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TRANSLATION TECHNIQUES OF HUMOR PUNCHES IN
WEREWOLVES WITHIN MOVIE
A Thesis Presented to the English Study Program (Madiun Campus),

Faculty of Communication Science,
Widya Mandala Surabaya Catholic University
As a Partial Fulfillment of the Requirements for the Sarjana Degree
In the English Language
BY:
RAFAELINO PANDU ISWARDHANA
NIM: 21418015
ENGLISH LANGUAGE PROGRAM (MADIUN CAMPUS)

FACULTY OF COMMUNICATION SCIENCE
WIDYA MANDALA SURABAYA CATHOLIC UNIVERSITY
2022
TRANSLATION TECHNIQUES OF HUMOR PUNCHES IN
WEREWOLVES WITHIN MOVIE
A Thesis Presented to the English Study Program (Madiun Campus),

Faculty of Communication Science,
Widya Mandala Surabaya Catholic University
As a Partial Fulfillment of the Requirements for the Sarjana Degree
In the English Language
BY:
RAFAELINO PANDU ISWARDHANA
NIM: 21418015
ENGLISH LANGUAGE PROGRAM (MADIUN CAMPUS)

FACULTY OF COMMUNICATION SCIENCE
WIDYA MANDALA SURABAYA CATHOLIC UNIVERSITY
2022
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DEDICATION
With love, honor, and gratitude,
I dedicated this thesis to:
 Myself
 My beloved father,
David Sigit Hendry.P
 My beloved mother,
Bernice Yunita M.D
 My Brother,
Gabriell Ajisaka.A
 All of my beloved
family,
Uncles and Aunts
 My dear lecturers
 My friends and
classmates
 My Alma Mater
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MOTTO
“Because of the privilege and authority God has given me,
I give each of you this warning:
Don't think you are better than you really are.
Be honest in your evaluation of yourselves,
measuring yourselves by the faith God has given us.”
(Romans 12:3).
“When you plan something well,
there’s no need to rush”
(Thomas Michael Shelby,OBE)
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ACKNOWLEDGEMENTS
First and first, I would want to praise and thank God, the Almighty, for
bestowing many benefits, knowledge, and opportunities on the writer, allowing me
to finally complete the thesis. I believe that one can only truly appreciate what one
has been given; therefore, I would like to begin by thanking You, God, for life and
all that it contains.
Second, no words can fully express my gratitude to my advisor, Dr.Dwi Aji
Prajoko for his invaluable patience and feedback during my thesis consultation. Nor
would I be able to make this without all of the lecturer which generously provided
its knowledge and expertise. Furthermore, this endeavor would not have been
possible without the generous support of the BMB Scholarship program, which
generously allowed me to study here and giving me a chance to upgrade myself
more.
I am also grateful to my classmates who have helped me, for their
assistance, and support while studying at this university.
Finally, I would be remiss if I did not mention my families and my old
friends, especially my parents, uncles and aunts. Their trust in me has kept my
morale and motivation high throughout this process. I also want to thank my cat for
all the entertainment and emotional support.
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ABSTRACT
RAFAELINO PANDU ISWARDHANA (2022),

TRANSLATION TECHNIQUES OF HUMOR PUNCHES
IN WEREWOLVES WITHIN MOVIE
Surabaya: English Language Study Program, Faculty of
Communication Science, Widya Mandala Catholic
University Surabaya.
This research aims to analyze the type of translation

techniques on each punch line in the Werewolves Within movie.
"punch line" is an unexpected and humorous conclusion to any
show, situation, or story. In this research, the researcher applies
Molina, L., & Albir, A.H. (2002) theory of translation technique
that influence the choice of each technique that can be applied on
each punch lines. This research is classified as qualitative
descriptive research. All of the data in this research were taken
from the movie subtitles among the characters that involved
which contained various types of techniques and were
transcribed into the text form. Then, the collected data were
classified based on each punch line that was found in the movie.
Based on the results of the research, there are ten out of

twenty four types of translation techniques in this research. That
includes Addition, Explicitation, Implicitation, Establish
Equivalence, Literal, Modulation, Concision, Deletion,
Transposition, and Variation. The dominant type of translation
technique is Establish Equivalence, and the least one is Addition,
Explicitation, Implicitation, and Concision.
Keywords: Translation Technique, Punchline, Translator
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ABSTRAK
RAFAELINO PANDU ISWARDHANA (2022),

TRANSLATION TECHNIQUES OF HUMOR PUNCHES
IN WEREWOLVES WITHIN MOVIE
Surabaya: Program Studi Bahasa Inggris, Fakultas Ilmu
Komunikasi, Universitas Katolik Widya Mandala Surabaya.
Penelitian ini bertujuan untuk menganalisis jenis teknik

penerjemahan pada setiap punch line dalam film Werewolves
Within. "punch line" adalah kesimpulan yang tidak terduga dan
lucu untuk acara, situasi, atau cerita apa pun.. Dalam penelitian
ini, peneliti menerapkan teori teknik penerjemahan Molina, L., &
Albir, AH (2002) yang mempengaruhi pemilihan setiap teknik
yang dapat diterapkan pada setiap punch line. Penelitian ini
tergolong penelitian deskriptif kualitatif. Semua data dalam
penelitian ini diambil dari sub judul film di antara karakter yang
terlibat yang berisi berbagai jenis teknik dan ditranskripsikan ke
dalam bentuk teks. Kemudian, data yang terkumpul
diklasifikasikan berdasarkan setiap punch line yang ditemukan
dalam film.
Berdasarkan hasil penelitian, ada sepuluh dari dua puluh

empat jenis teknik penerjemahan dalam penelitian ini. Itu
termasuk Penambahan, Eksplisitasi, Implisitasi, Padanan Lazim,
Penerjemahan Harafiah, Modulasi, Ringkasan, Delesi,
Transposisi, dan Variasi. Jenis teknik penerjemahan yang
dominan adalah Padanan Lazim, dan yang paling sedikit adalah
Penambahan, Eksplisitasi, Implisitasi, dan Ringkasan.
Kata kunci: Teknik Translasi, Punchline, Translator
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TABLE OF CONTENTS
TITLE ................................................................................................................. i
STATEMENT OF ORIGINALITY .................................................................. ii
DEDICATION .................................................................................................. iii
MOTTO ............................................................................................................ iv
ACKNOWLEDGEMENTS ............................................................................... v
ABSTRACT ...................................................................................................... vi
ABSTRAK........................................................................................................ vii
CHAPTER I ....................................................................................................... 1
INTRODUCTION ............................................................................................. 1
1.1 Background of the study ........................................................................................ 1
1.2 Statement of the problem ....................................................................................... 3
1.3 Objectives of the study........................................................................................... 3
1.4 Scope of the problem ............................................................................................. 4
1.5 Significant of the study .......................................................................................... 4
1.5.1 Theoretical significance .................................................................................. 4
1.5.2 Practical significance ...................................................................................... 4
CHAPTER II ..................................................................................................... 6
THEORETICAL AND RESEARCH FRAMEWORK..................................... 6
2.1 Theoretical framework ........................................................................................... 6
2.1.1 Translation...................................................................................................... 6
2.1.2 Translation technique ...................................................................................... 6
2.1.3 Humor punches ............................................................................................. 12
2.1.4 Movie Subtitling ........................................................................................... 12
CHAPTER III .................................................................................................. 14
RESEARCH METHODOLOGY ................................................................... 14
3.1 Research Design .................................................................................................. 14
3.2 Research location ................................................................................................ 14
3.3 Data form and source ........................................................................................... 14
3.4 Data Collection Techniques ................................................................................. 15
3.5 Data Analysis Technique ..................................................................................... 16
3.5.1 Domain Analysis .......................................................................................... 16
3.5.2 Taxonomy Analysis ...................................................................................... 17
3.5.3 Componential Analysis ................................................................................. 18
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3.5.4 Cultural Theme Analysis............................................................................... 18
CHAPTER IV .................................................................................................. 19
FINDINGS AND DISCUSSIONS.................................................................... 19
4.1. Punchlines in Werewolves Within Movie ........................................................... 19
4.2 Translation Techniques of humor punchline in Werewolves Within ..................... 35
4.2.2 Explicitation in Werewolves Within .............................................................. 36
4.2.3 Implicitation in Werewolves Within .............................................................. 36
4.2.4 Establish Equivalence in Werewolves Within ................................................ 37
4.2.5 Literal Translation in Werewolves Within ..................................................... 48
4.2.6 Modulation in Werewolves Within ................................................................ 51
4.2.7 Concision in Werewolves Within .................................................................. 52
4.2.8 Deletion in Werewolves Within .................................................................... 52
4.2.9 Transposition in Werewolves Within ............................................................ 54
4.2.10 Variation in Werewolves Within ................................................................. 55
4.3 Comparison with the previous researches ............................................................. 56
CHAPTER V .................................................................................................... 57
CONCLUSION ................................................................................................ 57
BIBLIOGRAPHY ............................................................................................ 58
APPENDIX ...................................................................................................... 60
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CHAPTER I
INTRODUCTION
1.1 Background of the study
Translation is not merely about changing one language to another.
Translation can bedefined as reproducing the closest natural equivalent of the
source language message into the receptor language, in terms of meaning and in
terms of style (Nida and Taber, 1962). This means that this process requires the
translator’s effort in performing a new product of translation without losing its
message and meaning or even its style. In addition, Larson (1998, p.3) statesthat
translation, then, consists of studying the lexicon, grammatical structure,
communication situation, and cultural context of the source language text,
analyzing it in order to determine its meaning, and then reconstructing this same
meaning using the lexicon and grammatical structure which are appropriate in
the receptor language and its cultural context. Thus, the process of translation
also requires the translator knowledge about the target or receptor language’s
grammar and cultures.
A translator producing good translation needs expertise. An expert
translator can translate in such a way that the result is an equivalent translation.
An equivalent translation may not be produced by a bilingual person without
having transfer knowledge. The knowledge about techniques of translation,
therefore, is badly required; techniques of translation, later, can be seen in the
product so that a translation can be assed as equivalent or not (Molina and Albir,
2002).
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Joke plays an important role in everyday life. Usually joke pays off when
the situation in which people are speaking are frozen and rigid. A good laugh
makes any conversation so much better. It is a tool that can be used to improve
informal communication and relationships between users. By using joke, the
speaker can speak the truth elegantly and quietly without disturbing anyone's
feelings. The main aspect of joke is to entertain people and make people laugh,
which should be the main goal of any humorous situation. Knowing how to
understand stimulation and then be stimulated by it is called sense of humor. This
sense of humor is unique because it is influenced by geography, cultural
background, age, personal experiences, and more. It performs many social
functions, but most of all it helps to ease the situation, entertain people or put
people in a good mood. The main functions of humor in a conversation are the
effects that the speaker can achieve directly by using humorous passages or texts
in his discourse (Attardo, 1994, p. 322).
A joke is a humorous little piece of history in which the humor culminates
in the last part of the story, the joke. (Hetzron, 1991, p. 656). Joke takes the form
of a story, usually with dialogue, and ends in a punch line. It is in the punch line
that the audience becomes aware that the story contains a second, conflicting
meaning. In a broader sense, "punch line" can also refer to an unexpected and
humorous conclusion to any show, situation, or story. The origin of the term is
unknown. Although the comic formula using the classic "setup, premise, punch
line" format was well established in Vaudeville in the early 20th century, the
actual term "punch line" was first documented in the 1920s.

