AN ANALYSIS OF THE TRANSLATION OF IDIOMATIC EXPRESSIONS ... · expressions easily. Besides, idiomatic expressions cannot be translated literally into the target language. Therefore,

AN ANALYSIS OF THE TRANSLATION OF IDIOMATIC

EXPRESSIONS FOUND IN THE INSIDE OUT MOVIE

A SARJANA PENDIDIKAN THESIS

Presented as Partial Fulfillment of the Requirements

to Obtain the Sarjana Pendidikan Degree

in English Language Education

By

Fikriya Choiruna Buditama

Student Number: 141214172

ENGLISH LANGUAGE EDUCATION STUDY PROGRAM

DEPARTMENT OF LANGUAGE AND ARTS EDUCATION

FACULTY OF TEACHERS TRAINING AND EDUCATION

SANATA DHARMA UNIVERSITY

YOGYAKARTA

2018

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

i

AN ANALYSIS OF THE TRANSLATION OF IDIOMATIC

EXPRESSIONS FOUND IN THE INSIDE OUT MOVIE

A SARJANA PENDIDIKAN THESIS

Presented as Partial Fulfillment of the Requirements

to Obtain the Sarjana Pendidikan Degree

in English Language Education

By


Student Number: 141214172

ENGLISH LANGUAGE EDUCATION STUDY PROGRAM

DEPARTMENT OF LANGUAGE AND ARTS EDUCATION

FACULTY OF TEACHERS TRAINING AND EDUCATION

SANATA DHARMA UNIVERSITY

YOGYAKARTA

2018






vi

ABSTRACT

Buditama, Fikriya Choiruna. (2018). An analysis of the translation of idiomatic

expressions found in the Inside Out movie. Yogyakarta: English Language

Education Study Program, Sanata Dharma University.

Translating subtitles from English into Indonesian is not easy because English

has many idiomatic expressions. Not all translators recognize idiomatic

expressions easily. Besides, idiomatic expressions cannot be translated literally

into the target language. Therefore, it is important for translators to translate

idiomatic expressions correctly in order to deliver the meaning successfully.

This research analyzed the types and the strategies in translating idiomatic

expressions from the Inside Out movie. This movie was chosen because there are

many conversations containing idioms. In addition, this research aimed to answer

two research questions, namely, 1) what type of idiomatic expressions are found

in the movie script of Inside Out, and 2) how are the idiomatic expressions

translated into Indonesian in the subtitle?

This research is a qualitative research and it used document analysis in order

to answer the two research questions. Hockett’s theory of idioms (1958) was

chosen to answer the first research question. Besides, to answer the second

research question, the strategies in translating the idiomatic expressions are

analyzed based on Baker’s theory of strategies in translating idioms (1992).

In answering the first research question, the researcher discovered that

“English phrasal compounds”, get the highest percentage which is 43.8%. Then, it

is followed by “proper names” (23.4%), “slang” (22.9%), “figures of speech”

(9.5%), “abbreviations” (0.4%), and the last one is “substitutes” which is not

found in the script of the movie. Moreover, the answer to the second research

question shows that “paraphrase” gets the highest percentage, i.e. 58%. “Using an

idiom of similar meaning and form” (17%), “omission” (2.6%), and “using an

idiom of similar meaning but dissimilar form” (0.7%) comes after “paraphrase”.

In addition, there is 21% of translation that uses “Newmark’s (1988) translation

label” and 0.7% of the expressions are chosen not to be translated. Besides, the

findings show that 95.1% translation is categorized as “acceptable translation”

based on Larson’s (1984) theory of ideal translation.

Keywords: translation, idiomatic expressions, Inside Out Movie, Hockett’s

theory, Baker’s strategies


vii

ABSTRAK

Buditama, Fikriya Choiruna. (2018). An analysis of the translation of idiomatic

expressions found in the Inside Out movie. Yogyakarta: English Language

Education, Sanata Dharma University.

Tidak mudah menerjemahkan subtitle dari Bahasa Inggris ke dalam Bahasa

Indonesia karena Bahasa Inggris memiliki banyak ungkapan idiomatis. Tidak

semua penerjemah dapat mengenali ungkapan idiomatis dengan mudah. Terlebih

lagi, ungkapan idiomatis tidak dapat diterjemahkan secara harfiah. Maka, sangat

penting bagi penerjemah untuk menerjemahkan ungkapan idiomatis secara benar

agar makna dari ungkapan dapat tersampaikan dengan baik.

Penelitian ini menganalisa beberapa tipe dan strategi yang digunakan dalam

menerjemahkan ungkapan idiomatis dalam film Inside Out. Film ini dipilih karena

terdapat banyak percakapan yang mengandung idiom. Lebih lanjut, penelitian ini

bertujuan untuk menjawab dua rumusan masalah, yaitu, 1) Tipe ungkapan

idiomatis apa sajakah yang ditemukan dalam naskah film Inside Out?, dan 2)

Bagaimakah ungkapan-ungkapan idomatik dalam subtitle tersebut diterjemahkan

ke dalam Bahasa Indonesia?

Jenis penelitian ini adalah kualitatif dan menggunakan dokumen analisis

untuk menjawab kedua rumusan masalah tersebut. Teori Hockett (1958) tentang

idiom dipilih untuk menjawab rumusan masalah yang pertama. Selain itu, untuk

menjawab rumusan masalah yang kedua, strategi yang digunakan dalam

menerjemahkan ungkapan idiomatis dianalisa berdasarkan teori tentang

penerjemahan ungkapan idiomatis milik Baker (1992).

Dalam menjawab rumusan masalah yang pertama, peneliti menemukan

bahwa “English phrasal compounds” mendapatkan presentase tertinggi, yakni

43,8%. Kemudian diikuti oleh “proper names” (23,4%), “slang” (22,9%),

“Figures of speech” (9,5%), “abbreviation” (0,4%), dan yang terakhir adalah

“substitutes” karena tidak ditemukan dalam naskah film tersebut. Selanjutnya,

jawaban dari rumusan masalah yang kedua menunjukkan bahwa “paraphrase”

mendapatkan presentase tertinggi, yaitu 58%. “Using an idiom of similar meaning

and form” (17%), “omission” (2,6%), dan “using an idiom of similar meaning and

different form” (0,7%) menempati urutan setelah “paraphrase”. Selain itu,

terdapat 21% terjemahan yang menggunakan teori penerjemahan “proper names”

milik Newmark (1988) dan 0,7% ungkapan tidak diterjemahkan. Kemudian, data

menunjukkan bahwa 95,1% terjemahan dikategorikan sebagai “acceptable

translation” menurut teori Larson (1958) tentang terjemahan yang ideal.

Keywords: translation, idiomatic expressions, Inside Out Movie, Hockett’s

theory, Baker’s strategy


viii

“Allah does not burden a soul beyond that it can bear.”

(Al-Baqarah: 286)

I dedicate this thesis to my family, translators, and also English learners.


ix

ACKNOWLEDGEMENTS

First of all, I would like to express my greatest gratitude to Allah Subhanahu

Wa Ta’ala, who always gives me endless grace, blessing, and strength in the

twenty-two years of my life.

I would also like to express my gratitude to my lovely and supportive family.

I thank my parents, Imam Budi Utomo and Varida Ariyani Handoyo, who

always give me moral and financial supports. They are my biggest motivation to

complete my study. Also, I thank my sisters, Vindya Nuriljaza Buditama,

Fitriya Nurmayuvita Buditama, Gita Paramitha, and Leonnyta Rachma

Kesuma, who always support me through my ups and downs.

Then, I would like to express my gratitude to my thesis advisor, Laurentia

Sumarni, S.Pd., M. Trans. St., for always giving me motivation and suggestions.

I thank her for her kindness, patients, and jokes. I also thank my academic advisor,

Concilianus Laos Mbato, M.A., Ed. D., for always guiding me for eight

semesters. He is a motivational lecturer who always gives me strength to face the

college problems. Besides, I would like to thank all of the ELESP lecturers for

the knowledge and experience which will be useful for my future career and life.

Moreover, I would like to say thank you to my classmates, ELESP class F

batch 2014, especially Gavrilla Albertina Tarigan, E.R.P. Lovilla, Erlia

Novitasari, dan Andreas Tri Hartana, who are always there for me in my good

and bad times. Besides, they always color my life through their jokes, laughter,

and funny antics.


x

I also thank my best friends in Senior High School, Nabila Hasna, Redika

Rahma, Deisna Bella, Mustika Suci, Diah Aprilia, and my best friends in Junior

High School, Putri Ayu, Aflaharani, Astrid Herlinda, Yuna Anjas, Deva

Famella, and Rahma Anzalia who always support me to be the best version of

me.

Lastly, I thank my friends in the Thesis Writing class, Icha, Hani, Indah,

Linda, Ria, Sion, Uun, Vita, Maria, Priskyla, and Bambang, who struggle

together with me through ups and downs during our thesis writing journey. I thank

them for the jokes and the amusing stories, which at least, can decrease our stress

level.



xi

TABLE OF CONTENTS

TITLE PAGE ............................................................................................................ i

APPROVAL PAGES ............................................................................................... ii

STATEMENT OF WORK’S ORIGINALITY ........................................................ iv

PERNYATAAN PERSETUJUAN PUBLIKASI .......................................................... v

ABSTRACT ............................................................................................................. vi

ABSTRAK ................................................................................................................ vii

DEDICATION PAGE ............................................................................................. viii

ACKNOWLEDGEMENT ....................................................................................... ix

TABLE OF CONTENTS ......................................................................................... xi

LIST OF TABLES .................................................................................................. xiv

LIST OF FIGURES ................................................................................................. xv

LIST OF APPENDICES ........................................................................................ xvii

CHAPTER I. INTRODUCTION ........................................................................... 1

A. Research Background.................................................................................... 1

B. Research Questions ....................................................................................... 3

C. Research Significance ................................................................................... 3

D. Definition of Terms ....................................................................................... 4

CHAPTER II. REVIEW OF RELATED LITERATURE .................................. 6

A. Theoretical Description ................................................................................. 6

1. Theories of Translation ........................................................................... 6

a. Definition of Translation ................................................................... 6

b. Types of Translation ......................................................................... 7

c. Characteristics of Good Translation.................................................. 7

2. Theories of Equivalence .......................................................................... 8


xii

a. Translation Equivalence .................................................................... 8

3. Theories of Idioms ................................................................................. 10

a. Definition of Idioms ......................................................................... 10

b. Characteristics of Idioms.................................................................. 11

c. Types of Idioms ............................................................................... 11

d. Translating Idiomatic Expressions ................................................... 18

B. Theoretical Framework ................................................................................ 19

CHAPTER III. METHODOLOGY ..................................................................... 21

A. Research Method .......................................................................................... 21

B. Object of the Study....................................................................................... 22

C. Type and Source of Data .............................................................................. 22

1. Human .................................................................................................... 22

2. Scripts ..................................................................................................... 23

D. Data Gathering Technique ........................................................................... 23

E. Data Analysis Technique ............................................................................. 23

CHAPTER IV. RESEARCH FINDINGS AND DISCUSSION ......................... 25

A. Types of Idiomatic Expressions Used in the Inside Out Movie................... 25

1. Proper Names ......................................................................................... 26

2. Abbreviations ......................................................................................... 28

3. English Phrasal Compounds .................................................................. 29

4. Figures of Speech ................................................................................... 38

5. Slang ....................................................................................................... 41

B. How the Idiomatic Expressions are Translated Into Indonesian .................. 46

1. Paraphrase .............................................................................................. 49

2. Omission ................................................................................................ 51

3. Using an Idiom of Similar Meaning and Form ...................................... 52

4. Using an Idiom of Similar Meaning but Dissimilar Form ..................... 53


xiii

C. Another Finding ........................................................................................... 53

CHAPTER V. CONCLUSIONS, IMPLICATIONS, AND

RECOMMENDATIONS ............................................................. 57

A. Conclusions .................................................................................................. 57

B. Implications .................................................................................................. 58

C. Recommendations ........................................................................................ 59

REFERENCES ......................................................................................................... 61

APPENDICES ......................................................................................................... 63


xiv

LIST OF TABLES

Table 2.1 Structure of Compound Nouns According to Carstairs-McCarty ............ 13

Table 2.2 Structure of Compound Adjectives According to Carstairs-McCarty ..... 14

Table 2.3 Structure of Phrasal Verb According to McCarthy & O’Dell ................. 14

Table 4.1 Types of Idiomatic Expressions ............................................................... 26

Table 4.2 Proper Names ........................................................................................... 27

Table 4.3 Classification of English Phrasal Compounds ......................................... 29

Table 4.4 Structures of Compound Nouns ............................................................... 30

Table 4.5 Structures of Phrasal Compounds ............................................................ 34

Table 4.6 Types of Figures of Speech ...................................................................... 38

Table 4.7 Types of Slang ......................................................................................... 41

Table 4.8 Strategies in Translating Idiomatic Expressions ...................................... 47

Table 4.9 Acceptability of Translations ................................................................... 48

Table 4.10 Translations of the Proper Names .......................................................... 54

Table 4.11 Types of Idioms and The Strategies of Translating Idioms ........................... 55


xv

LIST OF FIGURES

Figure 2.1 Newmark’s V Diagram ............................................................................ 9

Figure 2.2 Larson’s Types of Translation ................................................................. 9

Figure 4.1 Abbreviation Found in the Subtitle Excerpt ........................................... 23

Figure 4.2 Compound Nouns Found in the Subtitle Excerpt (1) ............................. 30



Figure 4.5 Compound Adjectives Found in the Subtitle Excerpt ............................ 33

Figure 4.6 Compound Verbs Found in the Subtitle Excerpt (1) .............................. 35




Figure 4.10 Metaphor Found in the Subtitle Excerpt ............................................... 38

Figure 4.11 Hyperbole Found in the Subtitle Excerpt ............................................. 39

Figure 2.12 Simile Found in the Subtitle Excerpt .................................................... 40

Figure 2.13 Personification Found in the Subtitle Excerpt ...................................... 40

Figure 4.14 Slang Found in the Subtitle Excerpt (1) ............................................... 42







Figure 4.21 Effetiveness of Translation in the Subtitle Excerpt .............................. 47

Figure 4.22 Paraphrase in the Translation of English Phrasal Compound .............. 49

Figure 4.23 Paraphrase in the Translation of Figure of Speech ............................... 50

Figure 4.24 Paraphrase in the Translation of Slang ................................................. 50


xvi

Figure 4.25 Omission in the Translation of Slang ................................................... 51

Figure 4.26 Omission in the Translation of Proper Name ....................................... 51

Figure 4.27 Using an Idiom of Similar Meaning and Form in Figure of Speech .... 52

Figure 4.28 Using an Idiom of Similar Meaning but Dissimilar Form in Figure of

Speech ................................................................................................... 53

Figure 4.29 Untranslated Idioms .............................................................................. 55


xvii

LIST OF APPENDICES

Appendix A. Classification of the Types of Idiomatic Expressions ........................ 64

Appendix B. Classification of the English Phrasal Compounds .............................. 79

Appendix C. Strategies in Translating the Idiomatic Expressions ........................... 83


1

CHAPTER I

INTRODUCTION

There are four parts that will be discussed in this chapter, namely background

of the research, research questions, research significance, and definition of terms.

A. Research Background

Nowadays, movie develops rapidly, especially in Indonesia. People are

interested to watch English movies. That is the reason why a subtitle is usually

provided in the movie in order to help people understand and get the point of the

movies. However, they find it hard to understand the meaning of the subtitle that

may be caused by the wrong interpretation or inappropriate translation method.

Therefore, the subtitle should give an acceptable translation to avoid

misinterpretation. The acceptable translation will make non-native speakers,

especially children, understand and get the points of what the movies tell them

about. Since English is an international language, everyone should deepen their

understanding about English. Yet, English expressions are often idiomatic because

daily conversations abound in idiomatic expressions. Movies as reflections of real

life abound in idioms. Unfortunately, not all translators recognize idiomatic

expressions easily. Even so, Baker (1992, p. 65) claims that translators will find it

difficult to recognize an idiom when the expressions are hard to understand and the

sense is not too clear. Translating an idiomatic expression is a little bit difficult


2

because it cannot be translated literally. If it is translated literally, the sense of the

translation will sound strange and nonsensical.

This research focuses on the idiomatic expressions found in the spoken

dialogue in the movie entitled Inside Out (2015) which has been written in a form of

movie script. The researcher chose the movie because this movie is suitable for

everyone, especially children. Besides, there are many idiomatic expressions found

in the movie. Therefore, the idiomatic expressions of the movie must be translated

correctly so as not to make people confused about it.

Considering that translating idioms is a little bit difficult for non-native

speakers of the language, the researcher takes it as a useful research. In fact, it is

necessary for non-native speakers to learn idioms in order to increase their

vocabularies and to make them speak English fluently like native speakers. Since

there are many idioms found in English daily conversations, it will be beneficial for

native speakers to have knowledge of idioms and speak naturally. There are several

researches about idiomatic expressions used in the movie which were done by

Sulistyaningrum (2013) and Pratama (2016). However, no one of those researchers

analyzed the six types of idiomatic expressions based on Hockett’s (1958) theories

of idiomatic expressions. Therefore, this research analyzed the six types of

Hockett’s idiomatic expressions and the strategies of how they are translated.

The researcher analyzed the movie by comparing its spoken conversations

which has been printed in a form of movie script with its subtitle that has been


3

printed in a form of Indonesian subtitle script. The subtitle refers to target language.

In contrast, the spoken utterances or the movie script refers to source language.

The purpose of the research is to find the types of idiomatic expressions

used in the Inside Out movie based on Hockett’s (1958) theory and to figure out the

strategies of translating idioms based on Baker’s (1992) theory.

B. Research Questions

Based on the research background, the researcher formulates two research

questions:

1. What types of idiomatic expressions are found in the movie script of Inside Out

(2015)?

2. How are the idiomatic expressions translated into Indonesian in the subtitle?

C. Research Significance

The research is expected to give benefits to:

1. English Learners

This research is expected to give more understanding about idiomatic

expressions in English, especially in translating idiomatic expressions using

acceptable strategies. Therefore, English learners are able to translate idiomatic

expressions correctly.


4

2. Teachers and Lecturers

This research is expected to help English teachers and English lecturers

teach idiomatic expressions, especially on how to translate idiomatic expressions

using an acceptable strategy. Hopefully, this research can give more examples

about translating idiomatic expressions as the teaching materials.

3. Translators

This research is expected to help translators translate idiomatic expressions

correctly. Hopefully, by reading this research, translators can apply the acceptable

strategies and make a better translation of idiomatic expressions.

4. Future Researchers

This research is expected to facilitate the future researchers who will

analyze the similar topic with this research. This research can be used as the

reference.

D. Definition of Terms

There are four key words which are discussed in this research. Those key

words are translation, idiomatic expressions, Inside Out movie, Hockett’s theory

and Baker’s strategies.

1. Translation

Translation is the change of a meaning from one language which refers to

the source language into another language which refers to the target language.

Translating is not just translating the language, but also the sense of the meaning.


5

Therefore, the translation will not sound strange when it is translated into the target

language.

2. Idiomatic Expressions

Idiomatic expression is an expression which contains of an idiom.

Meanwhile, Lazar (2006, p. 3) states that idiom is a group of words that the

meaning cannot be translated word by word. If it is translated literally, the sense of

the meaning cannot be transferred into the target language correctly.

3. Inside Out Movie

Inside Out is an animation movie which was released in 2015. The movie is

mostly about education, humor, family-relationship, friendship, and human’s

feeling. The moral values of the movie are delivered in interesting ways.


6

CHAPTER II

REVIEW OF RELATED LITERATURE

This chapter consists of three parts, namely review of related studies,

theoretical description, and theoretical framework. This chapter reviews some of

the previous and similar researches in order to distinguish the difference between

this research and previous researches. Besides, this chapter also reviews the

theory of translation, subtitling, and idiomatic expressions.

A. Theoretical Description

1. Theories of Translation

a. Definition of Translation

Munday (2016) defines “The English term “translation”, first attested in

around 1340, derives either from Old French translation or more directly from the

Latin translatio (‘transporting’), itself coming from the participle of the verb

transferre (‘to carry over’)” (p. 8). Actually, translation has many definitions

because each expert of translation has his/her own understanding and opinion

about it. Basically, translation is the change of a meaning and a sense from a

source language into a target language.

Larson (1984, p. 3) puts forward translation contains of delivering the

meaning of the source language into the target language. In addition, Nida and

Taber (1969) elaborate a translation in more complex definition. They note that

translating means reproducing the source language as natural and equivalent as


7

the receptor language in terms of meaning and style (as cited in Haryanto, 2003, p.

12). Yet, Newmark (1981) has a little different definition with Nida and Taber

because he does not use the word “equivalent” but “the same”. Newmark notes

that translation replaces a written statement in one language with similar

statement in another language (as cited in Haryanto, 2003, p. 15).

b. Types of Translation

In an article about linguistics aspects of translation, Roman Jakobson

(1959) generalizes that there are three types of translation. Those are described as

follows.

1) Intralingual translation or “rewording” is an interpretation which uses a similar

language between source language and target language.

2) Interlingual translation or “translation proper” is an interpretation which uses a

different language between source language and target language.

3) Intersemiotic translation or “transmutation” is an interpretation of verbal sign

into nonverbal sign system.

c. Characteristics of Good Translation

Good translation is not only translating the meaning, but also the sense of

the language. It aims to make the language sounds naturally after being translated

into the target language. Larson (1984, p. 6) elaborates that the best translation is

the one which:

1) Uses the normal language forms of the receptor language.

2) Communicates, as much as possible, to the receptor language speakers the

same meaning that was understood by the speakers of the source language.


8

3) Maintains the dynamics of the original source language text.

To sum up, translation which communicates the same massage as the

source language using the natural grammatical and lexical choices of the receptor

language is the translators’ goal.

2. Theories of Equivalence

a. Translation Equivalence

The equivalence of the translation is how far the relation between the

source language that is translated into the target language. Nida (1969) argue that

there are two types of equivalence such as formal correspondence and dynamic

equivalence (as cited in Panou, 2013, p. 2). Formal equivalence translates the

source language into the target language as close as possible. Therefore, in formal

correspondence, translating the source language is more on word-for-word

translation to minimize the corrupting message. Yet, the translation of dynamic

equivalence sounds more natural than the formal correspondence. In the dynamic

equivalence, the source language is translated through its meaning and its sense

rather than word for word.

Newmark (1988, p. 45) claims that there are two equivalence translations

such as semantic translation and communicative translation. He puts it in the V

diagram as shown in Figure 2.1.


9

Figure 2.1 Newmark’s V Diagram

From Figure 2.1, Newmark (1988) shows that semantic translation is

translated into the source language semantically or literally. In other words,

semantic translation is similar to Nida’s (1969) theory of formal correspondence

which translates the source language into the target language as close as possible.

On the other hand, Figure 2.1 shows that Newmark (1988) tries to explain that

communicative translation is the source language that is translated into the target

language idiomatically. It is also similar to Nida’s (1969) theory of dynamic

equivalence which is translating the source language into the target language as

natural as possible. Therefore, the target language will sound naturally.

Almost similar to Nida’s and Newmark’s theories of translation

equivalence, Larson (1984) defines that “translation fall on a continuum from very

literal, to literal, to modified literal, to near idiomatic, to idiomatic, and then may

even moves on to be unduly free” (p. 17). The explication is illustrated in Figure

2.2.

very modified inconsistent near unduly

literal literal literal mixture idiomatic idiomatic free

TRANSLATOR’S GOAL

Figure 2.2 Larson’s Types of Translation

SL Emphasis TL Emphasis

Word-for-word translation Adaptation

Literal translation Free translation

Faithful translation Idiomatic translation

Semantic translation Communicative translation


10

From Figure 2.2, Larson (1984, p. 16) presumes that literal translation

consistently err in choosing literal equivalents of the words, especially in

translating idioms, figures of speech, etc. The result of the translation will be

unnatural, unclear, and nonsensical. For example, an English idiom, “do not count

your chicken before they hatch”, is translated into Indonesian as “jangan hitung

anak ayammu sebelum mereka menetas.” For Indonesian listeners, the translation

does not deliver the meaning of the source language. The proper translation for

the idiom is “jangan terlalu berharap pada sesuatu sebelum hal tersebut menjadi

nyata.”

