Pulchra Lingua: A Journal of Language Study.
Literature, & Linguistics, 4.
, 2025 https://doi.
org/10.
58989/plj.
Analysis of Directive Speech Acts in The Film Uang Panai by Asril Sani and Halim Gani Safia Moh.
Afandia & Suparnib aUniversitas Alkhairaat Palu.
Indonesia bUniversitas Negeri Gorontalo.
Indonesia
ABSTRACT
This study aims to describe the forms and functions of directive speech acts in the film Uang Panai and their relevance to the communicative context between A descriptive qualitative method was employed in this research.
The data, consisting of character utterances, were collected through observation and notetaking techniques and subsequently analyzed using the theoretical framework of pragmatic directive speech acts.
The results reveal six categories of directive speech acts: .
The dominance of request speech acts reflects a preference for persuasive and noncoercive communication strategies within the characters' social interactions.
These findings demonstrate that directive speech acts serve not only as a narrative driver for the plot but also as a representation of the cultural communication characteristics of the Bugis-Makassar community, which are deeply rooted in social values and ABSTRAK Penelitian ini bertujuan untuk mendeskripsikan wujud dan fungsi tindak tutur direktif dalam film Uang Panai serta keterkaitannya dengan konteks komunikasi antartokoh.
Penelitian ini menggunakan pendekatan deskriptif kualitatif.
Data penelitian berupa satuan tuturan para tokoh yang dikumpulkan melalui teknik simak dan catat, kemudian dianalisis menggunakan kerangka teori pragmatik tindak tutur direktif.
Hasil penelitian menunjukkan enam kategori tindak tutur direktif yang digunakan, yakni: .
Dominansi tindak tutur permintaan mencerminkan penggunaan strategi komunikasi yang cenderung persuasif dan non-koersif dalam interaksi sosial tokoh.
Temuan ini menunjukkan bahwa tindak tutur direktif tidak hanya berfungsi sebagai penggerak alur cerita, tetapi juga merepresentasikan karakteristik budaya komunikasi masyarakat BugisMakassar yang sarat akan nilai-nilai sosial dan kesantunan dalam menyampaikan Contact
KEYWORDS
Buginese-Makassarese Tradition.
Directive Speech Act.
Pragmatics.
Sociolinguistics.
Uang Panai Movie.
KATAKUNCI
Budaya Bugis-Makassar.
Film Uang Panai.
Pragmatik.
Tindak Tutur Direktif.
Sosiolinguistik.
How to cite:
Moh.
Afandi afandi172@gmail.
Universitas Alkhairaat Palu.
Indonesia Moh.
Afandi.
, & Suparni.
Analysis of Directive Speech Acts in The Film Uang Panai by Asril Sani and Halim Gani Safia.
Pulchra Lingua: A Journal of Language Study.
Literature, & Linguistics, 4.
, https://doi.
org/10.
58989/plj.
This work is licensed under a Creative Commons Attribution-ShareAlike 4.
0 International License.
85 | Afandi & Suparni.
Analysis of Directive Speech Acts in The Film Uang Panai by Asril Sani and Halim Gani Safia Introduction Language serves as the fundamental medium for human interaction, functioning not solely to transmit information, but also to govern social behavior within a community.
fully comprehend language use, one must examine its pragmatic dimensions.
Hariyanti .
points out, pragmatics explores how context shapes the meaning of an utterance and facilitates effective communication between speaker and listener.
Expanding on this distinction.
Leech .
notes that while semantics focuses on what signs refer to and syntax examines the structural relationships between expressions, pragmatics investigates signs in relation to their users.
Although these three branches fall under the broader umbrella of semiotics, pragmatic research has predominantly concentrated on natural human language.
Consequently, pragmatics can be fundamentally understood as the analytical study of the meaning intended by a speaker and subsequently interpreted by an Delving deeper into the philosophy of language, the basic unit of linguistic communication extends beyond isolated symbols, words, or sentences.
rather, it manifests through the active production of these elements within a speech act.
