THE SYMBOLISM AND ITS REPRESENTATION OF

MEANING IN THE FILM BEFORE SUNRISE (1995)

A FINAL PROJECT

Presented as Partial Fulfillment of the Requirements to

Obtain the Sarjana Sastra Degree

in English Literature

OKTAVIANI ANNISA KHASAN

30802000038

ENGLISH LITERATURE STUDY PROGRAM

FACULTY OF LANGUAGES AND COMMUNICATION SCIENCE

SULTAN AGUNG ISLAMIC UNIVERSITY SEMARANG

2024
 PAGE OF APPROVAL

A Final Project Entitled

THE SYMBOLISM AND ITS REPRESENTATION OF

MEANING THROUGH SCENES AND OBJECTS IN

BEFORE SUNRISE (1995)

Prepared and Presented by:

OKTAVIANI ANNISA KHASAN

30802000038

Has been approved by the advisor to be examined by the Board of Examiners.

Semarang, February 26th 2024

(Dr. Didik Murwantono, M.Hum)

Advisor

ii
 PAGE OF VALIDATION
A Final Project on
THE SYMBOLISM AND ITS REPRESENTATION OF MEANING

THROUGH SCENES AND OBJECTS IN BEFORE SUNRISE (1995)

Prepared and Presented by:

Oktaviani Annisa Khasan

30802000038

Defended before the Board of Examiners

On February 19th 2024
and Declare Acceptable

Board of Examiners

Chairman : Dr. Didik Murwantono M.Hum. ____________________

Secretary : Diyah Fitri Wulandari, S.S., M.Hum. ____________________

Member : Idha Nurhamidah, S.S., M.Hum. ____________________

Semarang, February 26th 2024

Faculty of Language and

Communication Science of
UNISSULA

Dean

iii
 STATEMENT OF WORK’S ORIGINALITY

Hereby, I honestly declare that the undergraduate thesis I wrote does not contain
the works or part of the works of other people, expect those which were cited in the
quotations and the references, as a scientific paper should. If my statemen is not
valid in the future, I absolutely agree to accept an academic sanction in the form of
revocation of my paper and my degree obtained from that paper.

Semarang, February 26th 2024

Oktaviani Annisa Khasan

iv
 MOTTO

“when you do good, the good is for yourself, and when you do bad, the bad is for

yourself, and be a useful human being wherever you are”

DEDICATION

This research is dedicated to all of the best cheerleaders of the researcher who

give their utmost support and never-ending inspiration throughout the study.

Highly appreciation and affection to:

Allah SWT

My beloved parents (Khasan Khariri dan Efi Haryanti)

Faculty of Language and Communication Science (All lecturers and stafs)

UNISSULA

v
 ACKNOWLEDGEMENT

In the name of Allah, The Most Gracious and The Most Merciful

First and foremost, praise be to Allah Subhanahu Wa Ta’ala, for the

abundance of His mercy and grace. His love and compassion have given me

strength, provided me with knowledge, and throughout my life are also very helpful.

Thanks to grace and ease that finally this final project can be completed. Shalawat

and salam to the Prophet Muhammad Shallallaahu ‘Alaihi wa Sallam, to his family

and companions until the end of time.

Second, this final project could not be completed without the help, support,

and motivation from various parties. So, I would like to express my gratitude to the

people who have contributed to the completion of this final project.

Those great people are:

1. Prof. Dr. Gunarto, S.H., M.Hum. as the Rector of Sultan Agung Islamic

University Semarang.

2. Trimanah, S.Sos., M.Si. as the Dean of Language and Communication

Science Faculty of Sultan Agung Islamic University Semarang.

3. Destary Praptawati, S.S., M.Hum. as the head of the English Literature

Department of Language and Communication Science Faculty of Sultan

Agung Islamic University Semarang, who has provided knowledge and

experience during the study period.

4. Dr. Didik Murwantono, S.S., M.Hum as my academic and final project

advisor whom I am really thankful for her time, guidance, patience,

kindness, and contribution in a generous correction and helping me since

vi
 the first semester until the writing process of my final project from the

beginning until now, what an honour to have her as my advisor.

5. All respectful lecturers of the Language and Communication Science

Faculty of Sultan Agung Islamic University Semarang who have helped and

supported me during the process of my study.

6. I want to thank myself. I am not a perfect child; I have many shortcomings,

but I always convince myself I can do it. Thank you for being selfish and

rarely paying attention to rest to pursue your dreams and fulfil many

responsibilities. Thank you for managing your time well amid your busy

life, but academics are always a priority. Thank you for being strong and

willing to fight and survive until this moment.

7. My beloved parents are always patient and provide support, motivation,

affection, and spiritual, material, and selfless prayers for me for the success

of my life. Thank you, Mom and Dad, for never demanding anything from

my life, but I will always make you proud. Thank you, Mom and Dad, for

accompanying me in the process, and giving me appreciation every step of

the way.

8. To my friends Thalia, Rahma, Nada, Sarah, and Fatris, thank you always

supported me every step of the way and accompanied my process; thank

you to my boarding house friends Febrisya, Anggi, Anggita, Ani, who have

attended me and always helped me with whatever it is, thank you to my

friends since I from high school to college, Sulis, Dewi, Ninis have always

been a support in every journey of my life, thank you to Azriel who has

vii
 helped me a lot, provided input and corrections in working on this thesis

page by page.

9. To my friends in organizations, communities, and ambassadors, thank you

for giving so much colour to the world of education and providing great

experiences and excellent relationships for my life journey.

10. The students in the Department of English Literature 2020, have given me

happiness, time, and unforgettable moments during our academic’s time.

11. Everyone who cannot be mentioned one by one, thank you for all the

support, suggestions, input, and prayers that have been given. Hopefully, all

the goodness that has been given becomes a good deed and gets a reward

from Allah SWT. Aamiinn.

Finally, I realized that the final project is far from perfect. I will be grateful

to accept constructive suggestions and criticisms from various parties. Last but not

least, I hope that this final project can be useful for readers, especially for students

majoring in literature.

viii
 TABLE OF CONTENT

A FINAL PROJECT .............................................................................................. i

STATEMENT OF WORK’S ORIGINALITY.................................................. iv
MOTTO ................................................................................................................. v
ACKNOWLEDGEMENT ................................................................................... vi
TABLE OF CONTENT ....................................................................................... ix
ABSTRACT .......................................................................................................... xi
INTISARI ............................................................................................................ xii
CHAPTER I........................................................................................................... 1
INTRODUCTION ................................................................................................. 1
A. Background of the Study .......................................................................... 1

B. Problem Formulation ................................................................................ 3

C. Objectives of the Study ............................................................................. 4

D. Limitation of the Study ............................................................................. 4

E. Significances ............................................................................................... 4

F. Organization of the Study......................................................................... 5

CHAPTER II ......................................................................................................... 6
REVIEWS OF RELATED LITERATURE ....................................................... 6
A. Synopsys of the film Before Sunrise (1995) ............................................. 6

B. Related Literature ..................................................................................... 7

B.1 Symbolism ........................................................................................... 7

B.2 Type of Symbolism ........................................................................... 10
B.3 Meaning of Symbolism..................................................................... 15
CHAPTER III ..................................................................................................... 18
RESEARCH METHODS ................................................................................... 18
A. Type of Research ..................................................................................... 18

B. Data Collection ........................................................................................ 19

B.1. Data Collection Method .................................................................. 19

ix
 B.2. Types of the Data ............................................................................. 20
C. Analyzing the Data .................................................................................. 21

CHAPTER IV ...................................................................................................... 23
FINDINGS AND DISSCUSSION ...................................................................... 23
A. Types of symbolism found in the film Before Sunrise (1995) by
Richard Linklater .................................................................................... 23

A.1. Colour Symbolism in the film Before Sunrise (1995) live action
film and script ................................................................................... 23
A.2. Object Symbolism in the film Before Sunrise (1995) live action
film and script ................................................................................... 32
A.3 Nature Symbolism in the film Before Sunrise (1995) live action
film and script ................................................................................... 44
B. The meaning of the symbolism found in the film Before Sunrise (1995)
by Richard Linklater .............................................................................. 47

CHAPTER V ....................................................................................................... 70
CONCLUSION AND SUGGESTIONS ............................................................ 70
A. Conclusion ................................................................................................ 70

B. Suggestion ................................................................................................ 71

BIBLIOGRAPHY ............................................................................................... 72
APPENDIX .......................................................................................................... 74

x
 ABSTRACT

Khasan, Oktaviani Annisa. 30802000038. "The Symbolism and Its

Representation of Meaning in the Film Before Sunrise (1995). English
Literature Study Program. Faculty of Language and Communication
Sciences. Sultan Agung Islamic University. Advisor Dr. Didik Murwantono,
M.Hum.

The film Before Sunrise (1995) is a romantic film directed by Richard

Linklater. As a part of a trilogy, this film is followed by Before Sunset (2004) and
Before Midnight (2013). This study explores the use of symbols in the film to
provide additional and profound meaning and enhance its aesthetic aspects. The
analysis this paper has two main objectives: firstly, to identify the symbolism that
appears in the film, and secondly, to analyze the meanings of these symbols.
This research employs a qualitative approach to examine the symbolism in
the film Before Sunrise (1995). The analysis follows a systematic method involving
watching the film, reading the script, and selectively capturing scenes. Data
classification involves extracting meanings from relevant articles and journals.
Qualitative data, rich in textual and visual content, forms the foundation for a
nuanced analysis of symbolism in the film. This study contributes to a deeper
understanding of the intricacies of the narrative and thematic richness in "Before
Sunrise."
In conclusion, this study reveals that "Before Sunrise" (1995) utilizes various
forms of symbolism to enhance its depth and meaning. The incorporation of
symbolism in the film serves the purpose of providing profound layers of
significance. The analysis identifies the film's three main symbols: color, objects,
and nature. The presence of these symbols adds implicit and deeper meanings,
contributing to the visualization of diverse personalities and scenarios woven into
the storyline. This research underscores the importance of symbolism in enriching
the narrative and thematic complexities within Before Sunrise. (1995)

Keywords: symbolism, type of symbolism, meaning of symbolism.

xi
 INTISARI

Khasan, Oktaviani Annisa. 30802000038. "The Symbolism and Its

Representation of Meaning in the Film Before Sunrise (1995). English
Literature Study Program. Faculty of Language and Communication
Sciences. Sultan Agung Islamic University. Advisor Dr. Didik Murwantono,
M.Hum.