Larson (1984) also explains that a truly idiomatic translation does not

sound like a translation because it uses natural forms of the receptor language. For

example, “she is a good woman” will not be translated into Indonesian as “dia

adalah wanita yang bagus”. It is better if the translation is translated as “dia

adalah wanita yang baik.”

Larson (1984) generalizes that unduly free is considered as an

unacceptable translation.

Unduly free translations are not considered acceptable translations for

most purposes. Translations are unduly free if they add extraneous

information not in the source text, if they change the meaning of the source

language, or if they distort the facts of the historical and cultural setting of

the source language text. It is not acceptable as normal translations (p. 17).

3. Theories of Idiom

a. Definition of Idioms

The definition of idioms almost similar to slang. Idiom, according to Lazar

(2006, p. 3), is a group of words that the meaning cannot be derived from the


11

meaning of each word that makes them up. For the example is an English idiom

“let the cat out of the bag”. The translator cannot translate the idiom as “biarkan

kucing itu keluar dari tas”. Idiom “let the cat out of the bag” means “to tell a

secret by mistake”. Besides, Cooper elaborates that the meaning of an idiom

cannot be derived from the meaning of its constituent elements (as cited in

Sulistyaningrum, 2013). Baker (1992) has similar explication with Lazar and

Cooper and defines that idioms have meanings that cannot be deduced from their

individual components. However, Allan and Burridge (2006) defines slang as

colloquial, contemporary, and informal words or phrase. For the example is an

Australian slang “catch you later” which means “goodbye”.

b. Characteristics of Idioms

Baker (1992) claims the characteristics of idiom that “The more difficult

an expression is to understand and the less sense it makes in a given context, the

more likely a translator will recognize it as an idiom” (p. 65).

c. Types of Idioms

Idioms are categorized into several types. According to Hockett (1958, p.

310), there are six types of idioms. The types are discussed further in the

following sections.

1) Substitutes

A substitute includes anaphoric substitutes and numbers. According to

Hockett (1958), “Anaphoric substitutes are almost by definition of forms which

turn up in each new context with a new idiomatic value” (p. 310). For example is

a sentence “he did not eat the foods.” The readers do not know exactly who is


12

“he.” It can be a human or perhaps an animal. Sulistyaningrum (2013) notes the

pronouns “I, you, he/she” can be the same idiom if they refer to the same person.

Besides, Hockett (1958) points out that a similar variation of specific reference

can be shown by numbers. For instance, the answer “seven” can be given to some

questions such as “how many pens do you have?” and “what time is it?”

2) Proper Names

According to Hockett (1958) naming is certain recurrent idiom-creating

events in all human communities. Everything is named in order to give an identity

or a label. Proper names are not translated because it is a label. For example, there

is an actor in the movie whose name is Jack. Translators cannot translate his name,

Jack, as “a device for raising heavy objects off the ground”. The translation of the

name “Jack” should still be “Jack” because it is a label. According to Newmark

(1988), “Translation label is a provisional translation, usually of a new

institutional term, which should be made in inverted comas which can later be

discreetly withdrawn. It could be done through literal translation, thus: 'heritage

language', Erbschafisspracke, tangue d heritage” (p.90).

3) Abbreviation

Abbreviation is the use of part of word(s) for a whole. According to

Hockett (1958), there are different patterns of idiom abbreviation. The patterns are

replacing the long words or phrasal compounds by its initial, syllable, stressed,

whether or not the syllable has been a morpheme previously. For example, the

word “cello” is an abbreviation from the word “violoncello”.


13

4) English Phrasal Compounds

Compounds according to Carstairs-McCarthy (2002, p. 59) are words

which are formed by combining roots and much smaller category of phrasal words.

Although compounds have internal structure of phrases but their function is as

words. Besides, Dobrovolsky & O’Grady (1989) declare, “In English, compounds

can be found in all the major lexical categories－nouns (dropstop), adjectives

(winedark), and verbs (stagemanage)－but nouns are by far the most common

type of compounds” (p. 103).

a) Compound Nouns

The first one is compound nouns. Carstairs-McCarty (2002, p. 62) states

that compound nouns can be formed by compounding verb-noun (VN),

noun-noun (NN), adjective-noun (AN), and preposition-noun (PN). The examples

of each structure are illustrated in Table 2.1.

Table 2.1 Structure of compound nouns according to Carstairs-McCarty

b) Compound Adjectives

The next is compound adjectives. Carstairs-McCarty (2002, p. 61)

classifies the compound adjectives into three parts such as noun-adjective (NA),

No. Structure of Compound Nouns Examples

1. verb - noun (VN) swearword, drophammer, playtime

2. noun - noun (NN) hairnet, mosquito net, butterfly net, hair restorer

3. adjective - noun (AN) blackboard, greenstone, faintheart

4. preposition - noun (PN) in-group, outpost, overcoat


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adjective-adjective (AA), and preposition-adjective (PA). The examples of each

structure are illustrated in Table 2.2.

Table 2.2 Structure of compound adjectives according to Carstairs-McCarty

c) Phrasal Verbs

The last type is compound verbs. McArthur (1973, p. 9) claims that a

phrasal verb is the combination of a simple verb and one of a number of particles.

It is called phrasal because it looks like a phrase rather than a single word, but the

function is as a single word. Besides, McCarthy & O’Dell give the structures of

phrasal verbs as illustrated Table 2.3 (as cited in Sulistyaningrum, 2013, pp.

19-20).

Table 2.3 Structure of phrasal verb according to McCarthy & O’Dell

No. Classification of Compound Adjectives Examples

1. noun - adjective (NA) sky-high, coal-black, oil-rich

2. adjective - adjective (AA) grey-green, squeaky-clean, red-hot

3. preposition - adjective (PA) underfull, overactive

No. Structure of Phrasal Verbs Examples

1. verb + adverbial particle give in

2. verb + preposition came across

3. verb + adverbial particle + preposition run out of

4.

verb + object + adverbial particle /

verb + adverbial particle + object

bring a child up /

bring up the child


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5) Figures of Speech

Figures of speech, according to Wren & Martin (1981), are “A departure

from the ordinary form of expression in order to produce a greater effect” (as cited

in Sulistyaningrum, 2008, p. 20). Moreover, Hockett (1958, p. 317) figures out

that figures of speech deal with idioms and patterns of idiom formation. In this

research, the researcher only analyzes four kinds of figures of speech. They are

simile, metaphor, personification, and hyperbole. The following section explains

the four kinds of figures of speech.

a) Simile

Simile is two different things which are compared to show a similarity.

Based on Lazar (2006, p. 3), simile is a comparison between two things which

resemble each other in at least one way, although they are different. A similar

definition also comes from Abrams (1999, p. 97) who points out that simile is a

comparison between two different things that are indicated by the word “like” or

“as”, e.g. “as red as a rose”; “my book is so thick like a dictionary”.

b) Metaphor

Metaphor has a definition that almost similar to simile because it compares

two different things. According to Lazar (2006, p. 3), metaphor is a comparison

between two different things that identifies one thing with another. Besides,

Abrams (1999, p. 97) adds that there is no comparison word between two things.

For example, “you are my home”.


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c) Personification

Personification is the language style to make an inanimate object do as an

animate. It is supported by Abrams’s (1999) explication of personification.

Another figure related to metaphor is personification, or in the Greek term,

prosopopeia, in which either an inanimate object or an abstract concept is

spoken of as though it were endowed with life or with human attributes or

feelings (compare pathetic fallacy) (p. 99).

The example of personification is an utterance “eyes speak louder than

words”. It does not mean that eyes can speak like an animate object does. It means

that someone’s honesty can be seen more through their eyes rather than their

words because mouth can tell a lie.

d) Hyperbole

Hyperbole is a language style to exaggerate an expression. Abrams (1999,

p. 120) claims that hyperbole is one of the figures of speech that uses the

extravagant exaggeration of fact or possibility. The purpose of using hyperbole is

to make a bigger effect of a statement than what it actually is. The example of

hyperbole is a sentence “I love you for a thousand years.” It is impossible that

people can live for a thousand years. Therefore, the expression is used in order to

make a bigger effect of the sentence and to show that the person will love

someone for the entire life.

6) Slang

Hockett (1958, 318) includes slang as an idiom because its idiomatic

nature of slang is clear. Slang is informal words that are used by particular group

of people. Allan and Burridge (2006) indicate slang as colloquial, contemporary,

and informal.


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Slang is a language of a highly colloquial and contemporary type,

considered stylistically inferior to standard formal, and even polite

informal, speech. It often uses metaphor and/or ellipsis, and often

manifests verbal play in which current language is employed in some

special sense and denotation; otherwise the vocabulary, and sometimes the

grammar, is novel or only recently coined (p. 69).

Allan and Burridge differentiate slang into five types (as cited in

Prihandoko, 2012). The five types of slang is explained further.

a) Fresh and Creative

Fresh and creative refer to the forming of a new informal variety of

vocabulary. There are some slang words which are already familiar in our mind

but we do not realize them because they have appeared in a long time ago and are

commonly used by people. The example of slang is the word “bae.” It refers to a

term of endearment used for romantic couple.

b) Flippant

Flippant is the slang language that is form by two words or more and do

not have a correlation with the denotative meaning. The example is “a piece of

cake”. The word “cake” in the idiom is not something eatable. On the other hand,

“a piece of cake” means something that is very easy.

c) Imitative

Imitative is a slang word that is composed by imitating the standard

English words. The example is the word “innit?” that is derived from phrase

words “isn’t it?”

d) Acronym

Acronym is a slang word that is formed by putting the initials from a group

of words or syllables. The example is the acronym “ROTFL” which stands for


18

“Roll on the Floor Laughing.” This acronym shows someone’s expression

towards something that is very funny.

e) Clipping

Clipping is one of the types of a slang that is composed by deleting some

parts of a word to be a shorter word but it still has a similar meaning. The example

is exam which is the shorter word of examination.

d. Translating Idiomatic Expressions

Not all of the idiomatic expressions can be translated literally. If the

idiomatic expressions are translated literally, the target language will sound

strange and the meaning will be nonsense. According to Baker (1992, p.72), there

are four strategies of translating idioms, those are:

1) Using an idiom of similar meaning and form.

This strategy translates an idiom from the source language into the target

language using an idiom with the same meaning and equivalent lexical items. For

an example is an idiom “to find the needle in the haystack” means “mencari jarum

di tumpukan jerami.”

2) Using an idiom of similar meaning but dissimilar form.

This strategy translates an idiom from the source language into the target

language using an idiom with the same meaning but different lexical items. For

example, “like father like son” means “buah jatuh tidak jauh dari pohonnya.”

3) Translation by paraphrase.

This strategy is used when there is no match idiom in the target language

or if the idiomatic expression in the target language seems inappropriate. For the


19

example is an English idiom “don’t count your chicken before they are hatched”

that means “jangan terlalu berharap pada sesuatu sebelum hal tersebut terjadi.”

Another example of paraphrase comes from Newmark (1988, p. 90) who claims

that paraphrase is the explanation of the meaning of a segment of a text which can

be done in a text that is poorly written, or has important implications and

omissions.

4) Translation by omission.

Translation by omission means deleting the idiom altogether in the large

text. This case can be happened because the meaning cannot be paraphrased easily

and there is no close match idiom in the target language.

B. Theoretical Framework

This study aims to answer the two research problems stated in chapter one.

In order to answer the first research question, which is “what type of idiomatic

expressions which are found in the movie script of the Inside Out (2015)?”, the

researcher use the theory of idiom according to the experts. The theory of idiom

gives the basic understanding to the readers about what idiom is. Besides, Hockett

(1958) explains the types of idiom which can be the basic theory to answer the

first research question.

The second research question is “how are the idiomatic expressions

translated in the subtitle?”. In order to answer the second research problem, the

researcher requires the theory of translation according to the experts’ opinion. In

the theory of translation, the characteristic of good translation is explained. In


20

addition, the strategy of translating the idiomatic expression according to Baker

(1992) is further discussed. To sum up, those theories are aimed to give the

understanding about how to translate the idiomatic expressions into Indonesian in

the subtitle of the Inside Out movie.


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CHAPTER III

METHODOLOGY

This chapter discusses about the methodology used in collecting the data.

There are four parts presented in this chapter, namely research method, object of the

research, research instrument and data gathering technique, and data analysis

technique.

A. Research Method

The researcher conducted a qualitative research. Qualitative research is used

because there is no statistical formula involved in this research. Ari, Jacobs, and

Sorensen (2010, p. 29) point out that qualitative research focuses on the total

picture rather than breaking it down into variables.

In order to answer the research questions stated in chapter one, the

researcher analyzed the translation of idiomatic expressions found in the dialogue

of the movie, which has been written in the form of movie script. The researcher

also compared the idioms in the movie script with the subtitle script. The movie

script used is in English and the subtitle script is in Indonesia. Therefore, the

researcher used content or document analysis. Ary, et al. (2010) claim “Document

analysis focuses on analyzing and interpreting recorded material to learn about

human behavior such as public records, textbooks, letters, films, tapes, diaries,

themes, reports, or other documents” (pp. 29-30).


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B. Object of the Study

Inside Out is a 2015 American 3D computer-animated film whose genre is

comedy-drama adventure film. The Inside Out movie lasts for 94 minutes. This

movie tells about the happy girl named Riley who has five different emotions called

Joy, Sadness, Anger, Fear, and Disgust. According to the movie, the five emotions

live in her head. The conflict of the movie begins after Riley and her parents move

from Minnesota to San Francisco. She really does not like her new surrounding but

she has to deal with it. She becomes very sensitive to everyone. Therefore, the five

emotions have an important role in changing Riley’s good behavior back as she

grows older.

This movie was chosen because it is acceptable for all ages and does not

contain of any negative scenes. It also educates people through its implicit

explanations of someone’s psychological which can be useful information. The

most important reason is that this movie contains many idiomatic expressions.

C. Type and Source of Data

In analyzing the research, the researcher used document analysis. This

research used two sources of data, which are:

1. Human

Human instrument will be the researcher itself. The researcher will be the

one who watch the movie and analyze the documents. According to Creswell

(2007), the researcher as a key instrument is one of the characteristics of qualitative

research (as cited in Sulistyaningrum, 2013).


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2. Scripts

The second instrument of this study is the movie script and the subtitle script.

The movie script is printed based on the spoken dialogue used in the movie.

Meanwhile, the subtitle script is in Indonesian which is downloaded from

www.blu-ray.com. Those documents were used in order to answer the research

questions.

D. Data Gathering Technique

In gathering the data, the researcher listed the idiomatic expressions found

in the movie script. After being listed, the types of idiomatic expressions were

categorized using Hockett’s (1958) theory. After that, the translation strategies

were discussed using Baker’s (1992) theory.

E. Data Analysis Technique

Creswell (2007) states that there are three analysis strategies in qualitative

research such as preparing and organizing the data, coding, and representing the

data (as cited in Sulistyaningrum, 2013).

In analyzing the data, the researcher watched the movie first. After watching

the movie, the researcher printed out the movie script (target language) and the

Indonesian subtitle script (source language). The printed documents made the

analysis easier through highlighting the idiomatic expressions found in the subtitle.

The researcher also matched them to the Indonesian subtitle. The idiomatic


24

expressions found will be checked through many sources in order to convince

whether the translation is correctly translated or not.

After finding the idiomatic expressions, the researcher tried to answer the

research problems by categorizing the type of idioms and the strategies in

translating the idiomatic expressions. In order to categorize the data, the researcher

did a process of coding. According to Ary, et al. (2010, p. 463), “Open coding deals

with labeling and categorizing phenomenon in the data.” In categorizing the type of

idioms, the researcher categorized the data into six categories based on Hockett’s

theory. After that, the researcher categorized the strategies that are used in

translating the idiomatic expressions based on Baker’s theory. After all the data

were categorized and checked, the researcher counted the frequency and the

percentage of the findings.

After getting the result of the data, the researcher presented the data by

combining the tables and the discussions. The tables can give the illustration of how

the data are gathered and analyzed.


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CHAPTER IV

RESEARCH FINDINGS AND DISCUSSION

In this chapter, the researcher discusses the findings for answering the

research problems. The problems are answered based on the findings and related

theories. There are two parts in this chapter. The first part discusses about the types

of idiomatic expressions used in the Inside Out movie. Besides, the second part of

this chapter discusses how the idiomatic expressions are translated into Indonesian.

A. Types of Idiomatic Expressions Used in the Inside Out movie

This part explains about the answer of the first research question, i.e. the

types of idiomatic expressions used in the Inside Out movie. The findings are

classified according to Hockett’s theory of idiomatic expressions. Based on the

findings, there are 465 idiomatic expressions found from the script of the movie.

The list of the classifications of the types of idiomatic expressions is attached on the

Appendix A. Table 4.1 illustrates the types of idiomatic expressions found in the

Inside Out movie.


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Table 4.1 Types of Idiomatic Expressions

No. Types of Idiomatic Expressions Frequency Percentage

1. Substitute 0 0%

2. Proper Names 108 23.2%

3. Abbreviations 2 0.4%

4. English Phrasal Compounds 202 43.4%

5. Figures of Speech 44 9.5%

6. Slang 109 23.5%

TOTAL 465 100%

The findings show that English phrasal compounds are the most commonly

used type of idiomatic expressions in the movie and get 43.4%. Slang, proper

names, figures of speech, abbreviations, and substitutes come after English phrasal

compounds. Substitute has the least percentage because the data is not found in the

script of the movie.

The findings will be discussed further in the following by giving the sample

of each category of the types of idiomatic expressions from the movie script. For

additional information, the meanings of the words in the examples below are taken

from Oxford dictionary.

1. Proper Names

There are five proper names found in the movie’s script. Yet, those names

are mentioned 108 times. The percentage of proper names is 23.2%. Table 4.2

shows the proper names found in the Inside Out movie.


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Table 4.2 Proper Names

Those are the characters in the Inside Out movie which are named based on

their own characteristic. Sadness always feels sad; Joy always feels happy; Fear

always feels fearful; Disgust always feels disgusted, and Anger always gets angry

easily. They live in Riley’s head and play the role as Riley’s moods.

Based on the subtitle, the translation of those names are only written in the

bracket (shown in Table 4.2) and only shown in the first time when each name is

spelled.

The proper names found in the movie are not translated into Indonesian

because they are a ‘brand’ which refers to identities and it should not be translated.

If they are translated into Indonesian, the meaning of the names will not change, but

it will change the sense of the translation while the audience who watch the movie.

Newmark (1988) has an explication of translation label.

Translation label is a provisional translation, usually of a new institutional

term, which should be made in inverted comas which can later be discreetly

withdrawn. It could be done through literal translation, thus: 'heritage

language', Erbschafisspracke, tangue d heritage (p.90).

Besides, Hockett (1958) defines a proper name is a symbol or an identity of

human or even a thing.

No.

Names

Frequency Script Subtitle

1. Joy Joy (kegembiraan) 59 2. Sadness Sadness (kesedihan) 38 3. Anger Anger (kemarahan) 5 4. Disgust Disgust (jijik) 3 5. Fear Fear (ketakutan) 3

TOTAL 108


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A proper name or proper noun is a symbol which designates an entity of

which there is only one. It should be clear from our discussion that in actual

languages there are no forms which can be so described, save possibly

through pure accident (p.312).

In other words, proper name is a symbol or an identity that the meaning

cannot be translated.

2. Abbreviations

According to Hockett (1958), abbreviation can be done by “replacing a long

word or phrasal compound by its first, or its stressed, syllable, whether or not that

syllable has previously been a morpheme” (p. 314). The findings show that

abbreviations only get 0.4%. Figure 4.1 shows the subtitle excerpt of abbreviation

found in the movie.

Excerpt from 00:29:10,825 → 00:29:15,279

Daddy’s mind: Take it to DEFCON 2.

[Naikkan ke level DEFCON 2!]

Daddy’s mind: You heard that gentlemen. DEFCON 2.

[DEFCON 2.]

Figure 4.1 Abbreviation Found in the Subtitle Excerpt

From the data, “DEFCON 2” is found from the script of the movie. The

word “DEFCON” itself comes from defense readiness condition. DEFCON is the

scale to measure the alertness of the nation’s defense force. Besides, the meaning of

DEFCON 2 is high readiness; armed forces ready to deploy in six hours. Therefore,

the character in the movie said “DEFCON 2” because one of the characters in the

movie wanted to show that the battle between Riley and her daddy is very intense.


29

The translator does not translate the abbreviation “DEFCON 2” into Indonesian.

This case is explained further in the explication of Figure 4.30.

3. English Phrasal Compounds

English phrasal compounds are the most commonly-used idiomatic

expressions in the Inside Out movie. Dobrovolsky& O’Grady (1989, p. 103) state

that compound nouns, compound adjectives, and compound verbs can be found in

all the major lexical categories in English compounds. The list of the classifications

of the English phrasal compounds is attached on the Appendix B. Table 4.3

illustrates the findings of the classification of English phrasal compounds.

Table 4.3 Classifications of English Phrasal Compounds

No. Classification of

English Phrasal Compounds Frequency Percentage

1. Compound Nouns 32 15.8%

2. Compound Adjectives 1 0.5%

3. Phrasal Verbs 169 83.7%

TOTAL 202 100%

The illustration above shows that there are 202 English phrasal compounds

found in the script of the movie. Compound adjectives get the least percentage,

which is only 0.5%. On the other hand, the highest amount classification of English

phrasal compounds is phrasal verbs, i.e. 83.7%. The percentage of compound nouns

is quite different from phrasal verbs and compound adjectives that get 15.8%.

a. Compound Nouns

Carstairs-McCarty (2002) declares that the formation of compound noun

can be done by compounding verb + noun (VN), noun + noun (NN), adjective +


30

noun (AN), and preposition + noun (PN). Table 4.4 shows the structure of

compound nouns found in the script of the movie.

Table 4.4 Structure of Compound Nouns

No. Structure of

Compound Nouns Frequency Percentage

1. verb + noun 4 12.5%

2. noun + noun 25 78.1%

3. adjective + noun 3 9.4%

4. preposition + noun 0 0%

TOTAL 32 100%

From the data, the most commonly used structure of compound nouns is

noun + noun (78.1%). On the other hand, the structure of preposition + noun is not

found in the script of the movie. Meanwhile, the structure of verb + noun and

adjective + noun have almost similar number of percentages that is 12.5% and 9.4%.

Different from the research which was done by Sulistyaningrum (2013), she only

found one compound noun in her data. The structure of compound noun she found

is noun + noun from the words “worry-wart”.

These are the discussion and several excerpts that use compound nouns

from the script of the Inside Out movie.

1) Verb + Noun

The findings show the percentage of verb + noun is 12.5%. Figure 4.2

displays the use of verb + noun found in the script of the movie.

Excerpt from 01:02:36,626 → 01:02:39,561

Mom: Why did our moving van even go to Texas?

[Kenapa van pengangkut barang kita kesasar ke Texas?]

Figure 4.2 Compound Nouns Found in the Subtitle Excerpt (1)


31

The word “moving” is derived from the base verb “move”. The meaning of

“move” is “to change position of something” (“move”). Meanwhile, the meaning of

“van” is “a covered vehicle with no side windows in its back half, usually smaller

than a lorry or truck, used for carrying goods or people.” The words “moving van”

can be translated from the words that make it up. Therefore, “moving van” means

“a large van used for moving furniture from a house to another.” In Figure 4.2, the

translator translates the words “moving van” as “van pengangkut barang.”

Although the word “van” is not translated, yet the whole meaning of “moving van”

in the target language is acceptable.