As Searle .
emphasizes, linguistic communication is not a random natural occurrence but an inherently intentional process.
In other words, successful communication hinges on the interlocutor successfully recognizing the speaker's underlying intent.
Within the speech act theory, a central point of inquiry is the illocutionary act, which operates as a rule-governed linguistic behavior akin to the structured rules of a Among these, directive acts hold particular significance, as they are explicitly designed to persuade or compel the listener to act in accordance with the speaker's However, because these directives inherently risk threatening the interlocutor's self-imageAior "face"AiSearle .
highlights the necessity of employing linguistic politeness strategies to mitigate this impact.
Furthermore, a comprehensive analysis of directive acts requires distinguishing between the propositional content .
he literal subject matte.
and the illocutionary force indicating devices (IFID.
These IFIDsAisuch as intonation, syntax, or performative verbsAiserve as crucial markers that signal how the listener should interpret the proposition.
Grounded in this framework, speech acts encompass various communicative functions, ranging from issuing commands to expressing opinions.
According to Searle's taxonomy .
s cited in Rahayu, 2.
, speech acts are broadly categorized into locutionary, illocutionary, and perlocutionary acts.
Among these, illocutionary acts are the primary focus of pragmatic studies and are further subdivided into five distinct types:
directive, assertive, expressive, declarative, and commissive acts.
86 | Afandi & Suparni.
Analysis of Directive Speech Acts in The Film Uang Panai by Asril Sani and Halim Gani Safia To further categorize directive speech acts.
Ibrahim .
proposes a division into six distinct forms: .
requestives, .
questions, .
requirements, .
prohibitives, .
permissives, and .
Transitioning from linguistic theory to media representation, film serves as a vital medium that mirrors the social and cultural realities of a community, with cinematic dialogue offering a window into authentic communication patterns.
In this context, the film Uang Panai, directed by Asril Sani and Halim Gani Safia, provides a highly relevant subject for analysis.
The film authentically portrays the social dynamics of the Makassar people, particularly highlighting their unique application of directive speech acts.
Ultimately, the use of these directives is instrumental not only in driving the narrative forward but also in reflecting the rich communicative culture of the Bugis-Makassar Against this theoretical and cultural backdrop, the primary objective of this research is to identify and analyze the specific forms of directive speech acts utilized in the film Uang Panai.
Method This study employs a descriptive qualitative research design to systematically explore the phenomena under investigation (Hartanto et al.
, 2.
Fundamentally, a descriptive approach serves as an analytical procedure designed to address research problems by thoroughly and accurately depicting the conditions, characteristics, and dynamics of the research subject or object.
Rather than relying on numerical data, this method focuses on providing a deep, contextualized understanding of the linguistic interactions occurring within the selected medium.
Regarding the material analyzed, the primary data source for this investigation comprises the spoken dialogues exchanged among the characters in the film Uang Panai.
Consequently, as highlighted by Mahsun .
, the fundamental units of analysis are the specific words, phrases, and complete sentences produced during these cinematic interactions, which encapsulate the characters' underlying communicative To gather the necessary data, the researchers utilized observational listening and note-taking techniques .
eknik simak dan cata.
, a method supported by Oktaviana and Utomo .
In practice, this involved an attentive viewing of the film to carefully observe the linguistic behavior of the characters, followed by meticulously recording the relevant utterances that demonstrated directive qualities.
Following the data collection phase, the gathered utterances were examined using the pragmatic identity method .
etode padan pragmati.
As defined by Sudaryanto .
, this specific analytical approach utilizes the interlocutorAior the listener's reaction and contextAias the primary determining instrument to decipher the 87 | Afandi & Suparni.
Analysis of Directive Speech Acts in The Film Uang Panai by Asril Sani and Halim Gani Safia intended meaning behind a speaker's utterance.
