Emailing SKRIPSI SWEET DEASY

CHAPTER I
INTRODUCTION
A. Background of the Problem
In this era, literature is be more creative in express imagination or
event in audio visual form like film. As we know that most of people like
literature actually, because they like reading novel and watching film, and
we know that novel and film are part of literature.
Klarer (2004) states that literature is an art to express the feeling or
condition or event in the era in written like poetry or novel. Literature is
referred to as the entirety of written expression, but not every written
document can be categorized as literature. In development of literature, it is
not only present in written but also in visual form like drama or film. Klarer
states that genre of literature divided into 4 genres, they are: 1) fiction, 2)
poetry, 3) drama, and 4) film. After novel and poetry, the expert of literature
develop literary become interesting form like drama and film, but people
can keep enjoying it. People do not have to read, but can see the story that
present by actor, it makes the literature more interesting.
One of literature genres is the film. Film is an art that can present the
information or moral value in creative ideas by using moving pictures.
According to Boggs & Petrie (2008) states that film is like poetry which
communicates through symbol, imagery, and also metaphor. Film also has
some similarities with drama. Film communicates through visually such as
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action and gesture and film communicates with verbally through dialogue.
The last is similarity with novel which can compress time and space
traveling back and forth freely within their wide borders (Satriyadi, 2012,
p. 205-206). The writer concludes that film is an art the series of moving
pictures that use actors or animation as major to express the story by
dialogue, action, moving, gesture, and expression.
There are two kinds of film, namely, fiction and nonfiction. The film
which researched is Frozen, it is including in fiction film, because it is an
imagination of the author. As literature, film also has some genres that differ
one and other. Grace (2008) divided film genres into some genres, they are:
1) action, 2) adventure, 3) comedy, 4) crime, 5) drama, 6) epics, 7) horror,
8) musicals, 9) science fiction, 10) war movies, and 11) westerns. Genres in
frozen film including adventure, comedy, and musicals.
The film felt alive with the present of characters in it, every character
has an important role to support the film. Usually, every character has
different characteristic to differ one and others. Putra (2010) said that kinds
of characters are main character and minor character. Main character is hold
the main role in the film, usually attendance almost in whole story. With
focus in research main characters, it relation with aspect of psychology,
because every character has different psychology.
In psychology, there is the theory that learns about how is the
psychology character in literature. This theory is used to learn about
conscious and unconscious about people. The theory of psychology is
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introduced by Sigmund Freud. Hanum (2005) said that Freud divided the
theory of psychology in three, those are id, ego, and superego. Id is
“Pleasure principle”, ego is “Reality principle”, and superego is “Moral
principle”. The characters that researched by using Freud’s theory are Anna
and Elsa in film entitled “Frozen”.
Frozen is animation film, published in 2013 directed by Chris Buck
and Jennifer Lee, which tells the story about two sisters named Anna and
Elsa. Anna is just common person, but Elsa has a magic to control the ice.
At the night, Anna and Elsa play in the castle, Elsa uses her power to make
snow and snowman. When Anna jump in the pile of snow higher, Elsa tries
to stop Anna, but her power hits Anna, and Anna gets unconscious. Elsa
shouts while calling her parents. The King and Queen are shock then bring
Anna to the Trolls. Fortunately, Anna gets better, but she forgets about
Elsa’s power. Elsa so afraid to Anna, she scares to use her power and her
parents limit Elsa to contacts with everyone including Anna. Elsa closes her
door until she gets adult. One time the King and Queen have to go for
business, but their ship sink by wave and they get die. These sisters meet
again when Elsa coronate become a Queen, but the conflict between these
sisters happen in the Elsa’s coronation party. Anna meets someone named
Hans and they want to get married, they ask the blessing from Elsa, but Elsa
does not give her blessing for them. Anna gets upset and talks something
that make Elsa gets angry. Elsa gets angry because Anna does not stop to
talk, unintentional Elsa uses her power in front of people. People think Elsa
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is a monster that has a sorcery. She scares and goes to the North Mountain
and makes her castle there. Anna is looking for Elsa to the North Mountain
with someone named Kristof, and the journey begin.
The first main character researched is Elsa. The accident influences
psychology of Elsa, because she just stays at her room and limits the contact
to everyone. She experiences different psychology after the accident in her
childhood. Every time Anna tries to close with Elsa, but Elsa always
remembered about the accident and keep away from Anna. She hides her
power in the gloves, because she is afraid to hurt and make everyone know
about it. The fear always haunts her mind, and makes her feel like a monster
that can hurt everyone.
Besides, Anna that always plays alone in the castle, makes her feels
Elsa has isolated her. The gate that always closes makes Anna feels lonely,
because she never go out from the castle. Then, in Elsa’s coronation day,
the gate is open, and Anna feels so happy and thinks to meet someone.
The psychology about these sisters in Frozen is interesting to be
researched, because in education, the teachers also have to know about
students’ education of psychology, and film can be a media for teachers to
teach the students, to get students’ interest in learning English and improve
students’ vocabulary. So, this analysis focuses on the psychology of the
main characters of Anna and Elsa. The writer chooses analysis with the title:
“A Psychoanalysis of Main Characters in Frozen Film”.
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B. Focus of the Research
In accordance with the background of problem, the writer focuses
to:
1. Psychological aspect main characters in the Frozen.
2. Kinds of classification of emotion main characters.
C. Formulation of the Problem
1. How is the psychological aspect main characters based on Freud’s
theory?
2. What kind of the classification of emotion main characters?
D. Objective of the Research
This research has aims mentioned below:
1. To identify the psychological aspect main characters based on Freud’s
theory.
2. To classifies the emotion main characters.
E. Significance of the Research
1. Theoretically Use
The writer needs to give opinion that with the analysis psychology
based on Freud’s theory can improve our knowledge about the
psychology.
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2. Practically Use
a) To the students
The analysis of Frozen film can improve the knowledge about
psychology main characters, and improve vocabulary.
b) To the Teacher
This analysis can motivate the teachers that teaching not only by
using book but also film, to take students’ interest in learning
English.
c) To the Institution
This analysis can be the first place to stand on next research, to
get the better result.
F. Definition of Terms and Abbreviations
In this research, the writer uses the term as follow:
According to Boggs & Petrie (2008):
Film is like poetry which communicates through symbol, imagery,
and also metaphor. Film also has some similarities with drama.
Film communicates through visually such as action and gesture and
film communicates with verbally through dialogue. The last is
similarity with novel which can compress time and space traveling
back and forth freely within their wide borders (Satriyadi, 2012, p.
205-206).
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Aminuddin (1995) states that main character is figure has important
role in the story that appear at the beginning until ending (Rokhana, 2009,
p.11).
Atkinson (1996) states “Psychology is the psyche science that learn
about human behavior”. (Minderop, 2010, p.3).
In this research, the writer uses the theory of psychology by Sigmund Freud,
namely id, ego, and superego in book theories of personality (Schultz, 2005,
p.54-56).
1. Id is the aspect of personality allied with the instincts; the source of
psychic energy, the id operates according to the pleasure principle. Id is
a powerful structure of the personality because it supplies all the energy
for other two components
2. Ego is the rational aspect of the personality, be responsible for directing
and controlling the instincts according to the reality principle. The
principle by which the ego functions to provide appropriate constraints
on the expression of the id instincts.
3. Superego is the moral aspect of personality; the internalization of
parental and societal values and standards. A component of the superego
that contains the moral or ideal behaviors for which a person should
strive.
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CHAPTER II
THEORETICAL FRAMEWORK
A. Theoretical Description
1. Film
a. Definition of Film
In this era most of people like watching film especially in a
cinema. Besides film can amuse the audience, it also has many
genres, actors, and good stories that making interest. Akbar (2015)
states “Film or cinema is the series of moving pictures that played
by actor or animation directly, and become one in a concept or
theme” (p.2). The film not only have the real actor but also
animation actor that human made. But it can be a good film by
animation actor if it supported the good story.
Klarer (2004) states that film is predetermined by literary
techniques; conversely, literary practice developed particular
features under the impact of film. Drama and film are often
categorized under the heading performing arts because they use
actors as their major means of expression.
According to Boggs & Petrie (2008):
Film is like poetry which communicates through symbol,
imagery, and also metaphor. Film also has some similarities
with drama. Film communicates through visually such as
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action and gesture and film communicates with verbally
through dialogue. The last is similarity with novel which can
compress time and space traveling back and forth freely
within their wide borders (Satriyadi, 2012, p.205-206).
Besides we can see the film, we also can hear what are the characters
talking about and knowing how is the expression of the characters.
In other opinion, Akbar (2015) said:
Film is a part of culture that cannot get separate from the
modern people life. As one of art expression media, theatre,
music, and dance, film is regarded has a quality if not only
amuse but demanded to have an aesthetic value in
technology production, role play, story idea and represent
surroundings of people in it (p.4).
So, films also have to have a value in it like moral value that contain
in the film as a something leave in people mind.
b. Kinds of Film
Sumarno (1996) divided kinds of film into two, they are:
1) Fiction
Fiction is film that made or produced based on the story
compose and play by actor or actress. Generally film is
commercial. The meaning of commercial is film show in the
cinema by price of certain ticket. Its mean, for watching film in
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the cinema, the audiences have to buy the ticket first. Then, if it
show in the television, it is carry the advertisement sponsor.
The film is going to be researched is fiction film that show
in the cinema in 2013, that is Frozen.
2) Non Fiction
Nonfiction is the film take the real as the subject. Nonfiction
divide into two categories, they are:
a) Factual Film : showing the fact or reality, where is the
camera just record the event, Now factual film known as
newsreel, that emphasize on the side of announcement the
actual event.
b) Documenter Film : besides fact, it also contain the
subjectivity of maker that mean as an attitude or opinion
about the event, so that the perception about reality will very
depend to the maker of the documenter film.
c. The Genres of Film
Film genres are identifiable types, categories, classifications or
groups of films that have similar techniques or conventions.
Primary film genres according to Grace (2008) including the
following:
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1) Action
Action film usually include high energy, big-budget physical
stunts and chases, possibly with rescues, battles, fights, escapes,
races against time and crises featuring non-stop motion, break-
neck rhythm and pacing.
2) Adventure
Adventure films are exciting stories, with new experiences
or exotic locales, very similar to or often paired with the action
film genre.
3) Comedy
Comedies are light-hearted plots deliberately designed to
amuse and provoke laughter by exaggerating the situation,
language, action, relationships and characters.
4) Crime
Crime films feature the sinister actions of criminals,
mobsters, bank robbers, underworld figures, and ruthless
hoodlums who operate outside the law, stealing and murdering
their way through life.
5) Drama
Dramas are serious, plot-driven films, portraying realistic
characters, setting, life situations, and stories involving intense
character development and interaction.
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6) Epics
Epics take an historical or imagined event, mythic,
legendary, or heroic figure, and add an extravagant setting and
lavish costumes, accompanied by grandeur and spectacle,
dramatic scope, high production values, and a sweeping musical
score.
7) Horror
Horror films are designed to frighten and to invoke our
hidden worst fears, often in a terrifying, shocking finale, while
captivating and entertaining us at the same time in a cathartic
experience.
8) Musicals
Musicals/dance films are cinematic forms that emphasize
full-scale scores or song and dance routines in a significant way,
or they are films that are centered on combinations of music,
song, dance and choreography.
9) Science Fiction
Sci-fi films are often quasi-scientific, visionary and
imaginative – complete with heroes, aliens, distant planets,
quests, fantastic places, new technology, and extraordinary
monsters. Sci-fi films often feature multiple genres.
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10) War Movies
War films acknowledge the horror and heartbreak of war,
letting the actual combat fighting (against nations or humankind)
on land, sea, or in the air provide the primary plot or background
action for the of the film.
11) Westerns
Westerns are the major defining genre of the American film
industry – a eulogy to the early days of the expansive American
frontier. They are one of the oldest, most enduring genres with
very recognizable plots, elements, and characters.
Actually, film not only have a genre, but most of film usually
have some genres. In this research, the Frozen has some genres,
namely, adventure, comedy, and musicals.
d. The Purpose of Film
According to Bordwell and Thompson (2008) said “The
development happen in the world of film present three important
aspects that serve as a basis for appear many kinds and form of film
this moment” (Akbar, 2015, p.4-6). Those aspects are:
1) Entertainment and Experience Aspect
Film gives the way to see and feel an emotion sensation and
thought to satisfy the audiences when they watch a film. It will
bring them into the story of the film and give them the
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experience more interest. That is why, film does not appear
suddenly, but it made in purpose that have an effect for the
audience. It is telling about the fiction, recording the actual-
phenomenon, showing the objects or pictures with animation,
and playing with the story that bring them to the experience that
they have nott happened in their life.
2) Art and Technology Aspect
Some said films that are showed in the cinema believe as
only for entertaining. While the films, which showed in the
special sites are an experimental work or even only show in film
festivals. We can see some films have created some things that
became interest and showed in some films for people. As in
1910th and 1920th, many films that made for entertain. However,
in its development probably new in technique of film, in editing
process particular. Based from the explanation, we can assume
that it could be called popular tradition if it can entertain and
moral value.
3) Business Aspect
Film making has an art-value that does not care about the
audience’s background or inclusive, while the audience that
choose only to watch it assume that film as an art rather than
business or commercial. Most the films including the program
television in marketing is made on purpose to expect the
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audience come to watch and pay for watching it. Meanwhile the
other film is paid by investor or community that support the story
of film. The relation between film and economy on purpose
making a film not always make the movie-maker become less
creativity and it has more than aims.
Entertainment and experience aspect are the purposes of
Frozen, because audience can feel an emotion sensation from a
character it is Elsa, objects with animation like snow, snowman,
magic, and castle, and amused with comedy in it.
2. Intrinsic Element
According to Klarer (2005) states “The terms plot, time, character,
setting, narrative perspective, and style emerge not only in the
definitions and characterizations of the genre of the novel, but also
function as the most important arcas of inquiry in film and drama”(p.14).
As we know in fiction Klarer divides element of fiction into four, they
are: plot, character, point of view or narrative perspective, and setting.
a. Plot
According to Klarer (2005) plot is the logical interaction of
the various thematic elements of a text which lead to a change of the
original situation as presented at the outset of the narrative. An ideal
traditional plot line encompasses the following four sequential
levels:
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Exposition-complication-climax or turning point-resolution.
The exposition or presentation of the initial situation is disturbed by
a complication or conflict which produces suspense and eventually
leads to a climax, crisis, or turning point. The climax is followed by
a resolution of the complication (French denouement), with which
the text usually ends. Most traditional fiction, drama, and film
employ this basic plot structure, which is also called linear plot since
its different elements follow a chronological order.
b. Character
Nurgiyantoro (1995) states “Main character is figure has
important role in the story” (Rokhana, 2002, p.11). In other hand
Subagyo (2007) states “Character is the most important element in
the fiction because without character there is no plot and there is no
plot mean there is no story” (p.2.16). It means the character has main
role in development the story that making film felt alive by acting
the character as if we there in it. But if there is no character the story
will be felt empty or there is no taste.
Aminuddin (1995) states “Character is the figure who carry
the event in fiction, so the event can connect the story”. But the
character according to Abrams (2000) is a person who perform in
the narrative work or drama that interpret by reader has moral quality
and certain inclination like express in utterance and act in action
(Rokhana, 2009, p.10). Based on the definitions, the writer can