2) Noun + Noun

This research finds that the structure of noun + noun is the highest structure

of compound noun used in the movie. The findings show the percentage of noun +

noun is 78.1%. Figure 4.3 displays the use of noun + noun found in the script of the

movie.

Excerpt from 00:08:26,095 → 00:08:28,962

Joy: What? Let’s review the top 5 daydreams.

[Apa?! Mari kita lihat 5 isi pikirannya.]


The word “day” has several meanings: 1) “a period of 24 hours”, 2) “the

time between when it comes light in the morning and when it becomes dark in the

evening”, and 3) “the hours of the day when you are awake, working, etc” (“day”).

Moreover, “dreams” is the plural form from “dream” which means “a series of

images, events, and feelings that happen in your mind while you are sleep”


32

(“dream”). Meanwhile, the meaning of “daydreams” is quite different from the

meaning of “dreams” itself. “Daydreams” means “a series of images, events, and

feelings that happen in your mind while you are awake” (“daydream”). The

translator translates the word “daydreams” as “isi pikiran.” In other words, the

target language of “daydreams” in Figure 4.3 is equivalent to its meaning in source

language.

3) Adjective + Noun

The data shows that the percentage of adjective + noun from compound

nouns is 9.4%. Figure 4.4 displays the use of verb + noun found in the script of the

movie.

Excerpt from 00:21:57,292 → 00:21:59,577

Dad: Have a great day, sweetheart.

[Semoga harimu menyenangkan, sayang.]


The word “sweet” means “containing, or tasting as if it contains, a lot of

sugar” (“sweet”). Besides, it also has a meaning “something pleasant” (“sweet”).

Moreover, the connotation meaning of “heart” which related to feelings or

emotions is “the place in a person where the feelings and emotions are thought to be,

especially those which connected with love” (“heart”). Therefore, from the context,

“sweetheart” can be concluded as “a way to call someone in order to show

affection.” In Figure 4.4, the translator translates the word “sweetheart” as

“sayang.” It is acceptable because “sayang” is the term of endearment that is

mostly used by Indonesian people to show affection.


33

b. Compound Adjectives

Carstairs-McCarty (2002, p. 61) classifies the compound adjectives into

three parts such as noun-adjective (NA), adjective-adjective (AA), and

preposition-adjective (PA). The data shows that compound adjective has the least

percentage of English phrasal compounds. Based on the data, only one compound

adjective found and it gets 0.5%. Figure 4.5 shows the compound adjective found in

the script of the movie.

Excerpt from 01:20:07,204 → 01:20:08,378

Mom: Oh, we were worried sick.

[Oh, kami sangat kuatir.]

Figure 4.5 Compound Adjective in the Subtitle Excerpt

The word “worried” is derived from the base verb “worry.” The meaning of

“worry” is “thinking about unpleasant things that have happened or that might

happen and therefore feeling unhappy and afraid” (“worry”). Meanwhile, based

on the context, “sick” in Figure 4.5 does not mean “physically or mentally ill” but

“extremely” Therefore, the words “worried sick” are categorized as a compound

adjective that has a structure of adjective + adjective. Its meaning is “to be

extremely worried.” The translator translates the source language, “worried sick”,

as “sangat kuatir.” The translation contains of natural lexical choices of the target

language.

c. Phrasal Verbs

Based on the findings, phrasal verbs are a compound that is mostly used in

the Inside Out movie that gets 83.7%. The amounts of phrasal verbs found from the


34

script of the movie are 169. There are four structures of phrasal verbs according to

McCarthy & O’Dell (2004, as cited in Sulistyaningrum, 2013, pp. 19-20). The four

structures of phrasal verbs are shown in Table 4.5.

Table 4.5 Structure of Phrasal Verbs

No. Structure of Phrasal Verbs Frequency Percentage

1. verb + adverbial particle 102 60.4%

2. verb + preposition 21 12.4%

3. verb + adverbial particle + preposition 11 6.5%

4. verb + object + adverbial particle /

verb + adverbial particle + object 35 20.7%

TOTAL 169 100%

From the data, the most commonly used structure of phrasal verbs is verb +

adverbial particle. On the other hand, verb + adverbial particle + preposition gets

the least percentage than the verb + preposition and verb + object + adverbial

particle. Similar to the research which was done by Sulistyaningrum (2013), she

also found verb + adverbial particle as the highest structure of phrasal verbs used in

the Yes Man movie, which is 59%. Besides, the structure of verb + adverbial

particle + preposition also gets the least percentage than the verb + preposition and

verb + object + adverbial particle.

These are the discussion and several excerpts that use compound verbs

from the script of the Inside Out movie.

1) Verb + Adverbial Particle

This research found verb + adverbial particle as the highest structure of

phrasal verbs used in the movie. The findings show the percentage of verb +

adverbial particle is 60.4%. Figure 4.6 displays the use of verb + adverbial particle

found in the movie.


35

Excerpt from 00:03:03,644 → 00:03:04,650

Fear: NO, LOOK OUT!

[AWAS!]

Figure 4.6 Compound Verbs Found in the Subtitle Excerpt (1)

The verb “look” is defined as “turning eyes in a particular direction”

(“look”). Meanwhile, the word “out” itself has several functions as adverb,

preposition, noun, adjective, and verb. Yet, “out” in Figure 4.6 has a function as

adverbial particle because it does not need an object as a complement. The meaning

of “look out” is “to try to avoid something bad happening or doing something bad”.

The translator translates the words “look out” as “awas.” In translation, it is an

acceptable translation because the word “awas” also means “the expression to

avoid something bad from happening.”

2) Verb + Preposition

Sulistyaningrum (2013) states that preposition is a word which shows the

connection between one thing to another. Besides, it always has an object. Figure

4.7 shows the second structure of phrasal verb, which is verb + preposition found in

the movie.

Excerpt from 00:32:48,953 → 00:32:52,355

Joy: We’ll just go across Friendship Island.

[Kita akan melintasi Pulau Persahabatan.]


The verb “go” is defined as “to move or travel from one place to another”

(“go”). Meanwhile, “across” means “from one side to another side of something”


36

(“across”). “Across” in Figure 4.7 is considered as a preposition because “across”

has an object and it does not stand alone. The object of the utterance is “Friendship

Island.” Therefore, the meanings of the words “go across” is “through” or “go from

one side to another side.” In Indonesia, the meaning of “go across” is

“menyeberangi” or “melintasi.” It is similar to the target language that is chosen

by the translator.

3) Verb + Adverbial Particle + Preposition

This research found verb + adverbial particle + preposition as the lowest

structure of phrasal verbs used in the movie. The findings show the percentage of

verb + adverbial particle + preposition is only 6.5%. Figure 4.8 displays the use of

verb + adverbial particle found in the movie.

Excerpt from 00:14:10,159 → 00:14:15,279

Joy: When Riley laughed so hard, milk came out of her nose.

[Riley tertawa terbahak-bahak, hingga minuman

susunya keluar dari hidungnya.]


From Figure 4.8, it shows that the words “came out of” has an “out” as a

particle and an “of” as a preposition. Since there is a preposition in this structure,

the structure still needs an object as a complement. The object of this structure

refers to “her nose.” The meaning of this phrasal verb can be interpreted from the

words that make it up. Thus, “come out of” means “to be removed from a place it is

fixed.” The translator translates the source language, “came out of”, as “keluar

dari.” The translation contains of natural lexical choices of the target language.


37

4) Verb + Adverbial Particle + Object

O’Dell and McCarthy (2004, as cited in Sulistyaningrum, 2013), point out

that if an adverb particle has an object, the object can be placed between a verb and

an adverb particle (verb + object + adverb particle). On the other hand, if the object

is a noun phrase, the object is placed after an adverb particle (verb + adverb particle

+ object). Figure 4.9 shows the use of those structures found in the script of the

movie.

Excerpt from 00:41:48,302 → 00:41:50:866

Mind worker: I’m going to turn it on and burn out the gunk.

[Aku akan menyalakannya dalam semenit dan

membakar pikiran bodoh.]


The object of the phrase “turn it on” in the example above is a pronoun, “it.”

Since the object is a pronoun, the object is placed between verb and adverb particle.

Therefore, the structure of “turn it on” becomes verb + object + adverb particle. The

words “turn it on” mean “start to operate something.” Thus, the translator translates

the phrase “turn it on” as “menyalakan.”

The second compound verb is “burn out the gunk.” The phrase “burn out”

means “to burn something.” Meanwhile, the phrase “the gunk” means “any

unpleasant, sticky or dirty substance” (“gunk”). The object of “burn out the gunk”

in the example above is a phrase, “the gunk”, that is placed after the adverb particle.

Thus, the structure of “burn out the gunk” is verb + adverb particle + object. In the

subtitle, “the gunk” is translated as “pikiran bodoh.” Therefore, the translator

translates the whole meaning of “burn out the gunk” is “membakar pikiran bodoh.”


38

4. Figures of Speech

From the findings, the percentage of figures of speech is 9.5%. There are

four figures of speech analyzed from the script of the movie such as metaphor,

hyperbole, simile, and personification. Table 4.6 shows the figures of speech found

in the Inside Out movie.

Table 4.6 Types of Figures of Speech

No. Types of Figures of Speech Frequency Percentage

1. Metaphor 12 27.2%

2. Hyperbole 24 54.6%

3. Simile 3 6.8%

4. Personification 5 11.4%

TOTAL 44 100%

The data shows that hyperbole is one of figures of speech that mostly used

in the movie and gets 54.6%. Metaphor also has high percentage, 27.2%. On the

contrary, personification has low percentage, 11.4%, and ranked third. The least

percentage of figures of speech found in the movie is personification, which only

gets 6.8%. The followings are the discussion and the excerpt of figures of speech

from the findings.

1) Metaphor

According to Lazar (2006, p. 3), metaphor is a comparison between two

different things that identifies one thing with another. Figure 4.10 shows the use of

metaphor found in the movie.

Excerpt from 00:33:32,730 → 00:33:34,061

Joy: You are my map.

[Kau jadi petaku.]

Figure 4.10 Metaphor Found in the Subtitle Excerpt


39

What is meant by “map” in Figure 4.10 is not literally a map which shows a

direction. The “map” refers to the character named Sadness. Joy, one of the

characters in the movie, said “you are my map” to Sadness because Sadness said

that she knows the way back to the headquarters. Therefore, Sadness is considered

as a map. The translation of this metaphor is similar to the words that make it up,

“kau jadi petaku.”

2) Hyperbole

Abrams (1999, p.120) claims that hyperbole one of the figures of speech

that uses the extravagant exaggeration of fact or of possibility. Figure 4.11 shows

the use of metaphor found in the script of the movie.

Excerpt from 00:35:36,133 → 00:35:36,327

Mind Workers: It just plays in Riley’s head over and over again like a

million times.

[Memori ini akan diingat Riley berjuta-juta kali.]

Figure 4.11. Hyperbole Found in the Subtitle Excerpt

The utterance “it just plays in Riley’s head over and over again like a

million times” is the expression to exaggerate something. The character uses the

words “a million times” in order to make bigger effect of the expression and to

show that the commercial gum often appears in Riley’s mind. The translator

translates this hyperbole utterance as “memori ini akan diingat Riley berjuta-juta

kali.” This example is explained further in the explication of Figure 4.28.


40

3) Simile

Lazar (2006, p.3) defines that simile is a comparison between two things

which resemble each other in at least one way, although they are different. The

use of simile found in the script of the movie is shown in Figure 4.12.

Excerpt from 00:16:10,490 → 00:16:12,589

Anger: I saw a really hairy guy. He looked like a bear.

[Aku pernah lihat pria gondrong. Dia mirip beruang.]

Figure 4.12 Simile Found in the Subtitle Excerpt

The subtitle excerpt “he looked like a bear” uses the word “like” as a

comparison in order to compare “he” with “a bear.” It proves that simile is applied

in the utterance. The word “he” refers to the hairy guy who physically looks like a

bear. The simile “he looked like a bear” is translated as “dia mirip beruang.”

4) Personification

Abrams (1999), claims personification as, “An inanimate object or an

abstract concept is spoken of as though it were endowed with life or with human

attributes or feelings” (p. 99). The use of personification found in the script of the

movie is shown in Figure 4.13.

Excerpt from 00:11:43,334 → 00:11:46,477

Riley: Oh, yeah. The spoon stood up in the soup by itself.

[Sendoknya berdiri sendiri di atas piring.]

Figure 4.13 Personification Found in the Subtitle Excerpt

The thing “spoon” is non-human thing. Yet, it is said that “the spoon” can

stood up by itself which is can be done only by human or living thing. Thus, the


41

utterance is included as personification. The translator translates the utterance in the

Indonesian idiom as “sendoknya berdiri sendiri di atas piring.”

5. Slang

Allan and Burridge (2006, p. 69) point out that slang is a language which are

colloquial, temporary, and even informal. There are five types of slang based on

Allan and Burridge (2006, as cited in Prihandoko, 2012). They are fresh and

creative, clipping, imitative, flippant, and acronym. Table 4.7 shows the percentage

of the types of slang found in the script of the movie.

Table 4.7 Types of Slang

No. Types of Slang Frequency Percentage

1. Fresh and Creative 20 18.3%

2. Clipping 52 47.8%

3. Imitative 20 18.3%

4. Flippant 16 14.7%

5. Acronym 1 0.9%

TOTAL 109 100%

Based on the findings, slang is spoken 109 times in the movie. Meanwhile,

clipping is the most commonly used type of slang and gets 47.8%. Besides, fresh

and creative; and imitative get equal percentage of 18.3%. The percentage of

flippant is 14.7%, comes after clipping; fresh and creative; and imitative. However,

acronym gets the least percentage which is only 0.9% because it is only spoken

once in the movie.

The findings are discussed further in the following sections in order to show

the readers how the idiomatic expressions are classified as slang.


42

1) Fresh and Creative

One of the types of slang is a language which is fresh and creative. Allan

and Burridge (2006, as cited in Prihandoko, 2012) claim that fresh and creative

refer to the forming of a new vocabulary which has lack of formality and

politeness. The use of this type of slang is shown in Figures 4.14 and 4.15.

Excerpt from 00:06:27,614 → 00:06:30,882

Riley : Good night, kiddo.

[Selamat malam, Nak.]

Dad : Good night, Dad.

[Selamat malam, Yah.]

Figure 4.14 Slang Found in the Subtitle Excerpt (1)

The first example is the word “kiddo.” From the example above, the word

“kiddo” is a modification from the word “kid” which means “a child or a young

person.” “Kiddo” is informal language and it is classified as slang. Besides, it is

categorized as fresh and creative slang because it forms a new vocabulary but

informal variety. The word “kiddo” is translated into Indonesian as “nak.”

Excerpt from 00:41:50,899 → 00:41:54,112

Bing Bong : What did I tell ya. You'll be in Headquarters

in no time.

[Apa yang aku bilang. Kau akan sampai ke

markas.]


The second example is a word “ya.” “Ya” comes from the word “you”

which means “a subject or an object of a verb or after a preposition to refer to the

person or people being spoken or written to.” From Figure 4.15, “you” becomes “ya”


43

only when it is spoken, not written. It shows informality and is included as slang. In

the subtitle, excerpt as shown in Figure 4.15, the translator omits the translation of

the word “ya.” Yet, the omission does not change the meaning of the whole

utterance. In other words, the translation is still acceptable and understandable.

2) Clipping

The second type of slang is clipping. Allan and Burridge (2006, as cited in

Prihandoko, 2012) state that clipping is one of the types of slang which is done by

deleting some parts of a word to make it shorter but still has a similar meaning

with the original one. Figures 4.16 and 4.17 show the use of clipping found in the

script of the movie.

Excerpt from 00:10:52,536 → 00:10:56,203

Dad: You're the best. Thanks hon.

[Kaulah yang terbaik. Terimakasih, Sayang.]


The word “hon” in Figure 4.16 is the shortness of the word “honey”. The

word “honey” is a term of endearment in English that means “the way of

addressing somebody that you like or love.” Similar to the meaning of the word

“sweetheart” in Figure 4.4, the word “honey” is translated into Indonesian as

“sayang”.

Excerpt from 01:01:11,767 → 01:01:15,824

Anger: Mom and Dad got us into this mess.

[Ibu dan ayah membawa kita dalam kekacauan.]



44

There are two words of slang in Figure 4.17, “mom” and “dad.” “Mom” is the

shortness from the word “mommy” means “mother.” Meanwhile, “dad” is the

shortness from the word “daddy” means “father.” The translator translates the

word “mom” as “ibu” and “dad” as “ayah.”

Thus, the underlined words in the Figures 4.16 and 4.17 are included as

type of slang namely clipping.

3) Imitative

The third type of slang is imitative. Allan and Burridge (2006, as cited in

Prihandoko, 2012) point out that imitative is one of the types of slang which

forms a word by imitating the standard of English words. Figure 4.18 shows the

use of imitative in slang found in the script of the movie.

Excerpt from 00:09:11,297 → 00:09:13,825

Fear : We're gonna get rabies.

[Kita bisa kena rabies.]


The slang word “gonna” is the imitation of the words “going to.” However,

the meaning of “going to” in the subtitle excerpt “we’re gonna get rabies” is not

“moving from one place to another.” In the movie, Riley is moving from

Minnesota to San Francisco. Yet, Riley’s new room is dirty and there is a dead

mouse. Thus, the meanings of “going to” in the example are “can”, “will”, or

“able to”. Thus, the source language word “gonna” is translated into the word

“bisa” which refers to ability.


45

4) Flippant

The fourth type of slang is flippant. Flippant, according to Allan and

Burridge (2006, as cited in Prihandoko, 2012), is a slang formed by two words or

more which do not have correlation with the denotative meaning. The example of

flippant can be seen in Figure 4.19.

Excerpt from 00:20:50,472 → 00:20:53,763

Anger :Might come in handy. If this new school is full of boring, useless

classes.

[Sebenarnya melamun akan berguna, jika ada pelajaran

membosankan.]


The words “might come in handy” is an idiom and do not have denotative

meaning. The connotation meaning of “might come in handy” is “to be

useful/helpful especially at some time in future.” Anger, the character in the movie,

uses that slang because he wants to tell Joy that the daydreaming can be useful for

Riley in the class. The translator translates the words “might come in handy” as

“akan berguna.” In other words, the target language of “might come in handy” in

Figure 4.19 is equivalent to its meaning in the source language.

5) Acronym

The last type of slang according to Allan and Burridge (2006, as cited in

Prihandoko, 2012) is acronym. They state that acronym is a slang word that is

formed by putting the initials from a group of words or syllables. In the movie’s

script, there is only one acronym found. It can be seen in Figure 4.20.


46

Excerpt from 00:18:16,894 → 00:18:18,657

Joy : Looks like we're going into R E M.

[Sepertinya Riley hampir tertidur.]


“R E M” in the subtitle excerpt is the acronym of “Rapid Eye Movement.”

The meaning of “Rapid Eye Movement” is a sleep state. In the movie, Riley is

going to sleep. Therefore, the meaning of what Joy said is “they are going to

sleep.” In Indonesia, the words “are going to sleep” means “akan tidur.” Yet, the

translator translates them as “hampir tertidur.” Actually, the meaning of “akan

tidur” and “hampir tertidur” in the context of the movie is almost similar.

Therefore, the source language is equivalent to its meaning in target language.

B. How the Idiomatic Expressions are Translated into Indonesian

This part discusses about the answer of the second research problem, which

is the strategy of translating the idiomatic expressions used in the Inside Out movie.

The data is analyzed based on Baker’s theory in translating idiomatic expressions.

Baker (1992) claims that there are four strategies in the idiomatic expressions

translation. The strategies are paraphrase; omission; using an idiom of similar

meaning and form; and using an idiom of similar meaning but dissimilar form.

However, there are five names who are categorized as “proper names”

based on Hockett’s (1958) theory of the types of idiom. The strategy in translating a

label is not covered by Baker’s theory of translating idiomatic expressions. Thus,

the researcher added Newmark’s (1988) theory of translating label in analyzing the

strategy of translating the idiomatic expressions.


47

Table 4.8 illustrates the strategies of translating idiomatic expressions found

in the Inside Out movie.

Table 4.8 Strategies of Translating Idiomatic Expressions

No. Strategies of Translating

Idiomatic Expressions Frequency Percentage

1. Paraphrase 267 57.5%

2. Omission 12 2.6%

3. Using an idiom of similar meaning and

form 81 17.5%

4. Using an idiom of similar meaning but

dissimilar form 2 0.4%

5. Newmark’s translation label 99 21.4%

6. No change 3 0.6%

TOTAL 464 100%

In the beginning of this chapter, it has been mentioned that there are 465

idiomatic expressions found in the Inside Out movie. Yet, there are several

expressions that are only translated once. The case is shown in Figure 4.21. There is

an idiomatic expression that is spoken four times but only being translated once.

Excerpt from01:16:45,231 → 01:16:50,654

The boy :I would die for Riley.

I would die for Riley.



[Aku mau mati untuk Riley]

Figure 4.21 Effectiveness of Translation in the Subtitle Excerpt

Therefore, the findings show that there are only 464 translations of the

idiomatic expressions. However, based on the Baker’s theory in translating

idiomatic expressions, paraphrase gets the highest percentage. Paraphrase gets the


48

first rank which is 57.5%. Moreover, using an idiom of similar meaning and form

gets the second rank which is 17.5%. Then, it is followed by omission which gets

the percentage of 2.6%. The least percentage, 0.4%, is obtained by the strategy of

using an idiom of similar meaning but dissimilar form. Besides, Newmark’s theory

in translating label gets the percentage of 21.4%. In addition, there are three

idiomatic expressions which do not have any change between the languages in

target language into source language. Those expressions get the percentage of

0.6%.

Moreover, Larson’s (1984) theory of good translation is also used after

analyzing the strategy of translation based on Baker’s theory. The use of Larson’s

theory of good translation aims to evaluate the quality of the translation. According

to Larson (1984, p.6), there are three characteristics of good or ideal translation.

They are: 1) using the normal language of the target language; 2) communicating as

much as possible to the target language; and 3) maintaining the dynamic of the

source language. In this research, the researcher evaluates whether the translations

are acceptable or not. The translation is categorized as acceptable translation if it

has at least two of the three characteristics. On the contrary, the translation is

categorized as unacceptable translation if it has only one of the three characteristics

of an ideal translation. Table 4.9 displays the findings of acceptability of the Inside

Out’s Indonesian subtitle.

Table 4.9 Acceptability of Translations

No. Categories of Translation Frequency Percentage

1. Acceptable 437 94.2%

2. Unacceptable 27 5.8%

TOTAL 464 100%


49

From Table 4.9, it is concluded that 94.2% of the translations in the

Indonesian subtitle of the Inside Out movie are categorized as an acceptable

translation. On the other hand, there are 5.8% that are categorized as an

unacceptable translation. The list of the strategies of in translating the idiomatic

expressions and the acceptability is attached on Appendix C.

1. Paraphrase

The most commonly used strategy in translating the idiomatic expressions is

paraphrase which gets 57.5%. This strategy is used when there is no equivalent

meaning found in the target language. According to Newmark (1988, p.90),

paraphrase is the explanation of the meaning of a segment of a text and can be done

in a text that is poorly written, or has important implications and omissions.

Translating idiomatic expressions by paraphrase can be identified in each type of

idiom found in the movie except abbreviation and proper names. The findings of

paraphrase are discussed further in the following sections.

Excerpt from 00:00:51,300 → 00:00:54,068

Disgust : What is going on inside their head?

[Apa yang terjadi dalam kepalanya?]

Figure 4.22 Paraphrase in the Translation of English Phrasal Compound

Figure 4.22 shows the translation of English idiomatic expression (source

language) into Indonesian (target language) is categorized as a phrasal verb. “Going

on” is translated by paraphrase because there is no idiomatic form identified in the

translation. The translator paraphrases the meaning of “going on” as “something

that is happening.” Although there is no idiomatic form is used, the translation has


50

all the characteristics of an ideal translation. Thus, the translation is categorized as

an acceptable translation.

