DECONSTRUCTION AND RECONSTRUCTION OF PUSS IN BOOTS
AND HUMPTY DUMPTY CHARACTERS IN ANIMATED FILM PUSS IN
BOOTS
A Thesis
Submitted to Letters and Humanities Faculty
In partial Fulfillment of the Requirements for the degree of Strata One
By:
ADE DWI SEPTIAN 1111026000077
ENGLISH LETTERS DEPARTMENT
LETTERS AND HUMANITIES FACULTY
STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH
JAKARTA
2016
i
ABSTRACT
Ade Dwi Septian, NIM. 1111026000077, Deconstruction and Reconstruction of Puss In Boots and Humpty Dumpty Characters in Animated Film Puss In Boots. Thesis: English Letters Department, Letters and Humanities Faculty, State Islamic University of Syarif Hidayatullah, Jakarta, 2015.
This thesis analyzes the animated film entitled Puss In Boots. The film is directed by Chris Miller was released in 2011. The problem in this film is located in the main characters, Puss In Boots and Humpty Alexandre Dumpty. The film is considered deconstructs the characteristics of the two main characters. In this case, Puss In Boots, fairy tale by Charles Perrault and Humpty Dumpty character in the novel Through The Looking-Glass by Lewis Carroll are the benchmark. This research uses the deconstruction theory by Jacques Derrida. The method that is used in this research is descriptive qualitative.
Puss In Boots is animated film that tells the story of the greatness of two buddies, Puss In Boots and Humpty Alexandre Dumpty, that become hero in a town called San Ricardo. However, the presence of Puss and Humpty as main characters in the film is contrary to the characteristics of Puss and Humpty in the fairy tale earlier. Generally, Puss and Humpty in this film shows a form of deconstruction related to the characteristics of Puss and Humpty in the fairy tale. Some of them are related to courageous of Puss, and his carelessness in the film. Besides, it also tells about the evils of Humpty that described as petty and nasty character. However, at the end of the film, it is managed to bring back the power of the two characters as role models. In other words, the film is considered to have succeeded in showing form of deconstruction and reconstruction to the characters of the fairy tales, that are Puss In Boots and Humpty Dumpty.
Keywords: deconstruction, reconstruction, characteristics, puss in boots, humpty dumpty.
iv
DECLARATION
I hereby declare that this submission is my own work and that, to the best of my
knowledge and belief, it contains no material previously published or written by
another person nor material which to a substantial extent has been accepted for the
award of any other degree or diploma of the university or other institute of higher
learning, except where due acknowledgement has been made in the text.
Jakarta, December 2015
ADE DWI SEPTIAN
v
ACKNOWLEDGEMENT
Bismillahirrahmanirrahiim
All praises be to Allah SWT, the Lord of the Universe, who give the writer
an extraordinary power, patience, spirit and every single idea that the writer writes
in this thesis. Peace and bless be upon the prophet Muhammad SAW who had
changed the world into the better place to live.
This paper is presented to English Letters Department of Letters and
Humanities faculty, Islamic State University of Syarif Hidayatullah Jakarta as
partial fulfillment of the requirement for strata one degree.
The writer would like to express the highest gratitude to his family; his
parents and brothers who always give spirit every day to make him strong. Most
of all, he dedicated this thesis for all of his beloved family for the support all this
time.
Furthermore, the writer also would like to convey his sincere gratitude
particularly to:
1. Prof. Dr. Sukron Kamil, M. Ag., the Dean of Letters and Humanities
Faculty.
2. Drs. Saefudin, M. Pd., the Head of English Letters Department.
3. Elve Oktafiyani, M. Hum., the Secretary of English Letters
Department.
4. Pita Merdeka, M. A., the advisor, for the great patients and
contributions on finishing this paper.
vi
5. The examiner in the thesis examination, Ms. Elve Oktafiyani, M.
Hum., and Ms. Ida Rosida, M. Hum., for the advices and suggestions.
6. All lecturers of English Letters Department for their encouragement to
the writer.
7. The beloved parents, Hanafi K. and Budiarti, for their love, patient,
and support.
8. Fikri, Jaisy, Adhi, Iwa, Aab, Rahmat, Aki, Satria, Hanif, Rego, Wahid,
Harlie, Zul, Dicha, Sarah, Alawiyah, Nepho, Maryanti, Uswatun,
Sulthan, Hega, Noval, Mas Min, and Fajwa, as college mates, for all
the spirit and happiness, and more.
9. Ardi, Dwiky, Yudi, Yossy, Denoy, Aris, for the support and the laugh.
10. KKN MEDIUM, villagers of Sukaluyu, kec. Nanggung, Bogor, for the
experience and chances.
11. All of the students; C class 2011, literature class, and ELD 2011, for
the time and great experience.
12. All friends and relatives that are not mentioned one by one.
Thanks for all that have been given to me, and may Allah SWT bless them
and their family. And may we have a brighter future. Aamiin.
Jakarta, December 2015
The Writer
vii
TABLE OF CONTENTS
ABSTRACT ............................................................................................. i
APPROVAL SHEET ............................................................................... ii
LEGALIZATION .................................................................................... iii
DECLARATION ..................................................................................... iv
ACKNOWLEDGEMNT ......................................................................... v
TABLE OF CONTENTS ......................................................................... vii
LIST OF PICTURES ............................................................................... x
CHAPTER I - INTRODUCTION ........................................................... 1
A. Background of the Study ................................................................ 1
B. Focus of the Study .......................................................................... 6
C. Research Questions ........................................................................ 6
D. Significance of the Study................................................................ 6
E. Research Methodology ................................................................... 7
1. The Objective of Research ........................................................ 7
2. The Method of Research ........................................................... 7
3. The Technique of Data Analysis ............................................... 7
4. The Instrument of the Research ................................................ 8
5. Unit Analysis............................................................................ 8
6. Research Design ....................................................................... 8
CHAPTER II – THEORETICAL FRAMEWORK ............................... 10
A. Previous Researches ....................................................................... 10
viii
B. Character ........................................................................................ 12
C. Deconstruction Theory by Jacques Derrida..................................... 15
CHAPTER III – RESEARCH FINDINGS ............................................. 21
A. Character Analysis ......................................................................... 21
1. Physical appearance ................................................................. 21
2. Characterizations of Puss and Humpty in the film ..................... 24
a. Puss In Boots as the coward character ................................. 24
b. Puss In Boots that is concern for others ............................... 27
c. Puss In Boots as gullible character and Humpty as smart deceiver
........................................................................................... 28
d. Humpty as the vengeful character ....................................... 31
e. Puss In Boots as the antagonis ............................................ 31
B. Deconstruction of the characteristics of Puss In Boots and Humpty
Dumpty .......................................................................................... 37
1. Puss In Boots as the coward character ...................................... 37
2. Puss In Boots that is concern for others .................................... 38
3. Puss In Boots as gullible character ............................................ 38
4. Humpty as the smart deceiver ................................................... 39
5. Humpty as the vengeful character ............................................. 40
6. Puss In Boots as the antagonist ................................................. 40
C. Reconstruction of the characters of Puss In Boots and Humpty… ... 41
CHAPTER IV – CONCLUSION AND SUGGESTIONS ...................... 44
A. Conclusion.................................................................................... 44
ix
B. Suggestions .................................................................................. 45
BIBLIOGRAPHY .................................................................................... 47
x
LIST OF PICTURES
Picture 1.1 - Physical appearance of Puss In Boots .................................. 22
Picture 1.2 - Physical appearance of Humpty Alexander Dumpty ............ 23
Picture 2.1 - Situation inside the bar while Puss was coming ................... 24
Picture 2.2 - Anger expressions of Puss in the battle dance ...................... 25
Picture 2.3 - The fear of Puss that was shown in the battle dance ............. 26
Picture 2.4 - City dwellers of San Ricardo was giving Puss an honor ....... 28
Picture 2.5 - Push and Humpty in a scenario of San Ricardo Bank robbery
........................................................................................... 29
Picture 2.6 - Guards are surrounding Puss and Humpty ........................... 30
Picture 2.7 - Puss and Humpty was talking about the magic beans under the tree
near San Ricardo................................................................. 32
Picture 2.8 - The expression of Puss when he was seducing Humpty ....... 33
Picture 2.9 - Puss and Humpty were agreed to always together ................ 34
Picture 2.10 - The exiled Humpty .............................................................. 35
Picture 2.11 - Situation over the town bridge shortly after they robbed the San
Ricardo bank ...................................................................... 35
Picture 3.1 - Puss and Humpty appear as heroes that saved San Ricardo from the
fury of giant goose .............................................................. 42
1
CHAPTER I
INTRODUCTION
A. Background of the study
Animated film is one of the individual works in the form of drawings,
coloring, and or illustrations that play with frame by frame cinematography (stop-
frame cinematography).1 Animated film is also commonly used in the purpose of
entertainment and education for children. Those things are always present in one
package. The physical appearance of the character that are unique and funny,
completed with a storyline and moral messages contained in it has always been an
important part that should not be separated from the animated film.