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Most other jokes, however, rely on punch lines. Without a final wrap-up,
a joke falls flat. The punch line is the part of a joke that justifies and rewards the
setup otherwise it is just a story with funny anecdotes.
However, this study fills the research gap for specific reasons. First, most
of the research on humor are about Joke Translation Strategy by Kumara (2019),
The Acceptability Humor Translation Of English To Indonesian In The Movie
Madagascar by DZN Bey (2015). Third, the translation techniques used are
applied over a very large area of translation about humor and not over some
essential parts comparatively as the punch lines on funny phrases or clauses in
movies.
1.2 Statement of the problem
The problems of the study are to answer the following questions:
(1) What punch lines are found in the movie Werewolves Within?
(2) What translation techniques are used in translating the punch lines in the movie
Werewolves within?
1.3 Objectives of the study
The objectives of the study are in the followings:
(1) To analyze punch lines found in the movie entitled Werewolves Within.
(2) To analyze translation techniques used in translating the punch lines in the
movie entitled Werewolves Within?

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1.4 Scope of the problem
There have been a lot of researches about jokes conducted by experts.
They all have different focuses and limitations. This research focuses on the
joke punch lines. Any possible elements are ignored. Furthermore, since the
translation products can show the the translation techniques which are used,
techniques of translating the punch lines is his focus. In short, the problem
is limited to the translation techniques of punch lines in the movie in the
movie entitled Werewolves Within.
1.5 Significant of the study
1.5.1 Theoretical significance
The study is theoretically significant; the reasons are the followings:
1. This research on the translation techniques of the joke punch lines can be
significant reference.
2. This research can stimulate future researches on any translation topics
related to the translation techniques of the joke punch lines
1.5.2 Practical significance
The study is practically significant for some reasons. They are as follows:
1. The editors can make decisions on the translation techniques of the joke
punch lines
2. The translators can implement on the translation techniques of the joke
punch lines
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3. The other students can do any researches related to the translation techniques
of the joke punch lines.

CHAPTER II
THEORETICAL AND RESEARCH FRAMEWORK
2.1 Theoretical framework
2.1.1 Translation
Translation has so many definitions which are described by the experts.
Newmark (1988: 28) states “Translation is rendering the meaning of a text into
another language in the way that the author intended the text”. Similarly, Larson
defines, “Translation consists of transferring the meaning of the source language
in the receptor language.” (1984:3). Catford in Linguistic Theory of Translation
says, “Translation is the replacement of textual material in one language by
equivalent textual material in another language.” (1965:20). Bell (1991: 6) states,
“Translation is the replacement of a representation of a text in one language by
a representation of an equivalent text in a second language.” All of the definitions
about translation are correct and they are completing each other. According to all
of the definitions, it can be concluded that translation is about transferring
message from source language into target language.
2.1.2 Translation technique
Translation techniques are procedures for assessing and classifying
equivalent; translation techniques are seen in the various lingual units of the
translated works (Molina & Albir, 2002, p. 510). These techniques include
adaptation, exploitation, addition, paraphrasing, footnotes, pure borrowing,
naturalized borrowing, generalization, particularization, compensation,
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description, discursive creation, established equivalent, linguistic amplification,
linguistic compression, literal translation, modulation, , implicitation, deletion,
substitution, transposition, and variation (Molina & Albir, 2002, pp. 509-51
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1. Adaptation. It is a technique that replaces SL cultural elements with TL
cultural elements that have the same condition and situation. The translator
must create or create a new situation that can be considered equivalent in both
SL and TL. e.g. cycling for the French, cricket for the English and baseball
for the Americans.
2. Addition. It is a technique of adding detailed information that is not stated in
the source language. “He’s now a monster.” Becomes “Sekarang ia monster
yang menakutkan.”
3. Explicitation. It is grouped into amplification. Explicitation is a to introduce
information from the ST that is implicit from the context or the situation. For
example, to make explicit the patient’s sex when translating his patient into
French.
4. Paraphrase. It is grouped into amplification. Paraphrase is a technique of
replacing a word/phrase/clause with a word/phrase/clause that has the same
meaning. For example, “She has explained it very well so that it’s clear for
everyone” becomes“Dia sudah menerangkan dengan bagus sehingga semua
memahaminya”
5. Footnote. It is a translation technique that serves to provide additional
information and note the differences from the original (Nida 1964, pp. 237-
39). For example, the expression “tidak tahu malu” is translated with a
metaphorical expression common in Javanese, namely “rai gedhek.”

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6. Pure borrowing. It is a technique of purely borroring the foreign words in the
translation. For example, it can be pure (without any variation) to use the
English wordurine, horizon, diameter, stereo and neutron in Indonesian text.
7. Naturalized borrowing. It is a technique of adaptively borroring the foreign
words in the translation. For example, “goal”, “information”, and “test” are
translated successively into “gol”, “informasi” and “tes”.
8. Calque. It is a literal translation of a foreign word or phrase; it can be lexical
or structural. For example, the English translation Normal School for the
French École normale.
9. Compensation, It is a technique in which an SL element of information or
stylistic effect is introduced in another place in the TL because it cannot be
reflected in the same place as in the SL. For example, a pair of scissor into
sebuah gunting
10. Description, to replace a term or expression with a description of its form
or/and function. For example, panettone (Italia) becomes kue tradisional
Italia yang dimakan pada saat tahun baru if it’s described.
11. Discursive creation, It is a technique in which a term or expression is replaced
with a description of its form or/and function. This technique is frequently
used in the translation of a film/movie/book title to indicate equivalence that
can only be valid in a specific context. For example, Malin Kundang becomes
A Betrayed Son is Malin Kundang
12. Established equivalent. It is a technique that uses a phrase or expression that
is recognized as an equivalent in the TL (in a dictionary or in ordinary use).

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It is used to describe situations in which several artistic or structural
approaches are employed to express the same event. For example, traffic
bumps translated as polisi tidur.
13. Generalization, To use a more general or neutral term, e.g., to translate
English go by inches into sedikit demi sedikit in Indonesian.
14. Linguistic amplification, To add linguistic elements. This is often used in
consecutive interpreting and dubbing. e.g., everything is up to you! becomes
semua terserah Anda sendiri!.
15. Linguistic compression, To synthesize linguistic elements in the TT. This is
often used in simultaneous interpreting and in sub-titling. e.g., I want you to
know becomes ketahuilah
16. Literal translation, It's a method of translating a word or an expression word
for word. The SL is literally translated and concentrates on form and structure,
with no additions or reductions to the TL. For example, I will ring you
translated as saya akan menelponmu.
17. Modulation, It is a technique that alters the TL's point of view in order to
focus or categorize in relation to the SL. It is a change in the message's form
obtained by changing the point of view. It enables the expression of the same
phenomenon in a variety of ways. For example, you are going to have a child
instead of kamu akan menjadi seorang ayah if it’s translated to English.
18. Particularization, To use a more precise or concrete term, For example, to
translate window in English as guichet (jendela toko) in French.