Excerpt from 00:08:17,155 → 00:08:20,325

Disgust : We're already been in it forever.

[Kita tak bisa naik itu selamanya.]

Figure 4.23Paraphrase in the Translation of Figures of Speech

The idiomatic expression in Figure 4.23 is categorized as hyperbole. There

is no idiomatic expression found in the translation because the translator translates

the meaning by paraphrasing. The meaning in the subtitle is not suitable with the

source language and becomes non-sense. The meaning should be “kita hamper

berada di sini selamanya.” The translation does not have the categories of an ideal

translation. Therefore, the translation is categorized as an unacceptable translation.

Excerpt from 00:11:24,120 → 00:11:26,767

Fear : What the heck is that?

[Apa itu?]

Figure 4.24 Paraphrase in the Translation of Slang

The expression “what the heck” is included as a slang which refers to an

impolite word. In translating the source language into the target language, the

translator omits the words and paraphrases the meaning. It is suitable and does not

change the sense of the expression. The translation has two categories of an ideal

translation, namely the normal language and communicates. Therefore, it is

included as an acceptable translation.


51

2. Omission

The findings show that translating idiom by omission gets the percentage of

2.6%. According to Baker (1992, p. 72), omission can be done because there is no

close match in the target language, its meaning cannot be easily paraphrased, or for

stylistic reasons. Translating idiomatic expressions by omission can be identified in

slang, proper names, English phrasal compounds, and figures of speech. Yet,

omission is mostly used in the translation of slang and proper names.

Excerpt from 00:31:49,120 → 00:31:50,879

Joy : What the?

[ - ]

Figure 4.25 Omission in the Translation of Slang

The words “what the” is included as a slang which refers to impolite word.

Similar to the words “what the heck” in Figure 4.24, this words aim to express

disappointment, anger, or something unpleasant feeling. In the movie, Joy said

“what the” to express her disappointment of the situation she was facing. Since this

movie is suitable for everyone, especially children, the translator omits the word

because its impolite meaning. Besides, the omission does not change the sense of

the meaning. Therefore, it is categorized as “acceptable translation.”

Excerpt from 00:12:30,799 → 00:12:32,656

Joy : That shouldn't make it change.

Fear : Oh. Change it back, Joy.

[Kembalikan lagi seperti semula.]

Figure 4.26 Omission in the Translation of Proper Names


52

In Figure 4.26, the translator omits the word “Joy” that is known as a

vocative. Although the word “Joy” is omitted, the omission does not make any

specific changes in the meaning of the target language. Besides, the translation is

still clear and natural. Thus, this translation is categorized as an acceptable

translation.

3. Using an Idiom of Similar Meaning and Form

Using an Idiom of similar meaning and form is one of the Baker’s (1992)

strategies of translating idiom. This strategy is used by applying an idiom in the

target language which has similar meaning and consists of equivalent lexical items.

Based on the data, translating idiomatic expressions by using an idiom of similar

meaning and form only gets the percentage of 17.5%. Here is the case:

Excerpt from 00:35:36,133 → 00:35:40,512

Mind Worker : It just plays in Riley’s head over and over again

like a million times.

[Memori ini akan diingat Riley berjuta-juta kali.]

Figure 4.27 Using an Idiom of Similar Meaning and Form in Figures of Speech

The figure of speech in Figure 4.27 is identified as a hyperbole. Hyperbole

uses the extravagant exaggeration of fact or of possibility. The example above

shows the hyperbole is translated by using an idiom of similar meaning and form.

The translator uses the hyperbole in the target language whose meaning and form

are similar to the SL. The translation uses the normal language forms of TL,

communicates, and maintains the dynamic of the source language. Therefore, this

translation is classified as an acceptable translation.


53

4. Using an Idiom of Similar Meaning but Dissimilar Form

Using an Idiom of similar meaning but dissimilar form only gets the

percentage of 0.4%. This strategy is used by applying an idiom in the target

language which has similar meaning but consists of different lexical items (Baker,

1992). Here is the case:

Excerpt from 00:45:29,243 → 00:45:30,461

Disgust : Luck isn't going to help us now.

[Ciuman tak akan membantu.]

Figure 4.28 Using an Idiom of Similar Meaning but Dissimilar Form in Figures of Speech

The figure of speech in Figure 4.28 is categorized as a personification.

(Abrams, 1999) states that personification is used to show an inanimate object

which is spoken of as though it were endowed with life or with human attributes

or feelings. The translator uses an idiom of similar meaning but different form of

lexical items to translate the source language into the target language. Yet, the

idiom uses in the target language is not suitable with from the source language. It

will be better if the translator translates the source language as “keberuntungan

tidak akan membantu kita saat ini.” In other words, the translation does not

maintain the dynamic of the SL and does not use the normal language of target

language. Thus, it is categorized as an unacceptable translation.

C. Another Finding

Based on the findings, there are 20.9% of proper names that are translated

by using Newmark’s translation label theory.


54

“Translation label is a provisional translation, usually of a new institutional

term, which should be made in inverted comas which can later be discreetly

withdrawn. It could be done through literal translation, thus: 'heritage language',

Erbschafisspracke, tangue d heritage” (Newmark, 1988).

Newmark’s translation label is used to translate the proper names because

Baker’s strategies in translating idioms are not able to cover this case. The

translation of the proper names is shown in Table 4.10.

Table 4.10 Translation of the Proper Names

No. Proper Names Source Language Target Language

1. Joy Joy Joy

2. Sadness Sadness Sadness

3. Fear Fear Fear

4. Disgust Disgust Disgust

5. Anger Anger Anger

Table 4.10 shows that the proper names are not translated into the target

language. The translator does not translate the proper names in order to maintain the

sense of the meaning of the proper names. Therefore, the translation is included as

acceptable translation.

Moreover, the findings also show that there are three utterances (0.7%)

which do not have any changes between the source language and the target

language. Here is the discussion:


55

Excerpt from 00:29:10,825 → 00:29:15,279

Daddy’s mind : Take it to DEFCON 2.

[Naikkan ke level DEFCON 2!]

Daddy’s mind : You heard that gentlemen. DEFCON 2.

[DEFCON 2.]

Figure 4.29 Untranslated Idioms

The definition of “DEFCON 2” has been explained in the discussion of the

abbreviation (Figure 4.1). The example shows that the translator does not change

the source language into the target language. Not all people understand the meaning

of “DEFCON 2” if it is not translated. Thus, it is categorized as an unacceptable

translation. Therefore, it will be better if the translator translates the word

“DEFCON 2” into the level of awareness in Indonesia, for instance “siaga”,

“waspada”, or “awas.”

In addition, Table 4.11 shows the types of idioms and the strategies of

translating the idioms. Findings on Table 4.11 will be useful for other translators if

they have difficulties in translating idioms.

Table 4.11 Types of Idioms and the Strategies of Translating Idioms

Strategies

Types

Paraphrase Omission

Using an Idiom

of Similar

Meaning and

Form

Using an Idiom

of Similar

Meaning but

Dissimilar

Form

Newmark’s

Translation

Label

Not

Translated

Substitutes - - - - - -

Proper Names 6 3 - - 99 1


56

Based on Table 4.11, the translator mostly uses paraphrase in translating

English phrasal compounds and slang. Meanwhile, proper names are mostly

translated using Newmark’s translation label and figures of speech are mostly

translated using an idiom of similar meaning and form. It is also showed that the

translator does not translate the abbreviation in the movie script.

Abbreviation - - - - - 2

English Phrasal

Compounds 193 1 4 - - 1

Figures of Speech 9 1 34 1 - -

Slang 59 7 43 1 - -


57

CHAPTER V

CONCLUSIONS, IMPLICATIONS, AND RECOMMENDATIONS

The last chapter consists of three parts. The first part is conclusions which

explain about the result of the research findings. The second part is

recommendation that suggests the readers regarding the problems in the research.

The last part is implication which explains the contributions of this research.

A. Conclusions

After analyzing the movie and the research findings, there are two

conclusions drawn from the research. The first conclusion deals with the first

research question, i.e. the types of idiomatic expressions found in the movie.

Hockett’s theory of idiom is used to classify the types of idioms. There are six

types of idioms according to Hockett. Those are substitutes, proper names,

English phrasal compounds, abbreviations, figures of speech, and slang. The

findings show that English phrasal compounds are the most common types of

idiomatic expressions in the movie. Slang, proper names, figures of speech, and

abbreviations come after English phrasal compounds. The last type of idiomatic

expressions found in the Inside Out movie is substitutes.

The second research question deals with the strategy in translating

idiomatic expressions found in the movie. Baker’s theory of translating idiom is

used to categorize the strategies of translating the idiom. There are four categories

of translating idioms according to Baker. The strategies are paraphrase, omission,


58

using an idiom of similar meaning and form, and using an idiom of similar

meaning but dissimilar form. The translator mostly uses the paraphrase strategy in

translating the idioms. This case can happen because English phrasal compounds

are the most commonly used type of idioms in the movie. Thus, paraphrase is

predominantly used in translating English phrasal compounds. Then, the second

strategy is the use of an idiom of similar meaning and form. Then, it is followed

by omission. The last strategy is “using an idiom of similar meaning but dissimilar

form.” In addition, the acceptability of the translation is evaluated using Larson’s

theory of ideal translation. The findings showed that most of the translations were

acceptable. On the contrary, there were 4.9% of unacceptable translations.

B. Implications

Firstly, this research aims to give contributions to the field of English

education, especially in language teaching. Idioms contain English phrasal

compounds, figures of speech, slang, abbreviations, proper names, and substitutes.

Therefore, English learners can increase their vocabularies through those things.

The increasing size of vocabularies will improve their speaking skills. Thus, they

can speak naturally as native speakers do using idioms because daily conversation

abounds in idiomatic expressions. If they have a bunch vocabulary of idioms, they

will understand what native speakers say easily. Moreover, the theory and the

strategy of translation will be very useful to be learned in Translation Class.

Secondly, the aim of this research is for practical purposes. The research of

the strategies of translating idiomatic expressions is very beneficial for translators.


59

The translators will be able to translate the idioms correctly rather than just omit

them. Sometimes, idioms give an important sense of an expression. Therefore,

applying the theories of translation and the strategies in translating idioms is very

important for translators in order to make an acceptable translation.

C. Recommendations

Firstly, the researcher recommends future researchers to conduct a study

dealing with the translation of idiomatic expressions in subtitle. The research

focuses on the idiomatic expressions used in a movie. Thus, it will be good for

future researchers to discuss the time restriction in the subtitle. Besides, the use of

idiomatic expressions in a song or a novel can be explored further. The findings of

the research can help them in doing their research. Moreover, the research will be

an interesting topic to be learnt.

The next recommendation goes to English lecturers, especially lecturers

who teach grammar, linguistics, translation, and literature. Since idioms contain

English phrasal compounds that deals with morphology, the discussion of this

research can be helpful for grammar lecturers and linguistics lecturers to teach

their students. Besides, the explications of slang and figures of speech are

beneficial for literature lecturers. Not only are the discussions of English phrasal

compounds, slang, and figures of speech useful for the lecturers, but the

discussion of the theory of translation is also beneficial for translation lecturers.

Overall, the lecturers can teach the students in many aspects of language through

idioms. Since movies, books, and songs contain idiomatic expressions, the


60

lecturers are allowed to use those media to make the teaching and learning more

interesting.

For translators, the researcher urges translators to learn more about idiom,

especially its type and its translation strategies. The findings of this research can

help them to deepen their understanding of idioms. Besides, they also need to read

translation theories from Newmark (1981), Nida and Taber (1969), Larson (1984),

and Baker (1992). Thus, their knowledge can be the basis for them to identify

idiom. Moreover, they can translate the idiom from the source language into the

target language correctly.


61

REFERENCES

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McPeek.

Allan, K., & Burridge, K. (2006). Forbidden words: Taboo and the censoring of

language. New York: Cambridge University Press.

Ary, D., Jacobs, L. C., & Sorensen, C. (2010). Introduction to research in education

(8th ed.). Belmont: Wadsworth Cegage Learning.

Baker, M. (1992). In other words: A course on translation. London: Routledge.

Carstairs-McCarty, A. (2002). An introduction to English morphology: Words and

their structure. Edinburgh: Edinburgh University Press Ltd.

Catford, J.C. (1965). A linguistic theory of translation. London: Oxford University

Press.

Dobrovolsky, M., & O’Grady, W. (1989). Contemporary linguistics: An

introduction. New York: St. Martin’s Press.

Hockett, C. F. (1958). A course in modern linguistics. New York: The Macmillan

Company.

Hornby, A. S. (1995). Oxford advanced learner’s dictionary of current English.

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Jakobson, R. (1959). On linguistic aspects of translation, p. 233. Retrieved on

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obson+linguistics+aspects+of+translation&btnG=#d=gs_qabs&p=&u=%

23p%3DG7mbQymrre0J

Larson, M. L. (1984). Meaning-based translation: A Guide to cross-language

equivalence. New York: University Press of America.

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Newmark, P. (1988). A textbook of translation. New York: Prentice Hall.

Panou, D. (2013). Equivalence in Translation Theories: A Critical Evaluation.

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November 15th, 2017 from

http://www.academypublication.com/issues/past/tpls/vol03/01/01.pdf

Prihandoko, L. A. (2012). An analysis of slang words used by the characters in

“Ramiba abd Beezus” movie. Retrieved on May 12th, 2018 from

https://digilib.uns.ac.id/dokumen/download/25082/NTMzNDg=/An-

analysis-of-slang-words-used-by-the-characters-in-Ramona-and-Beezus-

movie-sociolinguistics-approach-abstrak.pdf

Sulistyaningrum, R. (2013). Analysis on the translation of idiomatic expressions in

the subtitle of ‘Yes Man’ based on Baker’s strategies. Retrieved on

November 10th, 2017 from https://repository.usd.ac.id/5563/

Suryawinata, Z., & Haryanto, S. (2003). Translation: Bahasan teori & penuntun

praktis menerjemahkan. Yogyakarta: Penerbit Kanisius.

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nd&pg=PR11&dq=qualitative+researchers&ots=Qhtfhvbz0T&sig=EBYt

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APPENDICES


64

APPENDIX A

Classification of the Types of Idiomatic Expression

EPC : English Phrasal Compounds FS : Figures of Speech

PN : Proper Names Sub : Substitutes

Ab : Abbreviation Sl : Slang

FC (classification of slang) : Fresh and Creative

No. The Idiomatic Expressions The Types of Idiomatic Expressions

EPC PN Ab FS Sub Sl

1. 00:00:49,594 → 00:00:51,275 Do you ever look at someone and wonder

Phrasal Verb

2. 00:00:51,300 → 00:00:54,068

What is going on inside their head?

Phrasal

Verb

3. 00:01:48,982 → 00:01:55,476 Look at you.

Phrasal Verb

4. 00:02:43,712 → 00:02:45,295

I’m Sadness. √

5. 00:02:45,320 → 00:02:49, 278 I’m Joy.

√

6. 00:02:55,092 → 00:02:58,154

Headquarters only got more crowded from there.

Compound Noun

7. 00:03:03,644 → 00:03:04,650

NO, LOOK OUT!

Phrasal

Verb

8. 00:03:04,675 → 00:03:08,436 That’s Fear.

√

9. 00:03:09,738 → 00:03:11:185

Fall back!

Phrasal

Verb

10. 00:03:27,882 → 00:03:28,955

Hold on.

Phrasal Verb

11. 00:03:28,980 → 00:03:30,188

This is Disgust. √

12. 00:03:35,488 → 00:03:37,287 Or shaped like a dinosaur.

Simile

13. 00:03:35,488 → 00:03:37,287

Hold on guys.

Phrasal

Verb

14. 00:03:41,451 → 00:03:43,437 Well. I just save our lives.

Hyperbole

15. 00:03:49,731 → 00:03:51,262

That’s Anger. √

16. 00:04:21,055 → 00:04:22,771

And you met Sadness. √

17. 00:04:52,736 → 00:04:56,287 Each one come from a super important

time in Riley’s life.

Hyperbole

18. 00:04:59,571 → 00:05:01,266

Hey-hey! Would you look at that.

Phrasal

Verb

19. 00:05:24,830 → 00:05:27,722

Goofball Island is my personal favorite.

Compound

Noun

20. 00:05:27,999 → 00:05:30,589

Come back here, you little monkey!

Phrasal

Verb

21. 00:05:32,550 → 00:05:35,124

Goofball is the best.

Compound

Noun

22. 00:05:52,819 → 00:05:55,251

Look out, Blue face.

Phrasal

Verb

23. 00:06:27,614 → 00:06:30,882

Good night, kiddo. FC

24. 00:06:27,614 → 00:06:30,882

Good night, Dad. Clipping

25. 00:06:43,128 → 00:06:45,873

Let’s get those memories down to long

term.

Phrasal Verb

26. 00:07:57,652 → 00:08:02,191 Phrasal


65

It’s not made up of solid gold like we

thought.

Verb

27. 00:08:02,216 → 00:08:04,596 I sure am glad you told me earthquake are a

myth, Joy.

√

28. 00:08:14,855 → 00:08:17,130 Step on it, Daddy.

Phrasal Verb

29. 00:08:17,155 → 00:08:20,325

We’re already been in it forever. Hyperbole

30. 00:08:26,095 → 00:08:28,962 What? Let’s review the top 5 daydreams.

Compound Noun

31. 00:08:33,609 → 00:08:35,737

Joy for the last time. She cannot live in a

cookie.

√

32. 00:09:03,810 → 00:09:06,544

Can you die from moving? Hyperbole

33. 00:09:09,117 → 00:09:10,336

I’m gonna be sick. Imitative

34. 00:09:10,361 → 00:09:11,272 It’s a house of the dead. What’re we gonna

do?

Imitative

35. 00:09:11,297 → 00:09:13,825 We’re gonna get rabies.

Imitative

36. 00:09:11,297 → 00:09:13,825

Get off from me.

Phrasal

Verb

37. 00:09:15,396 → 00:09:17,681 Dad talked about how cool our new room

is.

Clipping

38. 00:09:15,396 → 00:09:17,681

Dad talked about how cool our new room is.

FC

39. 00:09:17,705 → 00:09:19,648

Let’s go check it out.

Phrasal

Verb

40. 00:09:17,705 → 00:09:19,648

It’s gonna be great. Imitative

41. 00:09:23,266 → 00:09:25,679

Get out the rubber ball.

Phrasal

Verb

42. 00:09:29,225 → 00:09:32,029

It’s the worst place I’ve been in my entire

life.

Hyperbole

43. 00:09:32,054 → 00:09:34,565 Hey, it’s nothing our butterfly curtains

couldn’t fix.

Metaphor

44. 00:09:48,644 → 00:09:50,855

Let’s go get our stuff from the moving van.

Phrasal

Verb

45. 00:09:53,317 → 00:09:55,248

The moving van won’t be here until

Thursday.

Phrasal Verb

46. 00:10:03,164 → 00:10:04,800

Mom and Dad are stress out. Clipping

47. 00:10:03,164 → 00:10:04,800

Mom and Dad are stress out.

Phrasal

Verb

48. 00:10:04,825 → 00:10:07,659

They are stress out.

Phrasal

Verb

49. 00:10:12:157 → 00:10:14,685

She’s closing in.

Phrasal

Verb

50. 00:10:16,914 → 00:10:19,437

She’s running for the shot. Phrasal verb

51. 00:10:16,914 → 00:10:19,437

Coming behind you, watch out.

Phrasal

Verb

52. 00:10:23,603 → 00:10:25,341

Come on.

Phrasal

Verb

53. 00:10:23,603 → 00:10:25,341

Grandma. Metaphor Clipping

54. 00:10:25,366 → 00:10:26,747

Grandma? Metaphor Clipping

55. 00:10:26,772 → 00:10:29,715

Oh-oh, she put her hair up.

Phrasal

Verb


66

56. 00:10:30,429 → 00:10:33,365

Put me down

Phrasal

Verb

57. 00:10:37,019 → 00:10:38,893 Sorry, hold on.

Phrasal Verb

58. 00:10:46,658 → 00:10:49,833

The investors are suppose to show up on Thursday, not today.

Phrasal

Verb

59. 00:10:52,536 → 00:10:56,203

Thanks hon. Clipping

60. 00:10:56,782 → 00:10:58,111 Dad just left us.

Clipping

61. 00:11:03,209 → 00:11:06,646

Joy. What are you doing? √

62. 00:11:24,120 → 00:11:26,767 What the heck is that?

Flippant

63. 00:11:27,923 → 00:11:31,214

Congratulation San Francisco. You ruined

pizza.

Personification

64. 00:11:43,334 → 00:11:46,477

The spoon stood up in the soup by itself. Personification

65. 00:11:43,334 → 00:11:46,477

The spoon stood up in the soup by itself.

Phrasal

Verb

66. 00:11:50,927 → 00:11:54,183

The drive out was pretty fun.

Phrasal

Verb

67. 00:11:54,208 → 00:11:55,670

Spitting out of the car window.

Phrasal

Verb

68. 00:11:55,695 → 00:11:58,370

Definitely not when Dad was singing. Clipping

69. 00:12:03,618 → 00:12:05,326

Dad. Dad. Dad. Clipping

70. 00:12:03,618 → 00:12:05,326

Honey. Metaphor

71. 00:12:05,351 → 00:12:07,144 Dad, look at the car.

Clipping

72. 00:12:05,351 → 00:12:07,144

Dad, look at the car.

Phrasal

Verb

73. 00:12:11,040 → 00:12:12,026 Nice one, Joy.

√

74. 00:12:30,799 → 00:12:32,656

Oh. Change it back, Joy. √

75. 00:12:33,966 → 00:12:35,968 Good going, Sadness.

√

76. 00:12:35,993 → 00:12:39,608

Now, when Riley thinks of that moment

with Dad, she’s gonna feel sad. Bravo.

Clipping

77. 00:12:35,993 → 00:12:39,608

Now, when Riley thinks of that moment

with Dad, she’s gonna feel sad. Bravo.

Imitative

78. 00:12:39,641 → 00:12:45,323 I’m sorry, Joy.

√

79. 00:12:45,352 → 00:12:48,300

Joy. We got a stairway coming up. √

80. 00:12:49,477 → 00:12:52,463

Just don’t touch any other memories until

we figured out what’s going on.

Phrasal

Verb

81. 00:12:53,775 → 00:12:58,954 This is the monster railing and we are

riding it all the way down.

Metaphor

82. 00:13:13,633 → 00:13:15,781 Sadness, what’re you doing?

√

83. 00:13:15,806 → 00:13:19,181

So I opened it and it fell out.

Phrasal

Verb

84. 00:13:27,981 → 00:13:30,139

Joy! √

85. 00:13:31,123 → 00:13:33,433

Sadness. You nearly touch a core memory. √

86. 00:13:52,188 → 00:13:53,908 There’s always a way to turn things

Phrasal Verb


67

around

87. 00:14:10,159 → 00:14:15,279

When Riley laugh so hard, milk came out

of her nose.

Phrasal

Verb

88. 00:14:15,304 → 00:14:16,398

Come on.

Phrasal

Verb

89. 00:14:16,423 → 00:14:19,506 It felt like fire.

Simile

90. 00:14:31,451 → 00:14:34,428

Oh. Like the time we buried Dad in the sand up to his neck.

Clipping

91. 00:14:43,048 → 00:14:46,532

There’s cool umbrellas, lightning storms. FC

92. 00:14:46,557 → 00:14:50,640 More like when the rain runs down our

back, and makes our shoe soggy.

Phrasal

Verb

93. 00:14:50,665 → 00:14:56,389

And we get all cold, shivery and everything starts feeling droopy.

FC

94. 00:15:04,470 → 00:15:09,940

Crying helps me slow down and not obsessive with the way of life’s problems.

personification

95. 00:15:29,572 → 00:15:31,878

Oh, you lucky dog. metaphor

96. 00:15:31,903 → 00:15:36,795 You’re reading these cool things, I got to go

to work.

