 Yudha Pratma Novarizal 1502050204

 Adelia Ramadhani 1502050247

 Aina Kalisa Siregar 1502050210
 Mifftahul Jannah 1502050251
 Siti Khadijah Daulay 1502050211
 Novia Sepbrina 1502050212
 Veldi Hardika 1502050235
 Affandi Raja Gabe P. 1502050240
 Amalia 1502050328
In first person point of view, the narrator is in the story and
relating the events he or she is personally experiencing.
First person point of view is one of the most common
POVs in fiction. If you haven’t read a book in first person
point of view, you haven’t been reading. What makes this
point of view interesting, and challenging, is that all of the
events in the story are filtered through the narrator and
explained in his or her own unique voice. This means first
person narrative is both biased and incomplete. Almost
entirely, this film uses the first point of view. which, PT
Barnum and other characters narrate the various events and
behaviors they experience, both inwardly, in themselves,
and physically, in relation to something outside of
themselves.
"Third person omniscient" means that the narrator
knows all the thoughts and feelings of every
character and can dip in and out of the the internal life
of anyone, as needed. Omniscient just means "all-
knowing." This type of narrator is more god-like than
human, in the sense that their perspective is unlimited.
In the minute 01:19:38, the criticus knows about the
cause of fire and know everything about PT Barnum
life. He knows various things about characters, events,
and actions, including the motivation behind them. He
is free to move and tell anything in the scope of time
and place of the story,
In this type of narration, the narrator does nothave
an omniscient, unlimited perspective. They may
have access to the thoughts and feelings of one
character, or none at all. The story figure may be
quite a lot, which is also a figure of "him", but
they are not given the opportunity to show his
figure like the first character. In the minute 1
hours 50 seconds, the the queen knows the little
prince who is a friend of friends from her friends
in America.
After seeing an old-timey 20th Century Fox logo—one of
cinema’s most annoying (and frustratingly effective)
period-movie gimmicks—we open at the circus (how
appropriate) with Hugh Jackman as adult Phineas Barnum
singing “The Greatest Show,” something the real Phineas
Barnum never did. This marks the first moment of The
Greatest Showman in which the Barnum & Bailey Circus is
misrepresented as a place you went to watch people sing
and dance to big dramatic numbers. In case you forgot, it
wasn’t that kind of place. It was a place you went to make
fun of “freaks” and watch mistreated animals from other
countries perform bad tricks—all while crossing your
fingers and hoping today wouldn’t be the day the building
caught fire. But I digress!
When PT Barnum sings the mind-numbing lyrics “It’s everything
you ever want, it’s everything you ever need, and it’s here right in
front of you, this is where you wanna be” (it is none of those
things), he suddenly dissolves into young Barnum, and the film
enters an extended flashback in which we learn Phineas grew up as
the sad, lonely son of a poor tailor in New York City who was
treated like shit by his wealthy clients, one of whom had a daughter,
Charity, whom he developed a crush on as a young boy because
heterosexuality is apparently as easy as A+B=C. The two children
enter an abandoned and overgrown mansion to sing the song “A
Million Dreams,” which—like most songs by the duo Pesek and
Paul—has a serviceable, sometimes beautiful melody, that is
rendered almost unlistenable due to dimwitted lyrics that would
make a 5th grader note its embarrassing construction and reading
level. When his father dies suddenly, Phineas is left homeless and
hungry until a freak hands Phineas an apple. This is important.
And this midway through the song they’re suddenly adults.
Charity is now played by Michelle Williams, yet another
role in which she plays the wife who remains loyal and
supportive despite all of her husband’s. “Fine! Marry my
pretty daughter, you gutter trash!” Charity’s father says, in
effect. “But she’ll be back once she realizes you’ll never be
rich and successful and part of New York Society!” This,
my friends, is the extent of this fictional Barnum’s
motivations. Be rich! Be respected by other rich people!
That’s all! How weird. During the latter, adult half of
“Million Dreams,” And, from this minute until the end, the
plot used is the forward flow until the end of the story.
 In the late 19th century, P. T. Barnum and his troupe perform a show at the
circus ("The Greatest Show"). In a flashback to Barnum's childhood where
he and his father Philo, a tailor, work for the Hallett family, he becomes
infatuated with their daughter, Charity. Though Charity is being sent
to finishing school, Barnum reassures her they will not be separated. The
two keep in touch through letters until they meet again in adulthood ("A
Million Dreams"), eventually marrying and raising two daughters,
Caroline and Helen, in New York City ("A Million Dreams" reprise). They
live a humble life; though Charity is happy, Barnum dreams of more.