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19. Reduction. It is grouped into reduction. Reduction is a technique of suppressing
a ST information item in the TT, e.g., the month of fasting in opposition to
Ramadan when translating into Arabic.
20. Implicitation. It is grouped into reduction. It is a technique of transferring SL
explicit information into the implicit TL. For example,
21. Deletion. It is grouped into reduction. Deletion is a technique of omitting a
part or the whole of the SL text in the TL text. For example, you truly are
incorruptible, aren’t you? to kamu memang tak bisa dirusak, ya?
22. Substitution. It is a technique of changing linguistic elements for
paralinguistic elements (intonation, gestures) or vice versa. For example in
translating Arabic gesture of ‘putting your hand on your heart’ as ‘thank you’.
23. Transposition. It is a technique of changing a grammatical category in relation
to the source language. This technique is similar to shift (in category,
structure, and unit shift, such as changing singular to plural, adjective
position, or changing word class or part of speech). , e.g., glasses translated
into Indonesian as kacamata.
24. Variation. It is a technique of changing linguistic or paralinguistic elements
(intonation, gestures) that affect aspects of linguistic variation: changes of
textual tone, style, social dialect, geographical dialect, etc. e.g., He will never
get to sleep with all this translated into Dia (or Name) tidak akan bisa tidur
jika ramai seperti ini.

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2.1.3 Humor punches
Humor punches as known as punch line is intended to make people laugh.
It is the third and final part of the typical joke structure. It follows the
introductory framing of the joke and the narrative which sets up for the punch
line. There are many folk theories of how people deliver punch lines, such as
punch lines being louder and at a higher pitch than the speech preceding it, or a
dramatic pause before the punch line is delivered. In laboratory settings,
however, none of these design are employed at a statistically significant level in
the production of humorous narratives. Rather, the pitch and loudness of the
punch line are comparable to those of the ending of any narrative, humorous or
not.
2.1.4 Movie Subtitling
Subtitling can be defined as ‘the rendering in a different language of
verbal messages in filmic media, in the shape of one or more lines of written text
presented on the screen in sync with the original written message’ (Gottlieb
2001b: 87, emphasis added). The written, subtitled text has to be shorter than the
audio, simply because the viewer needs the necessary time to readthe captions
while at the same time remaining unaware that he or she is actually reading.
According to Antonini (2005: 213), the words in the original dialogues
tend to be reduced by between 40 and 75 per cent in order to give viewers the
chance of reading the subtitles while watching the film at the same time.
Especially, where an SP is thick with dialogue, the subtitling translator is forced

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to reduce and condense the original so that viewers have the chance to read,
watch and, hopefully, enjoy the film.
Haryanto (2005) also states that in translating movie, translators often
encounter difficulties in terms of "language and culture". It is clear that subtitling
is not an easy job, especially for the translators themselves. This may be why
some subtitles are even less precise, unclear and unnatural due to the rules that
constrain the process and the final product

CHAPTER III
RESEARCH METHODOLOGY
3.1 Research Design
This research was a qualitative research since the data were not numbers
but words. In this type of research, the researcher collected, classified, analyzed,
and drew conclusion based on the data analysis without making a generalization.
Creswell (2009: 4) states that a qualitative research is a study to investigate and
understand the meaning individuals or groups assume to be a social or a human
problem. It is used to find out and know why and how a social phenomenon
happens.
This study also used descriptive qualitative because the result of it was the
description of a certain phenomenon. In this case, the researcher described the
real data that were focused on humor punches in the movie Werewolves Within.
3.2 Research location
The location of this research was not geographic. It did not refer to any place
in this world like a village, city, island, et cetera. The research location was a
media, namely a movie entitled Werewolves Within.
3.3 Data form and source
Data is information collected by the researcher that must be relevant to the
research problem. According to Arikunto (2006: 118), data are all the facts and
members that the researcher can use as information, while information is the result
of a necessary data. In other words, data are everything that the researcher finds and
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writes from the field of study that can be analyzed and relevant with the research
problems.
The data forms were language units. They were words, phrases, and clauses
containing humor punches in the data sources. The data sources were the English
and Indonesian versions of Werewolves Within movie subtitles. The English version
was original text/source language while Indonesian was translated text/target
languge. Indonesian subtitles were downloaded from www.idlix.com. The length
of this movie was 113 minutes.
3.4 Data Collection Techniques
The data collection technique was document analysis. Several steps were
taken when collecting the data by analyzing the documents. First, the researcher
watched "Werewolves Within" movie with English subtitle. After that, the
researcher intensively read the Indonesian copy of the movie "Werewolves
Within" and its English translation. Next, the researcher compared the English
copy of the movie "Werewolves Within" with its Indonesian translation to
analyze what type of techniques that are used in translating the humor punches.
The researcher was only analyzing the words, phrases, and clauses containing
humor punches in the “Werewolves Within” movie.
To organize data collection, the researcher make some code to ease the
researcher process. For example :
28/EE/1:09:21-23//
SL: “I think I just pissed my pants.”
TL: “Kurasa aku mengompol.”

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The coding above is an example taken from Werewolves Within movie. T
includes the text in SL and translation in TL with several data coding.
28 :Data number
EE :Establish Equivalence (Categories of Translation
Technique)
(1:09:21-23) :Time stamp
The first code number is the number of the data from which the data is taken
that has been collected by the researcher. The second code stand for the establish
equivalence technique. And the third code is the time stamp of the movie.
3.5 Data Analysis Technique
Data analysis is an important step in any research. According to Lodico et al.
(2010: 165), in all qualitative studies, data analysis and continuous interpretation
throughout the study, so that knowledge is gained in initial data analysis can guide
future data collection. Furthermore, according to Ary (2010: 32), a qualitative
researcher must organize and categorize or encode large volumes of data so that it
can be described and interpreted.
3.5.1 Domain Analysis
Domain analysis is commonly used to obtain a general and relatively
comprehensive picture or understanding of the matters covered in the problem
focus at the "surface" level of various conceptual domains or categories (symbolic
categories includes or accommodates a number of categories or other symbols).
In analyzing Spradley's domain in Faisal (1990: 91-- 92) states the need to trace
universal semantic relationships, which consists of nine semantic relations

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consisting of types (strict inclution), space (spatial), because -cause-effect,
rational / reason (rationale), location for action, means-end, function, sequence,
and attributes / characteristics (attribute).
Data Source Focus Data/Domain

Characters in the Humor Punch line in
movie the movie
Werewolves Werewolves Within
Within
3.5.2 Taxonomy Analysis
Taxonomies are obtained the conceptual construct by establishing semantic
relationship (garrido, 2017:45). Taxonomic analysis refers as a classification
system that inventories domains into a flowchart or the pictorial representation to
help the researcher understand the relationship among domains (Spradley, 1980).
Although domain analysis can be conducted by itself, it can be combined with
taxonomic analysis. Which is the second step in the ethnographic analysis process.
Once research synthesis domains have been identified, taxonomic analysis can be
employed by selecting one domain and placing it into a taxonomy. Spradley
(1979,1997) defines a taxonomy as a classification system that inventories the
domain into a flowchart or other pictorial representation to help the researcher
understand the relationships among domain.
Example:
SL: “Are you scared? Cause I can hear your tummy.”
TL: “Kau takut? Karena aku bisa mendengar suara perutmu.”

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The example above shows one of the data that contains punch line. “Cause I can
hear you tummy” describes as a punch line because it is placed in the end of a
dialogue or sentence and it is done spontaneously by the character.
3.5.3 Componential Analysis
Spradley (1979: 174) states that it systematic search for attributes
(component of meaning) associated with cultural symbols. According to Garrido
(2017:46) componential analysis determined similarities and differences the
relationship among domain that has been classified. This study applies
componential analysis after the researcher finds the result analysis of translation
technique and quality in the taxonomy analysis and it used to recap the result.
3.5.4 Cultural Theme Analysis
Cultural analysis conducts by developing themes that go beyond such as
inventory of domains to discover the conceptual themes that members of a society
use to connect these domains (Spradley, 1979: 185). Conducting analysis theme is
by referring the domain and classification taxonomic to connect with the context,
thus the researcher can find the interpretation appropriately.

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CHAPTER IV
FINDINGS AND DISCUSSIONS
The following is the rationale of punch lines in the Werewolves Within
movie. This will be followed by the argumentation of target text. Lastly, the
findings are compared to the previous researches. The findings can be seen in the
table (4.1).
Table 4.1
Translation Techniques of Humor Punches in The Wereolves Within Movie
No Techniques Total
1 Establish Equivalence 23
2 Literal 5
3 Deletion 3
4 Transposition 2
5 Variation 2
6 Modulation 1
7 Concision 1
8 Addition 1
9 Explicitation 1
10 Implicitation 1
4.1. Punchlines in Werewolves Within Movie
01/ADD/3:09-15//
SL = “Now, if that’s not the sound of being a man, I’m deaf.”