In recent years, there are several film animated labeled fan fiction2.
Therefore, many fairy tale characters who are back in modern times. For example
Rapunzel and Princess Elsa that were represented by Disney as the main character
in the film Tangled (2010) and Frozen (2013). Both are central figure in each film,
role models and also the center of attention. Based on Nurgiyantoro, the main
character is a character that more specific from the story.3.
The presence of fan fiction films are usually accompanied by the
appearance and attitude transformation towards a more modern character. The
transformation is usually shown in order to get people easier to receptive the
1 Retrieved from: www.filmsite.org/animatedfilms.html accessed on January 16th, 2015 2 Fan fiction is a fiction written by a fan of, and featuring characters from, a particular TV
series, film, etc. Concise Oxford English Dictionary, 11th ed. 3 Burhan Nurgiyantoro, Teori Pengkajian Fiksi (Yogyakarta; Gadjah Mada University
Press, 2013), p.259.
2
messages delivered by the film. In addition, it makes the audience does not get
bored enjoy the show films.
On October 28, 2011, DreamWorks released a similar film entitled Puss In
Boots. Directed by Chris Miller and released in 2011. This animated film is also
labeled fan fiction that is adapted from the classic fairy tale Jack and the
Beanstalk.4 Based on the article in Suara Pembaruan, that the action comedy genre
film succeeded top the box office in the US and Canada for two consecutive
weeks.5 In other words, the film managed to entertain and attract the interest of
the audience in the United States.
The main characters, is one factor that makes this film succeed. The main
character that presented in the film is actually different from the story of Jack and
the Beanstalk earlier. There are Puss In Boots and Humpty Alexandre Dumpty as
classic fairy tale characters.
Puss In Boots is known as a fictional character in a fairy tale of the same
name, which is Puss In Boots, by Charles Perrault. This tale was first published in
1697.6 Then Humpty Dumpty is known through the novel entitled “Through The
Looking-Glass” written by Lewis Carroll in 1871.7 Both characters are represent
as the main actor in this film.
4 "Jack and the Beanstalk" is an English fairy tale. It appeared as "The Story of Jack
Spriggins and the Enchanted Bean" in 1734 and as Benjamin Tabart's moralised "The History of Jack and the Bean-Stalk" in 1807. (retrieved from: https://en.wikipedia.org/wiki/Jack_and_the_beanstalk). Accessed on 10/03/2016
5 Suara Pembaruan. Duet Ben Stiller dan Eddie Murphy Tak Cukup Menggeser Film Puss in Boots. 10 Nov. 2011. Web. 15 Jan. 2015
6 Retrieved from: https://en.wikipedia.org/wiki/Puss_in_Boots. accessed on March 10th, 2016
7 Retrieved from: https://en.wikipedia.org/wiki/Through_the_Looking-Glass. accessed on March 10th, 2016
3
The presence of Puss and Humpty in the film is not purely as an
illustration of the figure from the past. Instead, there are several characteristics
that are opposite to the previous character. By reason adjustments, then there are
some differences between Puss and Humpty character in a fairy tale with in the
film.
In the film, Puss is seen as the protagonist while Humpty is the figure
antagonist. However, this film is also presented interesting facts related to the
characterization of the Puss and Humpty. Puss can also be called as antagonist
because his attitude that gives great pressure to Humpty. Furthermore Humpty
that is shown as an antagonist could also be considered as protagonist.
Thus, it can be concluded that there are real deconstruction efforts in this
film related to the characterization of Puss and Humpty from the fairy tale. The
aim is to help the process of reconstruction of the two figures. In other words, it
makes the message to be conveyed by the film can be accepted easily by the
audience.
With the concept of hero versus villain or the good and the evil, Puss and
Humpty are shown opposite. The conflicts between protagonist and antagonist
characters are clearly visible. Puss is dominant into good character and Humpty
into its opposite. The process of educating the audience can be easily done,
because the opposite parties are easily identified.
Based on the facts, the characteristics become an important element for the
audience, which helps them determine who becomes the character of hero and
4
who is the villain. By watching what is presented by the film, the audiences are
definitely able to determine the role of each character.
The story begins with the friendship between Puss and Humpty. Both of
them have a dream, which will also test their friendship. Puss the cat here is
portrayed as a heroic, great, and brave who used to be a homeless kitten. Whereas
Humpty, an egg who has similar past as Puss. He is described as a petty character,
vindictive, and tends to be evil. They spent their childhood in an orphanage which
is located in town of San Ricardo. Cared and raised by a mother who considers
them as his own children. Soon after, they become brothers. One day everything
changes, when Humpty is too ambitious to achieve his dream, and Puss stands and
opposed it. He considers Humpty to be too excessive. Since then, both of them
decides to split up and take different paths. Puss leaves his friend reluctantly,
because he thinks Humpty is going to the wrong way. On the other hand, Humpty
feels betrayed by his best friend, who leaves him in adversity. As grownups, Puss
and Humpty becomes friend again. Both of them are united in order to achieve
their last dream. Humpty invites Puss for the last time to achieve their last dream,
to get the magic beans. However, Humpty seems back to his nature, he betrays
Puss. He puts Puss into his evil plans. Puss is getting marginalized, and Humpty
becomes the evilest character in this film. Since then, Humpty grows up to
become a character that is so nasty, petty, cunning, and can also clearly be seen as
vindictive. Puss is constantly showed as a character that is oppressed by Humpty
and has always been a victim of Humpty’s cunning action. Moreover, the
greatness of Puss endlessly shown as a heroic character, he successfully saves the
5
town where they live from a giant swan attack inflicted by Humpty. The story of
Humpty villain was finally ended with his death coinciding with the departure of a
giant swan.
Based on the synopsis above, the author will try to analyze deconstruction
contained on Puss and Humpty character in the film with his previous character in
the fairy tale. Puss In Boots in the fairy tale is told as powerful figure, brave, and
imposter. Otherwise, Humpty Dumpty in the novel is friendly, honest, and not
vindictive. Inversely proportional to what can be found in this animated film.
The writer will try to reveal the deconstruction of characters of Puss and
Humpty by using the deconstruction theory proposed by Jacques Derrida. The
writer is going to describe how do the main characters deconstruct the
characteristics before. Based on the statement by Endraswara, According to
Derrida (in Culler, 1983: 83) deconstruct an opposition is to reverse the
hierarchy.8
Then, the writer will also explain the process of the reconstruction of the
two figures in the film. Based on the facts, that, there are some characteristics of
Puss and Humpty maintained in this film. Such as kindness and courage of both
are match with their characteristics in the fairy tale. Through the characteristics of
the two characters, the facts related to the deconstruction and reconstruction will
be described in this study.
Furthermore, the writer is sure that there are important and interesting to
be discussed from Puss In Boots film related to characterizations of main
8 Suwardi Endraswara, Metodologi Penelitian SASTRA: Epistimologi, Model, Teori, dan
Aplikasi (Yogyakarta: CAPS – Center for Academic Publishing Service, 2013), hal.173.
6
characters. For example, when they were appear as partner but opposite each
other. It is clearly different from the story in the fairytale. Thereby, deconstruction
theory by Jacques Derrida is the most appropriate and feasible to be used to
analyze this animated film.
B. Focus of the study
In this study, the writer feels that it is very necessary to limit the problems.
This study focuses to the main characters, Puss and Humpty. It tries to show the
deconstruction of characteristics from the figure of Puss and Humpty. This study
uses the theory of Deconstruction by Jacques Derrida.
C. Research Question
According to the issues raised by the writer above, related to the
deconstruction of characterization in the film Puss In Boots, the writer formed two
questions:
1. What are the characterizations of Puss and Humpty in the film Puss In
Boots?
2. How does the film deconstruct the characterization of figure of Puss
and Humpty?