Finally, the analytical procedure was completed by systematically classifying the extracted utterances into six distinct categories of directive speech acts.
Specifically, these categories encompass: .
commands, .
requests, .
invitations, .
advice, .
criticisms, and .
Results and Discussion Based on the data analysis of the utterance units within the film Uang Panai, six distinct categories of directive speech acts were identified, operating as the minimal units of linguistic communication.
Furthermore, the distribution of the data reveals that the use of language in this film goes beyond the mere transmission of information.
rather, it functions as a distinct form of rule-governed behavior.
Table 1.
Directive Speech Acts in Uang Panai Movie Directive Speech Acts Requests Advice Commands Invitations Prohibitions Critisms 31,1% 22,2% 20,0% 13,3% 8,9% 4,4% The data presented above illustrate a clear predominance of request and advisory speech acts.
This pattern indicates that the illocutionary force within the social interactions of the community depicted in the film prioritizes persuasive and educational strategies over direct coercion or compulsion.
Commands .
: This category functions to push or direct the interlocutor to perform a specific action desired by the speaker.
For example:
"Tumming: Sudah, sudah mi, dorong, dorong mi (Enough, let's just push i.
" This utterance is classified as a command because the speaker explicitly uses the imperative verb dorong .
, which serves to direct and simultaneously compel the interlocutor to act in accordance with the speaker's will.
Requests .
: These utterances are utilized to ensure that the speaker's desires are fulfilled by the interlocutor.
For instance: "Bapak Risna:
Tolong paAo, tolong kasih saya waktu lagi pak, tolong (Please sir, please give me more time sir, pleas.
" This utterance falls under the category of a request because the repeated use of the word tolong .
lease/hel.
demonstrates a pleading attitude, expressing a hope that the interlocutor will agree to grant the It is inherently polite and non-coercive.
Notably, this form of utterance is the most dominant within the film.
Invitations .
: This act aims to encourage the interlocutor to 88 | Afandi & Suparni.
Analysis of Directive Speech Acts in The Film Uang Panai by Asril Sani and Halim Gani Safia participate in a joint action or shared activity, making it more persuasive than a direct command.
An example is: "Tumming: Ke sana deh (Let's go over ther.
This utterance functions as an invitation due to the use of the particle deh, which carries the nuance of a casual suggestion.
It is not coercive.
rather, it invites the interlocutor to engage in a shared action.
Advice .
: These utterances contain valuable guidance and positive principles that the interlocutor can consider when deciding on a course of action.
For example: "Tetta Ancha: Kalau kau serius nak, perjuangkan (If you are serious, son, fight for i.
" This utterance serves as advice because the speaker provides direction in the form of a suggestionAiencouraging the interlocutor to fight for something if they are truly serious.
It acts as motivation rather than coercion.
This type of advisory utterance is also highly prominent in the film.
Criticisms .
: This form of utterance aims to reprimand the interlocutor for past actions or to provide firm feedback regarding their conduct.
For instance: "Ancha: Menurut saya ini mobil tidak laku karena yang pertama harganya terlalu tinggi, yang kedua mobil ini selalu ikut pameran tapi tidak sesuai dengan kebutuhan pasar, mobil ini saya rasa cocok untuk barang tapi kita jual sebagai mobil penumpang (In my opinion, this car isn't selling because, first, the price is too high.
second, this car is always in exhibitions but doesn't meet market I think this car is suitable for cargo, but we are selling it as a passenger " This criticism is both evaluative and constructive, as it offers concrete feedback aimed at improving business strategies.
Prohibitions .
: These acts are intended to prevent or hinder the interlocutor from performing a specific action.
For example: "Tumming: Jangan mi ko honorer, hari ini gajian toh, besok tinggal kenangan (There's no need to be an honorary/contract worker.
today you get paid, tomorrow it's just a " This utterance constitutes a prohibition because Tumming is explicitly advising against his interlocutor working as an honorary employee, citing the lack of financial security and stability associated with the position.