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conclude that character is important element that experience the
event in the story and act in it as if it is real and make people feel as
role play in the story and hold a dialogue with the character.
Putra (2010) states “The author tells what and how is the
character have a role in the story” (p.57). Putra state further that there
are two kinds of characterization, they are main character and minor
character.
1) Main Character
Main character almost always turn in three characters
dimension, they are protagonist, antagonist, and background.
Main character has good and bad quality. The purpose,
ambition, and values are change. The character change as the
effect in literature namely as “dynamics character”. Dynamics
character grow and develop in higher level form the meaning
and power a story.
a) Protagonist : main character in the story
b) Antagonist : character, or power, be the rival of
protagonist.
c) Background : character who give the background or affirm
the action of protagonist.
In this research, the writer just discusses about protagonist
and antagonist. Because in the frozen movie there are two main
characters they are Anna as protagonist and Elsa as antagonist.
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2) Minor Character
Minor character just contain one or two protruding
quality. Almost always flat or character with two dimensional.
Protruding quality does not balance with the rival quality.
Usually, all is good or bad. Character like that can complete the
position, but not too deepen. Flat character used to relate to static
character because it is not change in the story.
c. Point of View
The term point of view, or narrative perspective,
characterizes the way in which a text presents persons, events, and
settings. The subtleties of narrative perspectives developed parallel
to the emergence of the novel and can be reduced to three basic
positions: the action of a text is either mediated through an exterior,
unspecified narrator (omniscient point of view), through a person
involved in the action (first-person narration), or presented without
additional commentary (figural narrative situation).
1) Text with an omniscient point of view refer to the acting figures
in the third person and present the action from an all knowing,
God-like perspective.
2) First-person narration renders the action as seen through a
participating figure, who refers to her- or himself in the first
person. First-person narrations can adopt the point of view either
of the protagonist or of a minor figure.
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3) In the figural narrative situation, the narrator moves into the
background, suggesting that the plot is revealed solely through
the actions of the characters in the text.
d. Setting
In literary, setting is needed to take place in a narrative.
Klarer (2005) said the term “Setting” denotes the location, historical
period, and social surroundings in which the action of a text
develops. Time and place in order to support action, characters, and
narrative perspective on an additional level.
3. Psychology Approach in Literature
a. Definition of Psychology of Literature
According to Endraswara (2008) “Psychology of literature is
an interdisciplinary between psychology and literature” (Minderop,
2010, p.59). Actually, learning psychology of literature is same with
learning human from inside. Perhaps aspect “Inside” often have a
quality of subjective, that make the observer of literature regard as
it heavy.
Endraswara states that actually learning psychology of
literature is so beautiful, because we can understand side of human
soul depth, so wide and deep. Psychology of literature appeal is on
the human problem that draw the portrait of soul. Just no own soul
that appear in literature, but also can represent other soul. Every
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author often add his experience in his work and it also often
experience by other people.
Endraswara continues that step of understanding of
psychology of literature can through three steps. First, through the
understanding of theories of psychology then do the analysis to a
literary work. Second, determine a literary work as an object
research first, then determine the theory of psychology is regard as
relevant to use. Third, simultaneously find the theory and object
research. Next, show the text which present by a technique on the
theory of literature can reflect a concept from the psychology that
carry on by a fictional characters.
Without attendance psychology of literature by many
psychological references, perhaps the understanding of literature
will unbalanced.
b. The Psychoanalysis Based on Freud’s Theory (1991)
Model of new think’s Freud about soul is an effect of the
reflex and other reflex that whole consist of three parts, namely: ego,
id, and superego. Id is defined as older part of mind is the origin
structure of other.
Freud (1991) stated:
“Id contain everything that inherited, it is that has exist born,
and formed based on certain rule – therefore, instinct, that
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from somatic nerves system and the first time get the
expression mental, has form that we know nothing” (p.69).
Id has the primitive quality, uncontrolled, and emotional: “A
world that is not logical”.
Freud continued:
“Id is our side personality that dark and cannot traced. At
least we know about id from description of how the dreams
work and from the composition of the symptoms of neurosis.
Almost all explain about id relate to negative characteristics
and it just can explain as a contrast with ego. We near id by
analogy such as: we called chaos, a crater full of stimulation
turbulent... id contents energy that get from instinct, but
irregular and did not produce a collective willingness, but
just effort to reach satisfaction of instinctive needed that be
principal attention of finding pleasure principle”(p.70).
Freud makes a sharp distinction between two variety of
mental function that called as primary process and secondary
process. Id works through primary process, that uses mechanism of
condensation, removal, symbolization and fulfill the desire as
hallucination or dreams. Id also ignore categories of space and time,
and assume things are contradictory, such as dark/bright or high/low
as identical. As told on Freud’s explain, id can only be controlled by
the principles of mental dynamics of the most basic and primitive:
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avoid “Unpleasant” that caused by tension instinctive, can only be
achieved by satisfying needs instinctive accompanied with
happiness.
If Freud’s view is pessimistic to characteristics of human
nature that called as “Pleasure principle” that influence his thinking
and more talk about avoiding pain than pleasure seeking, it has
become a character. As we know that the strong emotion by Freud
regarded as a nuisance that must be removed, not as a pleasure has
to find.
Ego is part of mind that represent conscious. Ego works use
secondary process: namely consideration, common sense, and the
power to delay the spontaneous response on external stimulus or
instinctive insistence inside. At first, the ego comes from id. Freud
describe ego as a “Special organizations” that is closely related to
the recipient’s organs stimulus, because it is originally ego grows as
a result of external stimulus that caught by sense.
Freud said “The ego is the first ego and most important as
bodily” (p.71). That Freud means in this sentence is that ego,
originally comes from sensation in the body surface, it is projection
of body surface. The meaning of “I” depend on perception of the
body human self as a separate unit. Once interact, ego “Act as
intermediary between id and the outside world”. Because there is
neutral connection between nerve receivers with motoric activity,
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ego regulates the movement which do intentionally. The first
function of ego is self-defense.
In pay attention to external events, ego does the duty by
appearing there is a stimulus. This is doing by accumulating
experience about the stimulus (in memory) while avoiding the
stimulus which too strong (drive away), by putting attention to soft
stimulus (by adaptation). Finally ego be on duty to produce the
changes that useful in the outside world for the importance itself
(through activity). In looking at internal events, relate to id, ego does
its duty by doing control on the instinctive demand, by deciding
what is the demand is proper to get the satisfaction, delaying the
satisfaction fit time and situation that enable for external world, or
oppress the tension of feeling as complete.
The third part of mind by Freud describe as:
Freud state:
“In childhood were long, human was growing rely the life to
his parent. Childhood are then left a precipitate formed in ego
of a special agency that function as an extension of the
influence of his parents. The precipitate was called super-
ego. Along the super-ego is differentiated from the ego or
opposed to him, the super-ego is a third force to be reckoned
by the ego” (72).
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Freud’s concept about super-ego could be searched in his
work about narcissism. According to Freud megalomaniac primary
narcissism slowly would disappear, so that the kids are no longer
make themselves as mighty little king. Because the kids acquire
attitude ideas and culture in steps. Then the instinctive stimulation
will repression. As a contradiction in the kids mental, the kids would
realize that he is no longer idealize himself, and there is an ego ideal
that barely parallel with the ego of himself. Freud said something in
the mind which us referred to the self-observation by control the ego
and give a decision whether the ego is appropriate with the ego ideal
or not, or whether the ego will disappoint the ego ideal. Then it is to
be called as super-ego.
As explained in the last quote, super-ego comes from
criticism and prohibition of parents. Time dependence of childhood
is happen so long, so standard of parents, and then standard of
people, absorb to unconscious and become a part of psychological
the subject by effect sound of his heart will hear every time ego
disappointing ego-ideal.
May Freud also has use the same term with used Ivan Pavlov,
super-ego can considered as result of command and criticism parents
that happen again and again: for example, command “You have to
brush your teeth after breakfast” may become command deep rooted
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so that an adult, who has leave home so long, will keep feel less
comfortable if he ignore it.
Therefore, ego not easy to balance three agents: external
world, id and super-ego, each of them may ask different part. So not
surprising if human action sometimes seemed vacillate.
4. Classification of Emotion
Krech (1974) states that happiness, hate, fear, and sadness regarded
as primary emotions. Besides hate related to angry, jealous, and envy.
Guilt and remorse also including on the classification emotion. The
situation that arouse the feeling is connect to action and cause the rise
of tension (Minderop, 2010, p.39-44). Krech divided classification of
emotion into seven, they are:
a. Guilt
Guilt is caused there is a conflict between impulse expression
and moral standards. All groups of people have rule to control the
impulse that begin by education since in childhood until adult,
including to control the sex. Sex and aggression are two zones that
always appear conflict in face to moral standard. The violation for
moral standard is appear the guilt.
Guilt also can caused by neurotic behavior, that is when the
individual cannot overcome problem of life as avoid it and cause the
guilt and unhappy.
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b. Guilt as Deep
Especially in cases of ill-defined guilt feelings a person tends
to perceive the guilt as deep within herself; it is not so much that any
of her acts is bad but that she is a bad person.
c. Self-Punishing
The most profound and agitating guilt emotions – like those
found in the fanatically self-punishing or in the insane – are of this
sort; the self is seen as the focal point and basic source of guilty
action. Guilt of this kind is of course implicated in the development
of personality disturbances; it is discussed further in the various
units that deal with personality, mental illness, and psychotherapy.
d. Shame
Shame is common thing that felt of people when they do
something wrong or they don’t know. Like a man who feels shame
when caught using the wrong fork at an elegant dinner party. But a
child only gradually learns to experience; his first reaction to being
caught at the cookie jar is one of shame – or even, more primitively,
fear.
e. Grief
Grief related to losing an important thing. Intensity of grief
depend on to value, usually the very grief if losing someone lover.
Deepening grief can cause losing valuable thing and cause
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disappointed and remorse. But if the grief is prolonging it can
followed by self-blame.
f. Hate
Hate related to angry an envy. The characteristic that mark
hate is arising desire to break the target. Hate just no arise dislike or
aversion have an impact want to avoid and did not mean to break it.
On the contrary, hate always cling in someone self and he will not
never feel satisfied before break it; if the object is break he will feel
satisfied.
g. Love
In romantic love, love and like are same. About child’s love
to his mother base on the protecting need; thus mother’s love to her
son because there is desire to protecting.
B. The Relevant Researches
Based on the research that has been researched. There are some
researches have some similarities with this research. First, Rokhana’s
(2009) Analisis Tokoh Utama dengan Teori Psikoanalisa Sigmund Freud
pada Cerpen Hana Karya Akutagawa Ryunosuke. Publish on University of
Semarang. This research aims to describing about psychology of the main
character Naigu. Naigu who wants to shorten his nose caused pleasure
principle (id), and some factors that caused his wants to do. The research is
using qualitative research, technique of collecting data are reference and
27
taking note, and the method is descriptive analysis method. The result of the
research shows the ego of Naigu can fulfill the desire of id. But superego
not works perfectly to control the id. As the big line, psychology of Naigu
divides into 2, they are 1) Factor that influences Naigu to shorten his nose,
namely: biology factor, motive of fulfillment himself, social factor,
psychosocial factor, motive of self-esteem and need find the identity. 2)
Factor that influencing Naigu wants his nose back to long at first, namely:
psychosocial and emotion factor.
Second, Amalia’s (2015) Konsep Diri Tokoh Princess Elsa dalam
Film Frozen (Analisis Semiotika Ferdinand De Saussure). Publish on
Mercu Buana University. The research aims to knowing the self-concept of
Princess Elsa who so weak and irresponsible just leaving the castle cause
people think her as a monster. The research is using qualitative research,
technique of collecting data is watching the movie and determining the data
as a sign, and the method is semiotic analysis. The result of the research
shows there are efforts the figure of a princess who should confidence,
strong, leader, and optimist, but in reality the princess in the movie becomes
not confident person, weak, pessimist and irresponsible.
Third, Sakti’s (2013) Konflik Batin Tokoh Utama Film Harmony
(Psikoanalisis Sigmund Freud). Publish on Gadjah Mada University of
Yogyakarta. The research aims to describing about psychology of the main
characters, they are Jeong Hye and Moon Ok in the cell caused by inner
conflict and some factors. Inner conflict that happen caused by factor and
28
mistake. Therefore, id, ego, and superego, give the contradiction reaction.
When id, ego, and superego be in contradiction, the inner conflict is appeal.
The research is using qualitative research, technique of collecting data are
watching the movie and determining the data, and the method is analysis
descriptive method. The result of the research shows that the internal
conflict experienced by the characters caused of factor that appear the
conflict among the id, ego, and superego. The internal conflict that arises is
the uncomfortable feeling of the main characters. Then, it causes the internal
upheaval within the characters and bring ego defense mechanism for them.
29
CHAPTER III
RESEARCH METHODOLOGY
A. Research Methodology
The research is using qualitative approach by using descriptive
research method. According to Ratna (2006) state “Analysis descriptive
method is doing by describing the facts then following by analyzing” (p.53).
In this case, data in qualitative research are the descriptive as words, script,
and pictures.
The descriptive research method do by some steps as following:
1. Watching the Frozen on the whole to understanding the film.
2. Determining main characters in Frozen.
3. Finding the psychological aspect and classification of emotion main
characters in the Frozen.
4. Identifying psychological aspect of main characters based on Freud’s
theory.
5. Classifying the emotion of main characters based on Krech’s theory.
6. Analyzing all data that find about psychological aspect and
classification of emotion main characters.
7. Taking a conclusion of the research.
30
B. Time of Research
The process of arranging the research does in period of time long
enough, by the schedule as following:
Table.3.1
Research Schedule
NO ACTIVITIES TIME INFORMATION
1 Title Submission Oct 2015
2 Guidance of the research Jan-May 2016
3 Seminar of mini thesis June 2016
4 Guidance and revision the Nov 2016
result of seminar mini thesis
5 Make a research instrument Nov 2016
6 Collecting the data Dec 2016
7 Analyzing the data Jan-March 2017
8 Final test April 2017
C. The Unit of Research
According to Siswantoro (2012) “Data is source of information that will
be selected as a matter research. Therefore, quality and accuracy in taking
data depend on accuracy the researcher” (Widiyaningsih, 2015, p.44).
1. The primary data in this research acquired by watching Frozen 2013, by
duration 01:42:13 minutes.
2. The Secondary data in this research such as film, script, and pictures.
31
D. Technique of Collecting Data
Creswell (2013) states “The data collection steps include setting the
boundaries for the collecting information through unstructured or semi
structured observations and interviews, documents, and audio-visual
materials, as well as establishing the protocol for recording information”
(p.266)..
In this research, audio-visual material is going to be used as
technique of collecting data. Source of audio-visual used is Frozen Film.
The writer focuses on main characters and connects them to structure of
personality introduced by Freud and classification of emotion introduced by
Krech. Then identifying psychological aspects of main characters and
classifying emotions of main characters.
E. Research Instrument
In qualitative research be an instrument or research tool is the
researcher self. Sugiyono (2012) states “The researcher is the key
instrument” (p.223). Therefore, as a human instrument the writer has to be
able to determine the focus of research, problems, find another resource,
commit the collecting data, analyze data and make the conclusion. In this
research, the writer watches the film, reads the script, and analysis
psychology and emotion main characters.
To make data collection is easier, the writer makes some tables analysis,
as follow:
32
Table 3.2
Structure of Personality
Freud’s Theory
No Data Structure of Personality
Id Ego Superego
Table 3.3
Classification of Emotion
Classification of Emotion Based on Krech’s Theory
No Data Guilt Self-