Film Before Sunrise (1995) adalah sebuah drama romantis yang disutradarai
oleh Richard Linklater. Sebagai bagian dari trilogi, film ini diikuti oleh Before
Sunset (2004) dan Before Midnight (2013). Penelitian ini mengeksplorasi
penggunaan simbol dalam film untuk memberikan makna tambahan dan mendalam
serta meningkatkan aspek estetikanya. Analisis ini memiliki dua tujuan utama:
pertama, mengidentifikasi simbolisme yang muncul dalam film, dan kedua,
menganalisis makna dari simbolisme tersebut.
Penelitian ini memanfaatkan pendekatan kualitatif untuk menginvestigasi
simbolisme yang terdapat dalam film Before Sunrise (1995). Proses analisis
dilakukan secara sistematis, melibatkan serangkaian langkah seperti menonton
film, membaca naskah, dan melakukan pengambilan adegan secara selektif.
Klasifikasi data dilakukan dengan merinci makna dari artikel dan jurnal yang
relevan. Data kualitatif, yang melibatkan konten tekstual dan visual yang kaya,
menjadi dasar utama untuk melakukan analisis mendalam terhadap simbolisme
yang terwujud dalam film. Penelitian ini memberikan kontribusi signifikan pada
pemahaman lebih mendalam terkait naratif dan kompleksitas tematik yang
terkandung dalam "Before Sunrise."
Kesimpulannya, penelitian ini mengungkapkan bahwa Before Sunrise
(1995) memanfaatkan berbagai bentuk simbolisme untuk meningkatkan kedalaman
dan maknanya. Penggabungan simbolisme dalam film bertujuan untuk memberikan
lapisan makna yang mendalam. Analisis tersebut mengidentifikasi tiga simbol
utama film: warna, objek, dan alam. Kehadiran simbol-simbol tersebut menambah
makna tersirat dan lebih dalam, berkontribusi pada visualisasi beragam kepribadian
dan skenario yang dijalin ke dalam jalan cerita. Penelitian ini menggarisbawahi
pentingnya simbolisme dalam memperkaya narasi dan kompleksitas tematik dalam
Before Sunrise. (1995)

Kata kunci: simbolisme, simbolisme jenis, symbolism warna.

xii
 CHAPTER I

INTRODUCTION

A. Background of the Study

Life is embodied in a literary work. It is a representation of life and is

described as a reflection of reality through fiction. The author describes the

reality of life in a literary work. It will become the object of a literary work in

the author's own words. Mursal Esten (1978), literature is the expression of

artistic and imaginative facts as a form of embodiment (manifestation) of

human life and society. In literature, it is conveyed using language and has a

positive effect on human life.

Literature itself includes a wide variety of written works, including

short stories, novels, poetry, plays, and essays. This literary work reflects the

author's art of expression and thought with deep aesthetic and philosophical

values. Studying or analyzing literary works requires a deep understanding of

the subject matter or the writing style used and one of the literary methods that

can be used is symbolism.

Symbolism is a literary method that has been used for centuries. While

it initially emerged as a literary trend, it evolved into a method that significantly

impacted literary movements. Mohan states that symbols represent objects,

emotions, and thoughts, thus carrying deep meaning (Mohan 19).

According to Akter in his article, symbols appear in the form of words,

sounds, gestures, or visual images. In addition, all of these are used to

1
 2

convey thoughts and beliefs (Akter 3). Symbolism is a method used in literature

when something should not be understood literally. Symbolic meaning can be

a person, situation, event, or action that has a deeper meaning in the frame.

Writers often use symbolism to improve their writing and make readers

understand.

Symbolism enhances the aesthetic appeal and enriches the significance

of literary pieces. Symbols encompass diverse manifestations, often appearing

as objects that symbolize something else, imbuing it with a distinct, more

profound significance. Occasionally, symbolic value resides within events,

actions, or uttered phrases. For instance, a smile serves as a representation of

friendship. When someone smiles towards you, it can signify that person's

fondness or affection for you. Symbolism also grants authors the freedom to

incorporate dual interpretations into their literary creations. According to Bai's

diary as cited in Zain (3), symbolism has two different meanings; an obvious

literal meaning and a symbolic meaning that is deeper than the literal meaning.

Consequently, symbolism contributes to the universality of themes within

literary pieces. The inclusion of symbolism in literature captivates readers as it

offers insight into the author's perspective and sheds light on their perception

of everyday objects and actions, yielding a more far-reaching influence.

In its development, symbolism became a tool to convey the meaning

that the author wanted to convey so that his work would be beautiful and able

to color a message more deeply. This is also the basis for filmmakers to include
 3

symbols in their work, including Richard Linklater and Kim Krizan in their

work entitled Before Sunrise (1995).

Before Sunrise (1995) is a film released in 1995, directed by Richard

Linklater. The film depicts the encounter of two strangers who meet on a train

in Europe and decide to spend time together in Vienna before one of them has

to move on to the next destination. The film stands out for its realistic and

profound dialogues, as well as an intimate portrayal of human interaction and

the dynamics of interpersonal relationships. Despite knowing that their meeting

will last only for one night, they decide to savor every moment together with

great intensity.

In this research, the writer employed Carl G. Jung's theory of

symbolism. Jung, renowned as a psychologist, developed the concept of

symbolism within his psychological analysis. For Jung, symbolism is not solely

about the meaning determined by the author but also encompasses the role of

the reader or observer in creating that meaning. When it comes to films or other

visual mediums, Carl G. Jung's approach to symbolism encourages the

audience to perceive the symbols and concealed meanings within the work.

However, this interpretation is recognized as subjective and shaped by their

individual experiences and context. Jung's concepts regarding symbolism offer

a more liberated and unrestricted method for dissecting and understanding

cultural creations, such as films.

B. Problem Formulation
 4

Based on the background above, the writer finds two issues to be

analyzed as follows:

1. What types of symbolism found in the film Before Sunrise (1995) by

Richard Linklater?

2. What the analyze meanings of the symbolism found in the film Before

Sunrise (1995) by Richard Linklater?

C. Objectives of the Study

Based on the problems, the objectives of the research are:

1. To identify the types of symbolism found in the film Before Sunrise

(1995).

2. To analyze the meaning of the symbolism found in the film Before Sunrise

(1995).

D. Limitation of the Study

Based on the problem formulation, the scope of this research is limited

to identifying the type and meaning of symbolism contained in the film Before

Sunrise (1995). However, it should be noted that specifically interpreted

symbolism does not represent all the meanings received by each viewer.

Therefore, the findings of this study may only be generalizable to some

individuals with different backgrounds and experiences.

E. Significances
 5

The results of this research are expected to be useful:

1. This research helps students to understand deeply about the symbolism, both

literal and symbolic in literary works.

2. Hopefully it can be a reference for students of English Literature, Faculty

of Language and Communication Sciences, Sultan Agung Islamic

University and other people interested in the topic to do further analysis.

F. Organization of the Study

This Final Project is divided into five chapters. Each chapter contains

various things that would be discussed. Chapter one contains an introduction

consisting of background to the study, problem formulation, study limitations,

study objectives, study significance and study organization. Chapter two

contains a review of the literature which consists of a synopsis of the film itself

and several theories related to research. Chapter three contains research

methods consisting of research types, data organization and data analysis. Data

organizing provides data collection methods which consist of watching films,

reading film scripts, reading journals, identifying data, classifying data and

reducing data. Chapter four contains of findings and discussion. Whereas the

chapter five divided into two parts, they are conclusion and suggestion.
 CHAPTER II

REVIEWS OF RELATED LITERATURE

This chapter will discuss the synopsis of the film and review the related

literature. The Related literature is about symbolism, types of symbolism and

meaning of symbolism

A. Synopsys of the film Before Sunrise (1995)

Before Sunrise (1995) a film trilogy directed by Richard Linklater. The

film is played by two main players namely Jesse (Ethan Hawke) and Celine

(Julie Delpy). They are two strangers with different characters and cultures

who finally meet on a train with different goals. Jesse is a writer who is

traveling to Vienna, Austria for a flight home to America and Celine is a

student who has to return to her university in Paris after visiting her

grandmother's house. They decided to get off in Vienna and explore the city

together.

During their trip with Jesse and Celine they discuss various topics such

as relationships, life and love. They communicate with each other from

different points of view. Passing through town, talking and getting to know

each other. They also visited various places such as cafes, parks, and

monuments all night. Their intimacy increases and they feel more and more

connected to each other. They share personal stories, dreams, their future goals

in life and their hopes in life. However, they realize that their time is very

limited because the next day Jesse has to catch a plane back to America.

6
 7

The talks and the many incidents they experienced overnight made

them compatible and have a sense of belonging to each other. Although in the

end, they realized that they had to separate and return to their own lives. But

they made a promise that they would meet again six months later from the day

they met now.

The film Before Sunrise (1995) showcases the brief but deep

relationship between Jesse and Celine. This is a story about a chance encounter

that can escalate. The film was critically acclaimed for its strong cast and

beautiful portrayal of the Vienna romance.

B. Related Literature

B.1 Symbolism

The topic on Symbolism, when taken in a philosophical context, is

rather too broad and too vague of a concept. While we almost always associate

it with a simple graphical representation of a “message” or “value” whenever

we hear the word “Symbol”, it covers a much wider scope. In fact, even for the

said simple graphical representation such as writings and drawing, depending

on the medium, culture and common knowledge of the specific region that is

identifying its inhabitant, each symbol itself may conveys different meanings

and interpretations.

By definition, according to the Oxford Dictionaries, the word

symbolism has two meanings. The first and obvious meaning is “the use of

symbols to represent ideas or qualities”, or a representation that has “symbolic

meaning attributed to natural objects or facts”. On the other hand, the second
 8

definition has a much general meaning defining that it is “an artistic and poetic

movement or style using symbolic images and indirect suggestion to express

mystical ideas, emotions, and states of mind”. Thus, if we further take the

concept in its derivation and extended form, the word “Symbolic” would

appropriately be describe as something that represents an idea, message, value,

or even a common sense.

According to Carl Jung, Symbolism is of central importance in the

discussion of Jung’s proposed study of aesthetics. His psychological analysis

and approach to the study of symbolism in ‘primitive’ times and its connections

with the present are very significant to come to a close understanding of the

life of ancient people.

An important aspect of Jung’s system is his theory of symbols is that

“man also produces symbols unconsciously and spontaneously, in the form of

dreams” (Jung 21). He treated dream images as symbols intent on bringing

“healing to the psyche”. He based this on the fundamental split in psyche,

which is common in varying degrees to all of us. By observing many dreams

of his patients Jung discovered that not only dreams were relevant to the life of

the dreamers but that there exists a pattern of psychological importance which

he termed “the process of individuation”. He believed that the unconscious was

purposely trying to communicate through consciousness, in order to bring forth

a sense of wholeness and added meaning to our lives. In his Confrontation with

the Unconscious.
 9

Jung tells us, “Symbols serve as a link between the archetype and

consciousness and in a like manner between the artist, the work, and the

audience, and the unconscious” (p.76). There is a connection between his

concept of the symbol and his “theory of individual psychology to the

considerations of aesthetics, and to the relations between aesthetics and

epistemology” (Philipson 15). First, he distinguishes between the meaning of

symbols and signs, arguing that symbolic and semiotic interpretations are

entirely different things. Take for example, a traffic sign showing a zebra

crossing or a picture of children crossing the road, which warns the drivers to

be alert and to slow down because somebody is crossing the road. These are

signs, which have no meaning in themselves. But years ago, we all learnt what

the sign means.