FC

97. 00:15:48,813 → 00:15:52,250 If we can’t find investors by then, we’re

gonna have to lay people off.

Imitative

98. 00:15:48,813 → 00:15:52,250

If we can’t find investors by then, we’re gonna have to lay people off.

Phrasal

Verb

99. 00:15:52,275 → 00:15:55,500

Mom. Dad. Clipping

100. 00:16:01,296 → 00:16:04,759 Did you hear Dad? He sounded really

upset.

Clipping

101. 00:16:10,490 → 00:16:12,589 He looked like a bear.

Simile

102. 00:16:14,818 → 00:16:16,470

Ew. I don’t wanna hear about your nerves. Imitative

103. 00:16:24,860 → 00:16:26,813 I can’t believe Mom and Dad moved us

here.

Clipping

104. 00:16:41,631 → 00:16:43,087

Oh, come on.

Phrasal

Verb

105. 00:16:43,112 → 00:16:46,087

Yeah, Joy. √

106. 00:16:48,800 → 00:16:50,815

No, Joy. √

107. 00:16:50,840 → 00:16:54,081

There is absolutely no reason for Riley to

be happy right now.

hyperbole

108. 00:16:59,459 → 00:17:01,241

And we could cry until we can’t breathe. hyperbole

109. 00:17:04,045 → 00:17:05,955

Now, hold on.

Phrasal

Verb

110. 00:17:08,958 → 00:17:09,994

Honey. metaphor

111. 00:17:10,019 → 00:17:14,041

The Mom bad news train is pulling in. Clipping

112. 00:17:10,019 → 00:17:14,041

The Mom bad news train is pulling in.

Phrasal

Verb

113. 00:17:14,066 → 00:17:16,095

Still no moving van.

Compound

Noun

114. 00:17:20,081 → 00:17:22,141

Where’s Dad? Clipping


68

115. 00:17:24,248 → 00:17:26,195

I rest my case Flippant

116. 00:17:26,220 → 00:17:29,714 Your dad is a little stress, you know, about

getting his new company up and running.

Clipping

117. 00:17:26,220 → 00:17:29,714 Your dad is a little stress, you know, about

getting his new company up and running.

Phrasal

Verb

118. 00:17:45,300 → 00:17:47,277

Your Dad is under a lot of pressure. Clipping

119. 00:18:10,625 → 00:18:12,269

Well. You can’t argue with Mom. Clipping

120. 00:18:12,294 → 00:18:13,453

Can’t argue with Mom, that’s true. Clipping

121. 00:18:13,478 → 00:18:16,137

Totally behind you, Joy. √

122. 00:18:16,894 → 00:18:18,657

Looks like we’re going into R E M. Abbreviation

123. 00:20:15,401 → 00:20:18,401

I was up late last night figuring out a new

plan.

Phrasal Verb

124. 00:20:18,426 → 00:20:19,653 Fear.

√

125. 00:20:25,049 → 00:20:27,060

Disgust. √

126. 00:20:25,049 → 00:20:27,060 Make sure Riley stands out today.

Phrasal Verb

127. 00:20:27,085 → 00:20:28,419

But, also blends in.

Phrasal

Verb

128. 00:20:30,411 → 00:20:32,619

The other kids will look at their own outfits

and farf.

Phrasal Verb

129. 00:20:30,411 → 00:20:32,619 The other kids will look at their own outfits

and farf.

FC

130. 00:20:32,644 → 00:20:35,246 Joy. Yes, Joy.

√

131. 00:20:46,243 → 00:20:48,173

Anger. Unload the daydreams. √

132. 00:20:46,243 → 00:20:48,173 Anger. Unload the daydreams.

Compound Noun

133. 00:20:50,472 → 00:20:53,763

Might come in handy. Flippant

134. 00:20:55,480 → 00:20:59,229 Oh, Sadness.

√

135. 00:21:26,514 → 00:21:27,691

Attagirl. Imitative

136. 00:21:27,716 → 00:21:29,089 Alright everyone, fresh start?

Flippant

137. 00:21:42,461 → 00:21:44,394

You gonna be okay. Imitative

138. 00:21:44,425 → 00:21:46,997 Mom and Dad with us in public.

Clipping

139. 00:21:48,095 → 00:21:50,488

Nope, I’m fine. FC

140. 00:21:48,095 → 00:21:50,488 Bye Mom. Bye Dad.

Clipping

141. 00:21:57,295 → 00:21:59,577

Have a great day, sweetheart.

Compound

Noun

142. 00:22:15,203 → 00:22:17,436 We’ve got a group of cool girls at 2 o’clock.

FC

143. 00:22:30,552 → 00:22:34,073

Worst scenario is either quicksands,

Compound

Noun

144. 00:22:34,098 → 00:22:37,047 Or getting called on by the teacher.

Phrasal Verb

145. 00:22:34,098 → 00:22:37,047

As long as none of those happens. Imitative

146. 00:22:39,867 → 00:22:43,283 Phrasal


69

Are you kidding me! Out of the days! Verb

147. 00:23:17,993 → 00:23:21,303

My friend, Mag, plays forward and my dad’s the coach.

Clipping

148. 00:23:34,334 → 00:23:36,774

Hey, Sadness. √

149. 00:23:43,001 → 00:23:42,976 What’s going on?

Phrasal Verb

150. 00:23:43,001 → 00:23:44,953

Get it out of there, Joy.

Phrasal

Verb

151. 00:23:43,001 → 00:23:44,953 Get it out of there, Joy.

√

152. 00:23:52,852 → 00:23:55,618

Somebody help grab that thing. Everybody

put in…

Phrasal

Verb

153. 00:24:05,621 → 00:24:08,691

Sadness, what are you doing? √

154. 00:24:28,468 → 00:24:29,903 Joy. No.

√

155. 00:25:10,706 → 00:25:12,968

Get out you history books.

Phrasal

Verb

156. 00:25:57,647 → 00:26:00,029 Goofball Island?

Compound Noun

157. 00:26:09,464 → 00:26:11,395

We just have to get back to Headquarters.

Compound

Noun

158. 00:26:11,420 → 00:26:15,092 Plug the core memories in.

Phrasal Verb

159. 00:26:23,826 → 00:26:28,969

You’re not in Headquarters.

Compound

Noun

160. 00:26:46,818 → 00:26:50,025 So, as it turns out the green trash can is not

recycling

Phrasal

Verb

161. 00:27:00,138 → 00:27:02,566 Joy would know what to do.

√

162. 00:27:02,591 → 00:27:05,254

Until she gets back, we just do what Joy

would do.

√

163. 00:27:05,279 → 00:27:08,230

Great idea. Anger, Fear, Disgust. √

164. 00:27:20,772 → 00:27:23,582

Here, you pretend to be Joy. √

165. 00:27:23,607 → 00:27:26,637

Wouldn’t be great to be back out on the

ice?

Phrasal Verb

166. 00:27:30,726 → 00:27:32,618 That wasn’t anything like Joy.

√

167. 00:27:32,643 → 00:27:36,011

Ah…because I’m not Joy. √

168. 00:27:48,700 → 00:27:50,311 You pretend to be Joy.

√

169. 00:27:55,471 → 00:27:58,648

That was just like Joy. √

170. 00:27:58,673 → 00:28:00,549

Something is definitely is going on.

Phrasal

Verb

171. 00:28:03,111 → 00:28:04,432

We’re going to find out what’s happening.

Phrasal

Verb

172. 00:28:17,744 → 00:28:20,026

She’s looking at us.

Phrasal

Verb

173. 00:28:23,788 → 00:28:26,129

We let the toilet seat up.

Phrasal

Verb

174. 00:28:40,829 → 00:28:44,192

For this, we gave up that Brazilian

helicopter pilot?

Phrasal Verb

175. 00:28:44,217 → 00:28:46,075 Move! I’ll be Joy.

√

176. 00:28:51,655 → 00:28:53,440

Sir, she just rolled her eyes at us. Flippant

177. 00:28:54,829 → 00:28:58,167 Flippant


70

I don’t want to have to put the foot down.

178. 00:29:10,825 → 00:29:12,410

Take it to DEFCON 2. √

179. 00:29:12,435 → 00:29:15,279

DEFCON 2. √

180. 00:29:19:290 → 00:29:22,152

You want a piece of this, pops. FC

181. 00:29:35,375 → 00:29:37,374

Just, shut up!

Phrasal

Verb

182. 00:29:38,075 → 00:29:39,559

Fire. Metaphor

183. 00:30:15,018 → 00:30:17,804

We’re gonna walk out there, on that? Imitative

184. 00:30:15,018 → 00:30:17,804

We’re gonna walk out there, on that?

Phrasal

Verb

185. 00:30:53,779 → 00:30:55,890

Do you wanna talk about it? Imitative

186. 00:30:56,706 → 00:30:59,681

Come on.

Phrasal

Verb

187. 00:31:02,647 → 00:31:05,597

Whoa! He’s trying to start up Goofbaal.

Phrasal

Verb

188. 00:31:02,647 → 00:31:05,597

Whoa! He’s trying to start up Goofbaal.

Compound

Noun

189. 00:31:06,021 → 00:31:09,365

Come on.

Phrasal

Verb

190. 00:31:19,646 → 00:31:21,816

Sadness! √

191. 00:31:49,120 → 00:31:50,879

What the? Flippant

192. 00:32:16,403 → 00:32:20,927 Oh, Joy. Where are you?

√

193. 00:32:21,332 → 00:32:23,973

We lost Goofball Island.

Compound

Noun

194. 00:32:28,917 → 00:32:31,284

You can fix this. Right, Joy. √

195. 00:32:34,909 → 00:32:37,762

Okay, come on.

Phrasal

Verb

196. 00:32:46,755 → 00:32:48,928 We’ll be back to Headquarters before she

wakes up.

Compound

Noun

197. 00:32:46,755 → 00:32:48,928

We’ll be back to Headquarters before she

wakes up.

Phrasal

Verb

198. 00:32:48,953 → 00:32:52,355

We’ll just go across Friendship Island.

Phrasal

Verb

199. 00:32:56,329 → 00:32:58,038 Don’t obsess over the way of life’s

problem.

Phrasal

Verb

200. 00:33:00,161 → 00:33:01,671 Oh Sadness. We don’t have time for this.

√

201. 00:33:06,261 → 00:33:08,932

Wait. Joy, you can get lost in there. √

202. 00:33:26,206 → 00:33:28,428

So you know the way back to

Headquarters.

Compound

Noun

203. 00:33:32,730 → 00:33:34,061

You are my map. Metaphor

204. 00:33:34,086 → 00:33:36,553

Lead on, my map.

Phrasal

Verb

205. 00:33:34,086 → 00:33:36,553 Lead on, my map.

Metaphor

206. 00:33:55,771 → 00:33:59,590

We’ll be back to Headquarters before

morning.

Compound Noun

207. 00:34:18,761 → 00:34:22,137

‘Cause we seem to be walking away from

Headquarters.

Clipping

208. 00:34:18,761 → 00:34:22,137 Phrasal


71

‘Cause we seem to be walking away from

Headquarters.

Verb

209. 00:34:18,761 → 00:34:22,137 ‘Cause we seem to be walking away from

Headquarters.

Compound

Noun

210. 00:34:40,130 → 00:34:43,790 But, Joy, we’re almost oh.

√

211. 00:35:03,209 → 00:35:05,740

You can’t throw those away.

Phrasal

Verb

212. 00:35:05,765 → 00:35:08,163 The names of every Cutiepie princess doll?

Compound Noun

213. 00:35:17,450 → 00:35:19,289

Hey! Bring those back.

Phrasal

Verb

214. 00:35:33,932 → 00:35:36,108 Sometimes we send that one up to

Headquarters for no reason.

Compound

Noun

215. 00:35:36,133 → 00:35:40,512

It just plays in Riley’s head over and over

again like a million times.

Hyperbole

216. 00:35:54,391 → 00:35:56,327

What the? Flippant

217. 00:36:03,589 → 00:36:04,753 Is the bridge cool?

FC

218. 00:36:10,692 → 00:36:13,756

She’s so cool. FC

219. 00:36:27,234 → 00:36:28,449 Anger. What?

√

220. 00:37:19,190 → 00:37:24,927

Yeah. The long long long long way. Hyperbole

221. 00:37:31,911 → 00:37:34,801

Woo. Well look at you.

Phrasal

Verb

222. 00:37:57,361 → 00:37:59,281

I was, I was looking for…

Phrasal

Verb

223. 00:38:00,627 → 00:38:03,125

So long, sucker. FC

224.

00:38:21,261 → 00:38:23,428

- We’re trying to get back to

Headquarters.

- Headquarters?

Compound Noun

225. 00:38:23,453 → 00:38:26,082 You guys are from Headquarters?

Compound Noun

226. 00:38:26,107 → 00:38:27,596

I’m Joy. This is Sadness. √

227. 00:38:27,621 → 00:38:29,654 You’re Joy, the Joy?

√

228. 00:38:29,679 → 00:38:29,654

What the heck are you doing out here? Flippant

229. 00:38:31,320 → 00:38:34,095 You want to answer that, Sadness?

√

230. 00:38:34,121 → 00:38:36,855

Without you, I won’t ever be happy. Hyperbole

231. 00:39:40,627 → 00:39:42,703 When I get back up to Headquarters.

Compound Noun

232. 00:39:47,254 → 00:39:51,503

Ha-Ha! This is the greatest day of my life. Hyperbole

233. 00:39:55,037 → 00:39:57,664 Hey, what’s going on?

Phrasal Verb

234. 00:40:05,010 → 00:40:07,013

Oh, hold on.

Phrasal

Verb

235. 00:40:17,544 → 00:40:20,508 This will make it a lot easier to walk back to

Headquarters.

Compound

Noun

236. 00:40:35,124 → 00:40:37,703 Come on, this way.

Phrasal Verb

237. 00:40:43,252 → 00:40:44,732

Joy. √

238. 00:40:48,030 → 00:40:49,947 Bing Bong says it’s the quickest way to

Compound Noun


72

Headquarters.

239. 00:40:49,978 → 00:40:52,182

No. But Joy, this is abstract thought. √

240. 00:41:01,064 → 00:41:02,372

Look at me.

Phrasal

Verb

241. 00:41:02,397 → 00:41:06,438

‘Cause I’m taking the shortcut. Clipping

242. 00:41:10,961 → 00:41:13,477

If you want to walk the long way, go for it.

Phrasal

Verb

243. 00:41:48,301 → 00:41:50,866

I;m going to turn it on for a minute and burn out the gunk.

Phrasal

Verb

244. 00:41:48,301 → 00:41:50,866

I;m going to turn it on for a minute and burn out the gunk.

Phrasal

Verb

245. 00:41:50,899 → 00:41:54,112

What did I tell ya. You’ll be in

Headquarters in no time.

FC

246. 00:41:50,899 → 00:41:54,112



Compound Noun

247. 00:41:54,270 → 00:41:56,662 Hey, will you look at that?

Phrasal Verb

248. 00:41:56,687 → 00:41:59,782

Oh no, they turned it on.

Phrasal

Verb

249. 00:42:08,032 → 00:42:09,828 What is going on?

Phrasal Verb

250. 00:42:30,814 → 00:42:34,758

We got to get out of here.

Phrasal

Verb

251. 00:42:52,906 → 00:42:54,464

Come on.

Phrasal

Verb

252. 00:43:02,551 → 00:43:04,652

We’re gonna make it. Imitative

253. 00:43:06,300 → 00:43:10,375

Fall on your face. Flippant

254. 00:43:30,089 → 00:43:32,252

They should really put up a sign.

Phrasal

Verb

255. 00:43:37,130 → 00:43:40,388

The Train always stops there, right before it

goes to Headquarters.

Compound Noun

256. 00:43:56,990 → 00:43:59,656

I’m practically the mayor. metaphor

257. 00:44:05,629 → 00:44:07,847

Check it out

Phrasal

Verb

258. 00:44:43,007 → 00:44:45,618 Hang on just a minute.

Phrasal Verb

259. 00:45:01,996 → 00:45:04,866

Who the heck is that? Flippant

260. 00:45:04,891 → 00:45:06,899

I would die for Riley. Hyperbole

261. 00:45:29,243 → 00:45:30,461

Luck isn’t going to help us now. Personification

262. 00:45:30,486 → 00:45:32,488

It’s going down.

Phrasal

Verb

263. 00:46:35,329 → 00:46:37,470

You’re not going to finish try outs?

Phrasal

Verb

264. 00:46:39,644 → 00:46:42,989

Let’s just go back.

Phrasal

Verb

265. 00:47:00,860 → 00:47:03,340

She can’t give up hockey.

Phrasal

Verb

266. 00:47:19,329 → 00:47:22,301

We’ll have to come back.

Phrasal

Verb

267. 00:47:45,061 → 00:47:49,277

Riley and I are going to the moon. Hyperbole

268. 00:48:06,095 → 00:48:09,508

We just need to get back to Headquarters.

Phrasal

Verb

269. 00:48:06,095 → 00:48:09,508


Compound

Noun


73

270. 00:48:13,279 → 00:48:18,648

Here comes the tickle monster. Metaphor

271. 00:48:19,358 → 00:48:21,488 Hey. Bing Bong, look at this.

Phrasal Verb

272. 00:48:23,809 → 00:48:26,528

You point to the Train Station

Phrasal

Verb

273. 00:48:30,347 → 00:48:32,853 Come on, let’s go to the Train Station.

Phrasal Verb

274. 00:48:41,598 → 00:48:44,693

Sadness, don’t make him feel worse. √

275. 00:48:52,177 → 00:48:56,237 Once, we flew back in time.

Phrasal Verb

276. 00:48:56,262 → 00:49:00,321

Sadness. √

277. 00:49:22,036 → 00:49:25,751

Come on.

Phrasal

Verb

278. 00:50:04,321 → 00:50:07,135

On a scale of 1 to 10. I give this day an ‘F’.

Hyperbole

279. 00:50:07,160 → 00:50:10,034

Well, why don’t we quit standing around

and do something.

Phrasal Verb

280. 00:40:13,368 → 00:50:18,468

But this coward is gonna survive. Imitative

281. 00:50:40,450 → 00:50:42,688

Just the best idea ever. Hyperbole

282. 00:50:45,446 → 00:50:48,536

Here go, we go back to Minnesota and

make more.

Phrasal Verb

283. 00:50:58,591 → 00:51:02,803

Until Mom and Dad decided to move to

San Fran Stink Town.

Clipping

284. 00:50:58,591 → 00:51:02,803 Until Mom and Dad decided to move to

San Fran Stink Town.

Flippant

285. 00:51:17,530 → 00:51:20,830 Wait. Hold on.

Phrasal Verb

286. 00:51:20,855 → 00:51:22,515

Should we just sleep on this or something? Flippant

287. 00:51:22,540 → 00:51:24,025 Fine, let’s sleep on it.

Flippant

288. 00:51:24,050 → 00:51:30,304

I’m sure joyly fun-filled times are just

around the corner.

Flippant

289. 00:51:49,652 → 00:51:52,320

How about we wake her up.

Phrasal

Verb

290. 00:51:52,345 → 00:51:56,484

Sadness, that’s ridiculous. √

291. 00:51:57,508 → 00:51:59,826

How about we wake her up.

Phrasal

Verb

292. 00:51:57,508 → 00:51:59,826

Great idea, Joy. √

293. 00:51:59,851 → 00:52:01,383

Thanks, come on.

Phrasal

Verb

294. 00:52:23,332 → 00:52:25,235 No no, Sadness.

√

295. 00:52:36,837 → 00:52:40,549

Ha! Wonder what that means? Oh well,

let’s go in.

Phrasal Verb

296. 00:52:41,762 → 00:52:43,597

Set up the classroom set.

Phrasal

Verb

297. 00:52:53,332 → 00:52:57,881

Just because Joy and Sadness are gone, I have the stupid dream duty.

√

298. 00:52:58,537 → 00:53:00,442

Okay. How are we going to wake her up?

Phrasal

Verb

299. 00:53:00,473 → 00:53:03,455 Well. She wakes up sometimes when she

Phrasal Verb


74

has a scary dream.

300. 00:53:05,224 → 00:53:07,553

But, Joy. √

301. 00:53:07,578 → 00:53:09,076

Sadness, you may know your way around

down here.

√

302. 00:53:10,536 → 00:53:14,006 We’re gonna make her so happy, she’ll

wake up with exhilaration.

Imitative

303. 00:53:10,536 → 00:53:14,006 We’re gonna make her so happy, she’ll

wake up with exhilaration.

Phrasal

Verb

304. 00:53:17,669 → 00:53:19,440

Woo, Riley loves dogs. Put this on.

Phrasal

Verb

305. 00:53:33,468 → 00:53:35,880

Riley is the camera. Make them get out of

there.

Phrasal

Verb

306. 00:53:54,167 → 00:53:57,380 Riley. Would you like to stand up and

introduce yourself.

Phrasal

Verb

307. 00:54:07,312 → 00:54:10,132 Ew. Look, her teeth are falling out.

Phrasal Verb

308. 00:54:12,135 → 00:54:15,657

Teeth falling out.

Phrasal

Verb

309. 00:54:31,113 → 00:54:34,475 What’s going on?

Phrasal Verb

310. 00:54:49,548 → 00:54:52,499

Joy, this is not working. √

311. 00:54:58,494 → 00:55:01,081 Sadness, what are you doing? Come back

here.

√

312. 00:54:58,494 → 00:55:01,081 Sadness, what are you doing? Come back

here.

Phrasal

Verb

313. 00:55:06,3498 → 00:55:09,943

They’re trying to wake her up.

Phrasal

Vern

314. 00:55:17,913 → 00:55:19,634

Sadness. You are ruining this dream. √

315. 00:55:39,021 → 00:55:43,120

I know people in Headquarters.

Compound

Noun

316. 00:55:59,204 → 00:56:00,849

Come on.

Phrasal

Verb

317. 00:56:13,251 → 00:56:15,021

How do we get in?

Phrasal

Verb

318. 00:56:18,735 → 00:56:20,742

Look at the label.

Phrasal

Verb

319. 00:56:25,693 → 00:56:28,443

Look. You got my hat on.

Phrasal

Verb

320. 00:56:31,764 → 00:56:35,049

Get back in there.

Phrasal

Verb

321. 00:56:58,523 → 00:57:02,307

Grandma's vacuum cleaner Clipping

322. 00:57:08,807 → 00:57:11,033

Okay, come on.

Phrasal

Verb

323. 00:57:29,778 → 00:57:32,082 Joy?

√

324. 00:58:18,659 → 00:58:21,739

We’re outta here. Imitative

325. 00:58:21,764 → 00:58:25,744 We still have to wake up Riley.

Phrasal Verb

326. 00:58:48,924 → 00:58:53,699

Hey Sadness. √

327. 00:58:53,724 → 00:58:58,260 Yeah, yes Joy.

√

328. 00:59:10,068 → 00:59:12,217

Nothing like a good scare to wake you up,

right?

Phrasal Verb

329. 00:59:42,370 → 00:59:45,087 Phrasal


75

Come on, let’s go. Verb

330. 00:59:53,815 → 00:59:57,930

Guess who’s on their way to Headquarters.

Compound

Noun

331. 01:00:04,255 → 01:00:06,917

What is going on?

Phrasal

Verb

332. 01:00:20,971 → 01:00:23,040 Stupid Mom and Dad.

Clipping

333. 01:00:23,065 → 01:00:24,871

None of this world have happened. Imitative

334. 01:00:43,851 → 01:00:46,251 There’s no turning back.

Phrasal Verb

335. 01:00:53,360 → 01:00:56,013

We’re taking the bus, nitwit! FC

336. 01:01:01,584 → 01:01:03,569

Mom’s purse. Clipping

337. 01:01:11,767 → 01:01:15,824

Mom and Dad got us into this mess. Clipping

338. 01:01:11,767 → 01:01:15,824 They can pay to get us out.