Guilt Shame Grief Hate Love
as deep punishing
F. Technique of Data Analysis
In analyzing data, the writer used following steps:
1. Data Reduction
In reducing data, the writer focused on analyzing film main
characters based on psychological aspects and concluded based on
theories.
2. Data Display
In data display, the writer shows data that found in instrument tables.
There are two tables instrument, they are structure of personality table
33
and classification of emotion table. The first table consist of 5 columns
and 3 rows. Then, the second table consist of 9 columns and 3 rows.
3. Verification/Conclusion Drawing
In conclusion, the writer describes psychological aspect and emotion
of main characters in Frozen.
G. Data Validation
To ensure that describing data has provide above is valid. According
to Sugiyono (2012) “Data validation in qualitative research consist of
credibility (validity internal), transferability (validity external),
dependability (reliability), and confirmability (objectivity)” (p.270).
The writer chooses confirmability as validation. Confirmability is
like dependability, so the test can do at the same time. Confirmability means
test the result of research, relate to the process did. Based on the data that
writer found about psychological aspect of main character.
In examining data validity in this research, the writer uses
confirmability. In this part the writer does the processes needed for getting
the result. The processes include documenting, retyping the script from the
film and analyzing based on the theory regarding to focus of the research.
Script analysis is matched to psychological aspect such as id, ego, superego
and classification of emotion.
34
CHAPTER IV
RESEARCH FINDINGS AND DISCUSSION
In this chapter, the writer analyzes several things, such as psychology and
classification emotion the main characters in Frozen Film. The writer is going to
answer the questions in the formulation of the problem.
A. Research Findings
1. Psychology
The writer analysis this film based on Freud’s theory. Freud
divided the structure of personality into three, they are id, ego, and
superego. Id is a pleasure principle, the desire of id to fulfill the
needed. Ego is reality, which can fulfill the desire of id based on the
real. Superego is a moral aspect, to decide is it a good or bad, right
or wrong, and etc.
The writer has found some data about psychology main
characters in Frozen. The data which the writer found as follow:
Table 4.1
Freud’s Theory
Id Ego Superego
1. SCENE INT. CASTLE, NURSERY,

CASTLE STAIRCASE, BALLROOM –
NIGHT.
TIME 00:03:42
35
Young Anna : Elsa. Pssst!
Elsa! Wake up. Wake up. √
Wake up!
Young Elsa : Anna, go back to sleep.
Young Anna : I just can’t.
The sky is awake, so I’m
awake. So, we have to √
play.
Young Elsa : Go play by yourself.
Young Anna : Do you wanna build a
snowman?
Come on. Come on. Come on
Do the magic! Do the magic!
Oh...
Young Elsa : Ready? √
Young Anna : Uh-huh.
This is amazing!
Young Elsa : Watch this!
Hi, I’m Olaf, and I like
√
warm hugs.
Young Anna : I love you Olaf!
Olaf...
Tickle bumps!
Oh...
Young Elsa : Hang on!
Young Anna : Catch me!
Young Elsa : Gotcha!
Young Anna : Again!
Young Elsa : Wait!
Young Anna : Who-hooo
Young Elsa : Slow down!
Young Anna : Whoo!
Young Elsa : Anna!
Anna!
Mama! Papa!
No, no...
You’re okay, Anna. I got you.
King : Elsa, what have you done?
This is getting out of hand.
Young Elsa : It was an accident. I’m sorry,
Anna!
Queen : Oh. She’s ice cold.
King : I know where we have to go.
36
In datum 1, the dialogue shows that id of Anna wants to play
with Elsa. Id of Anna forces ego to fulfill the desire of id by
awakening Elsa and asking her to play and build a snowman by her
power (ego). Then Elsa fulfills Anna’s request. The desire of id can
satisfy by ego, so id of Anna feels glad.
In the other side, id of Elsa also wants to play with Anna, so
that Elsa awakes. Elsa uses her power to make snow and a snowman
(ego). The desire of id can satisfy by ego, so id of Elsa feels glad.
This sisters are so close and happy when they play together.
But, when they are playing snow, accidentally Elsa’s power hits
Anna until getting unconsciousness. The accident makes Elsa’s soul
uncomfortable and scared about her power which cannot be
controlled, so Elsa stays at her room and shuts people out including
Anna.
Table 4.2
Freud’s Theory
Id Ego Superego
37
2 SCENE INT. GREAT HALL -- NIGHT
TIME 00:22:04
Elsa : Well, he was sprightly