For example, the picture of children on the traffic sign has a specific

meaning. But if you are leafing a magazine or a newspaper and you see a

picture of children, most likely you would not immediately think of the danger

that children are crossing the road. On the other hand, when images are related

as symbols they have meaning in and of themselves. Again, let us take the

example of a picture of ‘children’. We normally attribute qualities to them that

express innocence, love, care, naïveté and other related intrinsic features. The

image of ‘children ‘looked at a symbol is pregnant with meaning for each one

of us. No one has to tell you what meaning an image of children means to you.

For most of us the meaning of an image of children is essentially the same. In

conclusion, The sign is always less than the concept it represents, while a
 10

symbol always stands for something more than its obvious and immediate

meaning. Symbols, moreover, are natural and spontaneous products.

B.2 Type of Symbolism

Symbolism is a profound means of expressing emotions, ideas, and

abstract concepts through symbols laden with intricate meanings. Its purpose

extends to capturing the intricacies of the human inner world, unravelling the

mysteries of the universe, and exploring the complex relationship between the

tangible and supernatural realms. In various artistic realms such as painting,

literature, music, and theatre, symbolism gives rise to works that often exude

an aura of obscurity, provocation, and veiled secrets.

These symbolic works are crafted deliberately to be ambiguous,

encouraging the audience to participate actively in the interpretation process.

Such creations prompt viewers or readers to delve into the layers of meaning

concealed behind the symbols the artist or writer employs. This interactive

engagement with the symbolism within the work enhances the interpretative

experience and allows for a personalized and nuanced understanding of the

artistic creation. Symbolism, therefore, emerges as a vehicle through which

artists and writers invite audiences to explore profound themes and unravel

enigmatic layers within their creations.

According to Pierce in Liszka’s book (Rizki 2022) the classification of

symbols there are natural symbols, conventional symbols, and singular

symbols:

1. Natural symbols
 11

Natural symbols are the symbols that individuals experience in their

daily lives that can be seen with the eyes and always occur in daily life, such

as when dog a wag its tail as a kind gesture.

2. Conventional symbol

Conventional symbols is a set of words that frequently used to substitute

other phrases yet have the same meaning. For example, the term "man" denotes

what it does because it is a general way of succession of three sounds or signals

of sounds formed via habit or learned law, causing reproductions to be regarded

as signifying a man or men. While some examples that include conventional

symbols are, colors, objects, clothes, animals and nature.

In this research, three aspects were identified for investigation: color,

objects, and nature.

2.A. Colours Symbolism

According to Pierce's theory and Liszka's book "The Classification of

Symbols," colour symbolism extends beyond the visual appearance of colours

and delves into conveying meanings beyond the surface. Liszka's work

emphasizes that colours, as conventional symbols, carry cultural or universal

significance, introducing complexity to their interpretations. The Oxford

Dictionary further clarifies that symbolism involves using symbols to represent

ideas or qualities, and colours are no exception in this intricate language.

In the context of the film Before Sunrise (1995), a comprehensive

analysis of colour symbolism entails exploring deliberate choices in using

specific colours to represent emotions, character traits, or narrative elements.

 12

Drawing from Liszka's perspective, different colours can evoke specific

emotions or themes, and these interpretations may vary across cultures, yet

some universal associations may exist. For instance, warm colours like red or

yellow might be strategically employed by the director to symbolize passion,

love, or vitality in particular scenes, contributing to the emotional depth of the

narrative. Conversely, cooler tones like blue may signify melancholy,

introspection, or tranquillity in other parts of the film, adding a nuanced layer

to the overall visual storytelling.

This utilization of colour symbolism aligns with the theory of symbols,

suggesting that colours serve as powerful tools in conveying underlying

meanings or themes within the film. The deliberate choice of colours becomes

a visual language that enhances the audience's understanding and emotional

engagement with the narrative. Therefore, exploring colour symbolism in

"Before Sunrise" (1995) becomes an integral aspect of decoding the nuanced

layers of the film, providing insights into the characters' emotional states and

the broader thematic elements woven into the storyline.

2.B. Objects Symbolism

Objects symbolism is a narrative technique that goes beyond the literal

representation of specific items, imbuing them with deeper, often symbolic

meanings. This practice involves assigning established and culturally

recognized significance to objects, allowing them to function as potent symbols

within the narrative. As per Liszka's exploration in "The Classification of

 13

Symbols," objects, like colours, become part of a complex language that

contributes to storytelling's overall depth and richness.

In the realm of the film, delving into object symbolism requires a keen

examination of how particular items are strategically placed throughout the

storyline to convey emotions, themes, or character traits. Objects can carry

intentional weight, serving as more than just props but as symbols with nuanced

meanings. For example, a specific book within the narrative may not merely be

a literary element but a symbolic representation of knowledge, wisdom, or a

particular cultural context. Similarly, a piece of art strategically introduced in

the storyline might symbolize creativity, expression, or even the characters'

emotional landscape.

Furthermore, significant modes of transportation, like trains or cars, can

be used symbolically to represent the journey, transitions, or the passage of

time within the narrative. Liszka's emphasis on symbols as a form of

communication aligns with the idea that objects within the film are carefully

chosen to convey specific messages, adding layers of meaning beyond their

apparent, tangible presence.

In essence, object symbolism in the film becomes a visual language that

speaks to the audience, enhancing their understanding of the characters'

experiences and the overarching themes interwoven into the narrative. The

intentional use of objects as symbols invites viewers to engage more deeply

with the storyline, recognizing that every item introduced carries a significance

that extends beyond its physical form.

 14

2.C. Nature Symbolism

Nature symbolism is a narrative device that transcends the literal

representation of elements from the natural world, imbuing them with deeper,

often symbolic meanings; by Pierce's theory and Liszka's insights from "The

Classification of Symbols," nature is perceived as a rich repository of symbols

with established and culturally recognized significance. This practice involves

infusing natural elements with intentional symbolism, turning them into potent

carriers of nuanced messages within the narrative fabric.

Within the film, exploring nature symbolism requires a discerning

analysis of how elements from the natural world are deliberately woven into

the storyline to communicate emotions, thematic elements, or the development

of characters. The intentional integration of specific natural settings, such as a

picturesque sunset, a serene landscape, or the shifting seasons, goes beyond

mere visual aesthetics. Instead, these elements are strategically employed to

symbolize broader concepts, such as the passage of time, the ephemeral nature

of moments, or the transformative journey of relationships between characters.

Pierce's perspective on nature as a symbolic reservoir aligns with the

idea that each natural element introduced in the film carries a specific meaning

beyond its literal depiction. A sunset, for example, might symbolize not only

the end of a day but also the culmination of emotions or the resolution of a

storyline. Similarly, the changing seasons could mirror the evolving dynamics

within character relationships or signify personal growth and transformation.

 15

In essence, nature symbolism in the film becomes a visual language that

communicates subtle nuances and enhances the audience's connection to the

narrative. By intentionally infusing natural elements with symbolic weight, the

filmmakers invite viewers to engage more deeply, recognizing that the natural

world within the storyline is not merely a backdrop but an active participant in

conveying profound layers of meaning.

3. Singular symbol

Singular Symbols If the symbol's object is an actual person, it means that

symbols or forms that often stand alone or have an individual nature, such as

"moon," can be found in lives without the need for a partner or another symbol

because the fact that this one symbol is always stand alone or has an individual

nature is enough. (Qtd. Rizki 14)

According to Pierce's classification, these symbols can be categorized

into three types: natural, conventional, and singular. Each type carries unique

characteristics and functions, playing a specific role in conveying meaning in

literary works.

B.3 Meaning of Symbolism

Symbolism in literature is a versatile and powerful tool, offering writers

a means of conveying complex ideas and emotions through various elements.

These elements can include objects, individuals, scenarios, or actions that have

both literal meaning and additional, more abstract meaning. A prime example

of this literary device is found in the film Before Sunrise (1995), where
 16

symbolism operates as subtle language, providing the viewer with a nuanced

and complex experience.

In literature, the meaning of a symbol can be examined at two levels:

surface-level interpretation, which is closely related to observable

characteristics and commonly understood representations, and a deeper

understanding beyond direct interpretation. For example, a red heart may

symbolize love on a surface level, while its deeper connotations may explore

the complexities and nuances of human emotion.

When analyzing symbolism in literature, it is essential to investigate the

symbolic meaning of elements that go beyond their actual representation. This

may include recurring objects, colors, or specific settings, each of which has

the potential to carry a more profound meaning that contributes to the thematic

richness of the work as a whole. Perrine's statement in Fadaee aptly states, "A

literary symbol has more meaning than what it is. It is an object, person,

situation, action, or another thing that has a literal meaning in the story but

suggests or represents another meaning as well" (Fadaee 20). Perrine's

explanation in Fadaee emphasizes that literary symbols go beyond their literal

meaning, becoming figurative, which enhances the beauty of the text and adds

a layer of allusion to the narrative.

In the film Before Sunrise (1995) the meaning of certain elements is

initially understood at a surface level, whhat is visible and explicitly presented

on screen. But the beauty of the film's symbolism lies in its potential to be

explored more deeply. For example, a particular book or setting may have
 17

symbolic meaning related to a broader theme, prompting the viewer to interpret

the film on a deeper and more subjective level.

In literature, symbolism functions as a dynamic and sophisticated

language, indirectly allowing authors to convey complex ideas, themes, or

emotions. Layers of interpretation include cultural and social context,

emotions, and universal themes, providing readers with a more profound and

more complex experience. In a work of literature, symbolism not only adds

depth to the narrative but also emphasizes that literature goes beyond its literal

meaning, inviting readers to explore figurative dimensions that contribute to

the richness of the text as a whole.

 CHAPTER III

RESEARCH METHODS

Chapter three is the research method used in collecting and analyzing data

to answer the formulation of the problem and there are three sub-chapters in this

chapter. The first sub-chapter is the type of research, the second sub-chapter is data

collection, and the third sub-chapter is data analysis.

A. Type of Research

The research method provides information on how to choose the right

method to solve a decision-making problem so that it can be resolved quickly.

So, the research method is a tool or technique for conducting research, which

comes from the word "careful" which means the attitude of solving problems

carefully. Therefore, research is a loosely used term that aims to find interesting

facts to get the desired quality of results.

This research uses descriptively qualitative research, meaning that the

data collection process is carried out qualitatively and the reporting is

descriptive. Qualitative research is research that examines and understands the

meaning assumed by individuals or groups as social or humanitarian problems,

so this type of research is not an approach that involves statistical and

mathematical data related to numbers but focuses more on descriptions and

explanations in form. words, sentences, narration and dialogue. In this case the

type of descriptive qualitative research would be used to analyze the stages of

learning taken from the film Before Sunrise (1995).