D. Significance of the study
Through this study, the writer hopes that the results is able to improve the
knowledge of the reader in the field of literary studies and criticism, as a variety,
and also to widen the reader’s understanding of literary theory especially
deconstruction by Jacques Derrida. In addition, writer also hopes that this research
can give lessons to the reader that there is no absolute meaning in any literary
7
work, but a meaning that is defined and mutually agreed. The truth is still can be
ruined by using deconstruction theory.
Besides that, the significances of this research are:
1. To defined the characterization of Puss and Humpty characters.
2. To shows the deconstruction of characterization figure of Puss and
Humpty.
E. Research methodology
The method used by the writer contains several important elements related
to the research conducted.
1. The Objectives of Research
The objectives of this research are to explain, how are the characterization of
the two main characters based on what is shown from the animated film.
Then, to show how does the film deconstructs the characterization of figure of
Puss and Humpty in the fairytale.
2. The Method of Research
Based on the problem told, the writer uses descriptive analysis and qualitative
methods that give specific attention to the data, which have correlation with
the context. The first step is collecting the data from the source, library, and
then analyzing the data with the approach, and ended by concluding the result.
3. The Technique of Data Analysis
Data will be collected from the film Puss In Boots. Then, the collected data
will be analyzed using theory of deconstruction by Jacques Derrida to expose
the weakness of resources through symbols or hidden meanings. Relying on
8
the film Puss In Boots as the main source, writer will also collect data through
books, journals, articles, and others. The first step is that researchers will
describe the characterization of Humpty in the film. Next, the result will be
used as a binary opposition which would then be dismantled the truth through
the reading of deconstruction. The last step is that the writer would assemble
the results to make conclusion.
4. The Instrument of the Research
The writer uses himself as the main instrument for this research.
5. Unit Analysis
The unit analysis in this study is the dialogues and pictures from a
DreamWorks animated film which is directed by Chris Miller titled Puss In
Boots. The film was released in October 28th, 2011 and lasted about 1 hour 30
minutes 15 seconds.
6. Research Design
To picture this research clearly, the writer divided this research into four
chapters, which in every chapter has sub-chapters.
Chapter I introduction, contains the background of the study, focus of the
study, research questions, significance of the study, and also research
methodology. For the sub-chapter, it contains the objectives of research, the
methods of research, the technique of data analysis, the instrument of the
research, the unit data analysis, and research design.
9
Chapter II The theoretical frameworks, contains previous research and the
theory. The sub-chapters, contains characteristic theory and deconstruction
theory.
Chapter III Data findings, contains data description and data analysis.
Chapter IV Conclusion and suggestion, contains conclusion from this
research and several suggestion for next researchers.
10
CHAPTER II
THEORITICAL FRAMEWORK
A. Previous Research
To prove the authenticity of this writing, the writer lists several studies
that have been done before. However, the writer did not find any research that has
been conducted from Puss In Boots film produced by DreamWorks, therefore the
writer includes related research using similar theory of Deconstruction. The writer
found some film analysis that use the theory of deconstruction, including the
thesis of a student of UIN Syarif Hidayatullah Jakarta entitled The Deconstruction
Analysis Of The Characteristics Of American Superhero in Hancock Film, and the
thesis of students of the University of Indonesia titled Dekonstruksi Dan
Rekonstruksi Konsep Hero Dalam Film Megamind.
First, the research titled The Deconstruction Analysis Of The
Characteristics Of American Superhero in Hancock Film9 was written by
Tasripin, student of UIN Syarif Hidayatullah Jakarta in 2011. The object of the
study to analyze the American action-comedy film titled Hancock. Directed by
Peter Berg and starring Will Smith, Jason Bateman, and Charlize Theron, the film
was produced in 2008.
In this study, Tasripin conducted an analysis of the characteristics of John
Hancock as a main character who is also considered as a hero of the city. After
finding some of characteristics, he compared them with the general concept of
9 Tasripin. The Deconstruction Analysis Of The Characteristics Of American Superhero
in Hancock Film (Jakarta: UIN Syarif Hidayatullah, 2011).
11
superhero films presented in the United States, such as Spiderman, Superman, and
Captain America. The benchmarking that is performed by him aims to reveal the
character’s deconstruction presented by John Hancock as a superhero against
concept of superheroes that is common in United States. Several points is raised
by him and then used to compare or benchmark characteristics of superhero in
John Hancock character, such as: homeless, drunken, rude, unexpected by people,
and does not wear any superhero costumes.
Another research which uses deconstruction theory is titled Dekonstruksi
Dan Rekonstruksi Konsep Hero Dalam Film Megamind10, written by Ribka
Sangianglili a student of University of Indonesia in 2012. The object of this study
is a DreamWorks animated film collaborated with Red Hour Productions titled
Megamind. The film is directed by Tom McGrath and was produced in November
2010.
In this research, she uses two theoretical frameworks, those are
deconstruction and reconstruction. Ribka describes deconstruction of some
aspects that are presented in the film Megamind, such as characterization, plot,
and viewpoints. There are four figures that are included in this analysis, the Metro
Man, Megamind, Hal Stewart, and Roxane Ritchie. Those several aspects that
build the film are deconstructed against convention of superhero story. In this
case, her reference is Superman story that is presented by Jerry Siegel and Joe
Shuster. She continued the research to reveal the ambivalence as an effort to
deconstruct the characters in the film. After the evidence is obtained, she
10 Ribka Sangianglili. Dekonstruksi Dan Rekonstruksi Konsep Hero Dalam Film
Megamind (Depok: University of Indonesia, 2012).
12
explained the purpose of such ambivalence. In the final discussion, she explained
about reconstruction of Hero concept that is contained in the Megamind film. It
becomes a kind of strengthening of what she obtained from some aspects that
have been examined.
Thus, this study about the animated film Puss In Boots is something new
and it is the first performed in the field of analysis film. Using the theory of
deconstruction by Jacques Derrida, the author tries to reveal another truth from
this animated film. Furthermore, the writer hopes that this study can complement
and increase knowledge in the field of literature.
B. Character
Character is one of the most important intrinsic elements in a work of
literature, especially in the film. The character may be the most important element
that constructs a story. According to William H Gassdefines “characters are those
primary substances to which everything else is attached”.11 In addition, characters
can also be used as basic element in analyzing film, particularly when viewed
from the role and development of each character. As a purpose of analysis,
character is someone in literary work that has some sort of identity (not necessary
to be a strong one), an identity which is made from appearance, conversation,
action, name, and (possibly) thoughts that happen in the character’s mind.12
Therefore character is one of the strong foundations associated with what they do
in the film.
11 Michael J. Hoffman and Patrick D. Murphy. Essential of the Theory of Fiction.
(Durham and London: Duke Press University, 1988), p.vii. 12 Christoper Rassel Renske. How to Analyze Drama (New York: Monarch Press, 1996),
p.5
13
These are several kinds of characteristics based on Hubenka and Garcia,
such as: major or minor, protagonist or antagonist, flat or round, and static or
dynamic.13
1. Major and minor
Major character, or also known as main character, is a character that
holds an important role, dominant, and appears in every conflict. The
minor character is the opposite of major character. They only appear few
times and appears in short period.
2. Protagonist and antagonist
a. Protagonist is the main character in drama/film. Protagonist does
not always actively initiate events, but protagonist is always the
one that is focused in the story. The protagonist is the one who
deals with the truth and being conflicted by other characters.
b. Antagonist is the character who always gives protagonist problem
or protagonist’s opposing force.
Beside several points that are mentioned previously, there are some other
ways that can be used to determine the characteristics of characters. According to
Boggs and Petrie, there are several ways to find characteristics;
1. Characterization through appearance
A major aspect of film characterization is revealed visually and
instantaneously. The minute we see most actors on the screen, we make
13 Lloyd J. Hubenka and Reloy Garcia. The Design of Drama. (New York : david Mckay
Company, 1973), p.9
14
certain assumption about them because of their facial features, dress,
physical build, mannerism, and the way they move.14
2. Characterization through dialogue
Characters in a fictional film naturally reveal a great deal about
themselves by what they say. But a great deal is also revealed by how they
say it. Their true thoughts, attitudes, and emotion can be revealed in subtle
ways through word choice and through stress, pitch, and pause patterns of
theirs speech.15
3. Characterization through external and internal action
a. External action
The appearance is an important measure of character’s personality,
appearances are often misleading. Perhaps the best reflection of
character is a person’s actions. It must be assumed, of course, that
real characters are more than mere instruments of the plot, that they
do what they do for a purpose, out of motives that are consistent
with their overall personality. Thus, there should be a clear
relationship between a character and his or her actions; the actions
should grow naturally out of the character’s personality. If the
motivation for a character’s action is clearly established, the
character and the plot become so closely interwoven that they are
impossible to separate, and every action that the character takes in
some way reflects the quality of his or her particular personality.