Anna : Especially for a man in heels.
Elsa : Are you okay?
Anna : I’ve never been better. This is so √ √
nice. I wish it could
be like this all the Time.
Elsa : Me too. But it can’t √ √
Anna : Why not?
Elsa : I just can’t. √
Anna : Excuse me for a minute. √
In datum 2, the dialogue shows that id of Anna wants to be
close with Elsa again. Anna feels happy can talk and laugh with Elsa.
So, she expresses what a glad she is, and hopes it could be like that
all the time (ego). In this case, superego can control id, so that id
does not force the desire, then Anna goes to the crowd to avoid Elsa
by saying “Excuse me for a minute”.
Id of Elsa also wants to be close with Anna again. But Elsa
remembers about the accident in the childhood and says “But it
can’t” (ego). Elsa affirms her words “I just can’t” while turning her
body. In this case, superego shows that an act of Elsa is bad moral,
because it is impolite and it makes Anna disappointed.
Table 4.3
Freud’s Theory
Id Ego Superego
38
3 SCENE INT. BALL -- NIGHT
TIME 00:25:49
Anna : Elsa!
I mean, Queen. Me again. Um...
May I present Prince Hans of the
Southern Isles.
Hans : Your Majesty.
We would like...
Uh, your blessing...
Anna & Hans : of our marriage √ √
Elsa : Marriage?
Anna : Yes!
Elsa : I’m sorry, I’m confused
Anna : Well, we haven’t worked out all the
details ourselves. We’ll need a few
days to plan the ceremony.
Of course, we’ll have soup, rast and
ice cream. And then... Wait. Would
we live here?
Elsa : Here?
Hans : Absolutely!
Elsa : Anna!
Anna : Oh! We can invite all 12 of your
brothers to stay with us.
Elsa : What? No, no, no.
Anna : Of course we have the room.
Elsa : Wait, slow down.
No one’s brothers are staying here. √
No one is getting married.
Anna : Wait, what?
Elsa : May I talk to you, please? Alone...
Anna : No. Whatever you have to say, you
can say to both of us.
Elsa : Fine. You can’t marry a man you √ √
just met.
Anna : You can’t if it’s true love.
Elsa : Anna, what do you know about true
love?
Anna : More than you. All you know is how
to shut people out.
Elsa : you asked for my blessing, but my
answer is no. Now, excuse me.
Hans : Your Majesty, if I may case your...
Elsa : No, you may not.
And I think you should go.
39
The party is over. Close the gates.
Server : Yes, Your Majesty.
Anna : What? Elsa, no, no! Wait.
Elsa : Give me my glove!
Anna : Elsa, please, please.
I can’t live like this anymore!
Elsa : Then leave.
Anna : What did I ever do to you?
Elsa : Enough, Anna.
Anna : No, why? Why do you shut me
out? √
Why do you shut the world out?
What are you so afraid of?
Elsa : I said, enough!
Duke : sorcery!
I knew there was something dubious
going on here.
Anna : Elsa.
In datum 3, the dialogue shows that id of Anna wants to get
marriage with Hans. It makes Anna and Hans meet Elsa to ask her
blessing (ego). However, Elsa does not give her blessing. The desire
of id that cannot fulfill by Elsa, it makes Anna talks impolite to Elsa
in front of people, without think about Elsa’s feeling. In this case,
superego of Anna shows the bad moral as a sister.
In the other side, id of Elsa does not want Anna to get
marriage with a man who just met. Elsa does not give her blessing
and forbid Anna to get marriage (ego). Superego of Elsa as an older
sister shows the good moral by telling Anna to do not marry a man
who just met, because she does not know his background.
40
Table 4.4
Freud’s Theory
Id Ego Superego
4 SCENE EXT. COURTYARD, CASTLE

COURTYARD – NIGHT
TIME 00:27:55
Crowd : There she is!

Yes! It is her!
Townsman : Queen Elsa
Crowd : Our beautiful queen!
Townswoman : Your majesty? Are you all
right?
Elsa : No.
Duke : There she is! Stop her!
Elsa : Please, just stay away from
me. Stay away.
Duke : Monster. Monster!
(SHUDDERS)
Anna : Elsa!
Elsa!
Wait, please!
Elsa, stop!
Hans : Anna!
Anna : No.
Hans : The fjord.
Townswoman : Snow!
Townswoman : Snow!
Townswoman : Yes, snow!
Hans : Are you all right?
Anna : No.
Hans : Did you know?
Anna : No.
Duke : Look. It’s snowing. It’s
snowing!
The queen has cursed this
land! She must be stopped!
You have to go after her.
Anna : Wait, no!
Duke : You! Is there sorcery in you,
too? Are you a monster, too?
41
Anna : No, no. I’m completely
ordinary.
Hans : That’s right, she is. In the best
way.
Anna : And my sister is not a monster.
Duke : She nearly killed me!
Hans : You slipped on ice.
Duke : Her ice.
Anna : It was an accident. She was
scared. She didn’t mean it.
She didn’t mean any of this.
Tonight was my fault.
I pushed her. So, I’m the one √
that needs to go after her.
Hans : What?
Anna : Bring me my horse, please. √
Hans : Anna, no. It’s too dangerous.
Anna : Elsa is not dangerous. I’ll
bring her back, and I’ll
√
make this right.
Hans : I’m coming with you.
Anna : No, I need you here to take
care of Arendelle.
Hans : On my honor.
In datum 4, the dialogue shows that id of Anna wants to bring
back Elsa to Arendelle. Anna goes to mountain to chase Elsa by her
horse, alone (ego). In this case, superego shows that Anna is be
responsible about her mistake that made Elsa go.
Table 4.5
Freud’s Theory
Id Ego Superego
5 SCENE EXT. HIGH UP IN THE MOUNTAINS

– NIGHT
TIME 00:31:23
42
The snow glows white on the mountain tonight
Not a footprint to be seen
A kingdom of isolation and it looks like I’m the
queen
The wind is howling like this swirling storm
inside
Couldn’t keep it in heaven knows I tried
Don’t let them in. Don’t let them see
Be the good girl. You always have to be
Conceal, don’t feel. Don’t let them know
Well, now they know
Let it go! Let it go! Can’t hold me back
anymore
Let it go! Let it go! Turn away and slam the door
I don’t care. What they’re going to say
Let the storm rage on. Cold never bothered me
anyway
Its funny how some distance makes everything
seem small
And the fears that once controlled me can’t get
to me at all
It’s time to see what I can do
To test the limits and break through
No right, no wrong. No rules for me
I’m free!
Let it go! Let it go! I’m one with the wind and
sky √
Let it go! Let it go! You’ll never see me cry √
Here I stand and here I’ll stay. Let the storm
rage on
My power flurries through the air into the ground
My soul is spiraling in frozen fractals all around
And one thought crystallizes like an icy blast
I’m never going back. The past is in the past
Let it go! Let it go! And I’ll rise like a break
of dawn
Let it go! Let it go! That perfect girl is gone
Here I stand in the light of day
Let the storm rage on! Cold never bothered me
anyway
In datum 5, the part of lyrics show the id of Elsa wants to be
free. For a long time, Elsa just stays in her door, finally Elsa goes
43
out from the Arendelle caused a conflict with Anna. Elsa goes to the
North Mountain, and there Elsa feels free. Elsa tests her power to
know what she can do. By her power, Elsa makes a snowman,
staircase, and an ice castle there (ego).
Table 4.6
Freud’s Theory
Id Ego Superego
6 SCENE INT. OAKEN’S STABLES – NIGHT

TIME 00:39:26
Anna : Nice duet.

Kristof : It’s just you. What do you want?
Anna : I want you to take me up the North √
Mountain.
Kristof : I don’t take people places.
Anna : Let me rephrase that.
Kristof : Hey.
Anna : Take me up the North Mountain. √
Please.
Look, I know how to stop this winter.
Kristof : We leave at dawn. And you forgot the
carrots for Sven.
Anna : Oops. Sorry. I’m sorry. I’m sorry. I
didn’t...
We leave now. Right now. Whew! √
In datum 6, the dialogue shows id of Anna to find Elsa and
bring back summer is so big. Anna asks Kristof as a seller ice to take
her up the North Mountain, and give him the goods that he needs
(ego). In this case, superego shows an act of Anna is impolite, the
44
desire of id force Anna to ask Kristof takes her up the North
Mountain at the moment, and give the goods by throwing them.
Table 4.7
Freud’s Theory
Id Ego Superego
7 SCENE INT. FROZEN WILLOW TREES –

DAY
TIME 00:46:33
Olaf : Hi, everyone. I’m Olaf. And I like

warm hugs.
Anna : Olaf? That’s right, Olaf.
Olaf : And you are?
Anna : Oh. Um.. I’m Anna.
Olaf : And who’s the funky-looking donkey
over there?
Anna : That Sven.
Olaf : Uh-huh. And who’s the reindeer?
Anna : Sven.
Olaf : Oh, the... oh. Okay. That makes things
easier for me. Aw, look at him trying
to kiss my nose. I like you too.
Anna : Olaf. Did Elsa build you?
Olaf : Yeah, why?
Anna : Do you know where she is? √ √
Olaf : Yeah, why?
Anna : Do you think you could show us the
way? √
Olaf : Yeah, why?
Kristof : How does this work, ow!
Olaf : Stop it, Sven. I’m trying to focus,
here.
Yeah, why?
Kristof : I’ll tell you why. We need Elsa to
bring back summer.
Olaf : Summer. Oh, I don’t know why. But
I always loved the idea of summer.
And sun, and all things hot.
45
Kristof : Really? I’m guessing you don’t have
much experience with heat.
Olaf : Nope. But sometimes I like to close
my eyes, and imagine what it would
be like when summer does come.
Kristof : I’m gonna tell him
Anna : Don’t you dare.
Olaf : So, come on! Elsa’s this way. Let’s
go bring back summer!
Anna : I’m coming!
Kristof : Somebody’s gotta tell him.
In datum 7, the dialogue shows id of Anna to find Elsa and
bring back summer is so big. Anna asks Olaf to show the way to Elsa
(ego). Olaf shows the way to Elsa, and Anna so glad. In this case,
superego shows good moral. Superego makes Anna becomes polite
in asking Olaf to show the way.
Table 4.8
Freud’s Theory
Id Ego Superego
8 SCENE EXT. STEEP MOUNTAIN FACE –

DAY
TIME 00:51:24
Anna : What now?

Kristof : Mmm... It’s too steep. I only got one
rope and you don’t know how to
climb mountains.
Anna : Says who?
Kristof : Hmm? What are you doing?
Anna : I’m going to see my sister √
Kristof : You’re gonna kill yourself. I wouldn’t
put my foot there
Anna : You’re distracting me
46
Kristof : Or there. How do you know Elsa even
wants to see you?
Anna : All right. I’m just blocking you out
because I gotta concentrate, here.
Kristof : You know, most people who
disappear into the mountains want to
be alone.
Anna : Nobody wants to be alone. Except
maybe you.
Kristof : I’m not alone, I have friends,
remember?
Anna : You mean, the love experts?
Kristof : Yes, the love experts.
Anna : Ah... please tell me I’m almost
there. Does the air seem a bit thin to √
you up here?
Kristof : Hang on.
Olaf : Hey, Sven. Not sure if this is gonna
solve the problem, but I found a
staircase that leads exactly where you
wanted to go.
Anna : Ha-ha. Thank goodness. Catch!
Thanks.
That was like a crazy trust exercise.
In datum 8, the dialogue shows id of Anna to find out Elsa
and bring back summer is so big. Anna tries to climb mountain by
herself, without use anything (ego). But Anna does not almost there,
until Olaf shows the way to staircase. Ego can satisfy id by climbing
the mountain, and Olaf finds the staircase, it makes Anna feels glad.
Table 4.9
Freud’s Theory
Id Ego Superego
47
9 SCENE EXT. BASE OF THE ICE PALACE –
DAY
TIME 00:52:45
Anna & kristoff : Whoa.

Kristof : Now, that’s ice. I might cry.
Anna : Go ahead. I won’t judge.
Kristof : All right, take it easy, boy. Come here.
I got you. Okay. You stay right here,
buddy. Flawless.
Olaf : Knock. Just knock. Why isn’t she
knocking? Do you think she knows
how to knock?
Anna : Huh, it opened. That’s a first. Oh. √
You should probably wait out here.
Kristof : What?
Anna : The last time I introduced her to a
guy, she froze everything. √
Kristof : But, but... oh, come on! It’s a palace
made of ice. Ice is my life!
Olaf : Bye, Sven.
Anna : You, too, Olaf.
Olaf : Me? √
Anna : Just give us a minute.
Olaf : Okay. One, two, three.
Olaf & kristof: Four...
In datum 9, the dialogue shows id of Anna to see Elsa, is so
big. Finally, Anna arrives in the ice castle of Elsa, and Anna knocks
the door (ego). In this case, superego remembers Anna about her
mistake, when Anna introduced Hans to Elsa. So, Anna asks Olaf
and Kristof to wait a minute, while Anna comes in the castle and
meets Elsa.
48
Table 4.10
Freud’s Theory
Id Ego Superego
10 SCENE INT. ELSA’S PALACE – DAY

TIME 00:54:07
Anna : Whoa. Elsa? It’s me, Anna.