18
 19

B. Data Collection

In data collection, the steps for data collection and the type of data are

explained.

B.1. Data Collection Method

There are stages of data collection for research:

B.1.1 Watching Film Before Sunrise (1995)

The first step was to watching the film Before Sunrise (1995)

which is the focused of this investigation. It takes a lot of this movie

to fully comprehend the plot. Identify type of symbolism and analyze

the meaning of symbolism found right away.

B.1.2 Reading The Film Script Before Sunrise (1995)

The data is the Script Film Before Sunrise (1995). Research

read language that contains accurate words and spellings. This

process takes a very long time. This aims to focus more on studying

the text, narrative, storyline and description contained in each

character related to the subject matter to be analyzed in a study.

B.1.3 Identifying Data

After reading the film script carefully, the next step is to

identify the data. This is done to find the parts of the text to be

analyzed by marking and underlining the text. Data is identified in

the form of dialogues and narration.

 20

B.1.4 Classifying Data

The next step is to classify the data. Therefore, the data in the

appendix would be classified based on the problem formulation.

Data is obtained from column numbers, scripts, film scenes and

types of reference symbolism and comments in the attached table

Attachment details would be discussed in Chapter IV.

B.1.5 Reducing Data

The final step in data collection is reducing from the general

to the specific. Data reduction means the process of selecting the

most relevant data from the contents of the Before Sunrise (1995)

Film Script and the visual flow of the Before Sunrise (1995) film to

be analyzed, aiming to reduce duplicate or incorrect data can be

removed to improve and simplify data. In this phase, the most

important and effective information is developed to solve the

problem. The final data that supports the problem formulation would

be stored in the final data, where the appropriate secondary data is

applied.

B.2. Types of the Data

Two types of data are used in this study, namely primary data and

secondary data. The explanation of the data is as follows;

 21

B.2.1 Primary of Data

Primary data is the main source of analysis. This is taken

from the Script Before Sunrise (1995) written by Linklater and Kim

Krizan. Before Sunrise (1995) was inspired by writer/director

Richard Linklater, who met at a Philadelphia toy store in 1989.[4]

They traveled around town together and talked late into the night. In

the initial scenario, the type and location of the talks are still unclear.

Linklater admits that this film is a dialogue between a man and a

woman, so it was important to have a strong writer. Linklater later

singled out Kim Crisis, citing "the way his mind works – he has a

confident, intelligent flow of ideas." This film provides information

in the form of a monologue that acts as a clue.

B.2.2 Secondary of Data

Secondary data is another data from this study which is

supporting data for primary data. This data was taken from several

data sources such as journals, articles, theses, and e-books related to

the theory of this research.

C. Analyzing the Data

This section consists of data analysis and reporting. The purpose of data

analysis is to provide very clear information from the data. This research uses

descriptive analysis data as the type of data. The strategy is to describe, assess

and understand all the facts using descriptions. While the findings of this study
 22

are presented in chapter IV: findings and discussion are presented in the

appendix.
 CHAPTER IV

FINDINGS AND DISSCUSSION

In this chapter, the writer discusses about the finding and analysis of found

symbolism and the meaning of symbolism in the film Before Sunrise (1995).

A. Types of symbolism found in the film Before Sunrise (1995) by Richard

Linklater

Symbolism is a powerful tool across various artistic mediums, including

painting, literature, music, and theatre, to express emotions, ideas, and abstract

concepts through intricate symbols laden with complex meanings. These

symbols attempt to delve into the depths of the human inner world, unravel the

mysteries of the universe, and explore the intricate relationship between the

natural world and the supernatural. In literary works, symbols often manifest as

colours, objects, clothes, animals, and nature, each carrying nuanced

representations.

A.1. Colour Symbolism in the film Before Sunrise (1995) live action film and

script

Color symbolism involves using colors to convey meanings beyond their

literal appearance. In Pierce's theory and Liszka’s book "The Classification of

Symbols," colors are considered conventional symbols with cultural or

universal significance. Different colors evoke specific emotions, ideas, or

23
 24

themes, and these interpretations can vary across cultures. In the film "Before

Sunrise" (1995), color symbolism is evident in the deliberate use of warm

hues like red or yellow to represent passion and vitality, while cooler tones like

blue convey melancholy or tranquility. and in the film Before Sunrise (1995) I

found two colors, black and white.

A.1.1. Green

In the film Before Sunrise (1995), the first colour symbolsm found is Green.

Jesse: “Jean-Marc Fleury?”

Celine: “We were at this summer camp together and he was a

swimmer. He had that bleached-out, chlorine hair and green eyes, and

to improve his times, he’d shave the hair off his legs and arms. So he

was like this gorgeous dolphin. My friend Emma had a big crush on

him, and one day I was cutting across the field on my way back to my

room, he came walking up beside me. I told him he should ask Emma

out because she had a big crush on him, and he said, “That’s too bad,

because I have a big crush on you.” And it really scared the hell out of

me because I thought he was so fine. He officially asked me out on a

 25

date but I pretended that I didn’t like him because I was afraid of what

I might do. But I went to a swim competition and watched him

swimming around. He was so sexy. At the end of the summer we sort

of wrote these little declarations of love to each other and said we

would keep writing and for sure meet again soon.

Scene 00.20.31 - 00:21:42

As the sunlight bathed the summer camp in its warm radiance, the lively green

text persisted in capturing the essence of the spirited experience awaiting the

campers. Amidst the energetic atmosphere, mentioning "Celine" evoked images of

chlorine-bleached hair and eyes resembling emeralds, establishing a clear

connection between this character and the natural elements, particularly the

stimulating world of water and swimming.

Celine's eyes, reminiscent of emerald green, acted as a focal point, symbolizing

her affinity for the swimming pool and reflecting her immersion in the lively spirit

of the summer camp. The green shade echoed the surrounding nature, creating a

seamless blend that emphasized her profound connection to the environment.

The narrative uncovered a layer of commitment and dedication within Celine.

The choice to shave off leg and arm hair for improved swimming times underscored

her singular focus and unyielding determination. This act transcended mere

grooming, signifying her relentless pursuit of excellence in swimming and adding

complexity to her character, leaving a lasting impression on those encountering her

at the summer camp.

 26

The vibrant portrayal of Celine as a competitive swimmer with emerald green

eyes and a swimming background painted a memorable picture. The contrast

between her intense dedication and the refreshing ambiance of the camp heightened

the impact of her character, showcasing her as someone who approached every

aspect of the summer camp experience with a unique blend of passion and

competitiveness.

As the narrative unfolded, Celine's presence became synonymous with the

lively spirit and commitment defining the summer camp. The emerald-green hues

continued to symbolize the swimming environment, representing growth and

transformation within the camp's community and leaving an enduring mark on the

memories of those fortunate enough to share the summer days with Celine.

A.1.2. Black

Celine: “I hate being told by strange men to smile, just to make them

feel better about their stupid lives. I hate that three hundred kilometers

away a war is going on. People are dying. And nobody knows what to

do about it. I hate how the media tries to control our minds. It’s a new

form of very subtle fascism. And I hate in a foreign country each time
 27

I wear black or lose my temper or express an opinion about anything,

everyone always goes: “Oh, it’s so French, it’s so cute.” Oh, I hate

that.

They both laugh a bit at her becoming riled up so quickly. She calms

down and asks him a question.”

Scene 00:23:19 - 00:24:14

Amidst the heated dialogue, an honest critique of media influence emerged,

exposing it as a subtle and insidious form of fascism, a mechanism designed to

manipulate and control the thoughts and behavior of the masses. The character's

frustration becomes increasingly apparent, reflecting a profound disillusionment

with the media's pervasive impact on the norms that shape society.

The mention of black clothing has a symbolic meaning, more than just a

choice of clothing. This becomes an act of rebellion, a silent protest against the

conformity imposed by the media. The character's experiences in a foreign country,

where wearing black elicits strange reactions, add another layer to the narrative.

This highlights the global reach of media influence and underscores the character's

struggle to avoid being confined to cultural stereotypes.

Reactions received, labeling expressions of frustration, loss of temper, or

articulated opinions as "French" and "cute" demonstrate a profound distaste for

cultural assumptions. The character rejects the reduction of complex emotions and

individual expressions to cliché labels, refusing to trivialize personal choices based

on cultural stereotypes. The repetition of "I hate it" underscores the intensity of the

character's contempt, revealing a deep hatred of a society that tends to oversimplify

 28

and homogenize personal expression, turning it into an easily digestible and

marketable trope.

The character's frustration is a microcosm of society's broader

dissatisfaction with the manipulation and oversimplification of media influence.

These critiques encompass individual experiences and reflect a collective

resentment of societal expectations and the limiting nature of cultural stereotypes.

The character's resistance to conforming to these expectations becomes a call for

authenticity and individuality, challenging the power of oppressive media

influences that seek to shape thoughts and dictate personal expression. In the face

of this subtle form of fascism, the character appears as a figure of resistance,

refusing to be silenced or reduced to a mere stereotype in a grand narrative

controlled by media influence.

A.1.3. Black and White

“A projector is set up to show against the back wall of the stage. The

filmmaker, LIZ, takes the microphone and sits on the stage facing the screen.

She has a piece of paper in her hand and signals for the projectionist to start.

The room darkens and the film begins. Behind the first black-andwhite

Super 8 images is the title scratched in white, in German: A KIND OF

NOISE AND A KIND OF SILENCE. The film consists of images of fairly

recent (1985 1994) events, bands playing, catastrophes, televised images.

Interspersed throughout is an eerie series of images of solitary individuals,

some looking at the camera, some away. The film evokes a melancholy and

almost romantic loneliness. She speaks in German and we read subtitles”

 29

Script 46/72

As the room enveloped itself in darkness, a hushed anticipation settled over

the audience, signaling the commencement of a cinematic odyssey. The opening

scene casts a somber tone, setting the stage for a narrative journey that promises to

unravel intricate layers of emotion and storytelling. The gradual dimming of the

lights served as a symbolic curtain rising on the unfolding drama, inviting viewers

into a world where contrasts and complexities would reign.

The introduction of black and white Super 8 images further heightened the

visual impact, offering a stark juxtaposition that hinted at the multifaceted nature

of the tale about to unravel. The choice of monochrome tones added a timeless

quality to the visuals and suggested the exploration of profound dichotomies within

the narrative. The scratches and imperfections in the film enhanced the vintage

aesthetic, foreshadowing the narrative's exploration of the imperfect and often

tumultuous nature of the human experience.

The enigmatic white title, written in German, "A KIND OF NOISE AND A

KIND OF SILENCE," emerged on the screen like an arcane riddle, beckoning

viewers to decipher its meaning. This linguistic choice added an extra layer of

intrigue, hinting at cultural nuances that likely play a pivotal role in the unfolding

story. The very essence of the title suggested a deliberate play on paradoxes and

contradictions, introducing the audience to a world where noise and silence

coexisted in a delicate dance.