14 Joseph M. Boggs & Dennis W. Petrie. The Art of Watching Film. (New York: McGrawHill, 2008). p. 60.
15 Ibid. p.61
15
Sometimes the most effective characterization is achieved not by
the large actions in the film but by the small.16
b. Internal action
There is an inner world of action that normally remains unseen and
unheard by even the most careful observer/listener. Inner action
occurs within characters’ minds and emotions and consists of
secret, unspoken thoughts, daydreams, aspirations, memories,
fears, and fantasies. People’s hope, dreams, and aspirations can be
as important to an understanding of their character as any real
achievement, and their fears and insecurities can be more terrible
to them than any real catastrophic failure.17
4. Characterization through reactions of other character
The way other characters view a person often servers as an excellent
means of characterization. Sometimes, a great deal of information about a
character is already provided through such means before the character first
appears on the screen.18
C. Deconstruction Theory by Jacques Derrida
Derrida was born on July 15, 1930 in El Biar, Algeria and died in Paris,
France on October 8, 2004. Jacques Derrida used to be known as a French
philosopher. He was born and grew up in Jewish environment. His parents named
16 Ibid. p.62 17 Joseph M. Boggs & Dennis W. Petrie, Loc.cit. 18 Ibid. p.64
16
Aime Derrida and Georgette Sultana Esther Safar.19 At the beginning of his
presence as a philosopher, he has been openly criticized Western philosophers,
especially criticism and analysis of the language of "nature", the writing, and the
meaning of concept. Deconstruction is a tool that he used to break down the
concepts and descriptions we have been.20
Originally, deconstruction theory is proposed by Derrida as a form of
rejection to the theory of structuralism theory initiated by Saussure.
Deconstruction is also born from the "slap" of the post-structuralism people
against the new American criticism tradition, which is diseases and doubt in
itself.21 From various sides, deconstruction can be seen as a reaction of
"anticipation" in dealing with structuralism thinking, which tends to defend and
tame his own understanding.22 According to Nisbet (in Deconstructive practice,
pp. 746-7) “The point (of inverting hierarchies) is not establishing new conceptual
bedrock, but rather to investigate what happens when the given, ‘common sense,’
arrangement is reversed. Our deconstruction will show that A’s privileged status
is an illusion for A depends upon B as much as B depends upon A.”23 A
deconstruction of the narrator’s story, and by implication, of story in general—
both of history, with its system of assumption about teleological and
representational structures, and of discourse, with its intrinsic need to constitute
19 Afid Burhanuddin. Derrida; Biografi dan Pemikiran. 21 Sep. 2013. Web. 19 Sep.
2015. 20 Susdamita Domo. Makalah Dekonstruksi. 11 Oct. 2012. Web. 18 Sep. 2015. 21 Christopher Norris, Membongkar Teori Dekonstruksi Jacques Derrida (Yogyakarta;
Ar-Ruzz Media, 2003), p.52. 22 Ibid, p.28. 23 Peter Brooks, H. B. Nisbet, and Claude Rawson, The Cambridge History of Literary
Criticism (New York; Cambridge University Press, 2005), p.187.
17
meaning through sequence and reference.24 In the process, the deconstruction
theory reveals that there is no such thing as absolute ideas from the text.25 Thus,
deconstruction can also be interpreted as a way to reveal the contradictions that
are hidden behind concepts and beliefs that universally considered as absolute.
This method or theory of deconstruction is basically aims to show the
failure as an attempt to bring the absolute truth. It exposes the hidden agenda that
contain many weaknesses and lameness behind texts.26 In other words,
deconstruction presents to uncover the hidden truth. According to Culler,
deconstruct the discourse (literature) is showing how to break down the
underlying philosophy, or hierarchically opposition to something that on the basis,
by identifying operational rhetorical forms that exist in the text, which produces
basic argument as the main concept.27 One style of deconstruction is a serious
attempt to divert resources interpretive style in order to challenge the rigidity of
any convention regarding the methods and language.28 Therefore, the theory of
deconstruction rejects ideas of general meaning in a text. In addition, reading
literature by deconstruction would be contrary to the meaning that is commonly
known. Deconstruction intends to trace aphoria elements in literature. The
elements were searched and understood precisely in the opposite sense.29
24 Ibid, p.188. 25 Nyoman Kutha Ratna, Teori, Metode, dan Teknik Penelitian Sastra: dari
Strukturalisme hingga Postrukturalisme; Perspektif Wacana Naratif (Yogyakarta; Pustaka Pelajar, 2004), p.222.
26 Christopher Norris, Membongkar Teori Dekonstruksi Jacques Derrida (Yogyakarta; Ar-Ruzz Media, 2006), p.13.
27 Burhan Nurgiyantoro, Teori Pengkajian Fiksi (Yogyakarta; Gadjah Mada University Press, 2007), p.60.
28 Christopher Norris, Op.cit.,2006. p.52. 29 Nasution, Ikhwanuddin. “Sastra Dari Perspektif Kajian Budaya: Analisis Novel Saman
Dan Larung”.Jurnal Ilmiah Bahasa dan Sastra volume II, no. 1 (2006:April): 1-10.
18
As an outline, it can be concluded that there are several principles that can
be used as a reference for the literature researcher when using the theory of
deconstruction, those are:
1. Deconstruction traces the elements of aphoria; paradoxical meaning,
contradictory, and irony in a text.
2. Reverse or change the meanings that have been conventional from the
text.
Deconstruction theory is also known in its way that denies the existence of
central significance, or glued to one meaning (monosemi), because the center is
considered relatively. Therefore, the emphasis in this theory is significance
polysemy. Deconstruction rejects the centralization by constantly trying to escape,
while trying to find new centers or meaning. According to Derrida, in an effort to
find new centers, subject is always going to be involved with the existence of a
central meaning. In this connection, it is necessary to emphasize and believe that
the central is plural not singular.30
In essence, this study is allowing researcher to be creative. Because
researcher generally uses this deconstruction theory and tends to use his own will
in order to maintain the integrity of the text which believed has significant
polysemy. In this deconstruction study, the writer is required to observe traces that
are presented in a text more thoroughly and carefully. The deconstruction of text
is not proceed by random doubt or generalized skepticism, but by a careful teasing
30 Nyoman Kutha Ratna, Op.cit., p.225.
19
out of warring forces of signification within the text itself.31 Derrida mentioned
that in attempt to find a singular meaning of a literary work is something
impossible. Because, any discovered traces of meaning in a text, will give birth to
a new trace significance behind it.32 In other words, researcher could not
arbitrarily take meanings or ideas from outside. Because traces that means are
presented only from the literary text itself.
The move that is known as “a trace" is also defined as a concept of
menelusuri jejak in Bahasa. As mentioned earlier, the traces here is mysterious
and tend to be unrevealed. Appears as a strength that makes the writing, and
strengthen the overall activity of text.
Step-by-step deconstruction approaches as described by Rudolph Gasche
are as follows:
1. Identifying oppositional hierarchy in literary texts (binary opposition).
2. Disassemble the binary oppositions by reverse those from marginal
into dominant, decentering, sous rapture, and changing perspectives.
3. Presenting a new term or new ideas and then inserted into the initial
binary opposition.33
Deconstruction theory is becoming very different from structuralism
theory, because structuralism only expressed what is clearly stated in the text and
are considered true. Meanwhile, deconstruction tries to find and reveal the failure
of text’s efforts to close themselves with a meaning or a single truth that is
31 Wawrytko, Sandra A. “Desonstructing Deconstruction: Zhuang Zhi as Butterfly,
Nietzche as Gadlfly.” Philosophy East and West, Vol. 58, No. 4 (Oct 2008), pp. 524-551. Print. 32 Christopher Norris, Op.cit., 2006. p.12. 33 Christopher Norris, Op.cit., 2006. p.13.