Specifically, this study identified six categories of directive speech acts throughout the The distribution of the data reveals that requests are the most dominant form .
, followed closely by advice .
, and commands .
Ultimately, these findings reflect a dynamic of social interaction among the characters that consistently favors persuasion and politeness over forceful 89 | Afandi & Suparni.
Analysis of Directive Speech Acts in The Film Uang Panai by Asril Sani and Halim Gani Safia 1 The Dominance of Request Speech Acts and Contextual Influences The emergence of requests as the most dominant category aligns closely with the findings of Waljinah et al.
regarding online news discourse, where "requesting" speech acts similarly predominated, accounting for 40% of the data.
This prevalence suggests that speakers deliberately employ politeness strategies to mitigate the FaceThreatening Act (FTA) toward the interlocutor.
Consequently, the speaker's desires can be fulfilled cooperatively rather than coercively.
Interestingly, this pattern contrasts significantly with interactions found in narrative fiction genres, such as novels.
For instance.
Yuliarti et al.
discovered that the directive speech act of "commanding" was the most prominent in literary narratives, as these texts frequently involve straightforward, direct instructions between characters.
This divergence in linguistic patterns underscores the fact that the medium and social contextAisuch as the dynamic interactions in a comedy/drama film compared to written narrative textsAiplay a crucial role in determining the specific forms of directive speech acts produced.
2 Advice and Invitations as Catalysts for Positive Perlocutionary Effects The relatively high frequency of advisory .
and invitational .
speech acts in this study demonstrates a directive function primarily oriented toward the benefit and well-being of the interlocutor.
Supporting this notion.
Sari et al.
, in their analysis of the Tonight Show talk show, identified that advisory speech acts frequently function to provide motivation or positive reinforcement, encouraging the interlocutor to improve themselves.
Furthermore, from the perspective of perlocutionary effects, utterances containing suggestions, advice, or invitations tend to generate positive psychological outcomes for the listener.
As confirmed by Fauzia et al.
, non-coercive directive actsAisuch as inviting or advisingAiare capable of eliciting positive perlocutionary effects, including feelings of relief, happiness, and a voluntary willingness to act.
In the context of the present study's data, utterances such as "kalau kau serius nak, perjuangkan" .
f you are serious, son, fight for i.
clearly exemplify the speaker's conscious effort to evoke such positive, motivational responses.
3 Behavioral Control through Commands.
Prohibitions, and Criticisms Although not the most dominant categories, commands .
, prohibitions .
, and criticisms .
remain crucial elements for exercising 90 | Afandi & Suparni.
Analysis of Directive Speech Acts in The Film Uang Panai by Asril Sani and Halim Gani Safia direct control over the interlocutor's behavior.
In their analysis of the film Keluarga Cemara.
Oktapiantama and Utomo .
found that "prohibition" directives dominated character utterances, functioning primarily as a control mechanism to prevent interlocutors from engaging in actions with negative consequences.
A parallel can be observed in the prohibition data of this current study .
, "Jangan mi ko " / "There's no need to be an honorary worker.
"), wherein the speaker actively attempts to intervene or restrict the interlocutor's actions for the sake of securing a better future.
On the other hand, the minimal occurrence of criticisms .
in this dataset can be elucidated through the findings of Fauzia et al.
They noted that highly emotional or coercive directive speech acts run the risk of triggering negative perlocutionary effects, such as anger, sadness, or fear in the listener.
Therefore, the low intensity of harsh criticisms and severe prohibitions within this film indicates a strong tendency among the characters to avoid generating these negative emotional Instead, they demonstrate a distinct preference for manifesting their intentions through softer, more polite requests.
4 Cinematic Reflections on Sociopragmatic Dimensions in Social Interaction To begin with, cinematic literature or film transcends its primary function as mere visual entertainment.
rather, it acts as a mimetic mirror of social life, comprehensively representing the intricate realities of human interaction.