With its poetic ambiguity, the phrase invited contemplation on the interplay

between opposing forces, light and darkness, sound and tranquility, that would
 30

likely serve as thematic pillars throughout the film. The anticipation of navigating

these dualities promised a depth of narrative rarely encountered, encouraging

viewers to engage not only with the visual and auditory elements but also with the

intellectual and emotional dimensions of the story.

As the scratched white letters lingered on the screen, the audience was

poised at the threshold of an immersive experience, ready to unravel the intricacies

of a tale exploring the profound and sometimes discordant symphony of human

existence. "A KIND OF NOISE AND A KIND OF SILENCE" stood as a beacon,

inviting viewers to delve into the complexities of the narrative, sparking curiosity,

and setting the stage for a cinematic journey that promised visual splendor and

intellectual reflection.

A.1.4. Blue

Scene 01:10:17 - 01:10:45

Jesse: “Hmmm.”

Celine: “And he’s so cute. He has really beautiful blue eyes, nice pink lips,

and greasy hair. He’s kinda tall and a little clumsy. I like to feel his eyes on

me when I look away. And he kind of kisses like an adolescent. It’s so cute.
 31

Jesse: “What?”

As Celine continues to weave the tapestry of admiration, her descriptions

capture the physical attributes and delve into the essence of the person she holds in

such high regard. The emphasis on "beautiful blue eyes" and "nice pink lips"

becomes a poetic expression of her perception, signifying a heightened awareness

of the unique qualities that set this person apart. It's an appreciation that transcends

the ordinary and delves into the realm of individuality, celebrating the distinctive

features that make the person unique.

The inclusion of imperfections, such as "greasy hair" and the observation

that the person "kind of kisses like an adolescent," adds a touch of realism to the

portrait. Rather than idealizing or romanticizing, Celine embraces the quirks and

nuances that make the person human. It speaks to intimacy and acceptance that goes

beyond mere infatuation, suggesting a profound connection grounded in

authenticity.

Celine's preference for feeling the person's eyes on her and finding his

adolescent-style kisses cute further deepens the portrayal. These details unveil a

layer of vulnerability and sincerity in her admiration. It's not just about physical

attraction but the emotional resonance and unique dynamics that define their

connection. The word "cute" hints at a tender affection, showcasing a genuine

fondness for the person's expression of affection.

Transitioning to Celine's intellectual pursuits, her engrossment in Georges

Bataille's "Story of the Eye" adds an intriguing layer to her character. It suggests a
 32

mind that seeks intellectual stimulation, a curiosity that goes beyond the surface.

This juxtaposition of physical and academic pursuits underscores the

multidimensionality of Celine, portraying her as someone who appreciates both the

complexities of human connection and the depths of intellectual exploration.

Celine's deliberate choice of attire becomes another facet of her identity.

She challenges societal expectations and beauty standards by opting for no makeup,

a loose-fitting vintage dress, and flat shoes. Her attire becomes a form of self-

expression, signaling a nonchalant attitude toward conforming to external norms.

In embracing comfort over ostentation, Celine exhibits confidence rooted in her

individuality, reinforcing that her substance is far more valuable than societal

superficiality.

In essence, Celine emerges as a character with layers of complexity, from

her profound admiration that transcends physicality to her intellectual pursuits and

her defiance of societal beauty standards. Her narrative becomes a rich tapestry

woven with threads of authenticity, depth, and a celebration of individuality,

offering viewers a nuanced and captivating portrayal of a woman who defies

categorization and embraces the beauty of imperfection and uniqueness.

A.2. Object Symbolism in the film Before Sunrise (1995) live action film and

script

Intentionally incorporating specific items or elements with deeper

meanings beyond their literal representations. These objects can function as

symbols carrying culturally recognized and accepted meanings. In the context

 33

of the film, the exploration of object symbolism entails a thorough analysis of

how particular objects or items are deliberately used throughout the storyline to

convey emotions, themes, or character characteristics.

For example, a particular book, symbolic artwork, or specific mode of

transportation may be introduced to represent broader concepts or evoke

particular emotions within the development of the plot. These objects become

more than just physical elements within a scene; they serve as triggers for

additional meanings, enriching the story's nuances by providing profound

symbolic dimensions. By considering the selection of objects and their

intentional use, object symbolism in film can create interpretive depth, inviting

viewers to contemplate hidden meanings and deepening their engagement with

the unfolding narrative.

 34

A.2.1. The book of Story of the Eye

Scene 00:03:00 – 00:03:54

As the scene unfolds, Celine's immersion in Georges Bataille's "Story

of the Eye" becomes a window into her intellectual world, revealing layers of

depth and curiosity beneath her striking exterior. The choice of such a

provocative and philosophical work suggests an inclination towards thought-

provoking literature, hinting at a mind seeking to explore human experience's

intricacies.

Despite her undeniable physical allure, Celine's deliberate decision to

forgo makeup, don a loose-fitting vintage dress and opt for comfortable flat

shoes sends a powerful message. It becomes a deliberate act of defiance against

societal expectations and beauty norms, showcasing a nonchalant attitude

toward conforming to external standards. In this intentional departure from the

conventional, Celine emerges as a character unafraid to challenge the status

quo, signaling a preference for authenticity over adherence to superficial ideals.

The loose-fitting vintage dress, draped casually over her form,

accentuates a sense of ease and comfort. It's a sartorial choice beyond mere
 35

fashion, revealing a woman who prioritizes comfort and individuality over

trends and societal expectations. The flat shoes, chosen over more

conventionally stylish options, add a practical dimension to her character,

reinforcing that Celine values substance and functionality in her choices.

This careful curation of her appearance underscores Celine's

individuality and confidence, showcasing her as someone who defines her

beauty standards. Her attire becomes a canvas upon which she paints a

narrative of self-expression, a declaration that her identity transcends societal

expectations. In doing so, Celine adds layers to her character, suggesting a

more profound complexity beyond the surface-level charm she exudes.

This scene paints Celine as a woman who navigates the intersection of

intellect and aesthetics with grace. Her engagement with profound literature

and bold sartorial choices become a statement of independence and a

celebration of inner substance. Through her deliberate downplaying of

appearance, Celine emerges as a character whose allure lies not just in her

physical beauty but in her unapologetic embrace of individuality, hinting at a

profound and multifaceted personality beneath the veneer of outward charm.

A.2.2. The book of All I Need Is Love

 36

Scene 00:03:00

In this candid moment, the lens captures Jesse, a mid-twenties man

immersed in the pages of Klaus Kinski's memoir, "All I Need Is Love." The

choice of literature immediately paints a portrait of Jesse as someone with an

intellectual appetite, delving into the complexities of an actor's life and the

pursuit of love. His engagement with such a profound work hints at a penchant

for introspection and a curiosity about the human experience, suggesting a

depth beyond the surface.

Jesse's appearance is described as "casually good-looking but a little

scruffy," which further complements his character's narrative. The seemingly

effortless and laid-back style, with jeans and a T-shirt as his preferred

ensemble, contributes to an aura of casual confidence. This attire choice

reflects a pragmatic approach to fashion and hints at a possible nonconformist

attitude. Jesse's fashion sensibility is an extension of his unassuming and

easygoing demeanor, suggesting a person comfortable in his skin and

unswayed by societal expectations.

 37

The synergy between his intellectual pursuit of Kinski's memoir and his

unpretentious appearance creates a nuanced character. It provides viewers with

a glimpse into the multifaceted nature of Jesse – a man who navigates the

realms of intellectual exploration with the same ease as he does the day-to-day

simplicity of his attire. The convergence of these elements suggests a

personality that embraces both depth and simplicity, striking a balance between

intellectual depth and a relaxed, unassuming charm.

As Jesse continues to immerse himself in Kinski's world, the scene

contemplates the intersections of intellect and style, depth and effortlessness.

Through this snapshot, Jesse emerges as a character with layers waiting to be

unraveled, offering a promising complexity beyond the immediate visual

appeal.

A.2.3. Tram

They are sitting in the tram and observing everything going by.

Jesse: “Okay, Q&A time. We’ve known each other for a little while

now, we’re stuck with each other, we can ask each other a few, you

know, direct questions.

 38

Celine: “So we ask each other questions?

Jesse: “And you have to answer one hundred percent honestly.

Celine: “Of course.

Scene 00:19:50 - 00:20:07

In the quiet confines of the tram, Jesse takes the initiative to spark a

genuine and intimate conversation with his companion. He proposes a

spontaneous Q&A session to foster a deeper connection between them. This

gesture reveals Jesse's commitment to openness and honesty, suggesting a

desire to move beyond the surface and explore the layers of their personalities.

The Q&A format signifies more than just a casual chat; it becomes a

deliberate choice to create a space for authenticity and vulnerability. By

encouraging direct questions, Jesse opens the door to meaningful dialogue,

inviting his companion to share thoughts and emotions on a more profound

level. This structured approach suggests a genuine interest in understanding

and being understood, fostering a sense of mutual intimacy.

Jesse's acknowledgment of their shared time and circumstance within

the tram adds a nuanced touch to this interaction. By grounding the

conversation in the present moment, he emphasizes the significance of their

shared experience, transcending the physical space of the tram and fostering a

connection that goes beyond the ordinary.

This exchange on the tram is a pivotal moment in their evolving

relationship. Jesse's deliberate choice to initiate a Q&A session reflects a

yearning for authenticity and transparency, highlighting the importance of

 39

communication and vulnerability. As they navigate their journey together, this

candid conversation becomes a bridge between the surface and the profound,

setting the stage for a genuine, meaningful connection built on a shared

exploration of their unique thoughts and emotions.

A.2.4. Subway

They ride on a subway as it breaks out of a tunnel Into sunlight.

Scene 00:28:38 - 00:28:55

As the subway car emerges into sunlight, the symbolism of this

transition is profound, representing more than just a change in physical

surroundings. It becomes a metaphor for personal growth and enlightenment.

The subway journey is a powerful symbol for navigating life's challenges and

uncertainties.

The shift from the dark tunnel into the radiant sunlight symbolizes

clarity, hope, and the promise of new beginnings. This visual transition holds

the potential for a deeper symbolic meaning, signaling a shift in perspective, a

moment of revelation, or a realization that can alter one's outlook on life.

 40

The stark contrast between the dimly lit tunnel and the bright sunlight

reflects themes of transformation and optimism amid adversity. The subway

journey represents life's twists and turns, full of obstacles and uncertainties.

Emerging into sunlight becomes a triumphant moment, symbolizing resilience

and the ability to navigate challenges toward a brighter future.

In this visual metaphor, the interplay of darkness and light becomes a

narrative device, resonating with themes of personal evolution. The sunlight

breaking through symbolizes breaking barriers, dispelling shadows, and

embracing the warmth of newfound understanding. The journey through the

subway becomes a profound metaphor for the human experience, where

resilience and optimism prevail even in the face of adversity.

