Otherness Represented in Todd Durham's Hotel
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LiNGUA Vol. 16, No. 1, June 2021 • ISSN 1693-4725 • e-ISSN 2442-3823 OTHERNESS REPRESENTED IN TODD DURHAM’S HOTEL TRANSYLVANIA Nasrum[1], Syahruni Junaid[2], Ashril Awwab[3] [1][email protected], [2][email protected], [3][email protected] Alauddin State Islamic University of Makassar Makassar, South Sulawesi, Indonesia Abstract: This research discusses the otherness concept in Hotel Transylvania film. It is an animation movie that tells about the conflict between human with monster, in which the main character Dracula as a monster had a terrible memory with the human that makes him isolated himself and all monsters from humans’ intervention. The research aims to deconstruct how the otherness concept appeared in the film's manuscript. This research uses the content analysis method. In analyzing the data, the researchers use the deconstruction theory from Jacques Derrida to reveal the concept of otherness, which is the primary purpose of this research. Furthermore, this research focuses on the characters who brought the concept of otherness through their dialogue. As a result of this research, the researchers find that both humans and monsters are projecting each other's identity based on their perspective. The implication of this research is to give understanding to readers how the otherness concept is close to our daily life, and even we do not realize it has frequently happened. Keywords: otherness, deconstruction, derrida, humankind. INTRODUCTION meaningless. Therefore, it defines a notion of The otherness is viewed in many aspects, normality based on the existence of an identity, including in social interaction, like East by in which a dominant in-group ("us," normal) West and Women by Men. It has a strong builds a dominated out-group ("them," Other) influence on interpersonal interaction. It is by marginalizing a real or assumed difference, dominantly defined as a harmful generalization and maybe as a cause for possible or discrimination used for one group by discrimination (Staszak, 2008, p. 1). However, another group just because they are different. otherness eventually created characteristics of Otherness, in representing difference, as Hall 'us vs. them' (Helsby, 2005, p. 145); otherness (1997, p. 258) points out, allows us to view (them) is different and needs to be dominated group members as being, all the same, to by the majority or predominant group. isolate and clarify a few of the characteristics Otherness is challenging to understand and to relate them without exceptions to a without constructing the majority and whole individual. It is creating provocative minority. However, as the representations of generalizations, producing incorrect the different groups, otherness does not assumptions, and causing unwanted emerge by itself but by the dominant group's discrimination. intervention. Furthermore, this concept Otherness is highly related to identity, in constructs our mind to think if another group which we project the identities of the others that differs from us is wrong; therefore, we based on our experience or perception, and could probably underestimate them (Other). based on these, we unconsciously project our Otherness representations are also own identity (Okolie, 2003, p. 2). Thus, constituted in the film industry as a medium of otherness constructs identity addiction; entertainment; for instance, in the last decade indeed, without the "Other," identity is of the 20th century, most Disney animation LiNGUA Vol. 16, No. 1, June 2021 • ISSN 1693-4725 • e-ISSN 2442-3823 films portray otherness representations by analyze the concept of otherness based on using traditional culture, figurative language, Deconstruction theory, in contrary, in fact this and visualizations in narrating the story. In film and reviews about this film is nothing terms of identities, otherness representations about otherness. However, the researchers in Disney film appear in the opening sequence need to use deconstruction approach to prove of Aladdin (1992), where the Arabic culture, and explore the concept within the film. In which is at the center of narration, is explicitly order to prove and explore the concept within defined as barbaric from the very first lines the film, the researchers identify the making up the opening song. characters' representations, dialogues, and Otherness is also represented in another context using content analysis. film which an animation film: Hotel Therefore, the purpose of this research is Transylvania (2012), is a story of a powerful to find out how otherness is represented in Dracula who builds a hotel only for monsters Todd Durham’s Hotel Transylvania. The (ghosts); he thinks that the existence of human method used is descriptive qualitative to is bothering or even breaking the sanctuary of describe the object or subject's facts and monster's place, the hotel. The Dracula has a characteristics systematically. daughter, Mavis. He is trying hard to avoid Mavis from the human. He also makes