Scene....................................................... 147
1) Set Dressing and Proops ........................... 148
2) Costumes and Make-Up ........................... 151
3) Lighting ................................................... 155
4) Figure Expression and Movement ............ 160
b. Cinematography ................................................... 164
1) Photographical Quality Shot ................... 164
2) The Framing of Shot ................................ 165
3) Duration of Shot ....................................... 169
c. Sound .................................................................... 169
d. Editing .................................................................. 171
B. Discussion ........................................................................ 174
CHAPTER V : SOCIOLOGICAL ANALYSIS
A. Sociological Analysis
1. Social Aspects ...................................................... 182
2. Economic Aspects ................................................ 187
xv
3. Political Aspects ................................................... 189
4. Science and Technology....................................... 192
5. Cultural Aspects ................................................... 197
6. Religious Aspects ................................................. 201
B. Tenacity Analysis
1. Tenacity in Social Aspect .................................... 203
2. Tenacity in Economic Aspect .............................. 204
3. Tenacity in Political Aspect ................................. 205
4. Tenacity in Science and Technology Aspect ....... 206
5. Tenacity in Cultural Aspect ................................. 207
6. Tenacity in Religious Aspect ............................... 208
C. Discussion ........................................................................ 209
CHAPTER VI : CONCLUSION AND SUGGESTION
A. Conclusion ........................................................................ 214
B. Suggestion ........................................................................ 215
BIBLIOGRAPHY
APPENDIX
xvi
LIST OF FIGURE
Figure 1 : Claus Von Stauffenberg’s Body ...................................................... 74
Figure 2 : Stauffenberg in North Africa .......................................................... 74
Figure 3 : Henning Von Tresckow’s Face ....................................................... 78
Figure 4 : Tresckow’s Body ............................................................................. 79
Figure 5 : Friedrich Olbricht ............................................................................ 81
Figure 6 : Ludwig Beck.................................................................................... 84
Figure 7 : Carl Friedrich Goerdeler .................................................................. 88
Figure 8 : Friedrich Fromm .............................................................................. 91
Figure 9 : Mertz Von Quirnheim ..................................................................... 95
Figure 10 : Nina Von Stauffenberg .................................................................. 98
Figure 11 : Adolf Hitler.................................................................................... 100
Figure 12 : Werner Von Haeften ...................................................................... 103
Figure 13 : Erwin Von Witzleben .................................................................... 104
Figure 14 : Erich Fellgiebel.............................................................................. 107
Figure 15 : Otto Ernst Remer ........................................................................... 109
Figure 16 : Heinz Brandt .................................................................................. 111
Figure 17 : Tunisia, North Africa ..................................................................... 122
Figure 18 : Airfield of German Army ............................................................. 123
Figure 19 : Hospital .......................................................................................... 123
Figure 20 : German Army Headquarters .......................................................... 124
Figure 21 : Claus Von Stauffenberg’s House .................................................. 124
Figure 22 : Adolf Hitler’s Headquarters .......................................................... 125
Figure 23 : Church ........................................................................................... 126
xvii
Figure 24 : Central Communication ................................................................. 126
Figure 25 : Wolf Lair’s Bunker ........................................................................ 127
Figure 26 : Lager Barrack ................................................................................ 127
Figure 27 : Deutschland Guard Batallion Field ............................................... 128
Figure 28 : Nazi’s Symbol ............................................................................... 143
Figure 29 : Nazi’s Symbol in Stauffenberg’s diary ........................................ 143
Figure 30 : Nazi’s Symbol in German Army Headquarters ............................. 143
Figure 31 : Nazi’s Symbol in German Club..................................................... 143
Figure 32 : Nazi’s Symbol in Gestapo’s Hall Headquarter.............................. 144
Figure 33 : Nazi’s Symbol in Goebbels’s house .............................................. 144
Figure 34 : Nazi’s Symbol in Swimming Pool ................................................ 144
Figure 35 : Nazi’s Symbol in Military Army Office........................................ 144
Figure 36 : Nazi Salute’s Movement ............................................................... 145
Figure 37 : Set Dressing of Dr. Goerdeler ...................................................... 148
Figure 38 : Set Dressing of Major Otto Ernst Remer....................................... 149
Figure 39 : Set Dressing of Minister Goebbels ................................................ 149
Figure 40 : Set Dressing of the Civilians ......................................................... 150
Figure 41 : Props in Tunisia ............................................................................. 150
Figure 42 : Props in Hitler’s Headquarter ........................................................ 151
Figure 43 : Props at the Cathedral Church ....................................................... 151
Figure 44 : Props in Lager Barrack .................................................................. 151
Figure 45 : Stauffenberg’s Military Uniform ................................................... 152
Figure 46 : Tresckow’s Military Uniform ........................................................ 152
Figure 47: Chief of German Police Costume in Duty ...................................... 153
xviii
Figure 48: German Courtyard Costume in Duty .............................................. 153
Figure 49: Major Character’s Make-Up ........................................................... 153
Figure 50: Minor Character’s Make-Up .......................................................... 153
Figure 51: Stauffenberg’s Make-Up at War..................................................... 154
Figure 52: Nina’s Make-Up ............................................................................. 154