The subway's emergence into sunlight is a poignant reminder that, even

in the most uncertain and challenging moments, there is always the potential

for clarity, hope, and a fresh start.

A.2.5. Ferris wheel

 41

Celine walks over to him and puts her arms around his neck.

Celine: How come every time you want me to do something, you start

talking about time travel?

Jesse: Okay, I think we should kiss right now.

They begin kissing and the Ferris wheel keeps moving.

Scene 00:31:52 - 00:32:32

A spontaneous kiss on a Ferris wheel marks a touching moment of

connection and intimacy, which occurs amidst a maelstrom of movement and

uncertainty. In this collective act, the power of the kiss becomes a profound

symbol, embodying a leap of faith, vulnerability, and the expression of raw

emotion. As the Ferris wheel continues to rise and fall rhythmically, it serves

as a metaphor for the ongoing journey of their relationship amidst life's

constant changes.

The kiss itself is proof of the unpredictable nature of love. Her

spontaneity captures the essence of a shared moment that transcends the

ordinary, marked by a sense of abandon and unbridled passion. With its cyclic
 42

movement, the Ferris wheel becomes an allegory of the cyclical nature of

relationships, where ups and downs are inherent in the course of connection.

Amid the uncertainty of life's never ending movement, a kiss

symbolizes a shared commitment to embracing the present moment. It's a

celebration of spontaneity, a willingness to seize opportunities for connection

when they arise, and an acknowledgment that love often thrives in the

unexpected. The Ferris wheel forms the backdrop to their evolving story,

mirroring the ups and downs of any relationship.

This shared kiss on the Ferris wheel encapsulates more than just a

romantic gesture; it embodies the thrill of adventure and the unpredictable

nature of human relationships. It symbolizes their mutual willingness to

navigate the twists and turns of their relationship, finding joy and passion

amidst uncertainty. In this brief moment suspended in time, the Ferris wheel

becomes a silent witness to the depth of their emotions, and the kiss becomes

an eternal trace of their journey together.

A.2.6. Rose

Jesse: Sure, how many schillings?

Rose Peddler: Twenty.

As Jesse hands her the coins and she gives him the rose, she

suddenly turns all her attention to Celine. She impulsively

grabs her hand and intensely starts looking at her palm.”

Script: 32/72
 43

The tender exchange of coins and a rose between Jesse and the other

person goes beyond a simple transaction; it becomes a poignant gesture laden

with layers of affection and connection. As coins change hands and a delicate

rose is offered, the act symbolizes more than material exchange—it becomes a

subtle language of sentiments, a mutual appreciation communicated through

these simple yet profound tokens.

The sudden focus on Celine's palm introduces an element of

spontaneity, suggesting an impulsive desire for a deeper connection and

understanding. Holding hands and examining the palm transcends the physical

touch; it symbolizes intimacy, curiosity, and a shared search for meaning

within relationships. The palm, often associated with destiny and

interconnectedness, becomes a canvas for exploration and connection.

The hands become conduits for unspoken emotions in this intimate

gesture, creating a silent dialogue beyond words. The rose, a timeless symbol

of love, and the exchange of coins, reminiscent of shared experiences and

investments, further emphasize the depth of their connection. It's a moment that

underscores the importance of human connection in navigating the

complexities of life.

As the coins and the rose change hands, they weave a narrative of

shared experiences, mutual understanding, and a subtle acknowledgment of the

interconnectedness of their destinies. This seemingly small exchange becomes

a microcosm of the more extensive journey of relationships, where exploring

 44

destiny and interconnectedness unfolds through these moments of shared

intimacy.

This exchange goes beyond the material realm; it becomes a metaphor

for the emotional currency shared between Jesse and the other person. Through

exchanging coins and offering a rose, they communicate a silent language of

affection and connection, delving into the profound tapestry of human

relationships and the exploration of destiny that binds them together.

A.3 Nature Symbolism in the film Before Sunrise (1995) live action film and

script

As a concept constructed in Pierce's hypothesis, nature emphasizes the

idea that the distinctive components of the world go beyond mere visual

aesthetics, becoming repositories of social images and universally recognized

symbols. In the film, the investigation into nature imagery becomes a thoughtful

exploration of how these natural components are intentionally woven into the

fabric of the narrative to evoke emotions, elucidate topics, or contribute to

character development.

Consider deliberately utilizing specific natural settings, such as a

captivating night, a serene landscape, or a transformative change of seasons.

These components become more than just a backdrop; they serve as depictions

carrying various implications. The arrival of night may symbolize the closure

of a chapter or a moment in time, providing a visual representation of a brief

interlude. Serene scenes reflect a character's internal state or moments of relief

 45

within the story. The changing seasons symbolize the advancing flow of

connections, reflecting the characters' development or challenges.

Intentionally incorporating nature imagery enriches the narrative by

adding depth and complexity. It invites the audience to engage with the

characters and plot and the broader, distinctive language drawn from the natural

world. By doing so, the creators encourage dynamic collaboration from

observers, prompting them to uncover hidden implications and fostering a

deeper connection with the imaginative work.

Intentional nature imagery becomes a tool through which filmmakers

communicate beyond the visual, using the rich tapestry of the natural world to

convey profound insights into the human experience. It transforms the film into

more than a visual spectacle, turning it into a symbolic journey where the

elements of nature serve as guiding markers, enhancing the overall narrative

experience.

A.3.1. a River

“like branches in a river”

Scene 00:51:00 -00:51:47

 46

In the unfolding dialogue, the river takes on a profound symbolic role,

transcending its physical existence and becoming a metaphor for life's journey,

the relentless passage of time, and the inevitability of change. Rivers, a timeless

literary motif, carry with them the weight of symbolic significance,

representing the ebb and flow of life, its constant evolution, and the myriad

challenges humans encounter on their journeys.

The poem, woven into the fabric of the conversation, serves as a poetic

vessel, further enhancing the symbolic depth of the river. Its strong metaphors

and evocative imagery beckon listeners to contemplate, encouraging a deeper

exploration of the meaning of life and how individuals navigate its currents. As

a living metaphor, the river mirrors the twists and turns, the highs and lows,

and the unpredictable nature of the human experience.

The presence of the river and the accompanying poem create an

atmosphere charged with reflection and introspection. The dialogue becomes

more than just words exchanged; it transforms into a shared exploration of the

profound themes encapsulated by the river's symbolism. There's an invitation

to consider the inevitability of change, the resilience required to navigate life's

currents, and the intricate dance between stability and transformation.

As the river flows, so does the dialogue, inviting participants and

listeners alike to navigate the metaphorical waters of life's journey. The

confluence of the river as a powerful symbol and the poetic verses within the

conversation intertwine seamlessly, fostering an atmosphere of contemplative

 47

dialogue about existence, change, and the intricate dance of human experiences

with time.

B. The meaning of the symbolism found in the film Before Sunrise (1995) by

Richard Linklater

Symbolism in literature serves as a versatile and potent tool for writers,

enabling the conveyance of complex ideas and emotions through various

elements. Whether manifested in objects, individuals, scenarios, or actions,

symbols possess both literal and abstract meanings. In "Before Sunrise" (1995),

symbolism functions as a subtle language, offering viewers a nuanced and

intricate experience through elements that extend beyond their surface-level

interpretation.

Analyzing symbolism involves delving into two levels of

understanding: the observable and commonly understood representations on the

surface, and a deeper, more abstract interpretation. For instance, a red heart may

symbolize love on the surface, while its deeper connotations explore the

intricate complexities of human emotion. Perrine's insight, as cited in Fadaee,

emphasizes that literary symbols transcend their literal meaning, becoming

figurative and adding layers of allusion to the narrative, enriching the text's

beauty and depth.

In the film "Before Sunrise," certain elements initially carry a surface-

level meaning, visible and explicit on screen. Yet, the film's beauty lies in its

potential for deeper exploration. Whether it's a specific book or setting, each

holds symbolic significance tied to broader themes, encouraging viewers to

 48

interpret the film on a profound and subjective level. Symbolism in literature,

as exemplified in "Before Sunrise," operates as a sophisticated language that

allows authors to convey complex ideas and emotions. Its layers of

interpretation, encompassing cultural context, emotions, and universal themes,

invite readers to explore figurative dimensions, contributing to the narrative's

overall richness.

B.1.1. Green

Jesse: “Jean-Marc Fleury?”

Celine: “We were at this summer camp together and he was a

swimmer. He had that bleached-out, chlorine hair and green eyes, and

to improve his times, he’d shave the hair off his legs and arms. So he

was like this gorgeous dolphin. My friend Emma had a big crush on

him, and one day I was cutting across the field on my way back to my

room, he came walking up beside me. I told him he should ask Emma

out because she had a big crush on him, and he said, “That’s too bad,

because I have a big crush on you.” And it really scared the hell out of
 49

me because I thought he was so fine. He officially asked me out on a

date but I pretended that I didn’t like him because I was afraid of what

I might do. But I went to a swim competition and watched him

swimming around. He was so sexy. At the end of the summer we sort

of wrote these little declarations of love to each other and said we

would keep writing and for sure meet again soon.

Scene 00:23:19 - 00:24:14

The deliberate choice of green to depict the character's eyes in this

dialogue intricately weaves elements of nature, life, and tranquility into the

fabric of the narrative. Green, with its rich associations with natural elements,

implies a sense of freshness, vitality, and connectedness to the environment. In

this context, the character's green eyes have more symbolic meaning than just

a physical description.

Using green to depict a character's eyes suggests more than just a visual

attribute; it hints at an innate beauty in harmony with nature. The combination

of green reminds us of lush landscapes, vibrant foliage, and the refreshing

essence of nature. This creates an eye image that is not only aesthetic but also

has a quality of freshness and life, adding depth to the character's personality.

As the narrative unfolds by mentioning a shared experience at summer

camp, using the color green to describe a character's eyes takes on a different

meaning. It implies a connection beyond the physical, showing an emotional

bond or close relationship between the characters. The choice of colors

 50

becomes a subtle thread that ties the characters to natural elements and shared

memories and experiences at summer camp.

In essence, the green color used to depict the characters' eyes becomes

a symbolic bridge between the individual and nature, creating a familiar and

familiar dimension of interaction. This adds a touch of authenticity to the

narrative, as the symbolism of green aligns with the themes of life, growth, and

eternal bonds formed through shared experiences. Eyes painted in natural hues

become a window to deeper relationships, making literary works more alive

and resonant.

B.1.2. Black

Celine: “I hate being told by strange men to smile, just to make them

feel better about their stupid lives. I hate that three hundred kilometers

away a war is going on. People are dying. And nobody knows what to

do about it. I hate how the media tries to control our minds. It’s a new

form of very subtle fascism. And I hate in a foreign country each time

I wear black or lose my temper or express an opinion about anything,

 51

everyone always goes: “Oh, it’s so French, it’s so cute.” Oh, I hate

that.