Elsa : Anna.
Anna : Whoa. Elsa, you look different. It’s a
good different.
And this place... It’s amazing.
Elsa : Thank you. I never knew what I was
capable of.
Anna : I’m so sorry about what happened. If
I’d had known..
Elsa : No, no, no. It’s okay. You don’t have
to apologize. But you should probably
go. Please.
Anna : But I just got here.
Elsa : You belong down in Arendelle.
Anna : So do you.
Elsa : No, Anna, I belong here. Alone.
Where I can be who I am.
Without hurting anybody.
Anna : Actually, about that...
Olaf : Sixty!
Elsa : Wait. What is that?
Olaf : Hi! I’m Olaf and I like warm hugs!
Elsa : Olaf?
Olaf : Yeah. You built me. Remember that?
Elsa : And you’re alive?
Olaf : Um... I think so.
Anna : He’s just like the one we built as
kids.
Elsa : Yeah. √
Anna : Elsa, we were so close. We can be √ √
like that again.
Elsa : (Elsa remembered the accident)
No. We can’t. Goodbye, Anna. √ √
Anna : Elsa, wait.
Elsa : No. I’m just trying to protect you.
49
Anna : You don’t have to protect me. I’m not
afraid. Please don’t shut me out again.
In datum 10, the dialogue shows id of Anna wants to be close
with Elsa again. The presence of Olaf, help Anna to remember Elsa
about their childhood, when they made a snowman together and they
were so close (ego). The desire of id makes ego says “We can be like
that again”.
Besides, id of Elsa also wants to be close with Anna again.
But superego remembers Elsa about the accident in the childhood,
when her power hits Anna. So, Elsa denies to be close again because
Elsa does not want to hurt Anna again, then Elsa says goodbye and
leave them (ego). In this case, ego and superego can control id.
Table 4.11
Freud’s Theory
Id Ego Superego
11 SCENE EXT. FJORD – DAY

TIME 01:24:55
Anna : Kristoff.
Kristof : Anna!
Hans : Elsa! You can’t run from this!
Elsa : Just take care of my sister.
Hans : Your sister?
She returned from the mountain weak
and cold. She said that you froze her
heart.
Elsa : No.
Hans : I tried to save her, but it was too late.
50
Her skin was ice. Her hair turned
white. Your sister is dead. Because of
you.
Elsa : No.
Anna : Kristoff.
Kristof : Anna!
Anna : Elsa? √
No! √
Elsa : Anna! Oh, Anna! No, no! Please, no!
Olaf : Anna?
Elsa : Anna?
Anna : oh Elsa.
Elsa : you sacrificed yourself for me?
Anna : I love you.
Olaf : “An act of true love will thaw a √
frozen heart.”
Elsa : love will thaw. Love, of course
Anna : Elsa?
Elsa : love.
Anna : I know you could do it.
In datum 11, Anna who wants to meet Kristof turn to Elsa.
Looking at Hans tries to kill Elsa, Anna wants to save Elsa from
Hans (id). Anna runs to Elsa and prevent Hans by her hand, until
Anna gets frozen (ego). In this case, ego can fulfill the desire of id,
then superego shows Anna is a good girl, because she wants to
protect Elsa.
The writer chooses Frozen as an object because this film has
story about love and good moral. The author describes condition of
psychology main characters by kinds of emotion. Therefore, the
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writer is going to classify the emotion of main characters in Frozen
Film.
Table 4.12
No. Data Guilt Self-

as deep punishing
1. SCENE INT. HALLWAY,

ELSA’S DOOR – DAY
TIME 00:10:38
Anna : Elsa?
Please I know
you’re in there.
People are
asking where
you’ve been √
They say “Have
courage” and
I’m trying to
I’m right out
here for you
Just let me in
We only have
each other
It’s just you and
me
What are we
gonna do?
Do you wanna
build a
snowman?
In datum 1, the dialogue shows sadness of Anna and Elsa,
because their parents are dead and they just have each other, but
Elsa never out of her room even though her parents are died. The
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sadness of these main characters caused they are losing someone
lover.
Table 4.13

as deep punishing
2. SCENE EXT. THE

FJORD FOREST -- DAY
TIME 00:34:48
Anna : Elsa!
Elsa!
Elsa, it’s me,
Anna.
Your sister who
didn’t mean to
make you freeze
the summer. I’m √
sorry. It’s all my
fault.
Of course, none
of it would have
happened. If she
had just told me
her secret. She’s
a stinker.
In datum 2, the dialogue shows Anna feels guilty because of
Elsa. Conflict was happen in the party made Elsa go. Anna talked
impolite to Elsa in front of people cause Elsa did not give her
blessing, she took her glove, and made Elsa release her power in
front of people. So people thought Elsa is sorcery and she went to
the mountain. Anna feels guilty because of Elsa. Anna appears her
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mistakes, so, she goes to the North Mountain to chase Elsa. Anna
wants to apologize and take back Elsa to Arendelle, then bring back
summer.
Table 4.14

as deep punishing
3. SCENE EXT. FJORD --

DAY
TIME 01:27:36
Elsa : you sacrificed

yourself for me?
Anna : I love you. √
Olaf : “An act of true
love will thaw a
frozen heart.”
Elsa : love will thaw.
Love, of course
Anna : Elsa?
Elsa : love.
Anna : I know you
could do it.
In datum 3, the dialogue shows love between sisters. Where
Anna protects Elsa from Hans, because she love her. Elsa holds
Anna who frozen by loving, until Anna is alive again. It is a form of
true love between sisters and feeling to protect each other.
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B. Discussion
In this part, the writer is going to explain about the findings
above. As we know, the writer found 11 data about psychological aspect
of main characters and 3 emotions of main characters.
1. Psychological Aspect of Main Characters
In datum 1, the writer found psychological aspect of Anna and Elsa.
Picture 4.1 Picture 4.2

Elsa! Wake up. Wake up. Wake up!
The sky is awake, so I’m awake. So, we have to
play.
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Young Anna : Do you wanna build a snowman?
Come on. Come on. Come on.
Oh...
Young Elsa : Ready?
This is amazing!
Hi, I’m Olaf, and I like warm hugs.
Olaf...
Tickle bumps!
Oh...
Young Anna : Again!
Young Elsa : Wait!
Young Anna : Whoo!
Young Elsa : Anna!
Anna!
Mama! Papa!
In Nursery-Night scene, the writer found psychological
aspect of Anna. Anna, the girl who cannot sleep, wants to play with
Elsa. The next conversation shows the desire of id to play,
influencing ego to awaken Elsa by saying “Elsa! Wake up. Wake up.
Wake up!” while shaking Elsa’s shoulder (in picture 4.1), but Elsa
orders Anna to go back to sleep. Then, the next conversation, Anna
rolls onto her back and acts like drama queen “I just can’t. The sky
is awake, so I’m awake. So, we have to play” to make Elsa wake up
(in picture 4.2), but Elsa orders her to play alone while pushing her.
Ego does not give up. The next conversation, Anna persuades Elsa
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while opening her eye and say “Do you wanna build a snowman?”
(in picture 4.3). Finally, Elsa awakes and wants to play with Anna.
The desire of id to play with Elsa forces ego to do all ways to fulfill
id. In this case, ego can satisfy id to ask Elsa to play. So, id of Anna
feels glad.
In the other side, psychological aspect of Elsa also found in
this scene. Id of Elsa also wants to play with Anna by using her
power. Id influences ego to awake and play with Anna. Id influences
ego to use the power of Elsa. The next conversation shows that by
her power Elsa starts to make snow by her hand and says “Ready?”
(in picture 4.4), then, Elsa makes ice by her foot and says “Watch
this!” (in picture 4.5), Elsa makes snow and snowman then imitating
as if she is a snowman “Hi, I’m Olaf, and I like warm hugs” those
are acting of ego in satisfying id (in picture 4.6). Because ego can
satisfy id, id of Elsa feels glad.
These sisters are so close and happy when they play together.
But, when they are playing snow, accidentally Elsa’s power hits
Anna until getting unconsciousness. The accident makes Elsa’s soul
uncomfortable and scared about her power which cannot be
controlled, so Elsa stays at her room and shuts people out including
Anna.
In datum 2, the writer found psychological aspect of Anna
and Elsa.
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d

f
f
f

Anna : I’ve never been better. This is so nice. I wish it could
Elsa : Me too. But it can’t
Anna : Why not?
Elsa : I just can’t.
Anna : Excuse me for a minute.
In Great Hall-Night scene, the writer found psychological
aspect of Anna. For a long time, these sisters meet again in
coronation day. The next conversation shows id of Anna feels
happy, because she can talk and laugh with Elsa again (in pictures
4.7 and 4.8), id wants to be close with Elsa again, so id influences
ego to tell Elsa what a glad she is, by saying “I’ve never been better.
This is so nice. I wish it could be like this all the time”, but Elsa
cannot fulfill Anna’s hoping. The next conversation, superego can
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control id, so that id does not force the desire, then Anna goes to the
crowd to avoid Elsa by saying “Excuse me for a minute” (in the
picture 4.10).
this scene. Id of Elsa also wants to be close with Anna again. The
next conversation, when Anna says “I wish it could be like this all
the time” Elsa answers “Me too”. Actually Elsa wants, but Elsa
reminds about the accident in the childhood, then Elsa says “But it
can’t”. The next conversation, Elsa affirms her words “I just can’t”
while turning her body (in picture 4.9). In this case, superego shows
that an act of Elsa is bad moral, because it is impolite and it makes
Anna disappointed.
and Elsa.
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Anna : Elsa!
May I present Prince Hans of the Southern Isles.
We would like...
Anna & Hans : of our marriage
Elsa : Marriage?
Anna : Yes!
Anna : Well, we haven’t worked out all the details ourselves.
We’ll need a few days to plan the ceremony.
Of course, we’ll have soup, rast and ice cream.
And then... Wait. Would we live here?
Elsa : Here?
Hans : Absolutely!
Elsa : Anna!
Anna : Oh! We can invite all 12 of your brothers to stay with us.
No one’s brothers are staying here.
No one is getting married.
Anna : Wait, what?
Anna : No. Whatever you have to say, you can say to both of us.
Elsa : Fine. You can’t marry a man you just met.
Elsa : Anna, what do you know about true love?
Anna : More than you. All you know is how to shut people out.
Elsa : you asked for my blessing, but my answer is no.
Now, excuse me.
Elsa : Then leave.
Anna : No, why? Why do you shut me out?
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Duke : sorcery!
I knew there was something dubious going on here.
Anna : Elsa.
In Ball-Night scene, the writer found psychological aspect of
Anna. Anna, the girl who meets someone named Hans, thinking that
he is her true love. Id of Anna feels glad, because she falls in love.
The next conversation shows that id of Anna wants to get marriage
with Hans, the desire of id influences ego to asking the blessing of
Elsa, like as “We would like...your blessing...of our marriage” (in
picture 4.11). Moreover, Elsa does not give her blessing. The next
conversation shows that superego of Anna is bad moral, because the
desire of id that cannot fulfill by Elsa, it makes Anna getting upset
and taking Elsa’s glove (in picture 4.13), then talking impolite to
Elsa in front of people, without thinking Elsa’s feeling by saying
“No why? Why do you shut me out? Why do you shut the world
out? Why are you so afraid of?” (in picture 4.14).
this scene. The next conversation shows id of Elsa does not want
Anna to get marriage with a man who just met, Elsa does not give
her blessing and forbid Anna, by saying “No one’s brothers are
staying here. No one is getting married“. Elsa tries to talk with Anna
alone, but Anna wants Elsa to talking to both of them. Id of Elsa
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influences ego to making clear, by saying “Fine. You can’t marry a
man you just met” (in picture 4.12). In this case, superego of Elsa as
an older sister shows the good moral by telling Anna to do not marry
a man who just met, because she does not know his background.
In datum 4, the writer found psychological aspect of Anna.

