Deconstruction and Reconstruction of Puss in Boots

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

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.

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

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.

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

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

vii

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

viii

B. Suggestions ...... 45

BIBLIOGRAPHY ...... 47

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

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.

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

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

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

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.

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

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

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.

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.

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).

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).

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

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

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

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

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.

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.

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.

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.

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.

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

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

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.

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.

(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)

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)

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

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.

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?

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

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

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)

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.

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

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)

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

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)

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."

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?'

'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

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.

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

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.

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.

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

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.

BIBLIOGRAPHY

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Film

Puss In Boots, prod. Guillermo del Toro, dir. Chris Miller, Dream Works, 2011, film.

APPENDICES