They both laugh a bit at her becoming riled up so quickly. She calms

down and asks him a question.”

Scene 00:23:19 - 00:24:14

The symbol of the color black in the dialogue serves as a powerful

metaphor for resistance and defiance against the pervasive influence of media

control and cultural stereotypes. It goes beyond a mere representation of color

and delves into the depths of social commentary. By associating the color black

with their expressions, the speaker communicates a profound dissatisfaction

with the manipulation imposed by the media and the confining nature of

cultural stereotypes.

Black, in this context, becomes a visual and symbolic tool for

expressing the speaker's commitment to breaking free from the constraints of

societal expectations. It signifies a rejection of oppression and a staunch desire

to maintain cognitive autonomy in the face of external influences that seek to

mold individual perceptions.

Moreover, the speaker extends their discontent to the international

arena, expressing discomfort with perpetuating stereotypical perceptions in

foreign countries. This suggests a broader concern about how limited and often

inaccurate portrayals can shape global perspectives, further emphasizing the

need for a nuanced understanding of identity.

 52

The use of the black symbol in the dialogue becomes a poignant

reflection of the struggle individuals face in upholding their integrity and

preserving freedom of expression within societies prone to control and narrow

perspectives. It underscores the importance of recognizing the complexity of

identity and championing the rights of individuals to express themselves

authentically without being confined by preconceived notions.

In essence, the black symbol becomes a rallying point for the speaker

and others who share similar sentiments, advocating for a world where

individuality is celebrated and freedom of expression is safeguarded against the

constraints of media manipulation and cultural stereotypes.

B.1.3. Black and white

“A projector is set up to show against the back wall of the stage. The

filmmaker, LIZ, takes the microphone and sits on the stage facing the

screen. She has a piece of paper in her hand and signals for the

projectionist to start. The room darkens and the film begins. Behind

the first black-andwhite Super 8 images is the title scratched in white,

in German: A KIND OF NOISE AND A KIND OF SILENCE. The

film consists of images of fairly recent (1985 1994) events, bands

playing, catastrophes, televised images. Interspersed throughout is an

eerie series of images of solitary individuals, some looking at the

camera, some away. The film evokes a melancholy and almost

romantic loneliness. She speaks in German and we read subtitles”

 53

Script 46/72

The utilization of the black-and-white color symbol in the dialogue

extends beyond its visual contrast, delving into the intricate layers of emotional

duality and conflicts within the film. The stark juxtaposition of black and white

establishes the visual atmosphere and serves as a metaphor for the nuanced

themes woven throughout the narrative.

The black-and-white color scheme becomes a canvas on which the

complexities of human experiences are painted. The interplay of these

contrasting colors mirrors the intricate dance between light and shadow, good

and evil, joy and sorrow. This symbolism introduces depth to the film, inviting

the audience to explore the subtle nuances of the character's emotions and the

intricacies of their relationships.

The film's title, presented in white against a black background, adds

another layer to the symbolism. The deliberate choice of colors suggests a

profound and thought-provoking exploration of life's multifaceted nature.

White, often associated with purity and illumination, set against the darkness

of black, implies a complex message about the coexistence of light and

darkness in the human experience.

As viewers engage with the film, the black-and-white color symbol

becomes a visual cue, prompting them to contemplate the deeper meanings

embedded within each scene. The intentional absence of color challenges

audiences to focus on the essence of the narrative, encouraging them to dissect

 54

the emotional intricacies, moral dilemmas, and philosophical underpinnings

that shape the characters and their journey.

In essence, the black-and-white color symbol serves as a conduit for a

more profound artistic experience. It prompts viewers to move beyond the

surface of the visual presentation and engage with the underlying themes and

messages. This deliberate choice in cinematography enriches the storytelling,

creating a cinematic tapestry where the interplay of black and white becomes a

symbolic reflection of the human condition. As audiences immerse themselves

in this visual dichotomy, they are invited to embark on a journey of

introspection, contemplating the universal truths and complexities that define

our shared existence.

B.1.4. Blue

Jesse: “Hmmm.”

Celine: “And he’s so cute. He has really beautiful blue eyes, nice pink

lips, and greasy hair. He’s kinda tall and a little clumsy. I like to feel

his eyes on me when I look away. And he kind of kisses like an

 55

adolescent. It’s so cute.

Jesse: “What?”

Scene 01:10:17 - 01:10:45

The strategic use of the color blue in describing the character's eyes

within the dialogue adds visual allure and intricately weaves emotional depth

and sincerity into the narrative. Blue, often associated with calmness and

honesty, is a poignant choice to illuminate the character's dynamic landscape.

Characterizing the eyes as "beautiful" and adorned with blue goes

beyond physical aesthetics. It becomes a symbolic representation of the

character's inner beauty and genuineness. The choice of blue eyes suggests a

depth of sincerity, as if the character's emotions and intentions are bare,

creating a sense of transparency and authenticity.

Moreover, the association of blue with calmness creates an atmosphere

of tranquility within the dialogue. Engaging with this character implies a sense

of ease and comfort, fostering a space where emotional connections can

flourish. The use of blue, therefore, becomes a subtle yet effective tool in

establishing an intimate bond between the speaker and the character with the

captivating blue eyes.

The emotional dimension introduced by the color blue enhances the

visual imagery and enriches the narrative by conveying a nuanced layer of

meaning. The choice to highlight the character's eyes in this way suggests that

there is more to the story than what meets the eye an emotional depth and

sincerity that transcends the surface. It invites readers to delve into the
 56

complexities of human connections and appreciate the profound impact that

sincere and beautiful qualities can have on relationships.

Using blue in the dialogue transforms a simple physical description into

a symbolic representation of emotional authenticity and intimacy. It elevates

the narrative, contributing to a more profound and resonant exploration of

human emotions and connections within the literary work.

B.1.5.The book of Story of the eye

Scene 00:03:00 – 00:03:54

The deliberate inclusion of the book "Story of the Eye" by Georges

Bataille as a symbol in the dialogue becomes a profound lens through which

the character of Celine is portrayed, revealing an intellectual dimension and

complexity that extends beyond her physical appearance. Celine's choice of

literature signals a penchant for deep thinking and an eagerness to explore the

intricacies of complex themes, pushing the boundaries of societal norms.

"Story of the Eye" is known for exploring sexuality, existentialism, and

cultural taboos, making it a challenging and thought-provoking read. By

 57

associating Celine with this particular work, the dialogue suggests she cannot

shy away from intellectual and philosophical inquiries. Instead, she actively

seeks literature that delves into the depths of human experience and challenges

conventional perspectives.

While engrossed in the book, Celine's depiction goes beyond the

superficial. While she is acknowledged as "strikingly attractive," the narrative

deliberately emphasizes her superficial appearance. This choice underscores

the notion that her physical beauty takes a back seat to her intellectual pursuits.

It's not merely about aesthetic appeal but rather about the intellectual allure that

emanates from her engagement with profound and challenging literature.

Therefore, using the book as a symbol adds a multi-dimensional layer

to Celine's character. It serves as a window into her intellectual world, shedding

light on her interests and passions. This deliberate choice enriches the narrative

by presenting Celine as a complex, intelligent character who values exploring

profound ideas and is unafraid to confront the more challenging aspects of

human existence.

The book becomes a symbolic key, unlocking a deeper understanding

of Celine. It invites readers to appreciate her not only for her physical

attractiveness but also for her intellectual curiosity and the rich tapestry of

thoughts that define her character. The book's symbolism adds a layer of

sophistication to the narrative, elevating it beyond a mere description of

appearances and into the realm of intellectual exploration and complexity.

 58

B.1.6. The book of All I Need Is Love

Scene 00:03:00 – 00:03:54

The book's inclusion as a symbol in this dialogue serves as a literary

gateway into the intellectual depths of Jesse's character, offering subtle hints at

the themes that may unfold in the broader story. The specific choice of "All I

Need Is Love" by Klaus Kinski as Jesse's reading material adds an intriguing

layer, potentially foreshadowing a narrative journey centered around a

profound search for love and the meaning of life.

Jesse's deliberate choice of Kinski's memoir signals a fascination with

complex personal narratives, indicating an inherent curiosity about the

intricacies of humanity and human relationships. Kinski, known for his

controversial life and tumultuous experiences, becomes a fitting lens through

which Jesse may explore the complexities, conflicts, and nuances inherent in

the human condition.

The book's title, "All I Need Is Love," is a symbolic beacon, suggesting

that themes of love and existential questioning may play a central role in Jesse's

journey. It hints at a potential narrative arc where the character grapples with
 59

the fundamental aspects of existence, seeking romantic love and a deeper

understanding of life's purpose and significance.

Jesse's engagement with this literary work becomes more than a mere

pastime; it reflects his inner yearnings and catalyzes potential transformation.

The book's symbolism opens avenues for exploration, inviting readers to

anticipate the emotional and intellectual journey that Jesse may embark upon

throughout the story.

In essence, the book as a symbol becomes a narrative device that adds

depth to Jesse's character and sets the stage for broader thematic exploration. It

introduces the prospect of emotional and intellectual growth, suggesting that

Jesse's interactions with the memoir's content influence his perspective,

decisions, and, ultimately, his character development. Using the book as a

symbol in this dialogue thus acts as a literary prelude, inviting readers to delve

into the profound dimensions of Jesse's narrative journey and the intricate

themes that may unfold.

B.1.7. Tram

They are sitting in the tram and observing everything going by.

Jesse: “Okay, Q&A time. We’ve known each other for a little while

now, we’re stuck with each other, we can ask each other a few, you

know, direct questions.

 60

Celine: “So we ask each other questions?

Jesse: “And you have to answer one hundred percent honestly.

Celine: “Of course.

Scene 00:19:50 - 00:20:07

As a symbol in this dialogue, the tram becomes more than just a mode

of transportation; it transforms into a powerful metaphor for the characters'

collective journey through life. Positioned as a public transport vehicle, the

tram mirrors the shared experiences and paths the characters traverse together.

The narrative crafts an intimate and reflective ambiance as the

characters sit within the tram. Observing the passing cityscapes from within

the tram becomes a poignant metaphor for the characters' contemplation about

life's journey. The tram, moving through various urban landscapes, symbolizes

the stages and transitions that one undergoes in life. In this confined yet

communal space, the characters find themselves physically and emotionally

bound together, facing the challenges and joys of their shared existence.

Moreover, the tram becomes a vessel for introspection and dialogue.

The characters, surrounded by the moving vehicle's rhythm, engage in

profound observation and conversation. This symbolizes a deeper exploration

of their relationship and prompts them to confront fundamental questions about

the direction of their lives. The tram's movement mirrors the relentless passage

of time, starting the characters to reflect on the significance and choices of their

journey.
 61

In essence, the presence of the tram in the dialogue contributes to

creating an atmosphere beyond the immediate setting. It symbolizes the

characters' life journey, encapsulating the shared moments of reflection and

exchanges of thoughts. The confined space of the tram serves as a microcosm

for their shared existence, emphasizing the interconnected nature of their lives.

