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Journal : Journal of English Language and Education

Jinx’s Character Development Shapes Irony in Christian Linke’s Arcane Season One (2021) Fadilah, Nizam; Nurholis, Nurholis; Sudarisman, Yoga
Journal of English Language and Education Vol 10, No 4 (2025)
Publisher : Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/jele.v10i4.969

Abstract

Character development is a literary element that refers to the process through which characters are shaped with traits that establish their role and presence within the narrative world. This research aims to analyze the character development of Jinx in Arcane Season one (2021) using film theories by Petrie Boggs, with a particular focus on identifying the irony that shapes. A descriptive qualitative approach is used due to the use of narrative structure, visuals, and dialogue. The study identifies six key moments in Jinx’s development across episodes 1 to 9. Each moment is marked by a specific type of irony: dramatic irony, irony of situation, irony of character, irony of setting, irony of tone, and cosmic irony. This irony serves to deepen the audience’s understanding of her complex identity shift from Powder to Jinx. This study concludes that Arcane constructs Jinx’s character development as an ironic tragedy. Each ironic turn in the story underscores the tension between who Jinx was, how others perceived her, and who she chooses to become. 
Irony in Mark Webb's 500 Days of Summer (2009) Nugraha, Andita Shabirah Putri; Nurulaen, Yuyun; Sudarisman, Yoga
Journal of English Language and Education Vol 10, No 4 (2025)
Publisher : Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/jele.v10i4.1177

Abstract

This research explores the use of irony in the film 500 Days of Summer (2009), directed by Mark Webb. Unlike typical romance films, this movie presents a non-linear narrative and avoids the usual happy ending, making it a rich subject for irony analysis. Using a qualitative descriptive method, the study identifies and explains different types of irony found in the film, including dramatic, situational, verbal, etc. These ironic moments are key to understanding the development of the main character, Tom Hansen, whose expectations about love often clash with reality. Scenes such as “Expectations vs. Reality” and the unexpected meeting with Autumn illustrate how irony shapes the story and reflects Tom’s emotional journey. The findings show that irony is a powerful narrative device that adds depth to the film, challenges traditional ideas about romance, and helps the audience connect more deeply with the character’s experience. This study highlights how irony can be used in film to reveal personal growth and present a more realistic view of love.
Irony in Jonathan Glazer’s The Zone of Interest (2023): A Cinematographic Analysis of Long Shot. Haykal, Muhammad; Ruminda, Ruminda; Sudarisman, Yoga
Journal of English Language and Education Vol 10, No 5 (2025)
Publisher : Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/jele.v10i5.1347

Abstract

This research examines how irony is conveyed through long shot cinematography in Jonathan Glazer’s The Zone of Interest (2023). Using Joseph M. Boggs and Dennis W. Petrie’s six types of irony such as dramatic, situational, character, setting, tone, and cosmic as the main framework, the research analyzes how these forms manifest visually through cinematic language. Set in the domestic sphere of Auschwitz commandant Rudolf Höss, the film employs visual distance and static framing to juxtapose everyday normalcy with atrocities occurring beyond the frame. Adopting a qualitative descriptive method, and drawing on theories from Mario Klarer and Gustavo Mercado, the analysis reveals that long shots function not only to emphasize physical and emotional detachment but also to heighten ironic contrast between visual calm and unseen violence. This creates a compelling visual irony that confronts viewers with the moral indifference and normalized evil within the setting. The research contributes to broader discussions on how irony in films can represent historical trauma through indirect yet deeply affective cinematic strategies.