Time Loop Plot Structure Pattern in the Films Edge of Tomorrow (2014), Happy Death Day (2017) and Palm Springs (2020)

Authors

  • Agustinus Dwi Nugroho Institut Seni Indonesia (ISI) Yogyakarta, Indonesia
  • M. Alif Wijaya Ridwan Institut Seni Indonesia (ISI) Yogyakarta, Indonesia

DOI:

https://doi.org/10.33153/capture.v15i1.5645

Keywords:

narrative, plot, time loop, genre

Abstract

Exploration of plot development patterns in narrative structure can be seen from the Time Loop Plot which is used in several films in a very unique way. This plot pattern emphasizes a character trapped in space and time that repeats itself continuously. This qualitative research uses an observational approach that focuses on observing Time Loop Plot patterns and connecting them with three different genre variants, namely Edge of Tomorrow (action-science fiction), Happy Death Day (thriller-horror), and Palm Spring (roman-comedy). This research aims to obtain an overview of the narrative structure pattern "Time Loop Plot" which can be applied in various genres through a visual element approach, as well as looking for a storytelling motif in the application of this plot development pattern in each different genre, using the approach of narrative theory and aesthetics. The results of this research reveal a pattern which shows that the time loop plot pattern is character-driven by the main character. The relationship with genre shows a pattern that differences in genre in the application of time loop plots will result in differences in the development of tone and mood in the film. ​Keywords: narrative, plot, time loop, genre

Downloads

Download data is not yet available.

References

Angelina, Ayu Mella, Zainal Abidin, dan FX. Yatno Karyadi. 2018. Film Fiction Tuan X: Gestur Approach as a Psychology Mark of a Main Figure. Capture: Jurnal Seni Media Rekam, Vol. 10 No.1 Desember 2018, 14-26, DOI: 10.33153/capture.v10i1.2186.

Bateman, J. A. (2019). Multimodality and Materiality: The Interplay of Textuality and Texturality in the Aesthetics of Film. Poetics Today, Vol. 40 Issue 2, p235-268. 34p.

Bordwell, D. K. (2017). Film Art: An Introduction. Eleventh E, McGraw-Hill Componies.

Conant, J. (2018). Cinematic Genre and Viewer Engagement in Hitchcock's Psycho. Yearbook of Comparative Literature, Vol. 64 Issue 1, p228-322. 95p.

Creed, B. (2007). Déjà Vu, Film and the Uncanny. AntiTHESIS, Vol. 17, p7-22. 16p.

Daughton, S. M. (1996). The Spiritual Power of Repetitive Form: Steps Toward Transcendence in Groundhog Day. Critical Studies in Mass Communication., Vol. 13 Issue 2, p138. 17p.

Gheorghe, C. (Dec2021, Vol. 7 Issue 2, ). Crossing Borders in Film Theory and Adaptation Studies. Metacritic Journal For Comparative Studies & Theory, P142-150. 9p.

Kovács, A. B.-Z. (2019). Causal Understanding in Film Viewing: The Effects of Narrative Structure and Personality Traits. Empirical Studies of the Arts, Vol. 37 Issue 1, p3-31. 29p.

Mühlbacher, M. (2022). Plotting Memory. What Are We Made to Remember When We Read Narrative Texts? Journal of Literary Theory, Vol. 16 Issue 2, p239-263. 25p.

Pratista, H. (2008). Memahami Film. Yogyakarta: Homerian Pustaka.

Pratista, H. (2017). Memahami Film edisi 2. Yogyakarta: Montase Press.

RB Armantono dan Suryana Paramita. (2017). Penulisan Skenario Film Panjang. Jakarta: FFTV IKJ.

Sinnerbrink, R. (2020). Imagining Cinema: 'Cinempathy' and the Embodied Imagination. Paragraph, Vol. 43 Issue 3, p281-297. 17p.

Wandler, S. (2019). Groundhog Day and the Fiction of Perfection. Studies in Popular Culture. Spring, Vol. 41 Issue 2, p25-44. 20p.

Downloads

Published

2024-07-31

Issue

Vol. 15 No. 1 (2024)

Section

Articles

License

Copyright (c) 2024 Agustinus Dwi Nugroho

Creative Commons License

This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

Copyright

Authors who publish with Capture: Jurnal Seni Media Rekam agree to the following terms:

  1. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License (CC BY-SA 4.0) that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this journal. 
  2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this journal.