20
considered general. In other words, deconstruction is simply wants to subvert the
hierarchy composition that structuring the text.34 Deconstruction will provide
power in order to do a total revaluation of the theory and practice of
interpretation.35
In addition to things that are mentioned above, study using this theory also
has its advantages and disadvantages. In terms of advantages, deconstruction
researcher is 'permitted' to be more creative in finding other meanings, so that
researcher can sharpen their creativity and is free to use skills to interpret the
meaning of a literary text. As for disadvantages, the meaning that is provided by
film becomes worthless. In other words, deconstruction ignores the previous
meaning that is contained in the text because it focuses only on finding new
meaning. While the previous meaning that is contained in the text could be a
booster to find new meaning.
34 Christopher Norris, Op.cit., 2003. p.15. 35 Ibid. p.53.
21
CHAPTER III
DATA ANALYSIS
In this chapter of analysis, the writer would like to explain and describe
the characterization of Puss and Humpty in the film. Both Puss and Humpty are
the main characters in Puss In Boots film. The whole story of this film tells about
their friendship since they were young and lived together.
Puss In Boots, the figure of black cat with pair of boots, acted as one of the
main characters. He is the figure that adapted by the film from the fairy tale with
the same tittle, Puss In Boots. In the story, Puss In Boots is figure of brave,
powerful and imposter. He is figure of cat that loyal to his master.
Otherwise, Humpty Dumpty as the egg characters that similar to human
beings, also one of the main characters in the film. His figure is adapted from the
novel entitled Through The Looking-Glass written by Lewis Carroll. In the story,
Humpty is figure that is shy, but honest, friendly, and not vindictive.
In the animated film Puss In Boots, both of them are paired. Appear with
the characteristics that are contrast to the fairy tale, Puss and Humpty look like
new characters that is created specifically for the needs of the film. But in fact,
both are still the same person as the one in the fairy tale.
A. Character Analysis
1. Physical appearance
Puss the cat is one of the dominant character that appears in almost every
scene or conflicts of this film. He is depicted as a little gold-brown cat which
22
always brings little sabre, wearing black boots, black thin belt and black cowboy’s
hat with yellow feather. For a clearer depiction of Puss can be seen in the picture
below.
Picture 1.1 Physical appearance of Puss In Boots
According to the film, Puss as seen in the picture above, has many
similarities with appearance of Zorro, character from The Mask of Zorro. He is
also known to have many pseudonyms, such as Diablo Gato, The Furry Lover,
Chupacabra, Friskie Two-Times, and The Ginger Hit Man. However, his most
popular name is Puss In Boots.
Narration : Through the years, I have been known by many names. Diablo Gato, The Furry Lover, Chupacabra, Friskie Two-Times, and the Ginger Hit Man, But to most... I am Puss In Boots!
(00:00:36 - 00:00:58)
Besides Puss, there is another character that is also the main character,
Humpty Alexandre Dumpty. He always appears in every conflict that involves.
Even though Humpty and Puss are always together, they both have different role.
Humpty is depicted as a white and clean egg with hands and foots which looks
like human, wearing dark brown clothes with brown motif jacket outside, similar
23
to Spain traditional clothes, and also wearing black top hat. Picture below is figure
of Humpty Alexander Dumpty taken from the film.
Picture 1.2 Physical appearance of Humpty Alexandre Dumpty
Humpty : Puss! You got any idea what they do to Eggs in San Ricardo
prison? I’ll tell you this, my friend…
(00:18:49 - 00:19:00)
The picture and dialogue above show who Humpty Alexandre Dumpty
was and how he looks like. In this case, the writer believes the viewers see that
Humpty is the antagonist one, after watching the general acts that are shown by
Humpty during the film. From the dialogue, there is pressure with the word “egg”
or in another words, Humpty wants to emphasize that he is an egg. Although it
can be seen from his physical form. However, the writer would not only analyze
these characters from their appearance. The entire data of character analysis is
claimed by collecting data from the film itself.
Role of Puss and Humpty are contradictive. Protagonist is dominated by
Puss, whereas Humpty is the enemy of Puss or the evil one. These are several
evidences about both of Puss and Humpty characteristic.
24
2. Characterizations of Puss and Humpty in the film
From the way that film is presented, it raises many flashback scenes. Thus,
it can also be concluded that the plot used in this film is a forward-backward.
Since the beginning of the story, Puss and Humpty are always in the opposite role.
Only in the end of film that tells both of them are in the same line. Thereby, the
characteristics of both is clearly visible different even tend to be opposites.
a. Puss In Boots as the coward character
In the beginning it is told that Puss has already been wanted by the city of
San Ricardo. He decides to return to the city to find a way in order to restore his
reputation as a cat hero. His first arrival to the bar in San Ricardo is described as a
form of courage, whereas, from the same scene it can be seen that Puss is scared
at the same time.
Picture 2.1. Situation inside the bar while Puss was coming (00:04:24 – 00:30:00) (Inside Bar) (People laughing while cat enter the bar) Man 1 : Here, kitty, kitty! Man 2 : Raoul, look what the cat dragged in Man 1 : Oh, wait.. this is the cat Puss : (Stand on chair) One leche, please Bar Servant : What are you doing here, senor? Did you lose your ball of
yarn? (People laughing at the cat) Puss : So funny Bar Servant : One leche coming up. (Man doing jokes then Puss throwing knife next to him to the poster) Puss : I am not looking for trouble.
25
(00:03:49 – 00:04:39)
Both of pictures (2.1 & 2.2) and the dialog above are pieces of events
where Puss is in the bar of the city of San Ricardo. Puss gets irreverent treatment
from the city dwellers, at that time they do not know who Puss really is (as can be
seen from the dialogue). Feeling that he is being humbled, Puss then shows the
action that he should not do. He opens his identity, by throwing a knife (see the
red circle in the picture 2.1) on the table where he stands, toward the poster
displayed in the bar reads "Wanted Puss In Boots". In this case, the action that is
done by Puss can be classified as an act of cowardice. Just because he is reluctant
to become the jibe of bar visitors, he then shows that he is more than just a cat.
Puss wants to show that he has a great reputation as a first-class fugitive. In other
words, he is just hiding behind his great name that actually far more frightening
than his physical appearance. As a result, Puss successfully bluffs the whole bar.
Considering his first purpose, clearing the name, Puss is not supposed to be proud
of his status as a fugitive. And of course, Puss should not do such disgraceful
action in front of bar visitors. He should have avoided the bar visitors, if he does
not want to be underestimated. Furthermore, he could search for any information
related to magic beans elsewhere without causing a riot.
Picture 2.2. Anger expressions of Puss in the battle dance (00:14:45 – 00:14:20)
26
The other evidence of a gutless Puss is shown by the two pieces of the
picture above. This time, he is afraid of losing his reputation or his dignity,
because he almost lost the battle. The first image (left), describes the anger of
Puss because he is pressured during the battle and the peak is when his shoe
(which is considered of a symbol of honor) got stain of milk that is thrown by his
enemy. He draws his sword for the first time during the battle in this scene. In
fact, they are doing battle dance at the moment. As a hero, Puss should be more
careful with his act. He is not supposed to show off his sword. Because, Puss’
action of drawing a sword, it can be regarded as a representation of his anger. The
anger that should not be shown by Puss, character whose is considered as a brave
not a grumpy. For whatever reason, the action is unacceptable. He tries to
intimidate his opponent with a weapon just as he is about to lose the battle.
Then in the second image (right) shows the scene after Puss hits his enemy
head with a wooden guitar. It happens after Puss can not truly control his fear.
That is a coward act which he does after he realizes that he is really afraid of
losing the battle. Such action should be avoided by Puss. Because, by his doing
so, the game is stopped. Therefore he is clearly seen as a coward who does not
want to continue the battle because he is already knows the result.
Picture 2.3. The fear of Puss that was shown in the battle dance (00:14:52)
27
Puss : Fear me… If you dare. Ha! (00:14:51 – 00:14:53)
From the dialogue spoken by Puss above, indicates that Puss tries to put
pressure to his enemy in the battle. But, if the dialogue and the scene above are
observed carefully, other facts can be found. It is clearly seen when Puss says
“Fear me…” to his enemy, he is the one who looks depressed and afraid of losing
battle from the enemy he newly met. He talks and performs the action such as in
the picture, after he is repeatedly pressed by his opponent in the dance battle.
