Revealing the Significance of Symbols in Presenting Aladdin's Character In
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REVEALING THE SIGNIFICANCE OF SYMBOLS IN PRESENTING ALADDIN’S CHARACTER IN DISNEY’S LIVE-ACTION MOVIE ALADDIN
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters
By AGRICOLA AJENG SANTIKA WIDYANINGRUM Student Number: 164214151
DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2020
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REVEALING THE SIGNIFICANCE OF SYMBOLS IN PRESENTING ALADDIN’S CHARACTER IN DISNEY’S LIVE-ACTION MOVIE ALADDIN
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters
By AGRICOLA AJENG SANTIKA WIDYANINGRUM Student Number: 164214151
DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2020
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You are a piece of blank paper -L.B.-
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For
myself,
my amazing parents,
my beloved siblings,
and my lovely kakung & uti.
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ACKNOWLEDGEMENTS
I praise the Lord, Jesus Christ, because of His endless blessings. I can finish my undergraduate thesis on time, and because of His guidance, I could remove stumbling-blocks out of my way to finish this thesis.
My deepest gratitude goes to my advisor, Drs. Hirmawan Wijanarka,
M.Hum. for advising, guiding, and helping me to finish this thesis. I would give my sincerest thanks to my Co-Advisor, Ni Luh Putu Rosiandani, S.S., M.Hum. for patiently helping and guiding me to finish my thesis. I would like to thank all the staff and lecturers in English Letters Department.
My biggest gratitude goes to my amazing parents, my sister, my grandparents, Romo Swa, SJ. and Romo Heri, SJ. for giving me endless support and love. I cannot stand up for who I am today without them. I would also like to give my sincere thanks to my best friends as well as my support system, Skolastka
Shevika and Monica Wara for giving me ample support, my mate Angela for encouraging me to finish this thesis. I would also thank to my closest mates in the class, to VDAK and SHANE for always cherish and made my university life valuable. It creates such indelible memories for me.
Agricola Ajeng Santika Widyaningrum
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TABLE OF CONTENTS
TITLE PAGE ...... ii APPROVAL PAGE ...... iii ACCEPTANCE PAGE ...... iv STATEMENT OF ORIGINALITY ...... v LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH .. vi MOTTO PAGE ...... vii DEDICATION PAGE ...... viii ACKNOWLEDGEMENT ...... ix TABLE OF CONTENTS ...... x LIST OF ABBREVIATIONS ...... xii LIST OF FIGURES ...... xiii ABSTRACT ...... xiv ABSTRAK ...... xv
CHAPTER I: INTRODUCTION ...... 1 A. Background of the Study ...... 1 B. Problem Formulation ...... 5 C. Objectives of the Study ...... 6 D. Definition of Terms ...... 6
CHAPTER II: REVIEW OF LITERATURE ...... 8 A. Review of Related Studies ...... 8 B. Review of Related Theories ...... 11 1. Theory of Symbol ...... 12 2. Theory of Character and Characterization ...... 15 3. Film-Making Techniques ...... 18 C. Theoretical Framework ...... 21
CHAPTER III: METHODOLOGY ...... 22 A. Object of the Study ...... 22 B. Approach of the Study ...... 23 C. Method of the Study ...... 25
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CHAPTER IV: ANALYSIS ...... 27 A. Symbols and Meanings in Aladdin ...... 27 1. Princess Jasmine ...... 27 2. Genie ...... 31 3. Abu (The Monkey)...... 34 4. Jafar ...... 36 5. Aladdin‘s house ...... 42 6. The Magic Carpet...... 44 B. Aladdin‘s Character as Revealed through the Symbols ...... 48 1. Princess Jasmine ...... 49 2. Genie ...... 52 3. Abu (The Monkey)...... 54 4. Jafar ...... 55 5. Aladdin‘s house ...... 56 6. The Magic Carpet...... 57
CHAPTER V: CONCLUSION ...... 60
REFERENCES ...... 62
APPENDICES ...... 65 Appendix 1: Summary of Disney‘s Aladdin Live-Action ...... 65 Appendix 2: Biography of Guy Ritchie ...... 66
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LIST OF ABBREVIATIONS
Fig. : Figure Para : Paragraph
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LIST OF FIGURES