Phrasal Verb

339. 01:01:53,897 → 01:01:55,314

How’re we gonna get to the moon. Imitative

340. 01:01:53,897 → 01:01:55,314

How’re we gonna get to the moon. Hyperbole

341. 01:01:58,284 → 01:02:02,360

The hockey team showed up and Mom and Dad were there cheering.

Phrasal

Verb

342. 01:01:58,284 → 01:02:02,360


Clipping

343. 01:02:02,385 → 01:02:05,650

Look at her. Having fun and laughing.

Phrasal

Verb

344. 01:02:09,731 → 01:02:12,597 Attagirl. Now you’re getting it.

Imitative

345. 01:02:25,570 → 01:02:29,585

We can keep working on that when we get

back, okay?

Phrasal Verb

346. 01:02:36,626 → 01:02:39,561

Why did our moving van even go to Texas?

Compound

Noun

347. 01:03:23,057 → 01:03:24,758

Woo. Look out!

Phrasal

Verb

348. 01:03:30,077 → 01:03:31,675

Come on!

Phrasal

Verb

349. 01:03:35,826 → 01:03:37,335

Hold on!

Phrasal

Verb

350. 01:03:37,360 → 01:03:39,702

-Hurry up!

-Join over here.

Phrasal Verb

351. 01:04:03,458 → 01:04:05,842 Wait wait. Hang on, guys.

Phrasal Verb

352. 01:04:11,915 → 01:04:15,356

Let’s get back to Minnesota and make more.

Phrasal

Verb

353. 00:04:15,676 → 01:04:19,230

Joy, If we hurry, we can still stop her. √

354. 01:04:36,237 → 01:04:37,548

Joy. √

355. 01:04:37,573 → 01:04:41,880

Joy. It’s too dangerous. We won’t make it in time.

√

356. 01:05:07,569 → 01:05:09,882

Have a great day, sweetheart.

Compound

Noun

357. 01:05:28,965 → 01:05:30,550 Whoa whoa, Sadness.

√

358. 01:05:30,575 → 01:05:32,649

Sadness. Stop. √

359. 01:05:36,564 → 01:05:40, 892 If you get in here, these core memories will

Phrasal Verb


76

get sad.

360. 01:05:47,467 → 01:05:51,072

Joy? √

361. 01:06:04,393 → 01:06:08,091

Joy. √

362. 01:06:10,500 → 01:06:12,355

Joy! √

363. 01:06:44,075 → 01:06:45,680

Joy? √

364. 01:06:52,255 → 01:06:53,925

Joy! √

365. 01:06:59,820 → 01:07:03,038

Joy. Joy, what’re you doing? Will you stop

it, please.

√

366. 01:07:06,772 → 01:07:10,734

Don’t you get it, Joy. We’re stuck down

here.

√

367. 01:08:05,977 → 01:08:10,048 How she used to stick her tongue out when

she was coloring.

Phrasal

Verb

368. 01:08:18,821 → 01:08:23,194

I could listen to her stories all day

Phrasal

Verb

369. 00:10:07,700 → 01:10:09,628

Sadness. √

370. 01:10:10,384 → 01:10:14,7532

Mom and Dad. Clipping

371. 01:10:24,550 → 01:10:26,780

We have to get back up there.

Phrasal

Verb

372. 01:10:27,136 → 01:10:30,204 Joy, we’re stuck down here.

√

373. 01:11:19,784 → 01:11:21,449

Hop in.

Phrasal

Verb

374. 01:11:47,317 → 01:11:48,950 Come on!

Phrasal Verb

375. 01:12:10,424 → 01:12:12,396

Come on Joy, one more time.

Phrasal

Verb

376. 01:12:10,424 → 01:12:12,396 Come on Joy, one more time.

√

377. 01:12:22:230 → 01:12:26,135

Louder! Louder! Joy, sing louder! √

378. 01:12:36,316 → 01:12:38,373 We’re gonna make it.

Imitative

379. 01:13:01,814 → 01:13:06,016

Take her to the moon for me. Okay? Hyperbole

380. 01:14:01,936 → 01:14:03,590 It’s Mom.

Clipping

381. 01:14:11,044 → 01:14:12,886

Sadness! √

382. 01:14:22,919 → 01:14:25,116 Sadness? Sadness?

√

383. 01:14:25,141 → 01:14:27,643

Come on, Sadness.

Phrasal

Verb

384. 01:14:25,141 → 01:14:27,643

Come on, Sadness. √

385. 01:14:27,668 → 01:14:30,944

Okay. If I were Sadness, where would I be? √

386. 01:14:35,530 → 01:14:39,806 And you have to drag me around while I

touch all the…

Phrasal

Verb

387. 01:14:54,918 → 01:14:56,994 Oh no. It’s Mom again. What do we do?

Clipping

388. 01:15:03,176 → 01:15:05,509

She shouldn’t run away.

Phrasal

Verb

389. 01:15:05,534 → 01:15:07,610 Let’s get this idea out of her head.

Phrasal Verb

390. 01:15:08,020 → 01:15:09,599

Sadness? √


77

391. 01:15:10,899 → 01:15:13,947

- Sadness.

- Joy?

√

392. 01:15:14,317 → 01:15:16,107

Wait. Sadness. √

393. 01:15:20,080 → 01:15:22,021 Come back!

Phrasal Verb

394. 01:15:26,549 → 01:15:30,167

You’re saying your husband was blown

away by an elephant.

Phrasal Verb

395. 01:15:32,773 → 01:15:34,073

Hey! Come back here!

Phrasal

Verb

396. 01:15:42,527 → 01:15:45,226

Sadness. √

397. 01:15:45,253 → 10:15:48,030

Sadness, we got to back to… √

398. 01:15:45,253 → 01:15:48,030

Sadness, we got to get you back to…

Phrasal

Verb

399. 01:16:21,545 → 01:16:24,221

Let me do it. Get out of here.

Phrasal

Verb

400. 01:16:34,330 → 01:16:37,323

Hey. Hey look at me.

Phrasal

Verb

401. 01:16:37,348 → 01:16:39,518



Hyperbole

402.

01:16:45,231 → 01:16:50,654





Hyperbole

403. 01:17:40,346 → 01:17:43,037

No, no, no. Joy, be positive. √

404. 01:18:02,441 → 01:18:04,956

Joy? √

405. 01:18:02,441 → 01:18:04,956

Hang on.

Phrasal

Verb

406. 01:18:05,603 → 0118:08,187

Oh, I wished Joy was here. √

407. 01:18:15,044 → 01:18:16,650

It’s Joy. √

408. 01:18:16,675 → 01:18:19,422

Stand back.

Phrasal

Verb

409. 01:18:23,064 → 01:18:26,172

But you’re too dumb to understand. FC

410. 01:18:26,197 → 01:18:28,450

Of course your tiny brain is confuse. Personification

411. 01:18:28,475 → 01:18:31,490

Guess I’ll just have to dumb it down to your level.

FC

412. 01:18:31,515 → 01:18:35,085

Sorry I don’t speak moron as well as you. FC

413. 01:18:46,874 → 01:18:49,052 Things are really messed up.

Phrasal Verb

414. 01:19:00,509 → 01:19:02,153

Joy, you got to fix this. √

415. 01:19:00,509 → 01:19:02,153

Joy, you got to fix this. Get up there.

Phrasal

Verb

416. 01:19:01,178 → 01:19:04,601

Sadness, it’s up to you. √

417.

01:19:04,626 → 01:19:06,506

- Sadness?

- Sadness?

- Sadness?

√

418. 01:19:06,534 → 01:19:08,718

I can’t, Joy. √

419. 01:19:44,038 → 01:19:47,246 I want to get off.

Phrasal Verb

420. 01:20:07,204 → 01:20:08,378 Compound


78

Oh, we were worried sick. Adjective

421. 01:24:07,016 → 01:24:09,809

Fashion Island. Everyone shut up.

Phrasal

Verb

422. 01:24:22,019 → 01:24:23,319

Cool. FC

423. 01:24:41,981 → 01:24:44,153

Now, when you get out there. You be aggressive.

Phrasal

Verb

424. 01:24:44,178 → 01:24:45,940

I know Dad. Clipping

425. 01:24:57,736 → 01:24:59,453 Yeah. Mom and Dad are pretty cool.

Clipping

426. 01:24:57,736 → 01:24:59,453

Yeah. Mom and Dad are pretty cool. FC

427. 01:25:48,457 → 01:25:50,753

Alright, Anger. √

428. 01:25:48,457 → 01:25:50,753

Take over.

Phrasal

Verb

429. 01:25:48,457 → 01:25:50,753 Give us that puck or you’re dead meat.

Flippant

430. 01:25:53,468 → 01:25:55,938

Oh. Mom and Dad are watching us fail. Clipping

431. 01:26:41,502 → 01:26:45,245

5 months 2 weeks and 4 days until

summer vacation.

Hyperbole

432. 01:27:11,947 → 01:27:14,508 Being cool is so exhausting.

FC


79

APPENDIX B

Classification of the English Phrasal Compounds

No. Minutes English Phrasal Compound Classifications Structure

1. 00:00:49,594 Look at Phrasal Verb Verb + Preposition

2. 00:00:51,300 Go on Phrasal Verb Verb + Adverb Particle


4. 00:02:55,092 Headquarters Compound Noun Noun + Noun

5. 00:03:03,644 Look out Phrasal Verb Verb + Adverb Particle

6. 00:03:09,738 Fall back Phrasal Verb Verb + Adverb Particle

7. 00:03:27,882 Hold on Phrasal Verb Verb + Adverb Particle


9. 00:04,59,571 Look at Phrasal Verb Verb + Preposition

10. 00:05:24,830 Goofball Compound Noun Noun + Noun

11. 00:05:27,999 Come back Phrasal Verb Verb + Adverb Particle



14. 00:06:43,128 Get those memories down Phrasal Verb Verb + Object + Adverb Particle

15. 00:07:57,652 Made up of Phrasal Verb Verb + Adverb Particle + Preposition

16. 00:08:14,855 Step on Phrasal Verb Verb + Preposition

17. 00:08:26,095 daydream Compound Noun Noun + Noun

18. 00:09:11,297 Get off Phrasal Verb Verb + Adverb Particle

19. 00:09:17,705 Check it out Phrasal Verb Verb + Object + Adverb Particle

20. 00:09:23,266 Get out the rubber ball Phrasal Verb Verb + Adverb Particle + Object

21. 00:09:48,644 Moving van Compound Noun Verb + Noun


23. 00:10:03,164 Stress out Phrasal Verb Verb + Adverb Particle

24. 00:10:04,825 Stress out Phrasal Verb Verb + Adverb Particle

25. 00:10:12,157 Close in Phrasal Verb Verb + Adverb Particle

26. 00:10:16,914 Run for Phrasal Verb Verb + Preposition

27. 00:10:16,914 Watch out Phrasal Verb Verb + Adverb Particle

28. 00:10:23,603 Come on Phrasal Verb Verb + Adverb Particle

29. 00:10:26,772 Put her hair up Phrasal Verb Verb + Object + Adverb Particle

30. 00:10:30,429 Put me down Phrasal Verb Verb + Object + Adverb Particle


32. 00:10:46,658 Show up Phrasal Verb Verb + Adverb Particle

33. 00:11:43,334 Stood up in Phrasal Verb Verb + Adverb Particle + Preposition

34. 00:11:50,927 Drive out Phrasal Verb Verb + Adverb Particle

35. 00:12:05,351 Look at Phrasal Verb Verb + Adverb Particle

36. 00:12:49,477 Figure out Phrasal Verb Verb + Adverb Particle


38. 00:13:15,806 Fell out Phrasal Verb Verb + Adverb Particle

39. 00:13:52,188 Turn things around Phrasal Verb Verb + Object + Adverb Particle

40. 00:14:10,159 Came out of Phrasal Verb Verb + Adverb Particle + Preposition


42. 00:14:46,557 Run down Phrasal Verb Verb + Preposition

43. 00:15:48,813 Lay people off Phrasal Verb Verb + Object + Adverb Particle



46. 00:17:10,019 Pull in Phrasal Verb Verb + Adverb Particle


48. 00:17:26,220 Get his new company up Phrasal Verb Verb + Object + Adverb Particle

49. 00:20:15,401 Figure out Phrasal Verb Verb + Preposition

50. 00:20:25,049 Stand out Phrasal Verb Verb + Adverb Particle

51. 00:20:27,085 Blend in Phrasal Verb Verb + Adverb Particle


53. 00:20:46,243 Daydreams Compound Noun Noun + Noun

54. 00:21:57,295 Sweetheart Compound Noun Adjective + Noun

55. 00:22:30,552 Quicksands Compound Noun Adjective + Noun

56. 00:22:34,098 Call on Phrasal Verb Verb + Adverb Particle

57. 00:22:39,867 Out of Phrasal Verb Verb + Preposition



80

59. 00:23:43,001 Get it out Phrasal Verb Verb + Object + Adverb Particle

60. 00:23:52,852 Put in Phrasal Verb Verb + Adverb Particle

61. 00:25:10,706 Get out your history books Phrasal Verb Verb + Adverb Particle + Object



64. 00:26:11,420 Plug the core memories in Phrasal Verb Verb + Object + Adverb Particle


66. 00:26:46,818 Turn out Phrasal Verb Verb + Adverb Particle

67. 00:27:23,607 Back out on Phrasal Verb Verb + Adverb Particle + Preposition


69. 00:28:03,111 Find out Phrasal Verb Verb + Adverb Particle


71. 00:28:21,904 Let the toilet seat up Phrasal Verb Verb + Object + Adverb Particle

72. 00:28:40,829 Gave up that Helicopter

Brazilian Pilot

Phrasal Verb Verb + Adverb Particle + Object

73. 00:29:35,375 Shut up Phrasal Verb Verb + Adverb Particle

74. 00:30:15,018 Walk out Phrasal Verb Verb + Adverb Particle


76. 00:31:02,647 Start up Goofball Phrasal Verb Verb + Adverb Particle + Object





81. 00:32:46,755 Wake up Phrasal Verb Verb + Adverb Particle

82. 00:32:48,953 Go across Phrasal Verb Verb + Preposition

83. 00:32:56,329 Obsess over Phrasal Verb Verb + Preposition


85. 00:33:34,086 Lead on Phrasal Verb Verb + Adverb Particle


87. 00:34:18,761 Walking away from Phrasal Verb Verb + Adverb Particle + Preposition


89. 00:35:03,209 Throw those away Phrasal Verb Verb + Object + Adverb Particle

90. 00:35:05,765 Cutiepie Compound Noun Noun + Noun

91. 00:35:17,450 Bring those back Phrasal Verb Verb + Object + Adverb Particle



94. 00:37:57,361 Look for Phrasal Verb Verb + Adverb Particle









103. 00:40:56,359 Keep out Phrasal Verb Verb + Adverb Particle


105. 00:41:10,961 Go for Phrasal Verb Verb + Preposition

106. 00:41:48,302 Turn it on Phrasal Verb Verb + Object + Adverb Particle

107. 00:41:48,302 Burn out the gunk Phrasal Verb Verb + Adverb Particle + Object



110. 00:41:56,687 Turn it on Phrasal Verb Verb + Object + Adverb Particle


112. 00:42:30,814 Get out of Phrasal Verb Verb + Adverb Particle + Preposition


114. 00:43:30,089 Put up Phrasal Verb Verb + Preposition


116. 00:44:05,629 Check it out Phrasal Verb Verb + Object + Adverb Particle

117. 00:44:43,007 Hang on Phrasal Verb Verb + Adverb Particle

118. 00:45:30,486 Go down Phrasal Verb Verb + Adverb Particle

119. 00:46:35,329 Try out Phrasal Verb Verb + Adverb Particle

120. 00:46:39,644 Go back Phrasal Verb Verb + Adverb Particle

121. 00:47:00,860 Give up hockey Phrasal Verb Verb + Adverb Particle + Object




81

124. 00:48:06,095 Get back to Phrasal Verb Verb + Adverb Particle + Preposition



127. 00:48:23,809 Point to Phrasal Verb Verb + Preposition


129. 00:48:52,177 Flew back Phrasal Verb Verb + Adverb Particle


131. 00:50:07,160 Stand around Phrasal Verb Verb + Adverb Particle

132. 00:50:13,368 Way out Phrasal Verb Verb + Adverb Particle

133. 00:50:45,446 Go back to Phrasal Verb Verb + Adverb Particle + Preposition


135. 00:51:49,652 Wake her up Phrasal Verb Verb + Object + Adverb Particle



138. 00:52:36,837 Go in Phrasal Verb Verb + Adverb Particle

139. 00:52:41,762 Set up Phrasal Verb Verb + Preposition




143. 00:53:17,669 Put this on Phrasal Verb Verb + Object + Adverb Particle


145. 00:53:54,167 Stand up Phrasal Verb Verb + Adverb Particle

146. 00:54:07,312 Fall out Phrasal Verb Verb + Adverb Particle

150. 00:54:12,135 Fall out Phrasal Verb Verb + Adverb Particle






156. 00:56:13,251 Get in Phrasal Verb Verb + Adverb Particle


158. 0:56:25,693 Got my hat on Phrasal Verb Verb + Object + Adverb Particle

159. 00:56:31,764 Get back Phrasal Verb Verb + Adverb Particle


161. 00:58:21,764 Wake up Riley Phrasal Verb Verb + Adverb Particle + Object

162. 00:59:10,068 Wake you up Phrasal Verb Verb + Object + Adverb Particle

163. 0059:42,370 Come on Phrasal Verb Verb + Adverb Particle



166. 01:00:43,851 Turn back Phrasal Verb Verb + Adverb Particle

167. 01:00:11,767 Get us out Phrasal Verb Verb + Object + Adverb Particle

168. 01:01:58,284 Show up Phrasal Verb Verb + Object + Adverb Particle







175. 01:03:37,360 Hurry up Phrasal Verb Verb + Adverb Particle

176. 01:03:37,360 Join over Phrasal Verb Verb + Adverb Particle



179. 01:05:07,569 Sweetheart Compound Noun Adjective + Noun

180. 01:05:36,564 Get in Phrasal Verb Verb + Adverb Particle

181. 01:08:05,977 Stick her tongue out Phrasal Verb Verb + Object + Adverb Particle

182. 01:08:18,821 Listen to Phrasal Verb Verb + Preposition

183. 01:10:24,550 Get back up Phrasal Verb Verb + Adverb Particle + Preposition

184. 01:11:19,784 Hop in Phrasal Verb Verb + Adverb Particle




188. 01:14:35,530 Drag me around Phrasal Verb Verb + Object + Adverb Particle

189. 01:15:03,176 Run away Phrasal Verb Verb + Adverb Particle

190. 01:15:05,534 Get this idea out Phrasal Verb Verb + Object + Adverb Particle


192. 01:15:26,549 Blown away Phrasal Verb Verb + Adverb Particle


82


194. 01:15:45,253 Get you back Phrasal Verb Verb + Object + Adverb Particle




198. 01:18:16,675 Stand back Phrasal Verb Verb + Adverb Particle

199. 01:18:28,475 Dumb it down Phrasal Verb Verb + Object + Adverb Particle

200. 01:18:46,874 Mess up Phrasal Verb Verb + Adverb Particle

201. 01:19:00,509 Get up Phrasal Verb Verb + Adverb Particle

202. 01:19:44,038 Get off Phrasal Verb Verb + Adverb Particle

203. 01:20:07,204 Worried sick Compound Adjective Adjective + Adjective

204. 01:24:07,016 Shut up Phrasal Verb Verb + Adverb Particle

205. 01:24:41,981 Get out Phrasal Verb Verb + Adverb Particle

206. 01:25:48,457 Take over Phrasal Verb Verb + Adverb Particle


83

APPENDIX C

STRATEGIES IN TRANSLATING THE IDIOMATIC EXPRESSIONS

No. Source Language Target Language Strategy Category

1. 00:00:49,594

Do you ever look at someone and wonder

Apakah kau pernah melihat

seseorang dan bertanya-tanya, paraphrase Acceptable

2. 00:00:51,300

What is going on inside their head? Apa yang terjadi dalam kepalanya? paraphrase Acceptable

3. 00:01:48,982 Look at you.

Lihat dirimu. paraphrase Acceptable

4. 00:02:43,712

I’m Sadness. Namaku Sadness (kesedihan)

Newmark’s translation

label Acceptable

5. 00:02:45,320 I’m Joy.

Oh, halo. Aku Joy (kegembiraan) Newmark’s translation

label Acceptable

6. 00:02:55,092

Headquarters only got more crowded from there.

Markas Besar akan semakin ramai

mulai sekarang. Paraphrase Acceptable

7. 00:03:03,644

NO, LOOK OUT! Awas! Paraphrase Acceptable

8. 00:03:04,675

That’s Fear. Dia Fear (ketakutan)

Newmark’s translation label

Acceptable

9. 00:03:09,738

Fall back! Awas! Paraphrase Acceptable

10. 00:03:27,882

Hold on. Tunggu. Paraphrase Acceptable

11. 00:03:28,980

This is Disgust. Ini Disgust (jijik)


label Acceptable

12. 00:03:35,488 Or shaped like a dinosaur.

berbentuk dinosaurus Using an idiom of similar

meaning and form Acceptable

13. 00:03:35,488

Hold on guys. Tunggu dulu Paraphrase Acceptable

14. 00:03:41,451 Well. I just save our lives.

Dan aku baru saja menyelamatkan

hidupmu.

Using an idiom of similar meaning and form

Acceptable

15. 00:03:49,731

That’s Anger. Itu Anger (kemarahan)


label Acceptable

16. 00:04:21,055

And you met Sadness. Dan kau telah bertemu kami semua. Paraphrase Unacceptable

17. 00:04:52,736

Each one come from a super

important time in Riley’s life.

Setiap bola berisi peristiwa super

penting dalam hidup Riley.

Using an idiom of similar


18. 00:04:59,571

Hey-hey! Would you look at that. Hei! Apakah kau melihatnya? Paraphrase Acceptable

19. 00:05:24,830 Goofball Island is my personal

favorite.

Pulau kekonyolan adalah favoritku. Paraphrase Acceptable

20. 00:05:27,999

Come back here, you little monkey! Kemarilah monyet, jangan lari! Paraphrase Acceptable

21. 00:05:32,550

Goofball is the best.

Pulau kekonyolan memang yang

terbaik. Paraphrase Acceptable

22. 00:05:52,819

Look out, Blue face. Awas, Sirip Biru! Paraphrase Acceptable

23. 00:06:27,614

Good night, kiddo. Selamat malam, Nak. Paraphrase Acceptable

24. 00:06:27,614

Good night, Dad. Selamat malam, Yah.



25. 00:06:43,128

Let’s get those memories down to

long term.

Mari kita masukkan memori ke ingatan jangka panjang.

Paraphrase Acceptable

26. 00:07:57,652 It’s not made up of solid gold like we

thought.

Jembatannya tak terbuat dari emas seperti yang aku kira.


27. 00:08:02,216 I sure am glad you told me earthquake

Aku senang gempa bumi adalah mitos seperti yang kau katakan, Joy.


Acceptable


84

are a myth, Joy.

28. 00:08:14,855

Step on it, Daddy. Cepatlah, ayah! Paraphrase Acceptable

29. 00:08:17,155

We’re already been in it forever. Kita tak bisa naik itu selamanya. Paraphrase Unacceptable

30. 00:08:26,095

What? Let’s review the top 5 daydreams.

Apa?! Mari kita lihat 5 isi

pikirannya. Paraphrase Acceptable

31. 00:08:33,609

Joy for the last time. She cannot live in a cookie.

Terakhir kalinya, ia tak suka kue. Paraphrase Unacceptable

32. 00:09:03,810

Can you die from moving?

Apakah kita mati setelah pindah

rumah? Paraphrase Acceptable

33. 00:09:09,117 I’m gonna be sick.

Aku bisa sakit. Paraphrase Acceptable

34. 00:09:10,361

It’s a house of the dead. What’re we

gonna do?