Moreover, Puss holds great reputation as the city's number one fugitive. It would
be embarrassing for him when he loses the battle and witnessed by many other
cats in the night. He hides his fears by throwing it to others.
b. Puss In Boots that is concern for others
In this part Puss seems to have a great concern for others. Puss the cat,
besides great, is also emerged as the dominant actor with heroic attitude. Many of
the actions that he took are intended for the benefit of people around him.
Bar servant : The church of St. Michael has just put up a golden statue of the virgin of Guadalupe. Puss : I do not steal from a church. Man (1) : The boys’ orphanage has been donated silver candlestick, they would look very lovely in your home. Puss : I do not steal from orphans.
(00:05:31 – 00:05:47)
The dialogue above is the first evidence which shows that Puss is a
character who cares for others. Puss states that he does not steal from the
orphanage and the church. Furthermore, Puss prefers to steal from the killer
couple, Jack and Jill, who is rumored to have magic beans. Puss prefers to
endanger himself to steal magic beans from Jack and Jill couples who could have
28
killed him. It can be concluded that the reason Puss does not steal from the site is
because he knows both places very well. Puss does need something, but not from
the church or orphanage. He would rather die than has to ruin the sanctity of the
orphanage and church.
Picture 2.4. City dwellers of San Ricardo was giving Puss an honor (00:28:33)
In the scene above there seem to be a lot of people around the Puss, among
them, there are Commandante and his foster mother. This is the first time Puss is
established as a hero after he takes courageous action. He saves Commandante’s
mother from the wild bull attack. He is also rewarded boots that he always wears
as a symbol of honor. The boot is rewarded for his courageous act.
c. Puss In Boots as gullible character and Humpty as the smart
deceiver
There are several evidences in the film, which depicts silliness of Puss In
Boots. In this case, he is often become the victims of fraud. Humpty, is a character
in charge. Here are some explanations.
Still at the beginning of the film which shows a flashback story of Puss
and Humpty in childhood. This is illustrated by Puss who wants to share the
gloomy past with Humpty. The story when Puss feels cheated by Humpty who
wants to rob San Ricardo Bank. Here are the evidences from the film in form of
picture and dialogue.
29
Picture 2.5. Push and Humpty in a scenario of San Ricardo Bank robbery (00:30:45 – 00:30:48)
Humpty : Okay, I’ve got everything. We did it. Come on, let’s go! Puss : How could you do this to me?! Humpty : I did you a favor! We can finally get out of here! Puss : This is the money of the people, this is all they have!
(00:30:45 – 00:30:55)
Part of the picture and the dialogue above is a scene where Puss is very
surprised finding out that he is trapped by Humpty to help robbing San Ricardo
Bank. In this case, the conflict obviously occurs between Puss and Humpty. At the
time, Puss who has already become a hero of San Ricardo is framed for robbing
San Ricardo Bank. The incident clearly makes a good name of Puss disgraced.
City dwellers of San Ricardo are immediately feels disappointed by Puss’ action
in this part of scene.
Next, In the mid-section of the film, Humpty described as a character that
is very cunning, emotional, and vindictive. Refers to the fact, Humpty deserves to
called as an antagonists. Especially, all of the evil purposes are aimed to Puss, the
protagonist character. Here is the piece of dialogue as evidence which reinforce
how evil Humpty is.
Humpty : Hello, Puss. (All Yelling : Surprise!) Puss : What’s going on? Humpty : It's a surprise party, and the surprise is on you. Jill : Looks like the cat's out of the bag. (All laughing) Puss : You were in cahoots?
30
Humpty : Oh, yeah! They all work for me… I spent a lot of time in prison preparing for this.
Puss : You set me up? Humpty : Oh yeah, I set you up. Of course.
(00:59:46 – 01:00:16) Piece of dialogue above explains how the situation in the town of San
Ricardo is, shortly after Puss helps Humpty to get the golden eggs from the sky.
At that time, Humpty with several citizens of San Ricardo and crime couple, Jack
and Jill, were feasting, celebrating their success to set Puss up. Especially, it all
goes as it is planned, completely unaware by Puss.
Humpty’s crime continues. The latest, Humpty lets the security guards of
San Ricardo catch Puss who had long been wanted because of the robbery of San
Ricardo Bank in the past. Thus, Puss immediately gets jailed and Humpty was
satisfied that successfully revenge.
Picture 2.6. Guards are surrounding Puss and Humpty (01:01:14)
Humpty : Guards! Guards : Puss In Boots, you’re under arrest for the robbery of the San
Ricardo Bank! Puss : (stares at Humpty) Humpty : Consider this the final meeting of bean club.
(01:01:12 – 01:01:21)
Dialogue and picture above are strong evidences which show that Humpty
becomes a key figure who puts pressure on Puss. The fragment conflict above
describes the time when both Puss and Humpty are in the middle of the town. A
moment after Humpty tells his evil plan that he success in trapping Puss. Humpty
31
immediately calls the guards. Instantly the guards are assembled, and arrests Puss
in charges of robbing San Ricardo Bank a few years ago, which is also an evil
plan of Humpty. That incident results in Puss getting imprisoned in San Ricardo
jail. While Humpty, celebrates his success to bring the golden goose eggs from
the sky.
d. Humpty as the vengeful character
Humpty the egg is described as vengeful character. It is proven by his
dialogue in one scene. The scene is occurred in the town of San Ricardo, shortly
after Puss and Humpty managed to bring the golden goose eggs from the sky.
Humpty firmly stated that he had entrapped Puss. The aim was revenge for what
Puss have done in the past..
Puss : You set me up? Humpty : Oh, yeah, I set you up. Of course.
You think this was all about getting the gold and clearing you name? This little adventure was about one thing.. Revenge!
(01:00:13 – 01:00:27)
The recognition explains everything. All the efforts from Puss and
Humpty in an attempt to steal the golden egg are just scenario. In fact, the
scenario was deliberately created just to help Humpty revenges to Puss easily.
From here, it was clear how the nature of Humpty.
e. Puss In Boots as the antagonist
As already known in advance, that the film refers to the determination of
Puss as protagonist while Humpty as the antagonist. Judging from some of the
acts that Puss and Humpty do during the movie, Puss is always being the victim of
32
crimes that Humpty does. However, if observed closely and thoroughly, Puss is
the one who presents a nightmare for Humpty. In other words, Puss is the actual
antagonist which gives great pressure to the character of the protagonist, in this
case, Humpty.
Picture 2.7 Puss and Humpty was talking about the magic beans under the tree near San Ricardo
(00:24:38)
From the picture above, Puss and Humpty are seen lay down under the
tree. Both of young Puss and Humpty seem enjoying a view of San Ricardo from
the place that is not far from the city. That is where it all starts, where little
Humpty tells all his big dreams to Puss. Indeed, Puss existence at the time is not a
problem. However, Puss does a massive action that also affects Humpty at that
time. Puss seduces and forces to participate and involve in his dream. Later, it can
be considered that finding the magic beans is an American dream36 for Humpty.
Then, Puss destroys it.
36 American Dream is the belief that anyone, regardless of where they were born or what
class they were born into, can attain their own version of success in a society where upward mobility is possible for everyone. American Dream is achieved through sacrifice, risk-taking and hard work, not by chance. Both native-born Americans and American immigrants pursue and can achieve the American dream. In contrast to other political and economic systems, such as communist dictatorships, America’s free-enterprise system makes possible the circumstances that allow individuals to go beyond meeting their basic needs to achieve self-actualization and personal fulfillment. Retrieved from: http://www.investopedia.com/terms/a/american-dream.asp. (accessed 21/09/2015)
33
Picture 2.8. The expression of Puss when he was seducing Humpty (00:25:24)
Picture 2.8 is an image that depicts Puss’ face when seducing Humpty to
allow him to participate and takes a part of his dream, to find the magic beans.
Puss seduces Humpty with those eyes. Humpty instantly melts and accepting Puss
to join.
Humpty : Oh, when I find those magic beans, they’ll grow a vine. Straight up into the clouds, where a terrible and fearsome giant hoards his greatest treasure… the golden goose. Oh, the golden goose. Just one. Just one of her golden eggs, could set me for life. It’s my destiny, Puss. I can’t really explain it, but I just feel like I belong up there. Oh boy, this is awkward. This is kind of solo dream here. I don’t need any dead weight, you know, holding me down. (Puss starring at Humpty with the eyes) What are you doing? (Humpty stares at Puss) Oh, man. That’s good. The eye thing that you’re doing, that is really splendid. Okay. Let me just think for a second… All right… Okay. Uh, this is crazy, but… I am considering, a partnership.