Yes! It is her!
Townswoman : Your majesty? Are you all right?
Elsa : No.
Elsa : Please, just stay away from me. Stay away.
(SHUDDERS)
Anna : Elsa!
Elsa!
Wait, please!
Elsa, stop!
Hans : Anna!
Anna : No.
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Hans : The fjord.
Townswoman : Snow!
Townswoman : Snow!
Anna : No.
Anna : No.
Duke : Look. It’s snowing. It’s snowing!
The queen has cursed this land!
She must be stopped!
Anna : Wait, no!
Duke : You! Is there sorcery in you, too?
Are you a monster, too?
Anna : No, no. I’m completely ordinary.
Hans : That’s right, she is. In the best way.
Duke : Her ice.
Anna : It was an accident. She was scared. She didn’t mean
it. She didn’t mean any of this. Tonight was my
fault. I pushed her. So, I’m the one that needs to
go after her.
Hans : What?
Anna : Bring me my horse, please.
Hans : Anna, no. It’s too dangerous.
Anna : Elsa is not dangerous. I’ll bring her back, and I’ll
make this right.
Anna : No, I need you here to take care of Arendelle.
Hans : On my honor.
In Castle Courtyard – Night scene, the writer found
psychological aspect of Anna. The next conversation shows that
Anna who made Elsa was frightened and go, making she feels guilty
(in pictures 4.15 and 4.16). The next conversation shows that Anna
disappears about her mistake “Tonight was my fault. I pushed her.
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So, I’m the one that needs to go after her”. The next conversation
shows Id of Anna wants to bring back Elsa to Arendelle, by saying
“I’ll bring her back, and I’ll make this right”, then id influences ego
to chase Elsa by asking the server to bring a horse “Bring me my
horse, please” (in pictures 4.17 and 4.18) while rising her hand. In
this case, superego shows an act of Anna is good moral, because she
is be responsible for her mistake and wants to bring back Elsa.
In datum 5, the writer found psychological aspect of Elsa.

A kingdom of isolation and it looks like I’m the queen
The wind is howling like this swirling storm inside
Well, now they know
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Let it go! Let it go! Can’t hold me back anymore
Let it go! Let it go! Turn away and slam the door
Let the storm rage on. Cold never bothered me anyway
Its funny how some distance makes everything seem small
And the fears that once controlled me can’t get to me at all
I’m free!
Let it go! Let it go! I’m one with the wind and sky
Let it go! Let it go! You’ll never see me cry
Here I stand and here I’ll stay. Let the storm rage on
My power flurries through the air into the ground
My soul is spiraling in frozen fractals all around
Let it go! Let it go! And I’ll rise like a break of dawn
Let the storm rage on! Cold never bothered me anyway
In High Up In The Mountains – Night scene, the writer found
the psychological of Elsa. For a long time, Elsa just stays in her door,
finally Elsa goes out from the Arendelle caused a conflict with Anna.
The next lyrics show id of Elsa to be free is so big, id influences ego
to using the power “Let it go! Let it go! Can’t hold me back
anymore” while making snowman (in picture 4.19). The next lyrics
show that ego tests the power of Elsa to making staircase “I’m free!
Let it go! Let it go! I’m one with the wind and sky” while running
on the staircase (in picture 4.20). The next lyrics show ego fulfills id
by building the castle by the power “Here I stand and here I’ll stay.
Let the storm rage on” while building the ice castle (in picture 4.22).
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The next lyrics show that desire of id to be free, making Elsa turns
herself to be better “Let it go! Let it go! And I’ll rise like a break of
dawn. Let it go! Let it go! That perfect girl is gone” while turning
her dress and style (in picture 4.21). In this case, ego can control the
desire of id to be free, ego satisfies id by making snowman, staircase,
ice castle, and new dress. Because of ego can satisfy id, id of Elsa
feels glad.
Anna : Nice duet.

Anna : I want you to take me up the North Mountain.
Kristof : Hey.
Anna : Take me up the North Mountain. Please.
Kristof : We leave at dawn. And you forgot the carrots for Sven.
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Anna : Oops. Sorry. I’m sorry. I’m sorry. I didn’t...
We leave now. Right now. Whew!
In Oaken’s Stables – Night scene, the writer found
psychological aspect of Anna. The next conversation shows that id
of Anna wants to find Elsa and bring back summer, id of Anna
influences ego to asking Kristof as a seller ice to take her up the
North Mountain, by saying “I want you to take me up the North
Mountain”, but Kristof denies and back to sleep. The next
conversation shows Anna comes again and throw a suck of supplies
land to Kristof’s lap (in picture 4.23) and saying “Take me up the
North Mountain. Please”, but Kristof will take her up at dawn and
back to sleep again. The next conversation shows id of Anna forces
ego to throw a bag of carrots (in picture 4.24) then saying “We leave
now. Right now” (in picture 4.25), then she goes out and take a
breath “whew!” (in picture 4.26). In this case, superego shows that
Anna is impolite in asking, by forcing to go at that time, and throw
a suck of supplies land and a bag of carrots to Kristof. Nevertheless,
id of Anna feels glad.
In datum 7, the writer found the psychological aspect of
Anna.
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Olaf : Hi, everyone. I’m Olaf. And I like warm hugs.

Olaf : And you are?
Olaf : And who’s the funky-looking donkey over there?
Anna : That Sven.
Anna : Sven.
Olaf : Oh, the... oh. Okay. That makes things easier for me.
Aw, look at him trying to kiss my nose. I like you too.
Olaf : Yeah, why?
Anna : Do you know where she is?
Olaf : Yeah, why?
Anna : Do you think you could show us the way?
Olaf : Yeah, why?
Olaf : Stop it, Sven. I’m trying to focus, here.
Yeah, why?
Kristof : I’ll tell you why. We need Elsa to bring back summer.
Olaf : Summer. Oh, I don’t know why. But I always loved the idea
of summer. And sun, and all things hot.
Kristof : Really? I’m guessing you don’t have much experience with
heat.
Olaf : Nope. But sometimes I like to close my eyes, and imagine
what it would be like when summer does come.
Olaf : So, come on! Elsa’s this way. Let’s go bring back
summer!
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In Frozen Willow Trees – Day scene, the writer found
psychological aspect of Anna. In the journey to find Elsa, Anna
meets Olaf, she remembers about a snowman that she build with
Elsa as kid. The next conversation shows id of Anna wants to find
Elsa and bring back summer, id influences ego to asking Olaf about
Elsa “Olaf. Did Elsa build you? Do you know where she is? Do you
think you could show us the way?” (in picture 4.27). In this case,
superego can control id by polite asking to Olaf. Id of Anna feels
glad by saying “I’m coming”, because Olaf wants to show the way
to Elsa (in picture 4.28).
Anna : What now?

Kristof : Mmm... It’s too steep. I only got one rope and you don’t
know how to climb mountains.
Anna : Says who?
Anna : I’m going to see my sister
Kristof : You’re gonna kill yourself. I wouldn’t put my foot there
Kristof : Or there. How do you know Elsa even wants to see you?
Anna : All right. I’m just blocking you out because
I gotta concentrate, here.
Kristof : You know, most people who disappear into the mountains
want to be alone.
Anna : Nobody wants to be alone. Except maybe you.
Kristof : I’m not alone, I have friends, remember?
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Anna : Ah... please tell me I’m almost there. Does the air seem
a bit thin to you up here?
Kristof : Hang on.
Olaf : Hey, Sven. Not sure if this is gonna solve the problem, but
I found a staircase that leads exactly where you wanted
to go.
Anna : Ha-ha. Thank goodness. Catch! Thanks.
In Steep Mountain Face – Day scene, the writer found
psychological aspect of Anna. The next conversation shows id of
Anna to find Elsa is so big, on the way to Elsa, they find a mountain
that block the way, but id of Anna influences ego to climbing the
mountain while saying “I’m going to see my sister” (in picture 4.29).
Moreover, Anna does not almost there, until Olaf shows the way to
staircase (in picture 4.30). In this case, ego can satisfy id by climbing
the mountain, and finding the staircase making Anna feels glad by
saying “Ha-ha. Thank goodness”.
Anna & Kristof : Whoa.