Ada yang mati. Kita bagaimana? Paraphrase Acceptable

35. 00:09:11,297

We’re gonna get rabies. Kita bisa kena rabies! Paraphrase Acceptable

36. 00:09:11,297

Get off from me. Enyahlah dari kepalaku. Paraphrase Acceptable

37. 00:09:15,396

Dad talked about how cool our new

room is.

Kita lihat dulu seberapa keren kamar tidurnya.

Paraphrase Unacceptable

38. 00:09:15,396 Dad talked about how cool our new

room is.

Kita lihat dulu seberapa keren kamar tidurnya.


39. 00:09:17,705 Let’s go check it out.

Mari kita periksa! Paraphrase Acceptable

40. 00:09:17,705

It’s gonna be great. Itu hal yang bagus. Paraphrase Unacceptable

41. 00:09:23,266 Get out the rubber ball.

Tak bisa main bola karet. Paraphrase Unacceptable

42. 00:09:29,225

It’s the worst place I’ve been in my

entire life.

Termpat terburuk sepanjang

hidupku.



43. 00:09:32,054

Hey, it’s nothing our butterfly

curtains couldn’t fix.

Hei, jangan kuatir. Semua ini bisa diperbaiki.


44. 00:09:48,644

Let’s go get our stuff from the

moving van.

Ayo kita ambil barangnya dari van. Paraphrase Acceptable

45. 00:09:53,317 The moving van won’t be here until

Thursday.

Van pengangkut barang kita akan

tiba disini hari Selasa. Paraphrase Acceptable

46. 00:10:03,164 Mom and Dad are stress out.

- omission Acceptable

47. 00:10:03,164

Mom and Dad are stress out. Semuanya stres. Paraphrase Acceptable

48. 00:10:04,825 They are stress out.

Semuanya stres. Paraphrase Acceptable

49. 00:10:12:157

She’s closing in. Dia mendekatimu. Paraphrase Acceptable

50. 00:10:16,914 She’s running for the shot.

Dia akan menembak! Paraphrase Acceptable

51. 00:10:16,914

Coming behind you, watch out. Aku dibelakangmu, awas! Paraphrase Acceptable

52. 00:10:23,603

Come on. Ayolah, Paraphrase Acceptable

53. 00:10:23,603

Grandma. nenek!


meaning an form Acceptable

54. 00:10:25,366

Grandma? Nenek?


Acceptable

55. 00:10:26,772

Oh-oh, she put her hair up. Oh! Ibu menguncir rambutnya. Paraphrase Acceptable

56. 00:10:30,429 Put me down

Turunkan aku. Paraphrase Acceptable


85

57. 00:10:37,019

Sorry, hold on. Maaf, tahan sebentar. Paraphrase Acceptable

58. 00:10:46,658 The investors are supposed to show

up on Thursday, not today.

Investor seharusnya datang hari

kamis, bukan hari ini. Paraphrase Acceptable

59. 00:10:52,536 Thanks hon.

Terimakasih, Sayang. Paraphrase Acceptable

60. 00:10:56,782

Dad just left us. Ayah meninggalkan kita.



61. 00:11:03,209 Joy. What are you doing?

Joy. Apa yang kau lakukan? Newmark’s translation

label Acceptable

62. 00:11:24,120

What the heck is that? Apa itu? Paraphrase Acceptable

63. 00:11:27,923 Congratulation San Francisco. You

ruined pizza.

Selamat San Fransisco. Kau merusak

cita rasa pizza.



64. 00:11:43,334

The spoon stood up in the soup by

itself.

Sendoknya berdiri sendiri di atas

piring.



65. 00:11:43,334

The spoon stood up in the soup by itself.

Sendoknya berdiri sendiri di atas

piring. Paraphrase Acceptable

66. 00:11:50,927

The drive out was pretty fun.

Perjalanannya menyenangkan,

bukan? Paraphrase Acceptable

67. 00:11:54,208 Spitting out of the car window.

Meludah dari jendela mobil. Paraphrase Acceptable

68. 00:11:55,695

Definitely not when Dad was singing. Ketika ayah sedang tidak bernyanyi.



69. 00:12:03,618

Dad. Dad. Dad. Ayah.


Acceptable

70. 00:12:03,618

Honey. - Omission Acceptable

71. 00:12:05,351 Dad, look at the car.

Ayah, tunggu dulu. Lihat mobilnya! Using an idiom of similar


72. 00:12:05,351

Dad, look at the car. Ayah, tunggu dulu. Lihat mobilnya! Paraphrase Acceptable

73. 00:12:11,040 Nice one, Joy.

Kenangan indah, Joy. Newmark’s translation

label Acceptable

74. 00:12:30,799

Oh. Change it back, Joy. Kembalikan lagi seperti semula. Paraphrase Acceptable

75. 00:12:33,966 Good going, Sadness.

Bagus. Paraphrase Acceptable

76.

00:12:35,993

Now, when Riley thinks of that moment with Dad, she’s gonna feel

sad. Bravo.

Riley sedang memikirkan momen

bahagia bersama orang tuanya, tapi

dia malah bersedih. Bravo.


77.

00:12:35,993

Now, when Riley thinks of that moment with Dad, she’s gonna feel

sad. Bravo.

Riley sedang memikirkan momen

bahagia bersama orang tuanya, tapi

dia malah bersedih. Bravo.


78. 00:12:39,641 I’m sorry, Joy.

Maaf, Joy. Newmark’s translation

label Acceptable

79. 00:12:45,352

Joy. We got a stairway coming up. Joy, ada tangga di depan.


label Acceptable

80. 00:12:49,477 Just don’t touch any other memories

until we figured out what’s going on.

Jangan sentuh memori lainnya sampai

kita tahu apa yang terjadi. Paraphrase Acceptable

81. 00:12:49,477 Just don’t touch any other memories

until we figured out what’s going on.

Jangan sentuh memori lainnya sampai

kita tahu apa yang terjadi. Paraphrase Acceptable

82. 00:12:53,775

This is the monster railing and we are riding it all the way down.

Ini adalah pagar tangga, kita akan

menaikinya dan meluncur turun.


meaning but dissimilar form

Acceptable

83. 00:13:13,633

Sadness, what’re you doing? Sadness, apa yang kau lakukan?


label Acceptable

84. 00:13:15,806 So I opened it and it fell out.

Tempat penyimpanannya terbuka dan bolanya jatuh keluar.


Acceptable

85. 00:13:27,981 Joy! Newmark’s translation Acceptable


86

Joy! label

86. 00:13:31,123

Sadness. You nearly touch a core memory.

Sadness! Kau hampir menyentuh

memori inti.


label Acceptable

87. 00:13:52,188

There’s always a way to turn things

around

Banyak hal yang harus dilakukan

untuk mencari kebahagiaan. Paraphrase Acceptable

88. 00:14:10,159

When Riley laugh so hard, milk came

out of her nose.

Riley tertawa terbahak-bahak, hingga

minuman susunya keluar dari

hidungnya.


89. 00:14:15,304

Come on. Ayolah, itu lucu! Paraphrase Acceptable

90. 00:14:16,423

It felt like fire. Ya, tapi rasanya panas seperti api.



91. 00:14:31,451

Oh. Like the time we buried Dad in

the sand up to his neck.

Seperti ketika kita mengubur ayah di

pasir sampai lehernya.



92. 00:14:43,048 There’s cool umbrellas, lightning

storms.

Memakai payung yang keren, ada

badai petir. Paraphrase Acceptable

93. 00:14:46,557 More like when the rain runs down

our back, and makes our shoe soggy.

Bagaimana bila hujan terlalu deras dan membuat sepatu kita basah

kuyup?


94. 00:14:50,665

And we get all cold, shivery and everything starts feeling droopy.

Kita akan kedinginan, gemetaran dan

segala perasaan akan gelap. Paraphrase Acceptable

95.

00:15:04,470

Crying helps me slow down and not obsessive with the way of life’s

problems.

Menangis membuatku melambat dan terobsesi pada masalah hidup.


Acceptable

96. 00:15:29,572 Oh, you lucky dog.

Sangat pintar! Paraphrase Acceptable

97. 00:15:31,903

You’re reading these cool things, I got

to go to work.

Kau belajar dan aku bekerja Paraphrase Acceptable

98. 00:15:48,813

If we can’t find investors by then,

we’re gonna have to lay people off.

Jika kita tidak temukan investor baru, kita tidak bisa melanjutkan usaha.


99. 00:15:48,813 If we can’t find investors by then,

we’re gonna have to lay people off.

Jika kita tidak temukan investor baru,

kita tidak bisa melanjutkan usaha. Paraphrase Acceptable

100. 00:15:52,275

Mom. Dad. Ibu! Ayah!


Acceptable

101. 00:16:01,296

Did you hear Dad? He sounded really

upset.

Apakah kalian dengar, ayah sedang marah?


Acceptable

102. 00:16:10,490

He looked like a bear. Dia mirip beruang.



103. 00:16:14,818

Ew. I don’t wanna hear about your nerves.

Aku tak tahu kau punya syaraf. Paraphrase Unacceptable

104. 00:16:24,860

I can’t believe Mom and Dad moved

us here.

Aku tak percaya ibu dan ayah

memindahkan kita ke sini.



105. 00:16:41,631

Oh, come on. Ayolah. Paraphrase Acceptable

106. 00:16:43,112 Yeah, Joy.

Ya, Joy. Newmark’s translation

label Acceptable

107. 00:16:48,800

No, Joy. Tidak. Paraphrase Acceptable

108. 00:16:50,840

There is absolutely no reason for

Riley to be happy right now.

Tak ada alasan lain bagi Riley

untuk bahagia saat ini.



109. 00:16:59,459 And we could cry until we can’t

breathe.

Lebih baik kita menangis sampai

sesak nafas.



110. 00:17:04,045

Now, hold on. Tunggu dulu. Paraphrase Acceptable


87

111. 00:17:08,958

Honey. Sayang.



112. 00:17:10,019 The Mom bad news train is pulling in.

Kereta pembawa kabar buruk telah tiba.


113. 00:17:10,019

The Mom bad news train is pulling

in.

Kereta pembawa kabar buruk telah

tiba. Paraphrase Acceptable

114. 00:17:14,066

Still no moving van.

Van pengangkut barang nya akan

tiba hari selasa. Paraphrase Acceptable

115. 00:17:20,081 Where’s Dad?

Dimana ayah? Using an idiom of similar


116. 00:17:24,248

I rest my case Aku menyerah Paraphrase Acceptable

117.

00:17:26,220 Your dad is a little stress, you know,

about getting his new company up and

running.

Ayah sedang stres, dia harus

membuat perusahaannya tetap

berjalan.



118.

00:17:26,220 Your dad is a little stress, you know,

about getting his new company up

and running.

Ayah sedang stres, dia harus

membuat perusahaannya tetap berjalan.


119. 00:17:45,300

Your Dad is under a lot of pressure. Ayahmu sedang tertekan.



120. 00:18:10,625

Well. You can’t argue with Mom. Kau tak bisa bertengkar dengan ibu.



121. 00:18:12,294

Can’t argue with Mom, that’s true. - Omission Acceptable

122. 00:18:13,478 Totally behind you, Joy.

Kami mendukungmu, Joy. Newmark’s translation

label Acceptable

123. 00:18:16,894

Looks like we’re going into R E M. Sepertinya Riley hampir tertidur. Paraphrase Acceptable

124. 00:20:15,401 I was up late last night figuring out a

new plan.

Aku terjaga sampai larut malam

merancang rencana baru. Paraphrase Acceptable

125. 00:20:18,426

Fear. Fear.


label Acceptable

126. 00:20:25,049

Disgust. Disgust.


label Acceptable

127. 00:20:25,049

Make sure Riley stands out today. Pastikan Riley siap hari ini. Paraphrase Acceptable

128. 00:20:27,085

But, also blends in. Tapi juga bisa berbaur. Paraphrase Acceptable

129. 00:20:30,411

The other kids will look at their own outfits and farf.

Anak lain melihat pakaiannya sendiri

dan muntah. Paraphrase Acceptable

130. 00:20:30,411

The other kids will look at their own outfits and farf.

Anak lain melihat pakaiannya sendiri

dan muntah. Paraphrase Acceptable

131. 00:20:32,644

Joy. Yes, Joy. Joy! Ya, Joy!

Newmark’s translatin

label Acceptable

132. 00:20:46,243 Anger. Unload the daydreams.

Anger! Buyarkan lamunan. Newmark’s translation

label Acceptable

133. 00:20:46,243

Anger. Unload the daydreams. Anger! Buyarkan lamunan. Paraphrase Acceptable

134. 00:20:50,472 Might come in handy.

Akan berguna. Paraphrase Acceptable

135. 00:20:55,480

Oh, Sadness. Sadness!


label Acceptable

136. 00:21:26,514

Attagirl. - Omission Acceptable

137. 00:21:27,716

Alright everyone, fresh start? Baiklah semuanya, kita mulai. Paraphrase Acceptable

138. 00:21:42,461 You gonna be okay.

Kau baik-baik saja? Paraphrase Acceptable

139. 00:21:44,425

Mom and Dad with us in public.

Ibu dan ayah bersama kita di depan

umum.



140. 00:21:48,095 Nope, I’m fine.

Tidak, aku baik-baik saja. Paraphrase Acceptable


88

141. 00:21:48,095

Bye Mom. Bye Dad.

Sampai jumpa, bu. Sampai jumpa,

yah.



142. 00:21:57,295 Have a great day, sweetheart.

Semoga harimu menyenangkan, sayang.


143. 00:22:15,203

We’ve got a group of cool girls at 2 o’clock.

Ada gadis-gadis keren di arah jam 2. Paraphrase Acceptable

144. 00:22:30,552

Worst scenario is either quicksands,

Skenario potensialnya adalah pasir

hisap, Paraphrase Acceptable

145. 00:22:34,098 Or getting called on by the teacher.

atau diomeli guru. Paraphrase Acceptable

146. 00:22:34,098

As long as none of those happens. asal tak ada satu pun yang terjadi. Paraphrase Acceptable

147. 00:22:39,867 Are you kidding me! Out of the days!

Kau bercanda? Pada saat seperti ini? Paraphrase Acceptable

148. 00:23:17,993

My friend, Mag, plays forward and

my dad’s the coach.

Temanku Mag jadi pemain depan, ayahku jadi pelatihnya.


Acceptable

149. 00:23:34,334

Hey, Sadness. Hei, Sadness!


label Acceptable

150. 00:23:43,001

What’s going on? Apa yang terjadi? Paraphrase Acceptable

151. 00:23:43,001

Get it out of there, Joy. - Omission Acceptable

152. 00:23:43,001

Get it out of there, Joy. - Omission Acceptable

153. 00:23:52,852

Somebody help grab that thing.

Everybody put in…

Tolonglah! Tarik sebisamu. Paraphrase Acceptable

154. 00:24:05,621

Sadness, what are you doing? Sadness, apa yang kau lakukan?


label Acceptable

155. 00:24:28,468

Joy. No. Joy. Jangan.


label Acceptable

156. 00:25:10,706

Get out you history books. Ambil buku sejarahmu. Paraphrase Acceptable

157. 00:25:57,647

Goofball Island? Goof Ball Island? Not translated Unacceptable

158.

00:26:09,464

We just have to get back to

Headquarters.

Kita hanya perlu kembali ke kantor

pusat itu. Paraphrase Acceptable

159. 00:26:11,420 Plug the core memories in.

Pasang memori inti ke dalam. Using an idiom of similar


160. 00:26:23,826

You’re not in Headquarters. Kau tidak di kantor pusat ini. Paraphrase Acceptable

161. 00:26:46,818

So, as it turns out the green trash can

is not recycling

Jadi, ternyata tempat sampah hijau itu tidak di daur ulang.


162. 00:27:00,138 Joy would know what to do.

Joy akan tahu apa yang harus dilakukan.


Acceptable

163. 00:27:02,591

Until she gets back, we just do what Joy would do.

Sampai dia kembali, kita hanya

melakukan apa yang Joy lakukan.


label Acceptable

164. 00:27:05,279

Great idea. Anger, Fear, Disgust.

Ide yang hebat. Kemarahan, Takut,

Jijik.


label Unacceptable

165. 00:27:20,772 Here, you pretend to be Joy.

Kau berpura-pura jadi Joy. Newmark’s translation

label Acceptable

166. 00:27:23,607

Wouldn’t be great to be back out on

the ice?

Bukankah bagus dapatkan kembali

keluar di atas es? Using an idiom of similar

meaning and form Unacceptable

167. 00:27:30,726

That wasn’t anything like Joy. Bukan apa-apa seperti Joy.


label Acceptable

168. 00:27:32,643

Ah…because I’m not Joy. Ah… karena aku bukan Joy.


label Acceptable

169. 00:27:48,700

You pretend to be Joy. Kau berpura-pura jadi Joy.


label Acceptable

170. 00:27:55,471

That was just like Joy. Itu hanya seperti Joy.


label Acceptable


89

171. 00:27:58,673

Something is definitely is going on. Pasti terjadi sesuatu. Paraphrase Acceptable

172. 00:28:03,111 We’re going to find out what’s

happening.

Kita akan mencari tahu apa yang

terjadi. Paraphrase Acceptable

173. 00:28:17,744 She’s looking at us.

Dia melihat kita. Paraphrase Acceptable

174. 00:28:23,788

We let the toilet seat up. Tutup toiletnya terbuka? Paraphrase Acceptable

175. 00:28:40,829 For this, we gave up that Brazilian

helicopter pilot?

Karena ini kita tidak menonton pilot

helikopter Brazil? Paraphrase Unacceptable

176. 00:28:44,217

Move! I’ll be Joy. Aku akan jadi Joy.


label Acceptable

177. 00:28:51,655

Sir, she just rolled her eyes at us. Pak, dia membuat kita jengkel. Paraphrase Acceptable

178. 00:28:54,829

I don’t want to have to put the foot

down.

Kita akan bertindak tegas. Paraphrase Acceptable

179. 00:29:10,825

Take it to DEFCON 2. Naikkan ke level DEFCON 2! Not translated Unacceptable

180. 00:29:12,435

DEFCON 2. DEFCON 2. Not translated Unacceptable

181. 00:29:19:290

You want a piece of this, pops. Kau menginginkan ini, ayah? Paraphrase Acceptable

182. 00:29:35,375 Just, shut up!

Diamlah! Paraphrase Acceptable

183. 00:29:38,075

Fire. Tembak! Paraphrase Acceptable

184. 00:30:15,018

We’re gonna walk out there, on that? Kita akan melewati jalan itu? Paraphrase Acceptable

185. 00:30:15,018

We’re gonna walk out there, on that? Kita akan melewati jalan itu? Paraphrase Acceptable

186. 00:30:53,779

Do you wanna talk about it? Kau ingin membahasnya? Paraphrase Acceptable

187. 00:30:56,706

Come on. Ayolah! Paraphrase Acceptable

188. 00:31:02,647

Whoa! He’s trying to start up

Goofbaal.

Wow! Dia ingin menghidupkan Pulau Kekonyolan.


189. 00:31:02,647 Whoa! He’s trying to start up

Goofbaal.

Wow! Dia ingin menghidupkan Pulau

Kekonyolan. Paraphrase Acceptable

190. 00:31:06,021

Come on. - Omission Acceptable

191. 00:31:19,646

Sadness! Sadness!


label Acceptable

192. 00:31:49,120

What the? - Omission Acceptable

193. 00:32:16,403

Oh, Joy. Where are you? Joy, di mana kamu?


label Acceptable

194. 00:32:21,332 We lost Goofball Island.

Pulau Kekonyolan telah lenyap. Paraphrase Acceptable

195. 00:32:28,917

You can fix this. Right, Joy. Kau bisa memperbaiki ini, Joy?


label Acceptable

196. 00:32:34,909 Okay, come on.

Oke, ayo! Paraphrase Acceptable

197. 00:32:46,755

We’ll be back to Headquarters before she wakes up.

Kita harus kembali ke markas

sebelum dia terbangun. Paraphrase Acceptable

198. 00:32:46,755

We’ll be back to Headquarters before

she wakes up.

Kita harus kembali ke markas

sebelum dia terbangun. Paraphrase Acceptable

199. 00:32:48,953

We’ll just go across Friendship

Island.

Kita akan melintasi Pulau Persahabatan.


200. 00:32:56,329 Don’t obsess over the way of life’s

Jangan bersedih dulu. Paraphrase Acceptable


90

problem.

201. 00:33:00,161

Oh Sadness. Oh Sadness!


label Acceptable

202. 00:33:06,261

Wait. Joy Tunggu Joy.


label Acceptable

203. 00:33:26,206

So you know the way back to

Headquarters.

Jadi kau tahu jalan kembali ke

Markas. Paraphrase Acceptable

204. 00:33:32,730

You are my map. Kau jadi peta ku.



205. 00:33:34,086 Lead on, my map.

Tuntunlah aku, peta ku. Paraphrase Acceptable

206. 00:33:34,086

Lead on, my map. Tuntunlah aku, peta ku.



207. 00:33:55,771

We’ll be back to Headquarters

before morning.

Kita kembali ke Markas sebelum

pagi. Paraphrase Acceptable

208. 00:34:18,761 ‘Cause we seem to be walking away

from Headquarters.

Sepertinya kita berjalan menjauhi


209. 00:34:18,761

‘Cause we seem to be walking away

from Headquarters.



210. 00:34:18,761

‘Cause we seem to be walking away from Headquarters.



211. 00:34:40,130

But, Joy, we’re almost oh. Tapi Joy, kita hampir…


label Acceptable

212. 00:35:03,209 You can’t throw those away.

Kau tak boleh membuangnya. Paraphrase Acceptable

213. 00:35:05,765

The names of every Cutiepie princess doll?

Apakah termasuk nama putri kue

yang imut?


meaning and form Unacceptable

214. 00:35:17,450

Hey! Bring those back. Hei, kapan memorinya kembali? Paraphrase Acceptable

215. 00:35:33,932 Sometimes we send that one up to

Headquarters for no reason.

Terkadang kami mengirimnya ke

Markas tanpa alasan jelas. Paraphrase Acceptable

216. 00:35:36,133

It just plays in Riley’s head over and

over again like a million times.

Memori ini akan diingat Riley

berjuta-juta kali.



217. 00:35:54,391

What the? - Omission Acceptable

218. 00:36:03,589 Is the bridge cool?

Apakah jembatannya bagus? Paraphrase Acceptable

219. 00:36:10,692

She’s so cool. Dia keren, kan? Paraphrase Acceptable

220. 00:36:27,234 Anger. What?

- Omission Acceptable

221. 00:37:19,190

Yeah. The long long long long way. Jalan yang teramat sangat panjang.



222. 00:37:31,911 Woo. Well look at you.

Ini dia. Paraphrase Acceptable

223. 00:37:57,361

I was, I was looking for… Aku mencari… Paraphrase Acceptable

224. 00:38:00,627

So long, sucker. Selamat tinggal, Bodoh! Paraphrase Acceptable

225.

00:38:21,261

- We’re trying to get back to

Headquarters.

- Headquarters?

- Kami ingin kembali ke Markas.

-Markas? Paraphrase Acceptable

226. 00:38:23,453 You guys are from Headquarters?

Kalian berasal dari Markas Besar? Paraphrase Acceptable

227. 00:38:26,107

I’m Joy. This is Sadness. Namaku Joy. Dia Sadness.


label Acceptable

228. 00:38:27,621 You’re Joy, the Joy?

Kau Joy? Newmark’s translation

label Acceptable

229. 00:38:29,679 Apa yang kau lakukan di sini? Paraphrase Acceptable


91

What the heck are you doing out

here?

230. 00:38:31,320 You want to answer that, Sadness?

Maukah kau menjawabnya, Sadness? Newmark’s translation

label Acceptable

231. 00:38:34,121

Without you, I won’t ever be happy.

Tapi aku senang berjumpa

denganmu. Paraphrase Unacceptable

232. 00:39:40,627 When I get back up to Headquarters.

Jika aku sampai di Markas Paraphrase Acceptable

233. 00:39:47,254

Ha-Ha! This is the greatest day of

my life.