(00:24:40 – 00:25:41)
A piece of dialogue above illustrates an interaction that occurs between
Puss and Humpty when they are under the tree near the town of San Ricardo. At
the time, Humpty, not realizing that Puss could speak, it looks like Humpty speaks
to himself. It can be seen from the monologue above, that the fact is Humpty only
aims to share the story of his dream with Puss. However, Puss seduces, and finally
Humpty is forced in involving Puss.
34
After that day, Puss and Humpty are buddies. They both agree and even
promise to stay together and reach the dream. They will do anything to help, and
strengthen each other to search the magic beans and make that dream come true.
Picture 2.9. Puss and Humpty were agreed to always together (00:26:23)
Humpty : From this day forth, it shall be known… Puss : Never alone, always together… Humpty : Humpty and Puss Both : Brothers forever.
(00:26:13 – 00:26:22)
The quotation of dialogue and picture above shows the time when they
make a deal. Finally, the young innocent Humpty is embracing Puss, the one who
will destroy his dream in the future. They are united, doing any kind of ways to
find the magic beans to reach their dreams, forever.
Furthermore, Puss starts pressuring Humpty. First, he ignores Humpty and
the way to reach the dream. Then, Puss messes all Humpty’s dream up. He
chooses his own way and ignores the commitments they have made previously.
Picture 2.10. The exiled Humpty (00:28:38)
At the picture 2.10 above, Humpty is seen staring down from the room in
the orphanage, he stares at the hustle of city dwellers and Puss as a part of city
35
dwellers. At the moment, Puss is being crowned as a hero after rescuing the
mother of San Ricardo’s Commandante from wild bull. This is where Humpty
looks depressed, he is betrayed by his close friend, the only friend he trust, Puss.
Afterwards, Humpty tries many times to invite Puss to be together with
him, but always gets rejected by Puss. Even Humpty does many efforts in order to
get his friend back to him and try to reach their dreams together. That is an
extraordinary desire, indicated by Humpty. Just for one thing, that is, back to the
commitment that they made.
Picture 2.11. Situation over the town bridge shortly after they robbed the San Ricardo bank
(00:31:50)
Picture 2.11 is the scene where Puss biggest mistakes is occurred. When
they just robbed San Ricardo Bank and are noticed by the security guards of the
city. They both tried to escape, but in the middle of being chased by security
guards, the horse-drawn carriage that they ride crushed and fell into the river.
Humpty is stuck in the bridge while Puss is on the edge of the bridge.
Humpty : Puss, I can’t get up. Puss! Help me, I can’t get up! Guards : Freeze! Humpty : Puss, save me! Puss : (Stares at Humpty) Save yourself. (Jump into the river) Guards : We got you (Arrests Humpty)
(00:31:45 – 00:31:58)
36
Dialogue above illustrates the difficult situation that occurred on the
bridge after Puss and Humpty rob San Ricardo Bank. At that time, Puss leaves
and leaves Humpty behind. He let Humpty get arrested by guards of San Ricardo,
while Puss escapes by jumping into the river. Obviously for Humpty it is the
biggest betrayal he receives from Puss. As a result, Humpty feels very
disappointed. The dream of little Humpty finding magic beans is broken and
forgotten due to action that Puss did. The character that used to beg to be allowed
and be a part of the dream is betrayed. In the end, Humpty keeps grudge on Puss
and then decides to revenge.
These events change the mindset of Humpty which also led to his actions.
If only Humpty not betrays Puss, then Humpty would not grudge to Puss. In other
words, Puss is a character who actually presses Humpty, adverse, and triggered so
that he is considered as character who has evil characteristics. Puss is obviously
the antagonist character of the animated film Puss In Boots.
B. Deconstruction of the characteristics of Puss In Boots and Humpty
Dumpty
As explained previously, there are attempts of deconstruction in the
presence of the character Puss In Boots and Humpty Dumpty in film. Some of
them are so visible from the characteristics of both figures. Puss and Humpty, as
the main characters from the film, are the main focus.
Previously described by the writer related to several characteristics of Puss
In Boots and Humpty Alexandre Dumpty that is contained in the film. Some
37
characteristics are exactly what the writer considered something contrary to what
was presented in a fairytale respectively. Here are the explanation.
1. Puss In Boots as the coward character
Puss In Boots in the film is portrayed as cowards. His fears are proven
from several evidences that have been explained previously. In fact, Puss
character in fairy tale was incredibly brave.
"Don't worry about the money, Master. I'm going to bring you luck," said the Cat in Boots.
(Puss In Boots, Charles Perrault – pg. 3)
The sentence above is quoted from a fairytale Puss In Boots written by
Charles Perrault. The sentence proves the courageous of Puss the cat that
guarantees luck for his master who actually doubts him. Furthermore, Puss is told
to get to the forest and started hunting.
He put the bag around his neck. Cats have no hands, so he held the strings in his forepaws. Then he put some vegetables and a piece of bread into the bag. The Cat went to the woods. There were many rabbits there. So he lay down, pretending to be dead. The Cat didn't move at all. His plan was to wait for some foolish rabbit to come and look into his bag.
(Puss In Boots, Charles Perrault – pg. 3)
On the piece of the story above, we can also see that Puss is not coward character.
His decision to go hunt into the woods alone is definitely courageous. In fact,
inside the woods, there is no one knows who will actually hunted.
Then, very proud, he (Puss) went with the bag to the palace and asked to speak with the King.
(Puss In Boots, Charles Perrault – pg. 3)
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Not only there, Puss is also braced himself to meet a King. The aim is to promote
the master as a remarkable figure in the presence of the King. Then, pay off his
promise to his master.
2. Puss In Boots that is concern for others
The other characteristic of Puss in the film is related to his concern for
others. In the film, Puss is described as having a high concern to the people
around him, as described previously. However, it is actually the opposite from the
fairy tale. Puss described as someone who only cares for his master. Everything
he did, just to prove to his master how useful he is.
The Cat in Boots ran away fast. He kept a long way ahead of the King's carriage. He went on and on, till he saw some mowers in a meadow. The Cat came up to them. "Listen, good people," he said, in a very firm voice, "the King is going to stop here and talk to you. You must tell him that this meadow belongs to the Marquis of Carabas. Do that if you want to stay alive."
(Puss In Boots, Charles Perrault – pg. 7)
Fragment of the story above proves ignorance Puss to others, except his
master. He threatened the people around him and forced him to lie. The aim is
only for his master, look incredible in the eyes of the King.
3. Puss In Boots as gullible character
In the fairy tale, it is clearly illustrated that Puss the cat is an accomplished
liar. Moreover, the ability to lie is successfully raised the social status of his
master. In this film, Puss In Boots is described as a character who is so easily
fooled. Even by his partner. This is clearly undermining the greatness of Puss in
fairy tale.
The Cat in Boots said to his master: "Now you must do what I tell you."
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The miller's son knew nothing about the Cat's new plan. But he was sad and unhappy. That's why he agreed at once. "Be it so," he said. "Tell me about your plan." "I don't ask much," said the Cat, looking wise, as cats can. "All you must do is to go and bathe in the river. I know a good place. Then leave the rest to me. Only remember that you are no longer yourself, but the Marquis of Carabas." "OK," said the miller's son, "it's all the same to me." He went to the bank of the river, took off his clothes and went bathing. The Cat followed his master and hid his clothes under a great stone. At that moment the King drove past that place in his carriage. The Cat began to shout at the top of his voice: "Help! Help! The Marquis of Carabas is drowning!" The King heard the shouts and put his head out of the carriage. He recognized the Cat. "Guards!" he said. "Help the Marquis of Carabas! Quick!" The guards ran to the river. They quickly pulled the young man out of the water. The Cat came up to the King's carriage. He made a low bow and gave his explanations. "My master went bathing," he said, "and suddenly some thieves came. They took all his clothes and ran away. And now the Marquis of Carabas can't appear before Your Majesty and your beautiful daughter."
(Puss In Boots, Charles Perrault – pg. 5-6)
The evidence above explains the greatness of Puss in lying. The ability to
lie and manage the scenario proved to be successful. He successfully convinced
the king that his master is in trouble. In fact, the problem is actually created solely
by Puss. The things that are clearly contrary to what was presented in the film.
4. Humpty as the smart deceiver
Humpty Dumpty, character in Lewis Carroll's novel, is told so cheerful
and full of honesty. Physically, described as an egg, identical to what is presented
in this film. However, the characteristics of which are presented in the film looks
different than in the novel.