20
The punchline of the sentence is the “I’m deaf” one because the situation
occurred when the ranger was driving the car while listening to the radio about
breathing exercises. But the ranger was doing it wrongly, instead of screaming
like a man, he was using his high-pitched voice and he was screaming like a little
girl. The voice in the radio somehow perfectly in-sync after the ranger’s high-
pitched voice
02/EE/6:12-14//
SL = “Oh, what a coinkydink.”
The punchline of the sentence is the “coinkydink.” The situation occurs
when a ranger is looking for someone and he accidentally meets in person. People
sometimes use this word in a humorous and informal way of saying the word
“coincidence” because the ranger wanted to lighten up the mood towards someone
he just met.
03/EE/7:45-49//
SL: “Not littering. I’m just excited.”
“Yeah, not judging. Just watching it.”
The punchline of the sentence is the “Just watching it” refers to the
situation where the ranger was opening a letter from a mailman, and accidentally
throws the envelope because he was excited about it and said the “Not littering. Just
excited.” and the mailman suddenly just reply and copy the same way the ranger
21
was saying and ended up with the punch line as the mailman saw the envelope being
thrown by the ranger.
04/EE/10:36-38//
SL, Gwen and Marcus
Gwen: “What time is it?”
Marcus: “Sorry, babe, Huh?”
Gwen: “ ‘Sorry huh’ is not a time, Marcus!.”
The punchline of the sentence is the ‘Sorry huh’ is not a time, Marcus!”
It refers to the situation when Marcus was late to fix Gwen’s car, which is his
girlfriend. The last line was done by Gwen because Marcus couldn’t hear the
question and Gwen managed to answer it with imitating Marcus as if the word 'huh'
was the answer to the question earlier.
05/PP/10:58-60//
SL: “Welcome to Beaverfield. It’s a freak show.”
The punchline of the sentence is the “It’s a freak show.” It occurs when the
Ranger and Mailman going around town and begin to introduce the residence of
Beaverfield where the ranger was shocked by their absurdity and that is when the
word “It’s a freak show” is said by the mailman to show how crazy the people in
Beaverfield are.
06/TP/11:24-29//
22
SL, Ranger, Mailman, and Trish
Ranger: “And, Who’s this?”
Mailman: “Stephen King’s very own Trish.”
Trish: “What? What did you say?”
Mailman: “I said, ‘Beaverfield’s Queen Trish’.”
The punchline of the sentence is the “Beaverfield’s Queen Trish” and it
refers to the situation when the Ranger and Mailman introduce one of the
Beaverfield residents named Trish. the mailman said this to the ranger because of
Trish's stephen king-like nature related to alcohol, but when trish re-questioned
mailman's words, the mailman spontaneously said the word because of another trait
of Trish who pretends to have everything like a queen.
07/RD/12:19-22//
SL, Ranger, Pete, and Mailman
Ranger: “ Cool, never the left.”
Pete: “ Never the left. My kind of guy.”
Mailman: “ It’s not what he meant.”
The punchline of the sentence is the “It’s not what he meant”and it refers
to situation occurs when the Ranger and Mailman meet Trish's husband, Pete, which
is a bit weird in person. Pete suddenly used the salute with his left hand and the
ranger said "never the left" because the salute is always done with the right hand,
but Pete didn't catch the ranger's words so the mailman said “It’s not what he
meant” to Pete.
23
08/EE/16:24-33//
Flint: “You can tell Dr.Stalin I make my living legally on my own
fucking land. It’s called freedom.”
Ranger: “Uh, you know, as long as you are not doing it on US forest.”
The punchline of the sentence is the “on US forest.” The situation occurs
when the Ranger pay a visit to one of Beaverfield's exiled residents named Flint.
They were having an argument about why flint decided to stay some distance from
Beaverfield and flint issued a statement about Dr.Stalin which refers to the world
war. Then, the ranger added the word "on US forest" because of the connection and
conflict as the end of the joke that was made by the ranger.
09/EE/16:58-17:02//
SL: “He is not my kind of guy at all, which is the neighborly kind.”
The punchline of the sentence is the “which is the neighborly kind” and it
refers to a situation when the ranger was talking to Mailman after visiting Flint's
house where he was kicked out by Flint for interfering with his activities. The ranger
said that because a neighbor is supposed to be friendly and nice, but it was different
from what he had expected.
10/PP/24:34-40//
24
Joaquim: “I’m so sorry, I’m confused. Are we talking about a real
baby? Because if that’s the case, oh my God, but if not, It’s a dog.”
The punchline of the sentence is the “It’s a dog.” It refers to a situation
when the residents of Beaverfield gathered at Jeanine's inn, where at that time
Trish's dog named Chachi had disappeared and her body was found while the
rangers were on patrol. The reason why is because Joaquim panicked at first but
apparently after he heard that it was a dog his face suddenly became normal.
11/EE/24:45-50//
Joaquim: “I don’t mean to be rude, Pete, but your dog only barked at
Jews.”
Devon: “And brown people.”
The punchline of the sentence is the “And brown people.” happens in a
situation when the Beaverfield residents gathered at Jeanine's inn where Joaquim
and Pete were arguing about Trish's dog. The funny thing here is that Devon
suddenly adds the word “and brown people” as a spontaneous word to what
Joaquim said earlier about "Jews", and concludes that the dog is racist.
12/EE/28:30-33//
SL, Ranger, Joaquim, Devon, Marcus, and Gwen.
Ranger: “Uh…The roads are effed.”
Joaquim and Devon: “Yeah we said that.”
Marcus and Gwen: “Yes. No shit, dummy. We said it.”

25
The punchline of the sentence is the “We said it”. Still with the situation
where the Ranger arrived at Jeanine's place after patrolling to tell her that the road
had been blocked by a fallen tree, and the generators are also damaged. The reason
why it became a punchline is because Marcus and Gwen suddenly cut into Joaquim
and Devon's conversation and claimed that they were the ones who said it in the
first place.
13/EE/28:53-58//
Marcus: “What kind of animal is smart enough to go around town,
slashing all the generators, but stupid enough to eat
Chachi?”
The punchline of the sentence is the “but stupid enough to eat chachi?” It
still refers to a same situation where the cause of the road closing and the generator
being damaged is the act of a wild animal. The reason why it became a punch line
because the character questioning the “animal’s” intelligence by saying a direct
thing as a reaction of it and it is spontaneous without any plan.
14/EE/29:01-05//
SL, Joaquim and Pete,
Joaquim: “Why don’t you use your inside voice?”
Pete: “I’ll use whatever voice I want! Maybe I’ll use my outside voice !”
The punchline of the sentence is the “Maybe I’ll use my outside voice !” It
refers to a situation where Pete gets angry with Joaquim because he made fun of
26
Trish's beloved dog named Chachi. The reason why it becomes a punchline because
Pete reacts to Joaquim about ‘the voice’ and Pete spontaneously says about himself
using his outside voice. As we can see that ‘inside voice’ is the voice that we speak
using a thought inside our minds, but Pete who is pissed about Joaquim says that he
just going to use his ‘outside voice’ our voice when we speak to other people.
15/EE/29:47-50//
Marcus: “Probably a wolf.”
Gwen: “What are you, like, a wolf detective now, Marcus? I don’t
think so.”
The punchline of the sentence is the “I don’t think so.” It refers to a
situation where the residents of Beaverfield including Marcus and Gwen argue that
Chachi has been eaten by a wolf. The reason why it becomes a punchline because
of Gwen who is questioning about Marcus’ opinion without any prove. Gwen
knows that Marcus just guessing about the event and she just tells him as a reaction
of it.
16/MO/31:24-28//
SL, Marcus and Ranger
Marcus: “You can’t go by yourself, man. That psycho, he’s nuts.”
Ranger: “You could come with me.”
Marcus: “No, I’m good.”

27
The punchline of the sentence is the “No, I’m good.” It occurs when the
Ranger wants to visit one of the residents of Beaverfield named Flint who is
suspected of having killed Chachi. It’s the spontaneous reaction from Marcus as a
sign of disagreement for coming along with Ranger to go to Flint’s house.
17/LIT/35:08-10//
Mailman: “Are you scared? Cause I can hear your tummy.”
The punchline of the sentence is the “Cause I can hear your tummy.” It
occurs when the Ranger and Mailman plan to leave Flint's place after talking to
him. Mailman react spontaneously when she saw Ranger who was about to knocked
Flint’s door but apparently he was scared at that time.
18/EE/35:59-36:01//
Mailman: “We’re just going to get out of your beard.”
The reason why it became a punchline because it is a spontaneous reaction
by the mailman in a situation where the Ranger and Mailman plan to leave Flint's
place after talking to him. When the moment they wanted to leave, Mailman reacted
spontaneously and she changed the word 'place' into 'beard' as soon as her eyes were
focused on Flint's beard
19/LIT/43:44-49//
SL, Ranger and Marcus
Ranger: “Well, we’re having a good, old-fashioned sleepover.”
Marcus: “With guns, though.”