No. Figure Page
1. Fig. 1. Princess Jasmine offers some pieces of bread to kids 25 2. Fig. 2. Jasmine running 27 3. Fig. 3. Jasmine jumping overbuilding 27 4. Fig. 4. Aladdin rubbed the lamp 28 5. Fig. 5. Genie came out from the lamp 28 6. Fig. 6. Abu perched on Aladdin‘s shoulder 32 7 Fig. 7. Aladdin was about to enter the cave of wonder 32 8. Fig. 8. Aladdin and Abu are in the cave 32 9. Fig. 9. Genie turned Abu to be a giant elephant 32 10. Fig. 10. Genie turned Abu to be a giant elephant 32 11. Fig. 11. Jafar threw the soldier down the well 34 12. Fig. 12 Jafar offers Aladdin the job, and he accepted it 35 13. Fig. 13. The left-side camera angle to shoot the lamp 36 14. Fig. 14. Up-side camera angle to shoot the lamp 36 15. Fig. 15. Objective style camera technique to catch Aladdin‘s 37 expression 16. Fig. 16. Objective style to catch Aladdin‘s expression 37 17. Fig. 17. Aladdin house from the outside 39 18. Fig. 18. Aladdin house from the inside 39 19. Fig. 19. Secret stairs to get into Aladdin‘s house 39 20 Fig. 20. How the secret wooden stairs look like 39 21 Fig. 21. Aladdin pulling the rope down 39 22 Fig. 22. The ceiling made from textile 39 23 Fig. 23. Magic carpet hugs Aladdin 42 24 Fig. 24. Magic carpet helps Aladdin and Abu 42 25 Fig. 25. Aladdin and Jasmine fly with the magic carpet 42 26 Fig. 26. The carpet and Abu helps Aladdin 44 27 Fig. 27. The carpet helps Aladdin from the cold 44 28 Fig. 28. Aladdin gives a piece of bread to a hungry kid 48 29 Fig. 29. Aladdin got protected by women 54
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ABSTRACT
WIDYANINGRUM, AGRICOLA AJENG SANTIKA. (2020). Revealing the Significance of Symbols in Presenting Aladdin’s Character in Disney’s Live- Action Movie Aladdin. Yogyakarta: Department of English Letters, Faculty of Letters, Universitas Sanata Dharma.
Disney‘s Aladdin live-action 2019 is a movie that is produced by Walt Disney Pictures on May 24, 2019. It is a live-action adaptation of the 1992 animated film of the same title. It is a musical fantasy film directed by Guy Ritchie and this movie, written by John August. There are two objectives in this thesis. First, it discussed the significance symbols found in the movie. Second, it revealed what is the meaning of each symbol found in Aladdin's movie and relate the symbols to reveal characteristics of Aladdin. The researcher uses library research as a method of study. There are two categories of collecting the data. The first is the primary data source is by watching Disney's Aladdin live-action. The secondary sources in this research are books, articles, journals, and internet sites. This thesis used the theory of symbols, the theory of character and characterization, film-making techniques, and New Criticism used as the approach. In the first part analysis of this study, there are six symbols chosen from Disney‘s Aladdin live-action movie. The symbols are Princess Jasmine, Genie, Abu, Jafar, Aladdin's house, and the magic carpet. The meanings of the symbols are brave and compassion, power, fun and kindness, loyalty, wickedness and deceitfulness, simplicity, and gentleness and flexibility. The second analysis shows that the symbols are revealing the characteristics of Aladdin. The first symbol, Princess Jasmine, reveals the brave and compassion side of Aladdin. The second symbol is the Genie. He reveals the power, fun, and kindness side of Aladdin. The third is Abu, the monkey‘s loyalty reflects Aladdin's loyal manner. The forth is Jafar; his wickedness and deceitfulness show the wrong side of Aladdin. Aladdin's house is the fifth symbol that reveals Aladdin's simple characteristics. The last one is that the magic carpet reveals gentle and flexible characteristics of Aladdin. In conclusion, there are six symbols found in Disney‘s live-action movie Aladdin. The meaning of the symbols is brave and compassion, power, fun and kindness, loyalty, wickedness and deceitfulness, simplicity, and gentleness and flexibility. The symbols reveal the characteristics of Aladdin that are brave, compassionate, powerful, funny, kind, loyal, straightforward, gentle, and flexible.