Within the linguistic domain, character dialogues in films provide an exceptionally rich and representative corpus for analyzing actual language use in its natural habitat.
To dissect this phenomenon thoroughly, two closely intersecting branches of linguistics are essential:
he study of language in relation to societal dynamic.
and pragmatics .
he study of intended meaning within a specific contex.
The convergence of these two disciplinesAifrequently termed sociopragmaticsAienables scholars to observe how speakers do not merely produce isolated utterances but carefully craft their speech by considering social stratification, cultural identity, relational distance, and the underlying power dynamics of a given scene.
Through the medium of film, the sociolinguistic order is vividly represented via dialects, language registers, and speech levels, while the pragmatic aspects are executed through various speech acts, encompassing locutionary, illocutionary, and perlocutionary dimensions.
Methodologically speaking, film can be classified as a natural sociopragmatic laboratory because it meticulously records "speech events" in their entirety.
According to established linguistic frameworks, a conversation qualifies as a speech event only when it fulfills specific contextual prerequisites, such as the presence of active participants, a defined temporal and spatial setting, and a binding topic of discussion.
Unlike written discourseAisuch as online news, where directive speech acts are 91 | Afandi & Suparni.
Analysis of Directive Speech Acts in The Film Uang Panai by Asril Sani and Halim Gani Safia unidirectionally designed to influence public opinion in digital spacesAifilm presents speech acts as dynamic spoken discourse.
Consequently, these utterances are inextricably linked with crucial paralinguistic elements, including vocal intonation, facial expressions, and physical gestures.
From a pragmatic standpoint, every character's utterance constitutes a deliberate action.
However, these actions never occur in a instead, sociolinguistics provides the indispensable contextual framework.
Ultimately, film explicitly highlights the reality that a character's lexical choices are not solely driven by their pragmatic goals but are fundamentally constrained by sociolinguistic variables: "who they are," "who their interlocutor is," and "the social status shared between them.
Perhaps the most salient manifestation of the intersection between sociolinguistics and pragmatics in cinema is how the production of directive speech acts is absolutely dictated by power relations and social distance.
Fundamentally, directive speech acts serve the core function of compelling or directing the interlocutor to perform an action desired by the speaker.
In cinematic representations, characters who occupy superior positions within the power structure possess the sociological rights and freedom to issue direct speech acts with a high degree of imposition.
This phenomenon is vividly illustrated in the analysis conducted by Fauzia et al.
on the soap opera Preman Pensiun.
Their study revealed that central figures or superiors straightforwardly issued commands to their subordinates, capitalizing on a mutually recognized status hierarchy.
Conversely, when subordinate characters interact with authoritative figures, sociolinguistic norms compel them to modify their pragmatic output into indirect speech acts, utilizing mitigated pleas or polite requests to avoid overstepping social boundaries.
Furthermore, this distinct pattern of social stratification is also strongly reflected in the family drama genre.
For instance.
Oktapiantama and Utomo .
, in their study of the film Keluarga Cemara, found that parental figures predominantly utilize directive speech actsAiin the form of prohibitions, commands, or instructionsAito exercise control over their children's behavior.
The deployment of these specific speech acts is entirely dictated by micro-sociolinguistic rules within the family unit, where parental authority grants a pragmatic privilege to exact behavioral control over younger members.
At this juncture, film effectively validates the theoretical premise that language is not merely a cognitive output, but a profound product of social Beyond power dynamics, films also mirror the pervasive application of cultural norms and politeness strategies.
In sociolinguistic terms, a speaker's cultural background establishes the parameters for politeness and navigates the complexities of Face-Threatening Acts (FTA.
Pragmatics, in turn, actualizes these parameters into 92 | Afandi & Suparni.
Analysis of Directive Speech Acts in The Film Uang Panai by Asril Sani and Halim Gani Safia tangible linguistic forms, such as hedges, euphemisms, or the insertion of softening To illustrate this drive for linguistic tact, an interactional analysis of a talk show by Sari et al.
exposed a prevalent tendency among speakers to intensively employ requests and advisory statements.