28
Ranger: “With guns, yes.”
The reason why it became a punchline because the ranger repeated the same
spontaneous words which is the word “With guns,yes” from Marcus to confirm
even though it didn't need to be said, but Marcus spontaneously uttered "with guns"
in addition.
20/EE/46:26-30//
SL, Sam and Gwen
Sam: “How many times did you fire your piece?”
Gwen: “How many times do you ask stupid questions?”
The reason why it became a punchline because of the situation when Gwen
shoots a gun at a beast that is thought to be a werewolf at Pete but one of the bullets
hits Pete's shoulder. Gwen answered Sam's question with the same question
sentence structure but ending with "ask stupid questions?" to Sam as a spontaneous
reply.
21/EE/47:55-48:00//
Joaquim: “I feel like I’m one of those dinner theater murder things, and
I’m having a horrible time, and I can’t go home.”
The reason why it became a punchline because The situation happened
when Joaquim was sitting and the residents of Beaverfield were accusing each other
of what one of them thought was a werewolf. Joaquim expresses his feelings to
29
himself about the situation he is in and ends with the words "and I can't go home"
spontaneously as a final conclusion of his true intentions.
22/LIT/50:26-28//
Gwen: “What? What is this, dumbass island? She’s drunk.”
The situation happened when Gwen was talking about Dr. Ellis doing
research in her room. The reason why it became a punchline because of Gwen's
spontaneous reaction to doctor Ellis who was doing research on werewolves in her
room while drinking alcohol. She thinks that it's an absurd thing to do.
23/EE/52:24-27//
Devon: “Okay, big daddy Sam Parker dropping that werewolf
knowledge.”
The reason why it became a punchline because of Devon's spontaneous
reaction to Sam who suddenly explained about the origin of the werewolf with full
confidence, then the reaction arose as if Sam understood what he was talking about.
24/EE/54:08-12//
SL, Devon and Joaquim
Devon: “Are we really in a Mexican standoff, right now?”
Jaoaquim: “Babe, don’t say Mexican, just standoff.”
The situation heated up when the residents of Beaverfield accused each
other to the point where they couldn't take it anymore and one by one they pulled
30
out their guns. The reason why it became a punchline because of "Just Standoff"
was Joaquim's spontaneous reaction towards Devon because the word "standoff" is
another word for fighting. They use guns like in the Cowboy movies, but
apparently, they're not in Mexico.
25/TR/54:19-25//
SL, Ranger, Marcus, Pete and Mailman
Ranger: “We’ve got a suicide on our hands.”
Marcus: “You got little hands, bitch.”
Ranger: “I don’t have little hands.”
Pete: “Stop saying hands.”
Mailman: “Pete’s missing a hand.”
The situation is still heating up where the residents of Beaverfield are
accusing each other. The reason why it became a punchline because of the topic of
conversation is about hands, where Pete just lost his fingers because he got bitten
by the beast. the mailman reacts to Pete's words with a sarcastic reply "Pete's
missing a hand."
26/EE/55:56-58//
SL, Trish and Gwen
Trish: “Why would I even bite off Pete’s hand? That’s…”
Gwen: “Payback.”
31
The reason why it became a punchline because of Gwen's immediate
reaction to Trish briefly on their past events with the look on Gwen's face that is
flat without no expression at all.
27/LIT/1:00:09-11//
SL, Devon and Joaquim
Devon: “Well, we’re not actually millionaires.”
Joaquim: “Well…”
Devon: “Are we?”
Joaquim: “Maybe. Yeah, we’re rich.”
The reason why it became a punchline because the situation occurs when
they talk to each other by recalling everything they had and all their achievements.
With a happy expression Joaquim said "yeah, we're rich" very lightly without any
burden.
28/EE/1:09:21-23//
Joaquim: “I think I just pissed my pants.”
The situation occurred when Joaquim went into hiding and suddenly met
the Rangers and Mailman. The reason why it became a punchline because Joaquim's
words were said suddenly at that moment without context with a straight and
innocent face.
29/EE/1:10:58-1:11:04//
32
Marcus: “I’m the full-time werewolf, bitch.”
The reason why it became a punchline because Marcus, who was fed up
with all of Beaverfield's current conditions, and with a spontaneous reaction, he said
this to Ranger, Mailman, and Joaquim who were at his house to find out where the
werewolf was.
30/ VAR/1:11:36-38//
Mailman: “Yeah, this town’s bat shit.”
The situation occurred while Mailman was looking at the current situation
of the town and its inhabitants. The reason why it became a punchline because of
the reaction from mailman who was looking at beaverfield's current condition when
he came out of marcus' house.
31/DEL/1:11:58-1:12:00//
Joaquim: “What the hell is she? Michael Myers or some shit?”
The situation occurs when Mailman and Ranger try to escape from Trish
who is chasing them, and suddenly appears at the back door to intercept them. The
reason why it became a punchline because of Joaquim's reaction was spontaneously
surprised to Trish who appeared suddenly like one of the evil characters in a horror
film, Michael Myers, where he suddenly appeared without a trace of sound.
32/VAR/1:13:23-26//
Ranger: “Find some snowshoes, and get the heck off this mountain.”
Mailman: “Dude loves snowshoes.”

33
The situation occurs when Mailman and Ranger try to escape from Sam who
is hunting them because he is annoyed by their presence in that place.The reason
why it became a punchline because of the spontaneous words that Mailman said to
the various kinds of snowshoes he found in Marcus' trunk.
33/LIT/1:21:13-18//
Mailman: “We just didn’t actually break up, though.”
Ranger: “You ate them.”
Mailman: “I ate them. Yes.”
The situation occurred when the Ranger who was in Mailman's hideout was
talking about the members of the Mailman band she had joined. The reason why it
became a punchline because of the spontaneous words from the mailman towards
ranger who already figure it out that Mailman was a werewolf who ate them.
34/DEL/1:22:33-35//
Ranger: “You ate Pete, his hand I mean.”
Still in the same situation where the Rangers are merging the events that
occurred in Beaverfield by the act of the Mailman. The reason why it became a
punchline because of the a spontaneous remark made by the ranger to the word "his
hand, i mean" which was addressed to Pete where the mailman ate his hand.
35/TR/1:25:00-02//
Ranger: “Well, I got to tell you, It’s fucking okay to be nice.”
The reason why it became a punchline because of Ranger's spontaneous
expression of annoyance to Mailman the werewolf who had terrorized the residents
34
of Beaverfield. The word that are said by the ranger is a reply to mailman who at
the time said that he couldn't kill ranger because of how nice he is.
36/EE/1:25:05-09//
Ranger: “How’s that for…for, you know, kumbaya bullshit?”
The reason why it became a punchline because of the ranger's spontaneous
reaction to mailman regarding goodness, then the meaning of the word "kumbaya"
appears with the meaning characterized by or exhibiting a belief in harmony
between people and in their essential goodness which he said when mailman met
and talked with him and the ranger knew that it's all just bullshit.
37/EE/1:25:50-58//
SL, Ranger and Flint
Ranger: “Flint, what are you doing here?”
Flint: “Being a good neighbor, you know, like Mr.Rogers.”
The situation occurs where Emerson suddenly comes and helps Ranger to
deal with Mailman the werewolf. The reason why it became a punchline because of
flint who remembers what ranger said to him about being a good neighbor "like Mr
Roger" as a spontaneous reply from flint to ranger.
38/EE/1:29:15-25//
Ranger: “You think Jeanine’s still alive?”
Emerson: “Maybe. She could make us a sandwich.”

35
The situation occurs where Emerson and Ranger suddenly make small talk
in the middle of a fight against a werewolf. The reason why it became a punchline
because of Flint's spontaneous words after defeating the werewolf because Jeanine's
sandwich is the best in Beaverfield.
39/EE/1:29:52-54//
Jeanine: “Make your own damn sandwich.”
The reason why it became a punchline because of Jeanine who suddenly
arrived with a shotgun to help them defeating the werewolf. With just one shot of
shotgun, Jeanine spontaneously said "make your own damn sandwich" as an ending
as if she was in an action movie.
4.2 Translation Techniques of humor punchline in Werewolves Within
Translation technique is a procedure to analyze and classify how translation
equivalence works, And it is at the level of micro units of text (word, frase, and
clause). In research or teaching, we need translation technique to analyze and
classify the result of translation, to consider textual micro-units (Molina and Albir,
2002:448).
The techniques are ordered as in Chapter 2 section 2.1.2 to make it easier
for researcher to analyze technique by technique.
4.2.1 Addition in Werewolves Within
01/ADD/3:09-15//
SL: “Now, if that’s not the sound of being a man, I’m deaf.”
36
TL: “Jika itu bukan suara seorang pria, maka aku tuli.”
Data 1 showed the used translation technique is addition . This is because
the addition of the word “maka” in the target language in which it is not stated in
the source language. The translation is accurate meaning that there is no gain in
meaning. The word 'maka' is added by the translator so that it is more
understandable.
4.2.2 Explicitation in Werewolves Within
05/EXP/10:58-11:01//
TL: “Selamat datang di Beaverfield. Penuh orang aneh.”
Data 5 shows the used translation technique is explicitation. This is
because the meaning “freak” translated into “orang aneh” showed that there are
many people who show strange traits, but the word ‘aneh’ is not explicitly stated.
4.2.3 Implicitation in Werewolves Within
40/IMP/10:58-11:01//
TL: “Selamat datang di Beaverfield. Penuh orang aneh.”
Data 5 showed the use of implicitation technique. It is because the word
“show” there should be the word 'pertunjukkan' although it is not stated clearly
but it still belongs to the meaning of ‘penuh orang aneh’.

37
4.2.4 Establish Equivalence in Werewolves Within
02/EE/6:12-14//
SL: “Oh, what a coinkydink.”
TL: “Oh, suatu kebetulan.”
Data 2 shows the use of establish equivalence techniques. This is because
the phrase 'what a coinkydink (coincidence)' translated into 'suatu kebetulan' is
commonly used in translating this phrase into TL. The translator decided to use
establish equivalence technique so that the audience can understand it easily using
the commonly used phrase or word in translating into the TL.
03/EE/7:45-49//
SL: “Not littering. I’m just excited.”
“Yeah, not judging. Just watching it.”
TL: “Tak buang sampah sembarangan. Aku cuma bersemangat.”
“Ya, aku tak menghakimi. Cuma melihatnya.”
Data 3 showed the use of establish equivalence technique. This is because
the phrase 'not judging, just watching it' that translates into 'aku tak menghakimi,
cuma melihatnya.' used the term or expression that is known in the dictionary. The
translator decided to use establish equivalence technique so that the audience can
understand it easily using the commonly used phrase or word in translating into the
TL.
04/EE/10:36-38//
38
SL, Gwen and Marcus
Gwen: “What time is it?”
Marcus: “Sorry, babe, Huh?”
Gwen: “ ‘Sorry huh’ is not a time, Marcus!.”
TL: “Jam berapa sekarang?”
“Maaf, sayang.”
“ ‘Maaf’ itu bukan jam, Marcus.”
the translation is commonly used in translating into the TL where " 'sorry huh' is
not a time, Marcus." translated into " 'maaf' itu bukan jam, Marcus." has the same
meaning of term or expression in the dictionary. The translator decided to translate
the phrase into the establish equivalence technique to make it more recognizeable
by the audience.
06/EE/11:24-29//
SL: “And, Who’s this?”
“Stephen King’s very own Trish.”
“What? What did you say?”
“I said, ‘Beaverfield’s Queen Trish’.”
TL: “Dan, siapa dia?”
“Dia Trish yang seperti Stephen King.”
“Apa? Apa katamu?”
“Kubilang, ‘Trish Ratu Beaverfield’.”