Ini hari terbaik dalam hidupku. Using an idiom of similar


234. 00:39:55,037

Hey, what’s going on? Apa yang terjadi? Paraphrase Acceptable

235. 00:40:05,010 Oh, hold on.

Oh, tunggu sebentar. Paraphrase Acceptable

236. 00:40:17,544

This will make it a lot easier to walk

back to Headquarters.

Ini akan membuat perjalanan ke Markas menjadi mudah.


237. 00:40:35,124

Come on, this way. Ayo, lewat sini. Paraphrase Acceptable

238. 00:40:43,252

Joy. Joy.


label Acceptable

239. 00:40:48,030

Bing Bong says it’s the quickest way

to Headquarters.

Kata Bing Bong, ini jalan tercepat menuju Markas.


240. 00:40:49,978 No. But Joy, this is abstract thought.

Jangan Joy, tempat ini menciptakan pikiran abstrak.


Acceptable

241. 00:41:01,064

Look at me. Lihatlah aku. Paraphrase Acceptable

242. 00:41:02,397

‘Cause I’m taking the shortcut. Karena aku lewat jalan pintas.



243. 00:41:10,961

If you want to walk the long way, go

for it.

Silahkan saja kau lewat jalan yang

lebih jauh. Paraphrase Acceptable

244. 00:41:48,301

I’m going to turn it on for a minute and burn out the gunk.

Aku akan menyalakannya dalam

semenit dan membakar pikiran bodoh. Paraphrase Acceptable

245. 00:41:48,301

I;m going to turn it on for a minute

and burn out the gunk.

Aku akan menyalakannya dalam

semenit dan membakar pikiran

bodoh.


246. 00:41:50,899



Apa yang aku bilang. Kau akan segera sampai ke Markas.


247. 00:41:50,899 What did I tell ya. You’ll be in


Apa yang aku bilang. Kau akan segera

sampai di Markas. Paraphrase Acceptable

248. 00:41:54,270 Hey, will you look at that?

Apakah kau melihat itu? Paraphrase Acceptable

249. 00:41:56,687

Oh no, they turned it on. Tidak, mereka menyalakannya. Paraphrase Acceptable

250. 00:42:08,032 What is going on?

Ada apa ini? Paraphrase Acceptable

251. 00:42:30,814

We got to get out of here. Kita harus keluar, Paraphrase Acceptable

252. 00:42:52,906

Come on. Ayo! Paraphrase Acceptable

253. 00:43:02,551

We’re gonna make it. Kita tak akan berhasil. Paraphrase Acceptable

254. 00:43:06,300

Fall on your face. Singkirkan wajahmu. Paraphrase Unacceptable

255. 00:43:30,089

They should really put up a sign. Seharusnya itu diberi tanda. Paraphrase Acceptable

256. 00:43:37,130 The Train always stops there, right

before it goes to Headquarters.

Keretanya selalu berhenti di sana

sebelum berangkat ke Markas. Paraphrase Acceptable

257. 00:43:56,990

I’m practically the mayor. Pada prakteknya, aku walikotanya. Paraphrase Acceptable

258. 00:44:05,629 Lihatlah. Paraphrase Acceptable


92

Check it out

259. 00:44:43,007

Hang on just a minute. Tunggu dulu sebentar. Paraphrase Acceptable

260. 00:45:01,996

Who the heck is that? Apa itu? Paraphrase Acceptable

261. 00:45:04,891

I would die for Riley. Aku mati demi Riley.



262. 00:45:29,243

Luck isn’t going to help us now. Ciuman tak akan membantu. Paraphrase Unacceptable

263. 00:45:30,486

It’s going down. Itu pasti runtuh. Paraphrase Acceptable

264. 00:46:35,329

You’re not going to finish try outs?

Kau tak mau menyelesaikan audisi

nya? Paraphrase Acceptable

265. 00:46:39,644

Let’s just go back. Kembalilah. Paraphrase Acceptable

266. 00:47:00,860

She can’t give up hockey.

Dia tak menyerah jika berurusan

dengan hockey. Paraphrase Acceptable

267. 00:47:19,329

We’ll have to come back. Kita harus kembali. Paraphrase Acceptable

268. 00:47:45,061

Riley and I are going to the moon. Riley dan aku akan pergi ke bulan.



269. 00:48:06,095


Kita hanya harus kembali ke Markas. Paraphrase Acceptable

270. 00:48:06,095

We just need to get back to

Headquarters.

Kita hanya harus kembali ke Markas. Paraphrase Acceptable

271. 00:48:13,279

Here comes the tickle monster. Ini dia monster gelitik nya.



272. 00:48:19,358 Hey. Bing Bong, look at this.

Bing Bong, lihatlah ini. Paraphrase Acceptable

273. 00:48:23,809

You point to the Train Station Tunjukkan jalan ke kereta. Paraphrase Acceptable

274. 00:48:30,347

Come on, let’s go to the Train

Station.

Ayo ke stasiun kereta. Paraphrase Acceptable

275. 00:48:41,598 Sadness, don’t make him feel worse.

Sadness, jangan buat dia bertambah sedih.


Acceptable

276. 00:48:52,177

Once, we flew back in time. Dahulu kala Paraphrase Acceptable

277. 00:48:56,262

Sadness. Sadness.


Acceptable

278. 00:49:22,036

Come on. Ayo. Paraphrase Acceptable

279. 00:50:04,321 On a scale of 1 to 10. I give this day

an ‘F’.

Dari skala 1 sampai 10, aku beri hari

ini nilai ‘F’.



280. 00:50:07,160

Well, why don’t we quit standing

around and do something.

Mengapa kita diam saja dan tak

melakukan sesuatu? Paraphrase Acceptable

281. 00:40:13,368

But this coward is gonna survive. Tapi pengecut ini akan selamat. Paraphrase Acceptable

282. 00:50:40,450

Just the best idea ever. Hanya ide terbaik yang pernah ada.



283. 00:50:45,446

Here go, we go back to Minnesota and make more.

Jadi, kita kembali ke Minnesota dan

membuatnya lagi. Paraphrase Acceptable

284. 00:50:58,591

Until Mom and Dad decided to move to San Fran Stink Town.

Sampai Ibu dan Ayah memutuskan

untuk tinggal di San Fran-Stink-O.



285. 00:50:58,591

Until Mom and Dad decided to move

to San Fran Stink Town.

Sampai Ibu dan Ayah memutuskan untuk tinggal di San Fran-Stink-O.


meaning but dissimilar

form

Acceptable

286. 00:51:17,530

Wait. Hold on. Tunggu, tahan dulu. Paraphrase Acceptable

287. 00:51:20,855

Should we just sleep on this or something?

Harusan kita tidur dulu? Paraphrase Unacceptable


93

288. 00:51:22,540

Fine, let’s sleep on it. Baik, lebih baik tidur dulu. Paraphrase Unacceptable

289. 00:51:24,050 I’m sure joyly fun-filled times are just

around the corner.

Tapi aku yakin, saat-saat

menyenangkan akan segera tiba. Paraphrase Acceptable

290. 00:51:49,652 How about we wake her up.

Bagaimana jika kita membangunkan

dia? Paraphrase Acceptable

291. 00:51:52,345

Sadness, that’s ridiculous. Sadness, itu konyol.


label Acceptable

292. 00:51:57,508 How about we wake her up.

Bagaimana jika kita membangunkan

dia? Paraphrase Acceptable

293. 00:51:57,508

Great idea, Joy. Ide bagus, Joy.


label Acceptable

294. 00:51:59,851 Thanks, come on.

Terima kasih, ayo! Paraphrase Acceptable

295. 00:52:23,332

No no, Sadness. Tidak, Sadness.


label Acceptable

296. 00:52:36,837 Ha! Wonder what that means? Oh

well, let’s go in.

Aku tak tahu artinya, ayo masuk. Paraphrase Acceptable

297. 00:52:41,762

Set up the classroom set. Pasang ruang kelasnya. Paraphrase Acceptable

298. 00:52:53,332

Just because Joy and Sadness are

gone, I have the stupid dream duty.

Karena Joy dan Sadness menghilang,

aku harus melakukan tugas menjaga

mimpi bodoh ini.


Acceptable

299. 00:52:58,537 Okay. How are we going to wake her

up?

Oke. Bagaimana cara kita membangunkannya?


300. 00:53:00,473 Well. She wakes up sometimes when

she has a scary dream.

Riley akan terbangun jika dia

mengalami mimpi menakutkan. Paraphrase Acceptable

301. 00:53:05,224 But, Joy.

Tapi, Joy… Newmark’s translation

label Acceptable

302. 00:53:07,578

Sadness, you may know your way

around down here.

Sadness, kau mungkin tahu jalan di

sekitar sini.


label Acceptable

303. 00:53:10,536

We’re gonna make her so happy,

she’ll wake up with exhilaration.

Kita akan membuatnya bahagia, dia akan bangun dengan suka cita.


304. 00:53:10,536 We’re gonna make her so happy,

she’ll wake up with exhilaration.

Kita akan membuatnya bahagia, dia

akan bangun dengan suka cita. Paraphrase Acceptable

305. 00:53:17,669 Woo, Riley loves dogs. Put this on.

Riley suka anjing, pakai kostum ini. Paraphrase Acceptable

306. 00:53:33,468

Riley is the camera. Make them get

out of there.

Tim perias, keluarlah dari sini Paraphrase Acceptable

307. 00:53:54,167

Riley. Would you like to stand up

and introduce yourself.

Riley. Maukah kau berdiri dan memperkenalkan dirimu.


308. 00:54:07,312 Ew. Look, her teeth are falling out.

Lihatlah, giginya jatuh semua. Paraphrase Acceptable

309. 00:54:12,135

Teeth falling out. Gigi-giginya jatuh. Paraphrase Acceptable

310. 00:54:31,113

What’s going on? Apa yang terjadi? Paraphrase Acceptable

311. 00:54:49,548

Joy, this is not working. Joy, ini tak berhasil


label Acceptable

312. 00:54:58,494

Sadness, what are you doing? Come

back here.

Sadness, apa yang kau perbuat? Newmark’s translation

label Acceptable

313. 00:54:58,494 Sadness, what are you doing? Come

back here.

Kembalilah. Paraphrase Acceptable

314. 00:55:06,3498 They’re trying to wake her up.

Mereka ingin membangunkan Riley. Paraphrase Acceptable

315. 00:55:17,913

Sadness. You are ruining this dream. Sadness.


label Acceptable


94

316. 00:55:39,021

I know people in Headquarters.

Ak kenal orang-orang dari Markas

Besar. Paraphrase Acceptable

317. 00:55:59,204

Come on. Ayo. Paraphrase Acceptable

318. 00:56:13,251

How do we get in? Bagaimana cara kita masuk? Paraphrase Acceptable

319. 00:56:18,735 Look at the label.

Lihat labelnya. Paraphrase Acceptable

320. 00:56:25,693

Look. You got my hat on. Kau mengenakan topiku. Paraphrase Acceptable

321. 00:56:31,764 Get back in there.

Masuklah ke sana. Paraphrase Acceptable

322. 00:56:58,523

Grandma's vacuum cleaner Penyedot debu milik nenek!



323. 00:57:08,807

Okay, come on. Oke, ayo. Paraphrase Acceptable

324. 00:57:29,778

Joy? Joy?


label Acceptable

325. 00:58:18,659 We’re outta here.

Kita harus keluar dari sini Using an idiom of similar


326. 00:58:21,764

We still have to wake up Riley. Kita harus bangunkan Riley. Paraphrase Acceptable

327. 00:58:48,924 Hey Sadness.

Sadness. Newmark’s translation

label Acceptable

328. 00:58:53,724

Yeah, yes Joy. Ya, Joy.


label Acceptable

329. 00:59:10,068

Nothing like a good scare to wake

you up, right?

Tak ada yang sebaik mimpi buruk

yang bisa membangunkanmu,

bukan?


330. 00:59:42,370 Come on, let’s go.

Ayo kita pergi. Paraphrase Acceptable

331. 00:59:53,815

Guess who’s on their way to Headquarters.

Tebak, siapa yang menuju ke Markas

Besar? Paraphrase Acceptable

332. 01:00:04,255

What is going on? Apa yang terjadi? Paraphrase Acceptable

333. 01:00:20,971 Stupid Mom and Dad.

Ibu dan Ayah yang bodoh. Using an idiom of similar


334. 01:00:23,065

None of this world have happened. Semuanya ini tidak akan terjadi. Paraphrase Acceptable

335. 01:00:43,851 There’s no turning back.

Tak ada jalan kembali. Paraphrase Acceptable

336. 01:00:53,360

We’re taking the bus, nitwit! Kita naik bis, bodoh! Paraphrase Acceptable

337. 01:01:01,584 Mom’s purse.

Dompet milik Ibu. Using an idiom of similar


338. 01:01:11,767

Mom and Dad got us into this mess.

Ibu dan Ayah membawa kita dalam

kekacauan.



339. 01:01:11,767 They can pay to get us out.

Mereka harus membayarnya. Paraphrase Acceptable

340. 01:01:53,897

How’re we gonna get to the moon. Bagaimana kita pergi ke bulan? Paraphrase Acceptable

341. 01:01:53,897

How’re we gonna get to the moon. Bagaimana kita pergi ke bulan?



342. 01:01:58,284


Tim hockey muncul dan Ibu dan ayah

datang memberikan semangat. Paraphrase Acceptable

343. 01:01:58,284

The hockey team showed up and

Mom and Dad were there cheering.

Tim hockey muncul dan Ibu dan

ayah datang memberikan semangat. Using an idiom of similar


344. 01:02:02,385

Look at her. Having fun and

laughing.

Lihatlah dia, dia gembira dan tertawa.


345. 01:02:09,731 Attagirl. Now you’re getting it.

Gadis pintar, akhirnya kau paham. Paraphrase Acceptable

346. 01:02:25,570

We can keep working on that when we get back, okay?

Kita bisa tetap menggunakan

kesedihan jika kita sudah kembali. Paraphrase Acceptable


95

347. 01:02:36,626

Why did our moving van even go to Texas?

Kenapa van pengangkut barang kita

kesasar ke Texas? Paraphrase Acceptable

348. 01:03:23,057

Woo. Look out! Awas! Paraphrase Acceptable

349. 01:03:30,077 Come on!

Ayo! Paraphrase Acceptable

350. 01:03:35,826

Hold on! Tunggu! Paraphrase Unacceptable

351. 01:03:37,360 -Hurry up!

-Join over here.

- Cepatlah!

- Bantulah bersama-sama. Paraphrase Acceptable

352. 01:04:03,458

Wait wait. Hang on, guys. Tunggu sebentar. Paraphrase Acceptable

353. 01:04:11,915

Let’s get back to Minnesota and

make more.

Ayo kembali ke Minnesota dan

membuatnya lagi. Paraphrase Acceptable

354. 00:04:15,676 Joy, If we hurry, we can still stop her.

Joy, jika kita bergegas, kita bisa menghentikannya.


Acceptable

355. 01:04:36,237

Joy. Joy.


label Acceptable

356. 01:04:37,573 Joy. It’s too dangerous. We won’t

make it in time.

Joy. Ini terlalu bahaya, kita tak akan

tiba tepat waktu.


label Acceptable

357. 01:05:07,569 Have a great day, sweetheart.

Semoga harimu menyenangkan, sayang.


358. 01:05:28,965

Whoa whoa, Sadness. Awas, Sadness.


label Acceptable

359. 01:05:30,575 Sadness. Stop.

Sadness! Hentikan! Newmark’s translation

label Acceptable

360. 01:05:36,564

If you get in here, these core memories will get sad.

Jika kau ikutan naik, memori inti ini

akan berubah jadi memori kesedihan Paraphrase Acceptable

361. 01:05:47,467

Joy? Joy?


label Acceptable

362. 01:06:04,393 Joy.

Joy? Newmark’s translation

label Acceptable

363. 01:06:10,500

Joy! Joy!


label Acceptable

364. 01:06:44,075 Joy?

Joy? Newmark’s translation

label Acceptable

365. 01:06:52,255

Joy! Joy!


label Acceptable

366. 01:06:59,820 Joy. Joy, what’re you doing? Will

you stop it, please.

Joy, apa yang kau lakukan?

Kumohon, hentikan.


label Acceptable

367. 01:07:06,772

Don’t you get it, Joy. We’re stuck down here.

Tidakkah kau paham, Joy? Kita

terjebak di bawah sini.


label Acceptable

368. 01:08:05,977

How she used to stick her tongue out

when she was coloring.

Ketika dia mamakai lidahnya untuk

mewarnai. Paraphrase Acceptable

369. 01:08:18,821

I could listen to her stories all day.

Aku mau mendengar kisahnya

sepanjang hari. Paraphrase Acceptable

370. 00:10:07,700 Sadness.


label Acceptable

371. 01:10:10,384

Mom and Dad. Ibu dan Ayah.


meaning and form. Acceptable

372. 01:10:24,550 We have to get back up there.

Kita harus kembali ke atas. Paraphrase Acceptable

373. 01:10:27,136

Joy, we’re stuck down here. Joy, kita terjebak di sini.


label Acceptable

374. 01:11:19,784

Hop in. Naiklah. Paraphrase Acceptable

375. 01:11:47,317

Come on! Ayo! Paraphrase Acceptable

376. 01:12:10,424 Come on Joy, one more time.

Ayo Joy, satu kali lagi. Paraphrase Acceptable


96

377. 01:12:10,424

Come on Joy, one more time. Ayo Joy, satu kali lagi.


label Acceptable

378. 01:12:22:230 Louder! Louder! Joy, sing louder!

Lebih keras, Joy. Bernyanyilah lebih keras!


Acceptable

379. 01:12:36,316

We’re gonna make it. Kita akan berhasil. Paraphrase Acceptable

380. 01:13:01,814

Take her to the moon for me. Bawalah Riley ke bulan untukku.

Using an idiom of similar meaning and form.

Acceptable

381. 01:14:01,936

It’s Mom. Itu Ibu.


meaning and form. Acceptable

382. 01:14:11,044 Sadness!

Sadness! Newmark’s translation

label Acceptable

383. 01:14:22,919

Sadness? Sadness? Sadness?


label Acceptable

384. 01:14:25,141

Come on, Sadness. Ayolah, Sadness. Paraphrase Acceptable

385. 01:14:25,141

Come on, Sadness. Ayolah, Sadness.


label Acceptable

386. 01:14:27,668 Okay. If I were Sadness, where would

I be?

Baiklah. Jika aku adalah Sadness,

dimanakah aku berada?


label Acceptable

387. 01:14:35,530 And you have to drag me around

while I touch all the…

Dan kau harus menyeretku

sementara aku menyentuh… Paraphrase Acceptable

388. 01:14:54,918

Oh no. It’s Mom again. Tidak. Ini telpon dari Ibu lagi.



389. 01:15:03,176

She shouldn’t run away. Dia seharusnya tidak kabur. Paraphrase Acceptable

390. 01:15:05,534 Let’s get this idea out of her head.

Singkirkan ide ini dari kepalanya. Paraphrase Acceptable

391. 01:15:08,020

Sadness? Sadness?


label Acceptable

392. 01:15:10,899

- Sadness.

- Joy?

- Sadness?

- Joy?


label Acceptable

393. 01:15:14,317

Wait. Sadness. Tunggu, Sadness.


label Acceptable

394. 01:15:20,080

Come back! Kembalilah! Paraphrase Acceptable

395. 01:15:26,549

You’re saying your husband was blown away by an elephant.

Kau bilang suamimu ditiup oleh

seekor gajah. Paraphrase Acceptable

396. 01:15:32,773

Hey! Come back here! Hei! Kembalilah! Paraphrase Acceptable

397. 01:15:41:187 Sadness.


label Acceptable

398. 01:15:45,253

Sadness, we got to back to… Sadness, kita harus kembali ke…


label Acceptable

399. 01:15:45,253 Sadness, we got to get you back to…

Sadness, kita harus kembali ke… Paraphrase Acceptable

400. 01:16:21,545

Let me do it. Get out of here. Biarkan aku mencobanya, enyahlah. Paraphrase Acceptable

401. 01:16:34,330

Hey. Hey look at me. Hei, lihatlah aku. Paraphrase Acceptable

402. 01:16:37,348



Aku mau mati untuk Riley. Using an idiom of similar


403.

01:16:45,231





Aku mau mati untuk Riley. Using an idiom of similar


404. 01:17:40,346 No, no, no. Joy, be positive.

Tidak Joy. Berpikirlah positif. Newmark’s translation

label Acceptable

405. 01:18:02,441

Joy? Joy?


label Acceptable

406. 01:18:02,441

Hang on. Berpegangan yang erat. Paraphrase Acceptable


97

407. 01:18:05,603

Oh, I wished Joy was here. Aku harap Joy ada di sini.


label Acceptable

408. 01:18:15,044 It’s Joy.

- Omission Acceptable

409. 01:18:16,675

Stand back. Mundurlah. Paraphrase Acceptable

410. 01:18:23,064 But you’re too dumb to understand.

Tapi kau terlalu bodoh untuk bisa mengerti.


Acceptable

411. 01:18:26,197

Of course your tiny brain is confuse. Otak kecilmu pasti bingung.



412. 01:18:28,475 Guess I’ll just have to dumb it down

to your level.

Sepertinya aku harus ikut-ikutan

bodoh agar kau mengerti.



413. 01:18:31,515 Sorry I don’t speak moron as well as

you.

Maaf, omonganku tidak setolol

dirimu.



414. 01:18:46,874

Things are really messed up. Semuanya kacau. Paraphrase Acceptable

415. 01:19:00,509

Joy, you got to fix this. Kau harus memperbaiki ini. Paraphrase Acceptable

416. 01:19:00,509

Get up there. Pergilah kesana. Paraphrase Acceptable

417. 01:19:01,178

Sadness, it’s up to you. Sadness, aku serahkan padamu.


label Acceptable

418.

01:19:04,626

- Sadness?

- Sadness?

- Sadness?

Sadness? Newmark’s translation

label Acceptable

419. 01:19:06,534 I can’t, Joy.

Aku tak bisa, Joy. Newmark’s translation

label Acceptable

420. 01:19:44,038

I want to get off. Aku mau turun. Paraphrase Acceptable

421. 01:20:07,204 Oh, we were worried sick.

Oh, kami sangat kuatir. Paraphrase Acceptable

422. 01:24:07,016

Fashion Island. Everyone shut up. Pulau Mode. Semuanya diam. Paraphrase Acceptable

423. 01:24:22,019

Cool. Keren. Paraphrase Acceptable

424. 01:24:41,981

Now, when you get out there. Ketika kau keluar kesana. Paraphrase Acceptable

425. 01:24:44,178 I know Dad.

Aku tahu, Yah! Using an idiom of similar


426. 01:24:57,736

Yeah. Mom and Dad are pretty cool. Ya, orang tua kita memang keren. Paraphrase Acceptable

427. 01:24:57,736 Yeah. Mom and Dad are pretty cool.

Ya, orang tua kita memang keren. Paraphrase Acceptable

428. 01:25:48,457

Alright, Anger. Anger.


label Acceptable

429. 01:25:48,457

Take over. Ambil alih. Paraphrase Acceptable

430. 01:25:48,457

Give us that puck or you’re dead

meat.

Berikan bolanya atau kau mati. Paraphrase Acceptable

431. 01:25:53,468

Oh. Mom and Dad are watching us fail.

Ibu dan Ayah menonton kita. Using an idiom of similar


432. 01:26:41,502

5 months 2 weeks and 4 days until

summer vacation.

5 bulan 2 minngu dan 4 hari sampai libur musim panas.


Acceptable

433. 01:27:11,947

Being cool is so exhausting. Menjadi keren memang melelahkan. Paraphrase Acceptable


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AN ANALYSIS OF THE TRANSLATION OF IDIOMATIC EXPRESSIONS ... · expressions easily. Besides, idiomatic expressions cannot be translated literally into the target language. Therefore,