This strategic choice ultimately serves to maintain relational harmony and mitigate potential conflict within the highly scrutinized realm of public interaction.
Conclusion Based on the comprehensive analysis conducted in this study, it can be concluded that all six established categories of directive speech actsAinamely commands, requests, invitations, advice, criticisms, and prohibitionsAiare actively employed throughout the film Uang Panai.
Quantitatively, the findings reveal that requests constitute the most dominant form of directive speech act, with 14 documented occurrences, closely followed by advisory acts with 10 occurrences.
This pronounced prevalence of requests and advice strongly indicates that the communication patterns depicted within the film prioritize polite, persuasive, and educative strategies, rather than relying on coercive measures or direct reprimands.
Ultimately, the specific deployment of directive speech acts in Uang Panai serves as a profound reflection of the authentic communicative culture of the Makassar society.
Through its dialogue, the film vividly illustrates a community that deeply upholds the core cultural values of social solidarity, linguistic politeness, and a profound respect for elders.
Journals Fauzia.
Haryadi, & Sulistyaningrum.
Tindak tutur direktif dalam sinetron Preman Pensiun di RCTI.
Jurnal Sastra Indonesia, 8.
, 33Ae39.
Hartanto.
Sutejo & Suprayitno.
Aspek Sosial dalam Novel Lampuki Karya Arafat Nur.
Jurnal Bahasa dan Sastra, 8.
, hal.
Diakses secara online dari https://jurnal.
id/index.
php/JBS/ article/view/87/94 Oktapiantama.
, & Utomo.
Analisis tindak tutur direktif pada film "Keluarga Cemara" karya Yandy Laurens.
Ghyncaran: Jurnal Pendidikan Bahasa dan Sastra Indonesia, 2.
, 76Ae87.
https://doi.
org/10.
19105/ghancaran.
Sari.
Wardiani.
, & Setiawan.
Analisis tindak tutur direktif dalam talkshow Tonight Show (Maret 2.
Jurnal Bahasa dan Sastra, 9.
, 98Ae105.
Waljinah.
Prayitno.
Purnomo.
Rufiah.
, & Kustanti.
Tindak tutur direktif wacana berita online: Kajian media pembelajaran berbasis teknologi SeBaSa: Jurnal Pendidikan Bahasa dan Sastra Indonesia, 2.
, 118Ae129.
93 | Afandi & Suparni.
Analysis of Directive Speech Acts in The Film Uang Panai by Asril Sani and Halim Gani Safia Yuliarti.
Rustono, & Nuryatin.
Tindak tutur direktif dalam wacana novel Trilogi karya Agustinus Wibowo.
Seloka: Jurnal Pendidikan Bahasa dan Sastra Indonesia, 4.
, 78Ae85.
Thesis Hariyanti.
Tindak Tutur Komisisf Pedagang Asongan Dalam Menjajakan Dagangannya di Terminal Jajag Kabupaten Banyuwangi.
Skripsi.
FKIP: Universitas Jember.
Rahayu.
Bentuk dan Jenis Tindak Tutur Dalam Film Le Diner De Cons Karya Francis Veber.
Skripsi.
Yogyakarta: Universitas Negeri Yogyakarta.
Books Ibrahim.
Kajian Tindak Tutur.
Surabaya: Usaha Nasional.
Leech.
, & Thomas.
Language, meaning and context: pragmatics.
In An encyclopedia of language .
Routledge.
Mahsun.
Metode Penelitian Bahasa: Tahapan.
Strategi, dan Teknik.
Jakarta:
Raja Grafindo Persada.
Searle.
What is a speech act?.
In Philosophy in America .
Routledge.
Sudaryanto.
Metode dan Aneka Teknik Analisis Bahasa.
Yogyakarta: Duta Wacana UP.