OTHERNESS propaganda about humans to all the monsters, As Hall (1997, p. 258) explained, including Mavis. Then, one day, a human otherness allows one to consider the members teenager comes to the hotel. He is a traveler of the group as being all the same, isolate and and getting lost to the hotel. The Dracula is describe some of the characteristics, and apply frightened not because the man will probably them to a person without exception. It makes kill their population, but he scared because the incorrect assumptions, develops negative other monsters will know if the human is in the conclusions, and induces inappropriate hotel, they will leave the hotel, then what he discrimination. Otherness constructs the had thought ever since about the sanctuary of connection of identity; in addition, without the the hotel will be believed as a lie. However, identity of the "other," it is meaningless. It, Dracula is trying anything to get the human therefore, defines a notion of normality based away from the hotel. He even makes over, on the presence of an identity in which the changes the appearance of the man to be seen dominant in-group ("us," normal) constructs a likely as monsters in order to not to freaking marginalized out-group ("them," Other) by the other monsters out. marginalizing an actual or presumed gap, and Suddenly, Mavis and the human are maybe as a cause of potential discrimination falling in love. Dracula is getting mad; he (Staszak, 2008, p. 1). threatened the human to leave Mavis. According to Augé (2014), there are two Unfortunately, the humans compromised forms of otherness. The first form is the revealed. Then, the human is leaving the hotel. otherness of internal use (distinctness from Mavis does not care if he is a human; she is as "others"), and the second is the otherness of sad as the human left the hotel. As a father, external use, which is more radicalistic (it is Dracula cannot stand to see his lovely daughter about excluding, even eliminating the other). sad. He then chased the human in order to Thus, the concept of otherness is like an make Mavis happy again. The Dracula and indirect and harmful way of thinking of some of the monsters are going to human someone as different. places. Then, they found that human is not as We can see that the ways to relate to bad as they think. They even get helped to bring otherness are depending on knowing them faster to the man whom they chased. differences from a particular identity. We can Finally, the monsters are not thinking poorly of define otherness by defining identity. This humans anymore, and they could accept articulation resulted from the categorization human existence in their world. process equivalent to each culture, an Otherness representations are opposition between the similar and the portrayed in the story, in which Dracula does different. It produced the relationship between not want others, specifically humans, to be a me - the other illustrated by these opposite part of monsters' civilizations. The researchers pairs, as follows: similar-different, local- 76 | Otherness Represented in Todd Durham’s Hotel Transylvania LiNGUA Vol. 16, No. 1, June 2021 • ISSN 1693-4725 • e-ISSN 2442-3823 foreign, close-far, friend-enemy, east-west, However, on the other hand, in film, objects majority-minority, and many others. When all and events are viewed in a live and imaginary these aspects of otherness are identified, we way simultaneously, and simple lighting can consider the definition of identity. Identity, patterns on the projection screen are actual therefore, is about identifying otherness. objects. After all, this is the fact if the film is During the interactional communication classified as a literary work. process, identification of individuals as belonging to some social categories. Then, DECONSTRUCTION media permanently construct and reconstruct In this research, the researchers use the representations that refer to these identities. Deconstruction theory by Jacques Derrida to The directions of the otherness are identify the concept of otherness within the shaped by the social forces, as Hazell (2009) film's manuscript, based on the characters, suggested, in other words, to win and retain which is the primary purpose of this paper. The their authenticity in the world. A person will word deconstruction was first invented in the make the image of otherness through the late 1960s by the French philosopher Jacques concept of the relationship he has with the Derrida and influenced America from the "other," which will influence him in 1970s to the 1980s (Enwald, 2004, p. 50). The understanding and behaving towards the term 'deconstruction' closely related not to the "other." term 'destruction,' but to the word 'analysis.' Deconstructive reading does not imply the FILM AS A LITERARY WORK weaknesses or stupidities of the writer, but the The film incorporates the dynamic need in which what he sees systematically interplay of light and shadow, manipulates 3D connected to what he does not see (Derrida, space, and relies on moving images with 1981, p.