Kristof : All right, take it easy, boy. Come here. I got you.
Okay. You stay right here, buddy. Flawless.
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Olaf : Knock. Just knock. Why isn’t she knocking?
Do you think she knows how to knock?
Anna : Huh, it opened. That’s a first. Oh. You should probably
wait out here.
Kristof : What?
Anna : The last time I introduced her to a guy, she froze
everything.
Kristof : But, but... oh, come on! It’s a palace made of ice. Ice is my
life!
Olaf : Bye, Sven.
Olaf : Me?
Olaf & Kristof: Four...
In Base of the Ice Palace – Day scene, the writer found
psychological aspect of Anna. The next conversation shows that id
of Anna to see Elsa finally happen. Anna arrives in the ice castle of
Elsa, id influences ego of Anna to knock the door (in picture 4.31).
The next conversation shows that superego remembers Anna about
her mistake, when Anna introduced Hans to Elsa. So, Anna asks
Olaf and Kristof to wait a minute by saying “That’s a first. Oh, you
should probably wait out here. The last time I introduced her to a
guy, she froze everything. You, too, Olaf. Just give us a minute” (in
picture 4.32), while Anna comes in the castle and meets Elsa.
and Elsa.
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Elsa : Anna.
Anna : Whoa. Elsa, you look different. It’s a good different.
Elsa : Thank you. I never knew what I was capable of.
Anna : I’m so sorry about what happened. If I’d had known...
Elsa : No, no, no. It’s okay. You don’t have to apologize.
But you should probably go. Please.
Anna : So do you.
Elsa : No, Anna, I belong here. Alone. Where I can be who I am.
Olaf : Sixty!
Elsa : Olaf?
Anna : He’s just like the one we built as kids.
Elsa : Yeah.
Anna : Elsa, we were so close. We can be like that again.
No. We can’t. Goodbye, Anna.
Anna : Elsa, wait.
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Anna : You don’t have to protect me. I’m not afraid.
Please don’t shut me out again.
In Elsa’s Palace – Day scene, the writer found psychological
aspect of Anna. The next conversation shows id of Anna wants to be
close with Elsa again. The presence of Olaf, making id influences
ego of Anna to remember Elsa about their childhood by saying “He’s
just like the one we built as kids” (in picture 4.33) when they made
a snowman together. Looking the expression of Elsa who
remembered, making Anna expresses her wants. The next
conversation shows ego fulfills id by remembering Elsa when they
were so close by saying “Elsa, we were so close. We can be like that
again” (in picture 4.35).
In the other side, the writer also found psychology aspect of
Elsa in this scene. The next conversation shows id of Elsa also wants
to be close with Anna again, when Anna remembers Elsa about Olaf
which they made as kid, Elsa says “Yeah” (in picture 4.34) while
smiling. The next conversation shows that superego tries to control
id by remembering Elsa about the accident in childhood, so that,
when Anna wants to be close again, ego controls id by denying
because Elsa does not want to hurt Anna again and saying “No. We
can’t. Goodbye Anna” while turning and leaving Anna (in picture
4.36). In this case, ego and superego can control id.
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Anna : Kristof.
Kristof : Anna!
Hans : Your sister?
She returned from the mountain weak and cold. She said
that you froze her heart.
Elsa : No.
Hans : I tried to save her, but it was too late. Her skin was ice. Her
hair turned white. Your sister is dead. Because of you.
Elsa : No.
Anna : Kristof.
Kristof : Anna!
Anna : Elsa?
No!
Olaf : Anna?
Elsa : Anna?
Anna : oh Elsa.
Anna : I love you.
Olaf : “An act of true love will thaw a frozen heart.”
Anna : Elsa?
Elsa : love.
In Fjord – Day scene, the writer found psychological aspect
of Anna. Anna, the girl who is almost frozen wants to meet Kristof,
but she turning to Elsa. The next conversation, Anna looks Hans who
tries to killing Elsa “Elsa?” id of Anna wants to save Elsa from Hans.
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The next conversation shows that id influences ego of Anna to
running to Elsa and prevent Hans by saying “No!” while rising her
hand (in picture 4.37), until Anna gets frozen (in picture 4.38). In
this case, ego can fulfill the desire of id, then superego shows Anna
is a good girl, because she tries to protect Elsa.
Based on the data above, the writer can conclude the
psychology of the main characters based on the Freud’s theory. The
accident in the childhood influences the psychology of Elsa. The fear
about the accident and hurting other people, making Elsa closes her
door and shuts people out including Anna.
Id of Elsa wants to come out the door and use her power to
play with her sister and be close again. But in reality (ego) she
cannot, because her power is getting stronger and she cannot control
it, and she scares about her power will hurt people. So, she shuts
people out including Anna. The accident always hunts Elsa’s mind.
So Elsa always avoid Anna to be close, although she wants. In this
case, ego cannot fulfill the desire of id, so superego shows the bad
moral, because she isolates herself and shout people out.
Besides, Anna who feels Elsa shuts her out, making Anna
feels lonely and thinks to find someone lover. The desire of Anna to
find her true love makes her blind. She wants to get marriage with
someone that she just met at that time, but Elsa does not give her
blessing. The conflict happens in coronation day. It makes Elsa go
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and freeze summer. Id of Anna wants to bring back Elsa to
Arendelle, and bring back summer. Id influences ego of Anna to do
all the ways to find Elsa like goes to North Mountain alone by horse,
asking Kristof to take her up to North Mountain, asking Olaf to show
the way to Elsa, and climbing the mountain until she arrives to Ice
castle of Elsa. In this case, superego shows the good moral, because
Anna appears her mistakes and be responsible to take bake Elsa and
bring back summer. So, superego shows the good moral.
The writer chooses Frozen as an object because this film has
story about love and good moral. The author describes condition of
psychology the main characters by kind of emotion. Therefore, the
writer is going to classify the emotion of main characters in Frozen
Film.
a) Grief
Grief related to losing an important thing. Usually the very grief
is losing someone lover.
Picture 4.39
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Anna : Elsa?
Please I know you’re in there.
People are asking where you’ve been
They say “Have courage” and I’m trying to
I’m right out here for you
Just let me in
We only have each other
It’s just you and me
What are we gonna do?
Do you wanna build a snowman?
In Elsa’s Door – Day scene, the writer found the emotion of
grief. The conversation shows the sadness of Anna and Elsa
because their parents are dead and they just have each other.
Anna was home from her parents’ burial plot. She comes to Elsa
and knocks her door. She says what people said to Elsa “they say
“have courage” and I’m trying to”. Anna tries to strengthen Elsa
by saying “I’m right out here for you. Just let me in. We only
have each other. It’s just you and me” so that Elsa feels she not
alone. Anna does not know what she has to do after that by
saying “What are we gonna do?” while leaning the door. But
Elsa never out of her room even though her parents are died.
Behind the door, Elsa looked so sad while leaning the door
and hearing Anna, without saying everything. The sadness of
these main characters caused they are losing someone lover.
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b) Guilt
Guilt caused there is a conflict between impulse expression and
moral standards.
Picture 4.40
Anna : Elsa!
Elsa!
Elsa, it’s me, Anna.
Your sister who didn’t mean to make you freeze the
summer. I’m sorry. It’s all my fault.
Of course, none of it would have happened. If she
had just told me her secret. She’s a stinker.
In Fjord Forest – Day scene, the writer found the emotion of
guilt. The conversation shows that Anna feels guilty because of
Elsa. Conflict was happen in the party made Elsa gone. Anna
talked impolite to Elsa in front of people cause Elsa did not give
her blessing, she took her glove, and made Elsa release her
power in front of people. So people think Elsa is sorcery and she
went to the mountain.
Anna feels guilty because of Elsa. Anna appears her
mistakes, so, she goes to the North Mountain to chase Elsa “Elsa,
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it’s me, Anna. Your sister who didn’t mean to make you freeze
the summer. I’m sorry, it’s all my fault” while shouting and
searching. Anna wants to apologize and take back Elsa to
Arendelle, then bring back summer.
c) Love
In romantic love, love and like are same. About child’s love to
his mother base on the protecting need; thus mother’s love to her
son because there is desire to protecting.
Picture 4.41
Hans : Elsa! you can’t run from this!

Hans : Your sister? She returned from the mountain weak
and cold. She said that you froze her heart.
Elsa : No.
Hans : I tried to save her, but it was too late. Her skin was
ice. Her hair turned white. Your sister is dead.
Because of you.
Elsa : No.
Anna : Kristof
Kristof : Anna!
Anna : Elsa?
No!
Olaf : Anna?
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Elsa : Anna?
Anna : oh Elsa.
Anna : I love you.
Olaf : “An act of true love will thaw a frozen heart.”
Anna : Elsa?
Elsa : love.
In Fjord – Day scene, the writer found the emotion of love.
The conversation shows love between sisters where Anna
protects Elsa from Hans who tries to kill her, until she gets
frozen, because she loves Elsa and wants to protect her. Elsa
holds Anna who frozen by loving, suddenly Anna who frozen is
alive again.
The next conversation, Elsa asks to Anna “You sacrificed
yourself for me?” and Anna answers “I love you”. True love in
this scene is shows in love of Anna to Elsa who wants to protect
Elsa from Hans, and love of Elsa to her sister Anna that can thaw
the frozen of Anna’s heart, like Olaf says “An act of true love
will thaw a frozen heart”. Elsa appears that love can control her
power. It is a form of true love between sisters, and the feeling
to protect each other.
From the seven of classifications emotion, the writer found
three emotions in this film. They are grief, guilt, and love. There
is the grief because the main characters are losing someone
lover, it’s their parents. There is the guilt because conflict which
80
happen between two main characters, it makes one of the
character feels guilt. Then, there is love because a true love
between sisters in this film shows the feeling to protect each
other.
81
CHAPTER V
CONCLUSIONS AND SUGGESTIONS
A. Conclusions
Based on analysis which was discussed in chapter 3, the writer takes
the conclusion that through Freud’s theory about personality divided into
three they are id, ego, and superego, showing that psychological aspect of
main characters so strong. Based on the data, the writer found all the data
has id and ego, but superego just found in some data. The result of analysis
psychology the main characters shows that ego can fulfill the desire of id
the main characters, besides superego cannot control the desire of id as the
whole.
The writer also found three of seven classifications emotion in
Frozen, they are guilt, grief, and love. The guilt caused a conflict between
the main characters. The grief caused losing someone lover, like the parents
of main characters. And love between sisters who want to protect each other.
B. Suggestion
Based on the conclusion above, the writer gives the suggestions such as:
1. This film still needs researched again, because this research just
emphasize to the aspect psychology and emotion main characters. For
other research about this film can use sociological approach and moral
value.
82
2. This research hoped can benefit as a material reading for students. By
watching this film can improve vocabulary because this film uses
English.
3. This research hoped can make students interested to literature,
especially literature in film form. By literature can improve our
knowledge about English.
83
REFERENCES
Akbar, B. (2015). Semua Bisa Menulis Skenario. Jakarta: Erlangga.
Amalia, R. (2015). Konsep Diri Tokoh Princess Elsa dalam Film Frozen (Analisis
Semiotika Ferdinand De Saussure). Communication Faculty. Jakarta:
Mercu Buana University.
Creswell, J.W. (2013). Research Design Pendekatan Kualitatif, Kuantitatif, dan
Mixed. Edisi ketiga. Yogyakarta: Pustaka Pelajar.
Endrawarsa, S. (2011). Metodologi Penelitian Sastra. Yogyakarta: CAPS.
Farkhan, M. (2010). Proposal Penelitian Bahasa & Sastra. Edisi Revisi. Jakarta:
Adabia Press, UIN Syarif Hidayatullah.
Gaib, I. (2013). Klasifikasi Emosi Tokoh dalam Novel Bunga di Atas Bara Karya
Syahriar Tato. Pendidikan Bahasa Dan Sastra Indonesia. Gorontalo:
Universitas Negeri Gorontalo.
Grace, J. M. (2008). Film Genres. Accessed by:
http://www.slideshare.net/newestprod/film-genres-presentation
Hanum, Z. (2005). Psikologi Kesusastraan Sebuah Pengantar. Depok: Inti Prima
Graphic.
Klarer, M. (2004). An Introduction to Literary Studies. Second edition. London &
New York: Routledge.
Lee, J. (2013). Frozen. Accessed by:
http://www.imsdb.com/scripts/Frozen-(Disney).html
Minderop, A. (2010). Psikologi Sastra: Karya Sastra, Metode, Teori, dan Contoh
84
Kasus. Jakarta: Yayasan Pustaka Obor Indonesia.
Putra, R. M. S. (2010). Literary Journalism: Jurnalistik Sastrawi. Jakarta: Salemba
Humanika.
Rokhana S. (2009). Analisis Tokoh Utama Dengan Teori Psikoanalisa Sigmund
Freud Pada Cerpen Hana Karya Akutagawa Ryunosuke. Pendidikan
Bahasa Jepang. Semarang: Universitas Negeri Semarang.
Sakti, L. S. (2013). Konflik Batin Tokoh Utama Film Harmony (Psikoanalisis
Sigmund Freud). Study Program Bahasa Korea. Yogyakarta: Gadjah Mada
University.
Schultz, D. P. & Schultz, S. E. (2005). Theories of Personality. United State of
America: Copyright.
Storr, A. (1991). Freud Peletak Dasar Psikoanalisis. Jakarta: Pustaka Utama
Grafiti.
Sugiarto, E. (2015). Menyusun Proposal Penelitian Kualitatif: Skripsi dan Tesis.
Yogyakarta: Suaka Media.
Sugiyono. (2012). Metode Penelitian Kuantitatif Kualitatif dan R & D.
Bandung: Alfabeta.
Widiyaningsih A. (2015). Analisis Konflik Batin Tokoh Utama Dalam Novel Pak
Guru Karya Awang Surya (Tinjauan Psikologi Sastra). Program Pasca
Sarjana Pendidikan Bahasa dan Sastra Indonesia. Tangerang:
Muhammadiyah University of Tangerang.
85
APPENDIX
Freud’s Theory
Id Ego Superego
1. SCENE INT. CASTLE, NURSERY,

CASTLE STAIRCASE, BALLROOM –
NIGHT.
TIME 00:03:42

Elsa! Wake up. Wake up. √
Wake up!
The sky is awake, so I’m
awake. So, we have to √
play.
Young Anna : Do you wanna build a
snowman?
Come on. Come on. Come on
Oh...
√
Young Elsa : Ready?
This is amazing!
Hi, I’m Olaf, and I like √
warm hugs.
Olaf...
Tickle bumps!
Oh...
Young Anna : Again!
Young Elsa : Wait!
86
Young Anna : Whoo!
Young Elsa : Anna!
Anna!
Mama! Papa!
No, no...
You’re okay, Anna. I got you.
King : Elsa, what have you done?
This is getting out of hand.
Young Elsa : It was an accident. I’m sorry,
Anna!
Queen : Oh. She’s ice cold.
King : I know where we have to go.
2. SCENE INT. GREAT HALL -- NIGHT
TIME 00:22:04