As the characters navigate the cityscapes from within the tram, the

symbol becomes a narrative vehicle for exploring the complexities of

relationships, the passage of time, and the profound questions about the

meaning of life. In this context, the tram becomes a powerful and evocative

element that adds depth to the storytelling, inviting readers to join the

characters in their introspective journey through the landscapes of the city and

the human experience.

B.1.8. Subway
 62

They ride on a subway as it breaks out of a tunnel Into sunlight.

Scene 00:28:38 - 00:28:55

The subway, as portrayed in this dialogue, takes on a profound

symbolic significance, representing not only a mode of transportation but also

a powerful metaphor for change, liberation, and character transformation.

Subways in literature have often served as potent symbols of emotional or life

journeys that extend beyond the physical or psychological realm.

The vivid image of the subway emerging from the tunnel into sunlight

becomes a poignant visual representation of liberation and change. Breaking

free from the confinements of the dark tunnel suggests a transformative

moment, symbolizing the protagonist's journey through adversity or the

confrontation of previously obscured truths. This emergence into sunlight

encapsulates a symbolic rebirth, signifying the shedding of old perspectives or

the breaking through barriers that have hindered personal growth.

The subway's journey from darkness to light can be interpreted as a

metaphor for emerging from difficult times. It resonates with the universal

theme of overcoming challenges and finding hope even in the bleakest

moments. The subway's movement into sunlight symbolizes resilience,

strength, and the potential for positive change.

Moreover, emerging from the tunnel may symbolize new awareness or

the acceptance of larger truths. The journey through the tunnel could represent

the protagonist's internal struggle or a period of introspection. The arrival into

sunlight signifies a crucial turning point in character development, where a

 63

newfound understanding or acceptance of profound realities comes to light.

This transformative experience catalyzes the character's evolution, setting the

stage for further exploration and growth.

In essence, the subway, in this context, transcends its literal function

and transforms into a powerful literary device. It becomes a symbol that

encapsulates the universal themes of resilience, change, and personal

transformation. The vivid imagery of emerging into sunlight enriches the

narrative with visual depth and invites readers to reflect on the broader

implications of the character's journey. As a symbol, the subway serves as a

vehicle for exploring the complexities of the human experience and the

potential for profound change that can emerge from moments of darkness into

the illuminating light of self-discovery and growth.

B.1.9 Ferris Wheel

 64

Celine walks over to him and puts her arms around his neck.

Celine: How come every time you want me to do something, you start

talking about time travel?

Jesse: Okay, I think we should kiss right now.

They begin kissing and the Ferris wheel keeps moving.

Scene 00:31:52 - 00:32:32

The Ferris wheel in this dialogue serves as more than just a backdrop;

it becomes a poignant symbol that encapsulates the themes of intimacy, change,

and emotional adventure within the characters' relationship. Jesse's bold

request to kiss in front of the Ferris wheel marks a pivotal turning point,

signifying a deeper level of connection and potential transformation in their

dynamic.

Kissing in front of the Ferris wheel becomes a symbolic gesture of

intimacy. With its towering presence and slow, deliberate rotations, the Ferris

wheel creates a unique atmosphere that heightens the emotional significance of

the moment. It's not just a simple kiss; it's a shared experience against the

backdrop of a symbolically charged setting. With its circular motion, the Ferris
 65

wheel mirrors the cyclical nature of relationships, suggesting that this intimate

moment is not isolated but part of an ongoing journey.

As the Ferris wheel continues to turn while they kiss, it crafts an image

of continuity and change simultaneously. The continuous motion implies that

their relationship is in constant flux, evolving with each wheel revolution. The

Ferris wheel becomes a visual metaphor for the fluidity of relationships,

highlighting the inevitability of change and growth. By engaging in this

intimate act, the characters acknowledge the dynamism of their connection and

the transformative potential embedded in their shared experiences.

Moreover, the Ferris wheel symbolizes the emotional journey they are

undertaking together. The height, the view, and the rotation all contribute to a

sense of adventure and unpredictability. This dynamic adventure is not just

about the physical act of being on the Ferris wheel; it signifies the highs and

lows, twists and turns inherent in any relationship. By choosing to share this

moment in front of the Ferris wheel, the characters embrace the uncertainty and

excitement of the emotional rollercoaster that is their relationship.

In conclusion, the presence of the Ferris wheel in this dialogue adds a

rich symbolic dimension to the narrative. It goes beyond a mere setting and

becomes a visual metaphor for the complexities of intimacy, the inevitability

of change, and the emotional adventure embedded in the characters' evolving

relationship. The Ferris wheel serves as a dynamic and evocative symbol,

inviting readers to reflect on the depth and transformative potential of the

 66

characters' connection as they navigate the turns of their emotional journey

together.

B.1.10. Rose

Jesse: Sure, how many schillings?

Rose Peddler: Twenty.

As Jesse hands her the coins and she gives him the rose, she

suddenly turns all her attention to Celine. She impulsively

grabs her hand and intensely starts looking at her palm.”

Script: 32/72

The symbol of the rose in this dialogue becomes a vessel for conveying

layers of meaning, evoking notions of romance, attention, and emotional depth

within the characters' relationship. Traditionally associated with love, beauty,

and sincere affection, the rose takes on a symbolic role that transcends its

physical form.

Giving a rose in the dialogue becomes a moment charged with romantic

significance. The choice of this particular gesture goes beyond a casual

exchange; it becomes a deliberate expression of deep feelings and genuine

appreciation. As a token of affection, the rose carries with it a timeless

symbolism that signifies more than mere physical beauty—it represents the

profound emotional connection between the characters.

The giving of the rose creates an intimate atmosphere, enhancing the

emotional bond between the characters. It serves as a tangible manifestation of

 67

the emotions that may be challenging to articulate verbally. The symbolism of

the rose adds depth to the interaction, turning a simple exchange into a moment

of emotional resonance and intensity.

Furthermore, the rose in this dialogue becomes a conduit for exploring

the themes of love and attention. The careful selection of the rose as a symbol

implies a level of thoughtfulness and consideration, suggesting that the

character giving the rose is attuned to the nuances of their relationship. The

rose, in its symbolic richness, becomes a bridge that connects the characters

emotionally, fostering a sense of closeness and understanding.

In conclusion, the presence of the rose in this dialogue elevates the

narrative by infusing it with elements of romance and emotional depth. It is a

potent symbol that encapsulates the characters' profound connection, providing

readers with a visual and dynamic representation of the love, attention, and

intensity that define their relationship. The rose adds a layer of complexity to

the storytelling, inviting readers to appreciate the nuances of the character's

emotions and the depth of their connection as they navigate the romantic

landscape within the narrative.

B.1.11. a River
 68

Scene 00:51:35

…….

“like branches in a river”

…….

Scene 00:51:00 -00:51:47

The river symbol in this dialogue introduces a profound metaphorical

layer, representing the ebb and flow of life, the currents of emotional

experiences, and the ever-changing nature of human existence. Rivers, deeply

embedded in cultural and literary symbolism, often represent life's journey,

wisdom gained through experiences, and the transformative forces that shape

our paths.

Celine's request for the poem to be read by the riverbank adds a sense

of intimacy and contemplation to the dialogue. With its steady and rhythmic

flow, the river becomes a fitting backdrop for exploring life's intricacies. The

sound of the river, intertwined with the reading of the poem, becomes a

symbolic symphony, conveying messages about the perpetual movement of life

and the unpredictable wisdom inherent in the universe.

 69

The river's constant flow, mirroring the unstoppable progression of

time, suggests that life is a journey, each moment contributing to the greater

narrative. The poem, read by the riverbank, becomes a part of this more

extensive journey, resonating with the philosophical undercurrents that mark

the characters' experiences.

Moreover, the river symbol in this dialogue adds emotional depth and

philosophical resonance. It becomes a visual representation of life's journey,

with its twists and turns, obstacles, and moments of tranquility. By choosing

the riverbank as the setting for the poem, the characters engage with the

symbolic power of the river, immersing themselves in the beauty and

uncertainty that define the human experience.

The river symbol enriches the narrative by inviting readers to ponder

the deeper meanings encapsulated in the characters' interactions. It goes beyond

being a mere setting and becomes a reflective space where the characters,

influenced by the river's symbolic significance, navigate the emotional and

philosophical currents that shape their understanding of life, growth, and the

unpredictable beauty inherent in the journey of being human. In this context,

the river symbol acts as a literary vessel that carries the characters and readers

alike through the flowing waters of introspection and contemplation.

 CHAPTER V

CONCLUSION AND SUGGESTIONS

The following chapter contains conclusions and suggestions. This

conclusion is based on research findings to answer the problem formulation,

followed by suggestions. From the discussion in the previous chapter, to identify

the types of symbolism and meaning of symbolism in the film Before Sunrise

(1995), how they are depicted in the script and film.

A. Conclusion

After completing the analysis of findings and discussions, it can be

concluded that the film Before Sunrise (1995) depicts the complexity of

symbolism that permeates each scene. This analysis has two main objectives:

first, to identify various types of symbolism through an analysis approach of

green, black, black and white, and blue colors. Objects in the story, such as the

attention-grabbing book and the need for love, the tram, the subway, the Ferris

wheel, and the rose, all become symbols with profound meanings. The natural

surroundings of the river also contribute to the symbolism explained in the film.

The second objective is to analyze the meaning of the symbolism in the film

through an analytical approach of eleven symbolic quotes related to colors,

objects, and natural elements.

Research on these issues was conducted to identify and analyze the types

of symbols and the symbolic meanings of quotes in the film script. This analysis

is supported by a deep understanding of the context and presentation of the film

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Before Sunrise (1995) Thus, it can be concluded that the film's symbolism adds

a profound dimension to the story, enriching the audience's experience through

hidden meanings behind the colors, objects, and natural elements presented

symbolically in the narrative.

B. Suggestion

Based on the previous research, the film "Before Sunrise" (1995) is

identified to contain two different types of symbolism, which were analyzed

within a specific theoretical framework. However, it should be noted that in this

study, the researcher was confined to discussing only two categories of

symbolism as previously explained. Nevertheless, the researcher suggests to the

readers to explore further by utilizing other theories, such as elements of

symbolism, figurative language, and other aspects. This would allow for a more

in-depth exploration of various symbolism present in the film "Before Sunrise"

(1995) in the future.

Readers can also continue their research with different data while still

employing the same theoretical approach. For instance, readers could identify

symbolism used in other films and analyze the literal and literary meanings of

those symbols. By doing so, readers will gain a deeper understanding of various

types of symbolism and comprehend their roles and functions in literature as a

whole. Consequently, readers will become more adept at interpreting the

meanings of literary works that employ symbolism.

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