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WACANA CERITA
DALAM EKRANISASI NOVEL BOTCHAN
KARYA NATSUME SOSEKI
NI NYOMAN PASTIARINI
NIM 0990161047
PROGRAM PASCASARJANA
UNIVERSITAS UDAYANA
DENPASAR
2011
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WACANA CERITA
DALAM EKRANISASI NOVEL BOTCHAN
KARYA NATSUME SOSEKI
NI NYOMAN PASTIARINI
NIM 0990161047
PROGRAM MAGISTER
PROGRAM STUDI LINGUISTIK
(KONSENTRASI WACANA SASTRA)
PROGRAM PASCASARJANA
UNIVERSITAS UDAYANA
DENPASAR
2011
TESIS INI TELAH DISETUJUI
ii
Pembimbing I,
Pembimbing II
Mengetahui
Direktur
Program Pascasarjana
Universitas Udayana,
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Ketua: Prof.
Anggota:
1. Prof. Dr. I Nyoman Kutha Ratna, S.U.
2. Prof. Dr. Nyoman Darma Putra, M.Litt.
3. Prof. Dr. Nyoman Weda Kusuma, M.S.
4. Prof. Dr. Wayan Cika, M.S.
5. Prof. Dr. I Nyoman Suarka, M.Hum.
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ABSTRAK
WACANA CERITA
DALAM EKRANISASI NOVEL BOTCHAN
KARYA NATSUME SOSEKI
Penelitian ini bertujuan untuk menganalisis ekranisasi novel Botchan karya
Natsume Soseki ke dalam film Botchan karya sutradara Maeda Yoichi. Jangkauan
analisis meliputi bentuk, fungsi, makna ekranisasi dan mengkaji sejauh mana wacana
cerita novel Botchan dipertahankan atau diekranisasi dalam film Botchan. Untuk
mengkajinya, digunakan teori resepsi dan interteks. Teori resepsi digunakan untuk
mengkaji bagaimana tanggapan Maeda Yoichi terhadap novel Botchan. Sedangkan
untuk mengkaji sejauh mana keterkaitan film Botchan dengan novel Botchan
digunakan teori interteks.
Hasil analisis novel Botchan dan film Botchan terhadap unsur alur,
tokoh/penokohan, konflik, dan nuansa humoris, menunjukkan adanya bentuk hipogram
seperti: penerusan konvensi, penyimpangan dan pemberontakan konvensi, serta amanat
teks novel. Penyimpangan dan pemberontakan yang dimaksud adalah sutradara Maeda
Yoichi dalam film karyanya telah melakukan pemotongan dan penambahan sejumlah
variasi terhadap novel Botchan karya Natsume Soseki. Pemotongan maupun
penambahan dilakukan pada tokoh dan penokohan seperti adanya perubahan nama dan
karakter tokoh. Alur novel Botchan juga mengalami penciutan, semula terdiri dari
sebelas bab menjadi delapan sekuen. Penambahan alur dilakukan pada konflik yang
dialami para tokohnya.
Fungsi dan makna ekranisasi novel Botchan dalam film Botchan
menunjukkan bahwa pemotongan dilakukan karena ada beberapa adegan yang tidak
mendominasi keseluruhan cerita, yang dianggap dapat menghambat jalan cerita film.
Penambahan variasi mengenai alur, penokohan, serta konflik dilakukan agar film
terkesan lebih menarik, tidak membosankan, dan disesuaikan perkembangan zaman.
Dalam novel, gagasan utama tentang keadilan, kejujuran dan pertentangan budaya lebih
dominan terlihat pada tokoh yang bernama Botchan. Sedangkan dalam film, tema
pokok novel Botchan tersebut juga dipertegas melalui tokoh yang bernama Madonna.
Dengan demikian, dapat disimpulkan bahwa wacana cerita novel Botchan dalam film
Botchan tetap mempertahankan tema, serta amanat teks novel Botchan, yaitu
keadilan, kejujuran dan pertentangan budaya. Berbagai perubahan terjadi sebagai akibat
dari perbedaan media antara novel dan film. Selain itu, novelis dan sutradara juga
memiliki estetika tersendiri ketika menciptakan sebuah karyanya.
Kata Kunci: Wacana, Ekranisasi, Novel, Botchan
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ABSTRACT
DISCOURSE IN ECRANIZATION
OF THE NOVEL BOTCHAN
BY NATSUME SOSEKI
This research investigates the form of the ecranization of the novel Botchan into
a film, the function and meaning of that ecranization and to what extent the novel
Botchan remains unchanged in its ecranization into the movie Botchan by Maeda
Yoichi. This research uses reception and intertext theory. The theory of reception is
used to investigate Maeda Yoichis opinion about the Botchan novel. In order to
investigate the extent of the relationship between Botchan the movie and Botchan the
novel, the theory of intertext is used.
The results of the analysis of the plot, conflict, humor, and characterization
elements of the novel Botchan and the movie Botchan show the existence of
hyphogram forms, convention continuation, convention change and convention
violation. Changes and violations were the reduction and variation made by the director
Maeda Yoichi to the novel Botchan by Natsume Soseki. Alteration of names and
characters was one example. The plot of the novel was also reduced from eleven
chapters to eight sequels. Plot augmentation was done by creating conflicts in the
characters lives.
The function and meaning of the ecranization of the novel Botchan into the
movie Botchan shows that reduction was implemented because there were some
scenes that did not dominate the whole story and were not considered to obstruct the
plot. In the novel, the main idea of justice, truth, and culture conflict are noticed more
dominantly in a character named Botchan. However, in the movie, these main ideas are
more noticable in the character of Madonna. For that reason, it can be concluded that
the movie Botchan retained the theme and text messages of the novel Botchan, which
were justice and cultural dispute. Any changes were the result of the different media
used between a novel and a movie. In addition, a novelist and a director also have their
own aesthetics when creating their work.
DAFTAR ISI
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Halaman
SAMPUL DALAM...............................................................................................i
PRASYARAT GELAR........................................................................................ii
LEMBAR PERSETUJUAN................................................................................iii
PENETAPAN PANITIA PENGUJI....................................................................iv
UCAPAN TERIMA KASIH.................................................................................v
ABSTRAK..........................................................................................................vii
ABSTRACT......................................................................................................viii
DAFTAR ISI..................................................................................................ix
BAB I PENDAHALUAN.....................................................................................1
1.1 Latar Belakang................................................................................................1
1.2 Rumusan Masalah...........................................................................................9
1.3 Tujuan Penelitian............................................................................................9
1.3.1 Tujuan Umum...............................................................................9
1.3.2 Tujuan Khusus..............................................................................9
1.4 Manfaat Penelitian........................................................................................10
1.4.1 Manfaat Teoretis.........................................................................10
1.4.2 Manfaat Praktis...........................................................................10
BAB II KAJIAN PUSTAKA, KONSEP, LANDASAN TEORI
DAN MODEL PENELITIAN............................................................................11
2.1 Kajian Pustaka..............................................................................................11
2.2 Konsep..........................................................................................................14
2.2.1 Ekranisasi....................................................................................14
2.2.2 Botchan.......................................................................................15
2.3 Landasan Teori..............................................................................................16
2.3.1 Teori Resepsi..............................................................................16
2.3.2 Teori Interteks.............................................................................19
2.4 Model Penelitian...........................................................................................21
BAB III METODE PENELITIAN.....................................................................22
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