Anna : I’ve never been better. This is so √ √
nice. I wish it could
Elsa : Me too. But it can’t √ √
Anna : Why not?
Elsa : I just can’t. √
Anna : Excuse me for a minute. √
3. SCENE INT. BALL -- NIGHT
TIME 00:25:49
Anna : Elsa!
May I present Prince Hans of the
Southern Isles.
We would like...
Anna & Hans : of our marriage √ √
Elsa : Marriage?
Anna : Yes!
Anna : Well, we haven’t worked out all the
details ourselves. We’ll need a few
days to plan the ceremony.
Of course, we’ll have soup, rast and
ice cream. And then... Wait. Would
we live here?
Elsa : Here?
87
Hans : Absolutely!
Elsa : Anna!
Anna : Oh! We can invite all 12 of your
brothers to stay with us.
No one’s brothers are staying here.
No one is getting married. √
Anna : Wait, what?
Anna : No. Whatever you have to say, you
can say to both of us.
Elsa : Fine. You can’t marry a man you
just met. √ √
Elsa : Anna, what do you know about true
love?
Anna : More than you. All you know is how
to shut people out.
Elsa : you asked for my blessing, but my
answer is no. Now, excuse me.
Elsa : Then leave.
Anna : No, why? Why do you shut me
out? √
Duke : sorcery!
I knew there was something dubious
going on here.
Anna : Elsa.
4. SCENE EXT. COURTYARD, CASTLE
COURTYARD – NIGHT
TIME 00:27:55
88
Yes! It is her!
Townswoman : Your majesty? Are you all
right?
Elsa : No.
Elsa : Please, just stay away from
me. Stay away.
(SHUDDERS)
Anna : Elsa!
Elsa!
Wait, please!
Elsa, stop!
Hans : Anna!
Anna : No.
Hans : The fjord.
Townswoman : Snow!
Townswoman : Snow!
Anna : No.
Anna : No.
Duke : Look. It’s snowing. It’s
snowing!
The queen has cursed this
land! She must be stopped!
Anna : Wait, no!
Duke : You! Is there sorcery in you,
too? Are you a monster, too?
Anna : No, no. I’m completely
ordinary.
Hans : That’s right, she is. In the best
way.
Duke : Her ice.
Anna : It was an accident. She was
scared. She didn’t mean it.
She didn’t mean any of this.
Tonight was my fault.
89
I pushed her. So, I’m the one
that needs to go after her. √
Hans : What?
Anna : Bring me my horse, please.
Hans : Anna, no. It’s too dangerous. √
Anna : Elsa is not dangerous. I’ll
bring her back, and I’ll
make this right. √
Anna : No, I need you here to take
care of Arendelle.
Hans : On my honor.
5. SCENE EXT. HIGH UP IN THE
MOUNTAINS – NIGHT
TIME 00:31:23

A kingdom of isolation and it looks like I’m
the queen
The wind is howling like this swirling storm
inside
Well, now they know
Let it go! Let it go! Can’t hold me back
anymore
Let it go! Let it go! Turn away and slam the
door
Let the storm rage on. Cold never bothered me
anyway
Its funny how some distance makes everything
seem small
And the fears that once controlled me can’t get
to me at all
I’m free! √
Let it go! Let it go! I’m one with the wind √
and sky
Let it go! Let it go! You’ll never see me cry
90
Here I stand and here I’ll stay. Let the storm
rage on
My power flurries through the air into the
ground
My soul is spiraling in frozen fractals all
around
Let it go! Let it go! And I’ll rise like a break
of dawn
Let the storm rage on! Cold never bothered me
anyway
6. SCENE INT. OAKEN’S STABLES – NIGHT
TIME 00:39:26
Anna : Nice duet.

Anna : I want you to take me up the North √
Mountain.
Kristof : Hey.
Anna : Take me up the North Mountain. √
Please.
Kristof : We leave at dawn. And you forgot the
carrots for Sven.
Anna : Oops. Sorry. I’m sorry. I’m sorry. I
didn’t...
We leave now. Right now. Whew! √
7. SCENE INT. FROZEN WILLOW TREES –
DAY
TIME 00:46:33
Olaf : Hi, everyone. I’m Olaf. And I like

warm hugs.
Olaf : And you are?
Olaf : And who’s the funky-looking donkey
over there?
Anna : That Sven.
Anna : Sven.
91
Olaf : Oh, the... oh. Okay. That makes things
easier for me. Aw, look at him trying
to kiss my nose. I like you too.
Olaf : Yeah, why?
Anna : Do you know where she is? √ √
Olaf : Yeah, why?
Anna : Do you think you could show us the
way? √
Olaf : Yeah, why?
Olaf : Stop it, Sven. I’m trying to focus,
here.
Yeah, why?
Kristof : I’ll tell you why. We need Elsa to
bring back summer.
Olaf : Summer. Oh, I don’t know why. But
I always loved the idea of summer.
And sun, and all things hot.
Kristof : Really? I’m guessing you don’t have
much experience with heat.
Olaf : Nope. But sometimes I like to close
my eyes, and imagine what it would
be like when summer does come.
Olaf : So, come on! Elsa’s this way. Let’s
go bring back summer!
8. SCENE EXT. STEEP MOUNTAIN FACE –
DAY
TIME 00:51:24
Anna : What now?

Kristof : Mmm... It’s too steep. I only got one
rope and you don’t know how to
climb mountains.
Anna : Says who?
Anna : I’m going to see my sister √
Kristof : You’re gonna kill yourself. I wouldn’t
put my foot there
Kristof : Or there. How do you know Elsa even
wants to see you?
92
Anna : All right. I’m just blocking you out
because I gotta concentrate, here.
Kristof : You know, most people who
disappear into the mountains want to
be alone.
Anna : Nobody wants to be alone. Except
maybe you.
Kristof : I’m not alone, I have friends,
remember?
Anna : Ah... please tell me I’m almost
there. Does the air seem a bit thin to √
you up here?
Kristof : Hang on.
Olaf : Hey, Sven. Not sure if this is gonna
solve the problem, but I found a
staircase that leads exactly where you
wanted to go.
Anna : Ha-ha. Thank goodness. Catch!
Thanks.
9. SCENE EXT. BASE OF THE ICE PALACE
– DAY
TIME 00:52:45
Anna & kristoff : Whoa.

Kristof : All right, take it easy, boy. Come here.
I got you. Okay. You stay right here,
buddy. Flawless.
Olaf : Knock. Just knock. Why isn’t she
knocking? Do you think she knows
how to knock?
Anna : Huh, it opened. That’s a first. Oh. √
You should probably wait out here.
Kristof : What?
Anna : The last time I introduced her to a
guy, she froze everything. √
Kristof : But, but... oh, come on! It’s a palace
made of ice. Ice is my life!
Olaf : Bye, Sven.
Olaf : Me? √
93
Olaf & kristof: Four...
10. SCENE INT. ELSA’S PALACE – DAY
TIME 00:54:07

Elsa : Anna.
Anna : Whoa. Elsa, you look different. It’s a
good different.
Elsa : Thank you. I never knew what I was
capable of.
Anna : I’m so sorry about what happened. If
I’d had known..
Elsa : No, no, no. It’s okay. You don’t have
to apologize. But you should probably
go. Please.
Anna : So do you.
Elsa : No, Anna, I belong here. Alone.
Where I can be who I am.
Olaf : Sixty!
Elsa : Olaf?
Anna : He’s just like the one we built as
kids.
Elsa : Yeah. √
Anna : Elsa, we were so close. We can be √
like that again. √
No. We can’t. Goodbye, Anna. √ √
Anna : Elsa, wait.
Anna : You don’t have to protect me. I’m not
afraid. Please don’t shut me out again.
11. SCENE EXT. FJORD – DAY
TIME 01:24:55
Anna : Kristoff.
94
Kristof : Anna!
Hans : Your sister?
She returned from the mountain weak
and cold. She said that you froze her
heart.
Elsa : No.
Hans : I tried to save her, but it was too late.
Her skin was ice. Her hair turned
white. Your sister is dead. Because of
you.
Elsa : No.
Anna : Kristoff.
Kristof : Anna!
Anna : Elsa?
√ √
No!
Olaf : Anna?
Elsa : Anna?
Anna : oh Elsa.
Olaf : “An act of true love will thaw a
frozen heart.”
Anna : Elsa?
Elsa : love.
95
No. Data Guilt as Self-

deep punishing
1. SCENE INT.
HALLWAY, ELSA’S
DOOR – DAY
TIME 00:10:38
Anna : Elsa?
Please I know
you’re in there.
People are
asking where √
you’ve been
They say “Have
courage” and
I’m trying to
I’m right out
here for you
Just let me in
We only have
each other
It’s just you and
me
What are we
gonna do?
Do you wanna
build a
snowman?
2. SCENE EXT. THE
FJORD FOREST -- DAY
TIME 00:34:48
Anna : Elsa!
Elsa!
Elsa, it’s me,
Anna.
Your sister who
didn’t mean to
make you freeze
the summer. I’m √
sorry. It’s all my
fault.
Of course, none
96
of it would have
happened. If she
had just told me
her secret. She’s
a stinker.
3. SCENE EXT. FJORD --
DAY
TIME 01:27:36
Elsa : you sacrificed

yourself for me?
Olaf : “An act of true
love will thaw a
frozen heart.”
Elsa : love will thaw.
Love, of course
Anna : Elsa?
Elsa : love.
Anna : I know you
could do it.
97
BIOGRAPHY
The writer’s name is Deasy Novita
Rini. She was born in Tangerang,
December 29th 1992. The writer is
the sixth of seven children from
couple of Mr. Zainal Abidin and
Mrs. Rohaya. The writer lives at Jl.
Raya Cisauk Kp. Rancamoyan RT.
016 RW. 003 Des. Cibogo Kec. Cisauk Kab.Tangerang Prov.Banten. The writer
studied at MI. NURUL IMAN CIBOGO, graduated in 2004. She continued school
at MTs. SERPONG, graduated in 2007. She continued school at SMK PUSTEK of
Serpong, graduated in 2010. After that she worked for saving money. in 2012 she
continued her study at Muhammadiyah University of Tangerang, graduated in
2017. The writer worked as an English teacher while studiying in 2015 until 2016.
98

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CHAPTER I

A. Background of the Problem

In this era, literature is be more creative in express imagination or

we know that novel and film are part of literature.

Klarer (2004) states that literature is an art to express the feeling or

condition or event in the era in written like poetry or novel. Literature is

referred to as the entirety of written expression, but not every written

document can be categorized as literature. In development of literature, it is

present by actor, it makes the literature more interesting.

information or moral value in creative ideas by using moving pictures.

some similarities with drama. Film communicates through visually such as

pictures that use actors or animation as major to express the story by

dialogue, action, moving, gesture, and expression.

which researched is Frozen, it is including in fiction film, because it is an

1) action, 2) adventure, 3) comedy, 4) crime, 5) drama, 6) epics, 7) horror,

frozen film including adventure, comedy, and musicals.

focus in research main characters, it relation with aspect of psychology,

because every character has different psychology.

In psychology, there is the theory that learns about how is the

psychology character in literature. This theory is used to learn about

conscious and unconscious about people. The theory of psychology is

theory of psychology in three, those are id, ego, and superego. Id is

“Pleasure principle”, ego is “Reality principle”, and superego is “Moral

and Elsa in film entitled “Frozen”.

Frozen is animation film, published in 2013 directed by Chris Buck

with someone named Kristof, and the journey begin.

The first main character researched is Elsa. The accident influences

to everyone. She experiences different psychology after the accident in her

that can hurt everyone.

The psychology about these sisters in Frozen is interesting to be

researched, because in education, the teachers also have to know about

students’ education of psychology, and film can be a media for teachers to

students’ vocabulary. So, this analysis focuses on the psychology of the

“A Psychoanalysis of Main Characters in Frozen Film”.

In accordance with the background of problem, the writer focuses

1. Psychological aspect main characters in the Frozen.

2. Kinds of classification of emotion main characters.

C. Formulation of the Problem

1. How is the psychological aspect main characters based on Freud’s

2. What kind of the classification of emotion main characters?

D. Objective of the Research

This research has aims mentioned below:

1. To identify the psychological aspect main characters based on Freud’s

2. To classifies the emotion main characters.

E. Significance of the Research

based on Freud’s theory can improve our knowledge about the

The analysis of Frozen film can improve the knowledge about

psychology main characters, and improve vocabulary.

using book but also film, to take students’ interest in learning

This analysis can be the first place to stand on next research, to

get the better result.

F. Definition of Terms and Abbreviations

In this research, the writer uses the term as follow:

According to Boggs & Petrie (2008):

Film is like poetry which communicates through symbol, imagery,

Film communicates through visually such as action and gesture and

film communicates with verbally through dialogue. The last is

Atkinson (1996) states “Psychology is the psyche science that learn

about human behavior”. (Minderop, 2010, p.3).