'My name is Alice, but —' 'It's a stupid name enough!' Humpty Dumpty interrupted impatiently. 'What does it mean?'
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'Must a name mean something?' Alice asked doubtfully. 'Of course it must,' Humpty Dumpty said with a short laugh: 'my name means the shape I am — and a good handsome shape it is, too. With a name like yours, you might be any shape, almost.'
(Through The Looking-Glass, Lewis Carroll – pg. 209)
It can be seen from the fragment of story above, Humpty reaction when
hearing word "Alice". The reaction is spontaneous, honest, and does not seem to
cover anything. The explanation that is fits with his knowledge about name.
5. Humpty as the vengeful character
Humpty in the film is depicted as vengeful character. It is proven when he
decided to revenge to Puss, his best friend. It is obviously contrast with Humpty
Dumpty in Lewis Carroll novel. In the novel, Humpty is a good figure, friendly,
and not vindictive.
'And how exactly like an egg he is!' she said aloud, standing with her hands ready to catch him, for she was every moment expecting him to fall. 'It's very provoking,' Humpty Dumpty said after a long silence, looking away from Alice as he spoke, 'to be called an egg — very!' 'I said you looked like an egg, Sir,' Alice gently explained. 'And some eggs are very pretty, you know,' she added, hoping to turn her remark into a sort of compliment. 'Some people,' said Humpty Dumpty, looking away from her as usual, 'have no more sense than a baby!'
(Through The Looking-Glass, Lewis Carroll – pg. 208)
In the piece of story above is described that Humpty was annoyed when
Alice mentions “egg”. However, Humpty did not take it seriously, he tries to be
friendly to Alice. In addition, there is no evidence that claim Humpty as vengeful
character.
6. Puss In Boots as the Antagonist
Puss In Boots, the protagonist cat that is narrated as a helper of Marquis
Carabas in the fairy tale, is told as an antagonist in the film. His presence gives
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such great pressure to Humpty, the eggs, as the opponent. As explained
previously, the actions of Puss is considered as primary driver of all the evils
committed by Humpty. Moreover, he is one of fugitives of San Ricardo.
"Don't look so sad, Master. I'm not a bad thing. And I am more useful to you alive than dead. I can prove that."
(Puss In Boots, Charles Perrault – pg. 7)
Fragment of sentence above is evidence that Puss In Boots in the fairy tale
is a good figure and savior. His presence as a protagonist reinforced by the
pressure from the situation built in the tales. That is, when Puss needs to prove his
capacity as a cat who can be relied upon. He should prove that he is able to make
his master happy life after his parents' deaths.
C. Reconstruction of the characters of Puss In Boots and Humpty Dumpty
The animated film Puss In Boots, can be said to have succeeded in
showing a form of deconstruction of the characteristics of Puss and Humpty in the
fairy tale. Then, the film also managed to maintain the identity of the two
characters. For example, their physical appearances that are maintained and also
both are retained as good characters.
The characteristics that presented by Puss and Humpty are quite
complicated. Both were first described as having vices that negatively affecting
the people around him. But eventually, the two characters is still carrying an inner
goodness of each.
The success of the film reconstructs the character Puss In Boots and
Humpty Dumpty marked by the appearance of both characters as heroes in the
end of the film. It fits perfectly with what is displayed on the fairy tale before.
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Initially, Puss and Humpty told to have bad characteristics. Both are described as
little thief, deceivers, and even, both spent their childhood as fugitive. It has
become the main features of the two figures in the childhood.
As mentioned earlier, the real characteristics of both characters appear at
the end of the film. Both of them saved the city of San Ricardo from the fury of
mama goose (giant goose). The kindness of Puss and Humpty that characterizes
both in a fairy tale succeeded in breaking down all the noise that was created
earlier.
The power of goodness of characters Puss In Boots and Humpty Dumpty
earlier successfully reintroduced in this film. This aspect also reinforces the fact
that Puss and Humpty figure in the film is an adaptation of the previous figure.
Picture 3.1. Puss and Humpty appear as heroes that saved San Ricardo from the
fury of giant goose. (01:13:26 [left]; 01:15:43 [right])
Citizen 1 : It’s him. Puss In Boots Citizen 2 : He saved us from the giant goose! Citizen 3 : His sword is like lightning! Citizen 4 : He’s no outlaw. He saved us!
(01:16:56 – 01:17:08)
The fragment of pictures and dialogue above are evidences of heroism of Puss In
Boots and Humpty Dumpty in the film. The dialogue emphasizes heroism of Puss,
because of the death of Humpty after successfully bringing the little goose out of
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town. These characteristics prove that the characteristics of Puss In Boots and
Humpty Dumpty is still contained within the two main characters in the film.
According to Nurgiyantoro is statement about characters in fiction, that the
appointment of figures that personify real character, will generally be easily
understood and known by the children because they went out of the same reality,
so easily perceived.37 It can be concluded that the selection of character Puss and
Humpty as the main character in this film is aims to simplify the process of
educating the audience, especially the children. Thus, this film was successfully
reconstructs the character of Puss and Humpty.
37 Burhan Nurgiyantoro, Sastra Anak; Pengantar Pemahaman Dunia Anak (Yogyakarta;
Gadjah Mada University Press, 2013), p.225.
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CHAPTER IV
CONCLUSION AND SUGGESTIONS
A. Conclusion
Puss In Boots is a DreamWorks animated film production, that was
directed by Chris Miller and was released in 2011. Generally, this film tells the
audience how the story of true friendship that exists between two main characters.
Puss and Humpty are two characters that are known as buddies. Puss was firstly
introduced as hero and also protagonist, while Humpty was developed from
previously antagonist character then becomes hero.
Based on the analysis, it is found that the film has been showing a form of
deconstruction of the characteristics of the two main characters, Puss and
Humpty. The deconstruction refers to the characteristics of the two characters in a
fairy tale earlier. Where Puss is the main character in a fairy tale entitled Puss In
Boots by Charles Perrault published in the year 1697. Otherwise Humpty is
deconstructed from the original characters contained in the novel Through the
Looking-Glass by Lewis Carroll in 1871.
Several aspects of deconstruction are found in the character of Puss and
Humpty as the main character. Among them, the carelessness of Puss that makes
him easy to tricked, Puss’ cowardice that is so visible in the film, then, acts of
Puss as an antagonist. Those are the facts that are contrast with the characteristics
of Puss in a fairy tale.
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Otherwise, the figure of Humpty is described as cunning character. He is
an imposter. Moreover, he is depicted as vindictive nature. Nearly the whole of
Humpty nature are evil.
However, beside the deconstruction of some of the facts, it is found some
of the main characteristics from the figure retained their authenticity. It also
explains about the reconstruction of the two characters, Puss and Humpty.
The authenticity is kept and displayed at the end of the film. It is proven,
behind the bad of Puss In Boots and the crimes of Humpty Alexandre Dumpty
during the film, it is still remains the good of them as the most memorable, the
greatness of both when saving the city of San Ricardo. Thus, the animated film
Puss In Boots is managed to deconstruct and reconstruct the characteristics of
Puss In Boots and Humpty Dumpty.
B. Suggestions
In the process of analysis, especially for film, the writer should be more
careful. Careful, so that there is none of important information is missing from the
film. Then, never underestimate the little things. Because, in the film, often
important things is emerge from the scenes that we consider trivial. Last, use the
most suitable theory to analyze a movie with the content-related issues or
problems contains in the film.
The author uses deconstruction theory by Jacques Derrida in analyzing
film Puss In Boots. More specifically, the theory is used to reveal the
deconstruction of characteristics of Puss and Humpty characteristics. The writer
suggests, if in future anyone wants to analyze the movie with the same title, there
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are many theories that can be used to analyze the film, for example
psychoanalysis, structuralism, and even representation. Further studies using the
same source will generate a deep understanding of the research object. Therefore,
the writer hopes there will be further research to develop the animated film Puss
In Boots. And hopefully, the writer hopes this research could give contribution to
all students of English Letters Department who want to analyze characters in the
film through Jacques Derrida’s deconstruction theory.
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BIBLIOGRAPHY
Books
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http://thesis.umy.ac.id/datapublik/t18618.pdf
Film
Puss In Boots, prod. Guillermo del Toro, dir. Chris Miller, Dream Works, 2011, film.
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APPENDICES
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