39
the phrase “Beaverfield’s Queen Trish” that got translated into “Trish Ratu
Beaverfield kebetulan' is commonly used in translating this phrase into TL. The
TL. The use of this technique causes almost no significant change for the stylistic
forms used in both SL and TL
08/EE/16:24-33//
SL: “You can tell Dr.Stalin I make my living legally on my own fucking
land. It’s called freedom.”
“Uh, you know, as long as you are not doing it on US forest.”
TL: “Beritahu Dr.Stalin aku menghasilkan nafkah secara sah di tanahku
sendiri. Itu disebut kebebasan.”
“Selama tak kau lakukan di Hutan Amerika Serikat.”
the phrase “on US Forest” that was translated into “di hutan Amerika Serikat” is
commonly used in translating into the TL. It has the same meaning of use or
expression in the dictionary and the translator decided to use that in order to make
the audience understand.
09/EE/16:58-17:02//
SL: “He is not my kind of guy at all, which is the neighborly kind.”
40
TL: “Dia bukan orang kesukaanku, yaitu tipe tetangga baik.”
the phrase “the neighborly kind.” That was translated into “tipe tetangga yang
baik.” is commonly used in translating into the TL. It used the term or expression
that is known in the dictionary and the translator decided to make it more
recognizeable by the audience in translating the phrase.
11/EE/24:45-50//
SL “I don’t mean to be rude, Pete, but your dog only barked at Jews.”
“And brown people.”
TL: “Aku tak mau kasar, Pete. Tapi anjingmu Cuma menggonggong ke
orang Yahudi.”
“Dan orang kulit cokelat juga.”
Data 11 showed the use of establish equivalence technique. It is because the
phrase “and brown people” that was translated into “dan orang kulit cokelat juga”
showed that is already familiar based on a dictionary or colloquial usage in the TL.
The translator decided to use establish equivalence technique so that the audience
can understand it easily using the commonly used phrase or word in translating into
the TL.
12/EE/28:30-33//
SL : “Uh…The roads are effed.”
“Yeah we said that.”

41
“Yes. No shit, dummy. We said it.”
TL: “Uh..Jalannya tertutup.”
“Ya, sudah kami bilang.”
“Ya, tidak, bodoh. Kami yang bilang.”
phrase “we said it” translated into “kami yang bilang” used the term or expression
that is known in the dictionary by the translator to make it more general for the
audience . It could be “kami yang mengatakannya” but it would take some spaces
adding the subtitle, so the translator decided to make it simple.
13/EE/28:53-58//
SL: “What kind of animal is smart enough to go around town, slashing
all the generators, but stupid enough to eat Chachi?”
TL: “Hewan macam apa yang cukup pintar berkeliling kota, merusak
generator, tapi cukup bodoh makan Chachi-mu?”
Data 13, showed the use of establish equivalence technique. It is because
the clause “ stupid enough to eat Chachi?” was translated into “cukup bodoh makan
Chachi-mu?” showed that it is already familiar based on a dictionary or colloquial
usage in the TL .The translator translated it with the context of ownership by adding
the word ‘mu’ at the end so that the audience can understand it.
14/EE/29:01-05//
SL: “Why don’t you use your inside voice?”

42
“I’ll use whatever voice I want! Maybe I’ll use my outside voice !”
TL: “Mengapa tak gunakan suara batinmu?”
“Kugunakan suara apapun yang kumau! Mungkin kugunakan
suara luarku!”
clause “use my outside voice !” was translated into “kugunakan suara luarku!”
showed that it was already familiar based on a dictionary or colloquial usage in the
TL. The translator decided to use establish equivalence technique so that the
audience can understand it easily using the commonly used phrase or word in
translating into the TL. The use of this technique causes almost no significant
change for the stylistic forms used in both SL and TL
15/EE/29:47-50//
SL: “Probably a wolf.”
“What are you, like, a wolf detective now, Marcus? I don’t think
so.”
TL: “Mungkin serigala.”
“Apa kau sekarang jadi detektif serigala, Marcus? Kurasa tidak.”
phrase “I don’t think so.” Translates into “kurasa tidak” by the translator using the
establish equivalence technique because this expression is an expression commonly
used in TL. The use of this technique causes almost no significant change for the
43
stylistic forms used in both SL and TL and the translator used the establish
equivalence technique so that the audience can understand the meaning of the word.
18/EE/35:59-36:01//
SL: “We’re just going to get out of your beard.”
TL: “Kami mau keluar dari tempatmu.”
word “get out of your beard.” was translated into “keluar dari tempatmu.” by the
translator where it is commonly used in dictionary and cause no significant change.
The translator decided to use establish equivalence technique so that the audience
can understand it easily using the commonly used phrase or word in translating into
the TL.
20/EE/46:26-30//
SL: “How many times did you fire your piece”
“How many times do you ask stupid questions?”
TL: “Berapa banyak kau menembaknya?”
“Berapa banyak kau bertanya bodoh?”
word “ask stupid questions?” was translated by the translator into “bertanya
bodoh?” It used the term or expression that is known in the dictionary. The
44
TL.
21/EE/47:55-48:00//
SL: “I feel like I’m one of those dinner theater murder things, and I’m
having a horrible time, and I can’t go home.”
TL: “Aku merasa seperti masuk film pembunuhan, mengalami masa buruk,
dan tak bisa pulang.”
Data 21 showed the establish equivalence technique. It is because the phrase
“can’t go home.” was translated into “dan tak bisa pulang.” used the term or
expression that is known in the dictionary. The use of this technique causes almost
no significant change for the stylistic forms used in both SL and TL and the
TL.
23/EE/52:24-27//
SL: “Okay, big daddy Sam Parker dropping that werewolf knowledge.”
TL: “Baik, Ayah besar Sam Parker mengeluarkan pengetahuan
manusia serigalanya.”
“that werewolf knowledge.” was translated into “pengetahuan manusia
serigalanya.” has the same meaning of term or expression in the dictionary. The
45
TL.
24/EE/54:08-12//
SL: “Are we really in a Mexican standoff, right now?”
“Babe, don’t say Mexican, just standoff.”
TL: “Kita berkelahi seperti orang Meksiko sekarang?”
“Sayang, jangan bilang orang Meksiko, Cuma berkelahi saja.”
phrase “just standoff.” was translated into “Cuma berkelahi saja” used the term or
expression that is known in the dictionary. The translator decided to use the
establish equivalence technique in order to make it easier for the audience to
understand the meaning of the word. The use of this technique caused almost no
significant change for the stylistic forms used in both SL and TL
26/EE/55:56-58//
SL: “Why would I even bite off Pete’s hand? That’s…”
“Payback.”
TL: “Mengapa aku menggigit putus tangannya Pete? Itu..”
“Pembalasan.”
word “Payback.” that got translated into “pembalasan” showed that it is already
46
familiar based on a dictionary or colloquial usage in the TL. The translator decided
to use this type of technique so that the audience can understand it easily using the
commonly used word in translating into the TL. It caused almost no significant
change for the stylistic forms used in both SL and TL.
28/EE/1:09:21-23//
SL: “I think I just pissed my pants.”
TL: “Kurasa aku mengompol.”
phrase “pissed my pants.” that got translated into “mengompol” used a term or
expression that was already known in the dictionary and everyday use. It caused
almost no significant change for the stylistic forms used in both SL and TL and the
TL.
29/EE/1:10:58-1:11:04//
SL: “I’m the full-time werewolf, bitch.”
TL: “Aku Manusia Serigala penuh waktu, jalang!”
“I’m the full-time werewolf, bitch.” that got translated into “Aku Manusia Serigala
penuh waktu, jalang!” showed that is already familiar based on a dictionary or

