Abstract

             This qualitative research has two objectives as follows: 1. to study the Buddhist principles about clinging and non-clinging and 2. to study an analysis of the Buddhist principles about clinging and non-clinging appearing in the animation film “Up” created by Pixar Animation Studio

             The research was done by studying the documents and data related to the the buddhist principles in Theravada Buddhism and using seven structures of narratology to analyze the film.

             The result of this research reveals that the state of clinging in human beings, according to the Buddhist principles, is called Upadana, divided into four categories: Kamupadana, Ditthupadana, Silabbatupadana, and Attavadupadana. Besides, Upadana is related to other principles such as the rules of Paticcasamuppada (Dependent Origination) a factor that brings about another Buddhist principles, Trailakasana, a state of impermanence, suffering, and selflessness, Ariyasacca or the Four Noble Truth, and the principles of Khandha, the Five Aggregates.

           Non-clinging is signified as no clinging. To get rid of clinging must depend on the right view which is called Sammaditthi. The right view is comprised of two categories: 1. the mundane right view (Lokiya Sammaditthi,) correct understanding according to the Buddhist principles and 2. the transcendental right view (Lokuttara Sammaditthi) correct understanding according to the real states of nature. The factors that bring about a right view are Paratoghosa, an external factor, and Yonisomanasikara, an internal factor.

             For the animation film “Up”, it connotes the idea of clinging and non-clinging through the seven structures of narratology as follows: 1) The plot shows a life’s circle like the law of Trailakasana, developed by the use of five aggregates of clinging (Upadana Khandha,) and relieved by Paratoghosa and Yonisomanasikara leading to the character’s understanding of life, letting go of his past, and bringing back his happiness. 2) The theme is to stop thinking of the past 3) The conflict reflects the importance of good friendship, proper attention (Yonisomanasikara) and the law of three characteristics (Trilaksana). 4) The character, which clings to his past the same as in the four principles of Upadana, has changed due to the right view of life 5) The setting is designed to express the clinging to sensual life, self-esteem, and Trilaksana. 6) The symbolism shown in this animation is portrayed by shapes. The house is a symbol of Carl’s clinging to his wife and the far gone promise. The rectangular shapes and dark colors symbolize Carl’s clinging and self-depressed while the oval shapes and bright colors signify liveliness, flexibility, and the ability of non-clinging. 7) The point of view is narrated by the view of an old man who clings to his past and whose reality has been deluded. He refuses to accept the rule of three characteristics of life.

             The suggestion for the producers of animation film, which mainly targets juvenile, is that they should produce films that portray reality of life in every aspect by using the means that are suitable for children’s capability of understanding. Children should know a concept of life in order to prepare themselves for growing up.

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