Figure 53: German Singer’s Make-Up ............................................................. 154
Figure 54: Hard Lighting ................................................................................. 155
Figure 55: Soft Lighting ................................................................................... 156
Figure 56: Frontal Lighting .............................................................................. 156
Figure 57: Side Lighting .................................................................................. 156
Figure 58: Back Lighting ................................................................................. 157
Figure 59: Under Lighting ............................................................................... 157
Figure 60: Top Lighting ................................................................................... 158
Figure 61: Source of Light ............................................................................... 159
Figure 62: Dim Color ....................................................................................... 159
Figure 63: Orange Color .................................................................................. 160
Figure 64: Red Color ........................................................................................ 160
Figure 65: Stauffenberg’s Appearance in Hospital .......................................... 161
Figure 66: Gesture of Hugging ........................................................................ 161
Figure 67: Facial Expression ............................................................................ 162
Figure 68: Agony Facial Expression ................................................................ 162
Figure 69: Angry Facial Expression ................................................................ 162
Figure 70: Sadness Facial Expression .............................................................. 163
Figure 71: Happiness Facial Expression ......................................................... 163
xix
Figure 72: Disparage Facial Expression ......................................................... 163
Figure 73: Slow Motion I ................................................................................ 165
Figure 74: Slow Motion II................................................................................ 165
Figure 75: Slow Motion III ............................................................................. 165
Figure 76: Straight on Angle ............................................................................ 166
Figure 77: Low Angle ...................................................................................... 166
Figure 78: High Angle ..................................................................................... 166
Figure 79: Extreme Long Shot ......................................................................... 167
Figure 80: Medium Shot .................................................................................. 167
Figure 81: Long Shot ....................................................................................... 168
Figure 82: Medium Shot .................................................................................. 168
Figure 83: Close-Up ......................................................................................... 168
Figure 84: Axis of Action ................................................................................ 171
Figure 85: Establishing Shot I .......................................................................... 172
Figure 86: Establishing Shot II ........................................................................ 172
Figure 87: Establishing Shot III ....................................................................... 172
Figure 88: Reverse Shot I ................................................................................. 173
Figure 89: Reverse Shot II ............................................................................... 173
Figure 90: Reverse Shot III .............................................................................. 173
Figure 91: Eye Line Match I ............................................................................ 173
Figure 92: Eye Line Match II ........................................................................... 173
Figure 93: Match on Action I ........................................................................... 174
Figure 94: Match on Action II ......................................................................... 174
Figure 95: Cross Cutting I ................................................................................ 174
xx
Figure 96: Cross Cutting II .............................................................................. 174
Figure 97: German Motorcycles ...................................................................... 194
Figure 98: German Trucks ............................................................................... 194
Figure 99: German Tanks................................................................................. 195
Figure 100: German Panzer ............................................................................. 195
Figure 101: German Jeep ................................................................................. 195
Figure 102: German Planes .............................................................................. 196
Figure 103: German Radio ............................................................................... 196
Figure 104: German Bomb .............................................................................. 197
Figure 105: Music Compact Disc .................................................................... 199
Figure 106: German Music Player ................................................................... 200
Figure 107: Cathedral Church .......................................................................... 201
xxi
SUMMARY
HANIF NURCHOLISH ADIANTIKA. A320080061. TENACITY OF
GERMAN CONSPIRACY AGAINST NAZI REGIME IN BRIAN
SINGER‟S VALKYRIE MOVIE (2008): A SOCIOLOGICAL APPROACH.
RESEARCH PAPER. MUHAMMADIYAH UNIVERSITY OF
SURAKARTA. 2012.
The major problem in this study is how tenacity is reflected in Brian
Singer’s Valkyrie movie by using a Sociological Approach. It is conducted by
analyzing the movie based on its structural elements and based on Sociological
analysis.
This research is qualitative research. Types of data of the study are text
and image taken from two data sources: primary and secondary. The primary data
source is Valkyrie movie directed by Brian Singer released in 2008. While the
secondary data sources are other materials taken from books, internet and other
relevant information. Both data are collected through library research and
analyzed by descriptive analysis.
Using a sociological analysis as the theoretical framework, the research
shows the following findings. First, based on structural analysis of this movie, it is
evident that in this movie, Brian Singer as the director conveys the tenacity of
German conspiracy to assassinate Adolf Hitler in order to end the World War II.
Second, based on sociological analysis, it is apparent that in this movie, Brian
Singer illustrates how a sociological phenomenon related to tenacity of the human
being in order to save a country from total destruction in the middle of the
horrible war.
Keywords : Tenacity, Valkyrie, Sociological Approach.