47
colloquial usage in the TL. The translator decided to translate the phrase into the
establish equivalence technique to make it more recognizeable by the audience.
36/EE/1:25:05-09//
SL: “How’s that for..for, you know, kumbaya bullshit?”
TL: “Bagaimana itu untuk, omong kosong ini?”
phrase “kumbaya bullshit?” was translated into “omong kosong ini?” showed that
is already familiar based on a dictionary or colloquial usage in the TL. The use of
this technique causes almost no significant change for the stylistic forms used in
both SL and TL and the translator decided to use this type of technique so that the
audience can understand it easily using the commonly used word in translating into
the TL.
37/EE/1:25:50-58//
SL: “Flint, what are you doing here?”
“Being a good neighbor, you know, like Mr.Rogers.”
TL: “Flint, what are you doing here?”
“Jadi tetangga baik, seperti Tn.Rogers.”
phrase “like Mr.Rogers.” translates into “seperti Tn.Rogers” used the term or
expression that is known in the dictionary where the word is commonly used in TL
38/EE/1:29:15-25//
48
SL: “You think Jeanine’s still alive?”
“Maybe. She could make us a sandwich.”
TL: “Menurutmu Jeanine masih hidup?”
“Mungkin. Dia bisa membuat roti isi untuk kita.”
Data 38, “make us a sandwich.” Translates into “membuat roti isi untuk
kita.” Using the establish equivalence technique because of the usage of term or
expression which is recognized as an equivalent in the TL and It caused almost no
significant change for the stylistic forms. The translator decided to use establish
equivalence technique so that the audience can understand it easily using the
commonly used phrase or word in translating into the TL.
39/EE/1:29:52-54//
SL: “Make your own damn sandwich.”
TL: “Buat roti isi kalian sendiri.”
phrase “Make your own damn sandwich.” that got translated into “Buat roti isi
kalian sendiri.” showed that it is already familiar based on a dictionary or colloquial
usage in the TL. The translator used this type of technique to make it more
understand for the audience and also because it has the same meaning when it’s
translated into TL that causes almost no significant change.
4.2.5 Literal Translation in Werewolves Within
17/LIT/35:08-10//
49
SL: “Are you scared? Cause I can hear your tummy.”
TL: “Kau takut? Karena aku bisa mendengar suara perutmu.”
Data 17 showed the use of literal translation technique. It is because the
phrase “hear your tummy.” that got translated into “mendengar suara perutmu.”
showed that the phrase was translated word by word but it is more adjusting the
arrangement or order of words in the TL. The translator decided to use literal
translation so that it can be easily understood by the audience and the grammar also
has been adapted to TL.
19/LIT/43:44-49//
SL: “Well, we’re having a good, old-fashioned sleepover.”
“With guns, though.”
“With guns, yes.”
TL: “Yah, kita tidur bersama seperti saat masih kecil.”
“Tapi dengan pistol.”
“Dengan pistol, ya.”
Data 19 showed the use of literal translation technique. This is because the
phrase “With guns, yes.” that got translated into “dengan pistol, ya.” is a literal
translation which was translated by the translator without changing the sentence
structure. This translation was initially carried out like a word-for-word translation,
but the translator then adjusted the wording according to the grammatical words.
22/LIT/50:26-28//
50
SL: “What? What is this, dumbass island? She’s drunk.”
TL: “Apa tempat ini penuh orang bodoh? Dia mabuk.”
phrase “She’s drunk.” That got translated into “Dia mabuk” by the translator
showed that the word is literally translated without changing any meaning or
grammar so that the audience could understand it more easily.
27/LIT/1:00:09-11//
SL: “Well, we’re not actually millionaires.”
“Well…”
“Are we?”
“Maybe. Yeah, we’re rich.”
TL: “Kami bukan jutawan sungguhan.”
“Itu…”
“Benarkah?”
“Mungkin. Ya, kita kaya.”
phrase “Yeah, we’re rich.” that got translated into “ya, kita kaya” showed that the
word was translated literally and the translation of words in the SL was replaced
directly into TL and has followed the grammar of the TL. The translator decided to
use literal translation so that it can be easily understood by the audience.

51
33/LIT/1:21:13-18//
SL: “We just didn’t actually break up, though.”
“You ate them.”
“I ate them. Yes.”
TL: “Sebenarnya band kami tidak bubar.”
“Kau memakan mereka.”
“Aku memakan mereka. Ya.”
phrase “I ate them. Yes.” that got translated into “Aku memakan mereka. Ya.”
showed that the phrase was translated word by word but it is more adjusting the
arrangement or order of words in the TL. The translator decide to use this type of
technique to make it easier for the audience to understand the meaning of the
language.
4.2.6 Modulation in Werewolves Within
16/MO/31:24-28//
SL: “You can’t go by yourself, man. That psycho, he’s nuts.”
“You could come with me.”
“No, I’m good.”
TL: “Kau tak bisa pergi sendirian. Ada psikopat gila.”
“Kau mau ikut denganku?”
“Tidak, tidak mau.”

52
Data 16 showed the use of modulation technique. This is because the phrase
“No, I’m good.” that got translated into “Tidak, tidak mau.” using different phrases
in the SL and TL language. It applied focus in relation to the SL and changes the
point of view. The phrases are structurally different but their meaning is the same
where the word indicates a disapproval of the situation. The translator decided to
use this technique to make it more simpler and easily understood by the audience.
4.2.7 Concision in Werewolves Within
07/CON/12:19-22//
SL: “Cool, never the left.”
“Never the left. My kind of guy.”
“It’s not what he meant.”
TL: “Bagus, memberi hormat.”
“Selalu, aku seperti itu.”
“Bukan itu maksudnya.”
Data 7 showed the use of reduction technique. It is because the phrase “It’s
not what he meant” translated into “Bukan itu maksudnya” was shown and tt could
be translated into “Bukan itu yang dia maksud” but the translator chooses this
technique to remove any words forming the original text which are considered
redundant in the TL.
4.2.8 Deletion in Werewolves Within
10/DEL/24:34-40//
53
SL: “I’m so sorry, I’m confused. Are we talking about a real baby?
Because if that’s the case, oh my God, but if not, It’s a dog.”
TL: “Maaf, aku bingung. Apa kita membahas bayi sungguhan? Karena
jika begitu, ‘Ya Tuhanku’ tapi jika tidak ‘Cuman anjing’.”
Data 10 showed the use of deletion technique. This is because the phrase
“it’s a dog” that got translated into “cuman anjing” could be translated into “itu
cuman anjing” but the translator decided to remove the word “itu” maybe because
the translator tried to produce brief subtitle for making easier the audience in
dividing their attention between the image of film and the meaning of the language.
31/DEL/1:11:58-1:12:00//
SL: “What the hell is she? Michael Myers or some shit?”
TL: “Apa dia ‘Michael Myers’?”
Data 31 showed the use of deletion technique. It is because the phrase
“Michael Myers or some shit?” that got translated into “Michael Myers?” where the
rest of the words has been removed by the translator to make it more easier for the
audience in dividing their attention between the image of film and the meaning of
the language.
34/DEL/1:22:33-35//
SL: “You ate Pete, his hand I mean.”
TL: “Dan kau makan Pete, tangannya.”

54
Data 34 showed the use of deletion technique. This is because the phrase
“his hand I mean.” that got translated into “tangannya” where the word ‘I mean’ is
removed by the translator without leaving any single or small part of the SL. The
translator decided to make it more clear for the audience in dividing attention
between conversation and image of the movie.
4.2.9 Transposition in Werewolves Within
25/TR/54:19-25//
SL: “We’ve got a suicide on our hands.”
“You got little hands, bitch.”
“I don’t have little hands.”
“Stop saying hands.”
“Pete’s missing a hand.”
TL: “Ada yang bunuh diri di tangan kita.”
“Tanganmu kecil, jalan.”
“Tanganku tak kecil.”
“Berhenti bilang tangan.”
“Tangannya Pete hilang.”
Data 25, "Pete’s missing a hand.” translates into "tangannya Pete hilang"
using transposition technique because the structure of the sentence has changed by
the translator to make it more short and simple.
35/TR/1:25:00-02//
SL: “Well, I got to tell you, It’s fucking okay to be nice.”

55
TL: “Kuberitahu kau, Tak masalah jadi baik, brengsek.”
Data 35, “fucking okay to be nice.” Translates into “Tak masalah jadi baik,
brengsek.” Using the transposition technique because it involves a shift from one
grammatical category to another, while still preserving the meaning.
4.2.10 Variation in Werewolves Within
30/ VAR/1:11:36-38//
SL: “Yeah, this town’s bat shit.”
TL: “Ya, kota ini payah.”
Data 30 showed the use of variation technique. This is because the phrase
"Yeah, this town’s bat shit.” translates into "ya, kota ini payah". The word ‘bat shit’
changed into ‘payah’ by the translator as a type of variation because it changed its
efficiencies and the core of adaptation. The word 'bat shit' is a variation from the
word 'sucks'. The translator use this type of technique so that the audience can
understand the meaning that was derived from SL into TL.
32/VAR/1:13:23-26//
SL: “Find some snowshoes, and get the heck off this mountain.”
“Dude loves snowshoes.”
TL: “Cari sepatu salju lalu pergi dari gunung ini.”
“Dia suka sepatu salju.”
Data 32 showed the use of variation technique. This is because the phrase
"Dude loves snowshoes.” got translated into "Dia suka sepatu". The word ‘dude’
56
changed into ‘dia’ by the translator where the word 'dia' addressed to men. it
changed the core of adaptation by the translator to inform the audience who the
word is intended for.
4.3 Comparison with the previous researches
Conducting a research on the acceptability of humor translation of English
to Indonesian in the movie entitled Madagascar and applying the research on a large
area of humor such as linguistic humor, cultural humor, and universal humor, Bey
(2015) finds the mediun level of acceptability. This has slight difference with this
researh finding. Establshed equivalence as the dominant technique of translation
techniqu and most of translation techniques which are target language orientation
tend to bring to the high level of acceptability.
Kumara (2019) doing a research on Joke Translation Strategy in translating
Dave’s Top 15 Funniest Jokes of the Fringe Festival 2017 finds that the most
dominant technique is paraphrase, and it is different from this research where
established equivalence technique is the most dominant. This differences can be
caused by the scope of Kumala’s paraphrase that is widened. Moreover, he does not
apply Molina & Albir (2002) since he uses the term strategy instead of technique.
57
CHAPTER V
CONCLUSION
There are 39 types of punch lines that can be found in a form of words,
phrases, and clauses in a movie entitled Werewolves Within.
The punch lines are translated with the translation techniques as follows.
They are Addition, Explicitation, Implicitation, Establish Equivalence, Literal,
Modulation, Concision, Deletion, Transposition, and Variation. Establish
Equivalence becomes the most used technique to translate the punch lines found in
Werewolves Within movie.
The dominant translation technique is Established Equivalence. This
technique and others having target language orientation must bring the high level
of acceptability. This has slight difference with the previous researche since the reearch
reaches medium level of acceptability (Bey, 2015). Established equivalence as the
dominant is also different from Kumara’s (2019) findings inwhich the most dominant is
paraphrase. This differences can be caused by the scope of the paraphrase that is widened.
58
BIBLIOGRAPHY
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498-512.
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subtitling. Journal of English Studies. 1 (1), pp 39-49.
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(Eds.), Teaching translation and interpreting (pp. 161- 70). Amsterdam:
John Benjamins.
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Limited.
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Sakulpimolrat, S. (2019). The analysis of translation techniques and