Barnum loses his job as a clerk at a shipping company after the company
goes bankrupt. Taking a risky bet, he takes out a large loan from a bank,
deceiving the bank into accepting his former employer's lost ships as
collateral. He uses this loan to buy Barnum's American Museum in
downtown Manhattan, an attraction showcasing various wax models.
Initially, sales are slow; on the suggestion of his children to showcase
something "alive", Barnum searches for "freaks" to serve as performers for
his museum ("Come Alive"). This attracts a large audience despite protests
and poor reviews, prompting Barnum to rename his venture "Barnum's
Circus."
 Afterwards, Barnum meets Jenny Lind, a famed Swedish singer, whom he
convinces to perform in America, with him serving as her manager. Lind's first
American performance is a rousing success ("Never Enough"). While Barnum
gains favor with the aristocratic patrons, he begins to distance himself from his
original troupe, refusing to socialize with them. Dejected, they decide to stand
against their local harassers ("This Is Me"). Carlyle and Wheeler attend the theater
together one night, only to run into Carlyle's parents, who are blatantly racist
toward Wheeler, causing her to leave. Carlyle chases her and tries to convince her
that they can be together, but she rejects him despite her feelings towards him
("Rewrite the Stars"). As Barnum takes Lind on a US tour, Charity feels isolated
from her husband as she stays home with their daughters ("Tightrope"). While on
tour, Lind begins falling in love with Barnum, but when he refuses her advances,
she calls off the tour and kisses him at the end of her last show, which is
photographed by the press ("Never Enough" reprise). Barnum returns home to find
his circus on fire, caused by a fight between the protesters and the troupe. Carlyle,
who had tried to save Wheeler not knowing she had already escaped, is rescued by
Barnum amid the chaos but suffers severe burns. Most of the sets and props are
destroyed. Word of Lind's cancellation and Barnum's public intimacy also reaches
New York, resulting in his mansion being foreclosed upon and Charity taking
Caroline and Helen to her parents' home. Depressed, Barnum retreats to a local bar,
where his troupe find him there and explain that despite their disappointments, they
still consider themselves a family that needs him
An inspired Barnum resolves to start anew and not let
ambition overtake his loved ones anymore. Meanwhile,
the injured Carlyle wakes in a hospital with Anne by
his side ("From Now On"). Barnum leaves and finds
his wife, and they decide to mend their relationship.
Faced with the financial difficulty of rebuilding the
circus, the recovering Carlyle steps in, offering to use
his earnings from his share of the circus's profits to
rebuild it under the condition of becoming partners,
which Barnum happily accepts. As rebuilding the
circus in its original location would be too expensive,
Barnum rebuilds it as an open-air tent circus by the
docks. The revamped circus is a huge success, and
Barnum gives full control of the show to Carlyle so he
can focus on his family ("The Greatest Show" reprise).
God has created a world that abounds with variety. Everywhere we
look, we see signs of heterogeneity which can serve as a spur to our
wonder. To be truly alive in this fascinating world is to open our
hearts to the "others" who are very different from us. The famous
entertainer P.T. Barnum (Hugh Jackman) called these folk
"curiosities.“ This biopicture tells the story of the beginning
entertainment shows that morphed into the famous Barnum &
Bailey Circus. Riding a surge of energy, this entrepreneur plays a
major role in the lives of his wife Charity (Michelle Williams) who
stands by him through thick and thin; with the stars of his shows;
with a successful playwright (Zac Efron) whom he mentors; with
opera singer Jenny Lind (Rebecca Ferguson) whose talents enable
him to prove himself to the upper class; and with a skeptical critic
(Paul Sparks) who is turned around in his thinking about Barnum.
After experiencing this film, we revisited Freaks: Myths
and Images of the Secret Self, a 1978 book by literary critic
Leslie Fiedler. He writes: "Only the true freak challenges
the conventional boundaries between male and female,
sexed and sexless, animal and human, large and small, self
and other, and consequently between reality and illusion,
experience and fantasy, fact and myth." Freaks have an
important role to play in any society; they tease and test our
openness. Barnum celebrates the chorus line of freaks in his
circus and eventually comes to realize that he has created a
safe place for them which they view as home. As these
performers dance and sing, we were reminded of the words
of James Conlon his book Lyrics for Re-Creation: "At the
heart of creativity is diversity. Diversity is at the core of the
universe and is its art form. We need to embrace and
appreciate the differences in places and people."