Kalimat Perintah Dalam Film 当男人恋爱时 (Man In Love) Karya Sutradara Yin Chenhao 

Imperative Sentences in the Film Man in Love (Original Title: 当男人恋爱时) Directed by Yin Chenhao 

Penelitian ini bertujuan mendeskripsikan wujud sintaksis kalimat perintah dalam film Man in Love berdasarkan teori Li Dejin (2012) serta fungsi kalimat perintah berdasarkan teori Zhang Heqing (1993). Penelitian menggunakan pendekatan kualitatif deskriptif dengan sumber data film Taiwan Man in Love (2021) karya Yin Chenhao. Data berupa dialog lisan berbahasa Mandarin yang mengandung kalimat imperatif. Teknik pengumpulan data dilakukan dengan metode simak bebas libat cakap (SBLC) dan teknik catat, sedangkan analisis data mengikuti model interaktif Miles, Huberman, dan Saldana (2014). Hasil penelitian menunjukkan dari 103 data imperatif yang ditemukan, fungsi 命令 (memerintah) mendominasi dengan 50 data, diikuti fungsi 禁止 (melarang) 28 data, fungsi 请求 permintaan 13 data, fungsi 希望 (berharap) 9 data, dan fungsi 邀请 (mengajak) 3 data. Dari segi wujud sintaksis, ditemukan imperatif tanpa subjek, dengan partikel modal, negatif, reduplikasi verba, dengan penanda 请, dengan kata kerja bantu modal, serta struktur pivotal. Kosakata khas seperti 罗嗦, 鸡婆, dan 甘巴爹捏 mencerminkan ragam bahasa informal, dialek Taiwan, dan kontak bahasa. Temuan utama membuktikan bahwa perubahan relasi sosial dan emosi tokoh memengaruhi pemilihan bentuk dan fungsi kalimat imperatif dalam film. Kata kunci: kalimat imperatif, sintaksis, fungsi imperatif, film Man in Love, bahasa Mandarin

This study aims to describe the syntactic forms of imperative sentences in the film Man in Love based on Li Dejin's theory (2012) and the functions of imperative sentences based on Zhang Heqing's theory (1993). The research employs a descriptive qualitative approach, with data sourced from the Taiwanese film Man in Love (2021) directed by Yin Chenhao. The data consist of spoken Mandarin dialogues containing imperative utterances. Data collection was conducted using the non-participatory observation method and note-taking techniques, while data analysis followed the interactive model by Miles, Huberman, and Saldana (2014). The findings reveal that out of 103 imperative data identified, the command function ( 命令) dominates with 50 instances, followed by the prohibition function (禁止) with 28 instances, the request function ( 请求) with 13 instances, the hope/desire function (希望) with 9 instances, and the invitation function (邀请) with 3 instances. In terms of syntactic forms, the study identifies imperatives without subjects, those with modal particles, negative imperatives, verb reduplication, imperatives with the marker 请 (qǐng), those with modal auxiliary verbs, and pivotal structures. Characteristic vocabulary such as 罗嗦 (luōsuo), 鸡婆 (jīpó), and 甘巴爹捏 (ganbādiē niē) reflect informal language registers, Taiwanese dialects, and language contact. The main finding demonstrates that changes in social relationships and emotional states of the characters influence the selection of forms and functions of imperative sentences in the film. Keywords: imperative sentences, syntax, imperative functions, film Man in Love, Mandarin Chinese