translation quality of directives speech act in the little prince novel.
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Big Think (2022). Every joke falls in one of 11 categories, Says Founding Editor
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joke-falls-in-one-of-these-11-categories-according-to-the-founder-of-
the-onion/
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techniques for the review of the literature. The Qualitative Report,
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Aries, A.D.(2019). Membangun punchline dalam film fiksi“malam minggu

kliwon”menggunakan ritme editing. Yogyakarta: Institut Seni
Indonesia.
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translating cultural categories in brown's origin into indonesian.
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Febriani, B.R., Rohayani, Syafryadin. (2020). An analysis of translation

techniques used in powell’s poem “you are my everything”. Publisher:
Unib Press P. 53-59.
Creswell, J.W. (2009). Research design: qualitative, quantitative, and mixed

methods approaches. Singapore : SAGE
59
Nida, E.A. and Charles R. Taber. (1974). The theory and practice of translation.
Leiden: United Bible Societies.
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in humorous discourse.
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humor and translation techniques used in the american comedy film “ted”.
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Nuswantoro University).
APPENDIX
No SL TL Time Techniques
1 “I’m deaf” “Maka aku (3:09- Addition
tuli” 3:15)
2 “coinkydink” “suatu (6:12- Establish
kebetulan” 6:14) Equivalence
3 “just watching “Cuma (7:45- Establish

it” melihatnya” 7:49) Equivalence
4 “’sorry,huh’ is “’maaf’ itu (10:36- Establish
not a time, bukan jam, 10:38) Equivalence
Marcus” Marcus”
5 “freak” “penuh orang (10:58- Explicitation
aneh” 11:01)
6 “Beaverfield’s “Trish Ratu (11:24- Establish
Queen Trish” Beaverfield 11:29) Equivalence
7 “It’s not what “Bukan itu (12:19- Concision

he meant” maksudnya” 12:22)
8 “on US forest” “di hutan (16:24- Establish

Amerika 16:33) Equivalence
Serikat”
9 “the “tipe tetangga (16:58- Establish
neighborly yang baik” 17:02) Equivalence
kind”
10 “It’s a dog” “cuman (24:34- Deletion
anjing” 24:40)
11 “and brown “dan orang (24:45- Establish

people” kulit cokelat 24:50) Equivalence
juga”
12 “we said it” “kami yang (28:30- Establish
bilang” 28:33) Equivalence
13 “stupid “cukup (28:53- Establish
enough to eat bodoh makan 28:58) Equivalence
Chachi?” Chachi-mu?”
60
61
14 “Maybe I’ll “kugunakan (29:01- Establish

use my suara luarku!” 29:05) Equivalence
outside
voice!”
15 “I don’t “kurasa (29:47- Establish
think so” tidak” 29:50) Equivalence
16 “No, im “Tidak, tidak (31:24- Modulation

good” mau” 31:28)
17 “I can hear “aku bisa (35:08- Literal

your mendengar 35:10)
tummy” suara
perutmu”
18 “get out of “keluar dari (35:59- Establish
your beard” tempatmu” 36:01) Equivalence
19 “with “dengan (43:44- Literal

guns,yes” pistol,ya” 43:49)
20 “ask stupid “bertanya (46:26- Establish

questions?” bodoh” 46:30) Equivalence
21 “can’t go “tak bisa (47:55- Establish

home” pulang” 48:00) Equivalence
22 “she’s “dia mabuk” (50:26- Literal
drunk” 50:28)
23 “that “pengetahuan (52:24- Establish
werewolf manusia 52:27) Equivalence
knowledge” serigalanya”
24 “just “cuma (54:08- Establish
standoff” berkelahi 54:12) Equivalence
saja”
25 “Pete’s “Tangannya (54:19- Transposition
missing a Pete hilang” 54:25)
hand”
26 “payback” “pembalasan” (55:56- Establish
55:58) Equivalence
27 “Yeah, “Ya, kita (1:00:09- Literal

we’re rich” kaya” 1:00:11)
62
28 “I think I “Kurasa aku (1:09:21- Establish

just pissed mengompol” 1:09:23) Equivalence
my pants”
29 “full-time “serigala (1:10:58- Establish
werewolf, penuh waktu, 1:11-04) Equivalence
bitch” jalang”
30 “this town’s “kota ini (1:11:36- Variation
bat shit” payah” 1:11:38)
31 “What is “Apa dia (1:11:58- Deletion

she? Michael Michael 1:12:00)
Myers or Myers?”
some shit?”
32 “Dude love “Dia suka (1:13:23- Variation
snowshoes” sepatu salju” 1:13:26)
33 “I ate them, “aku (1:21:13- Literal

yes” memakan 1:21:18)
mereka, ya”
34 “his hand I “tangannya” (1:22:33- Deletion
mean” 1:22:35)
35 “fucking “tak masalah (1:25:00- Transposition

okay to be jadi baik, 1:25:02)
nice” brengsek”
36 “kumbaya “omong (1:25:05- Establish
bullshit?” kosong ini?” 1:25:09) Equivalence
37 “you know, “seperti (1:25:50- Establish
like Tn.Rogers” 1:25:58) Equivalence
Mr.Rogers”
38 “She could “Dia bisa (1:29:15- Establish
make us a membuat roti 1:29:25) Equivalence
sandwich” isi untuk
kita”
39 “make your “Buat roti isi (1:29:52- Establish
own damn kalian 1:29:54) Equivalence
sandwich” sendiri”
40 “show” “penuh orang (10:58- Implicitation
aneh” 11:01)

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TRANSLATION TECHNIQUES OF HUMOR PUNCHES IN

WEREWOLVES WITHIN MOVIE

A Thesis Presented to the English Study Program (Madiun Campus),

ENGLISH LANGUAGE PROGRAM (MADIUN CAMPUS)

WEREWOLVES WITHIN MOVIE

A Thesis Presented to the English Study Program (Madiun Campus),

ENGLISH LANGUAGE PROGRAM (MADIUN CAMPUS)

With love, honor, and gratitude,

I dedicated this thesis to:

David Sigit Hendry.P

Bernice Yunita M.D

Uncles and Aunts

“Because of the privilege and authority God has given me,

I give each of you this warning:

Don't think you are better than you really are.

Be honest in your evaluation of yourselves,

measuring yourselves by the faith God has given us.”

“When you plan something well,

there’s no need to rush”

(Thomas Michael Shelby,OBE)

bestowing many benefits, knowledge, and opportunities on the writer, allowing me

all that it contains.

Second, no words can fully express my gratitude to my advisor, Dr.Dwi Aji

generously allowed me to study here and giving me a chance to upgrade myself

I am also grateful to my classmates who have helped me, for their

assistance, and support while studying at this university.

Finally, I would be remiss if I did not mention my families and my old

all the entertainment and emotional support.

RAFAELINO PANDU ISWARDHANA (2022),

This research aims to analyze the type of translation

Based on the results of the research, there are ten out of

Keywords: Translation Technique, Punchline, Translator

RAFAELINO PANDU ISWARDHANA (2022),

Penelitian ini bertujuan untuk menganalisis jenis teknik

Berdasarkan hasil penelitian, ada sepuluh dari dua puluh

Kata kunci: Teknik Translasi, Punchline, Translator

1.1 Background of the study

Translation is not merely about changing one language to another.

Translation can bedefined as reproducing the closest natural equivalent of the

translator’s effort in performing a new product of translation without losing its

translation, then, consists of studying the lexicon, grammatical structure,

communication situation, and cultural context of the source language text,

grammar and cultures.

A translator producing good translation needs expertise. An expert

An equivalent translation may not be produced by a bilingual person without

having transfer knowledge. The knowledge about techniques of translation,

therefore, is badly required; techniques of translation, later, can be seen in the

informal communication and relationships between users. By using joke, the

understand stimulation and then be stimulated by it is called sense of humor. This

sense of humor is unique because it is influenced by geography, cultural

background, age, personal experiences, and more. It performs many social

in his discourse (Attardo, 1994, p. 322).

A joke is a humorous little piece of history in which the humor culminates

actual term "punch line" was first documented in the 1920s.

setup otherwise it is just a story with funny anecdotes.

The Acceptability Humor Translation Of English To Indonesian In The Movie

essential parts comparatively as the punch lines on funny phrases or clauses in

1.2 Statement of the problem

The problems of the study are to answer the following questions:

1.3 Objectives of the study

The objectives of the study are in the followings:

movie entitled Werewolves Within?

1.4 Scope of the problem