Keywords: Aladdin, symbols, New Criticism, Disney
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ABSTRAK
WIDYANINGRUM, AGRICOLA AJENG SANTIKA. (2020). Revealing the Significance of Symbols in Presenting Aladdin’s Character in Disney’s Live- Action Movie Aladdin. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma.
Aladdin adalah sebuah film live action yang diproduksi oleh Walt Disney Pictures pada tanggal 24 mei 2019. Film ini adalah adaptasi dari versi animasi yang diproduksi pada tahun 1992 dengan judul yang sama. Film ini disutradarai oleh Guy Ritchie dan naskahnya ditulis oleh John August. Ada dua tahap yang dilakukan untuk menyelesaikan skripsi ini. Pertama, dengan mencari symbol yang berhubungan dengan tokoh Aladdin pada film Aladdin. Kedua, mencari arti dari simbol – simbol yang telah ditemukan dan menghubungkannya untuk mencari tahu karakter dari Aladdin. Penelitian perpustakaan telah digunakan sebagai metode pada penelitian ini. Ada dua kategori yang digunakan untuk mengumpulkan data. Pertama, adalah sumber data utama yang ditemukan dengan cara menonton film live action Aladdin. Sumber data lainnya didapat dengan cara membaca beberapa buku, artikel, jurnal, dan data dari situs-situs internet. Penelitian ini menggunakan teori simbol, karakter dan karakterisai teori, film teknik teori dan menggunakan pendekatan New Criticism. Pada analisis bagian pertama, ditemukanya enam simbol pada film Disney live-action Aladdin. Enam simbol tersebut adalah Putri Jasmine, Genie, Abu, Jafar, rumah Aladdin dan karpet ajaib. Arti dari simbol-simbol tersebut adalah keberanian dan kasih sayang, kesetiaan, kekuatan, kegembiraan dan kebaikan, kejahatan dan kepalsuan, kesederhanaan, dan kebaikan dan fleksibilitas. Dibagian kedua menunjukan bahwa simbol-simbol tersebut berhasil menunjukan karakteristik dari Aladdin. Putri Jasmine menunjukan sisi Aladdin yang berani dan penuh kasih sayang. Kedua adalah Abu menunjukan jiwa kesetiaan dari Aladdin. Ketiga adalah Genie, ia menunjukan sifat baik, kuat dan lucu dari Aladdin. Keempat, Jafar, ia menunjukan sifat buruk dari Aladdin. Rumah Aladdin menunjukan sisi pemiliknya yang juga sederhana. Terakhir adalah karpet ajaib menunjukan sifat Aladdin yang fleksibel dan senang membantu. Pada kesimpulan, terdapat enam simbol yang ditemukan dalam film Disney live-action Aladdin. Keenam simbol tersebut mempunyai makna kasih sayang, keberanian, kesetiaan, kekuatan, kebaikan, kelucuan, kepalsuan, kejahatan, sederhanaan, kefleksibelan dan kepekaan untuk membantu. Simbol tersebut menunjukan sifat Aladdin yang penuh kasih sayang, berani, setia, kuat, baik hati, lucu, palsu, jahat, sederhana, fleksibel dan senang membantu.
Keywords: Aladdin, symbols, New Criticism, Disney
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CHAPTER I
INTRODUCTION
A. Background of the Study
Literature has developed from time to time. With the development of literature, there are many branches and forms of literature. One of them is a film.
It is essential to know what literature is before the researcher explains more about the relation between literature and film. According to Klarer in his book An
Introduction of Literary Studies, the word ―literature‖ itself is coming from the
Latin word ―litteratura‖ which derived from ―littera‖ (letter), the smallest element of alphabetical writing (Klarer, 1999, p. 1). Literature is related to written expression. As it has been developing from time to time, it has several genres, such as drama, short story, poetry, and novel. However, not every document counted as literary work. To distinguish literary works from texts, we use every day such as telephone books, newspapers, legal documents, and scholarly writings, some adjectives such as "aesthetic" or "artistic" must be added (Klarer,
1999, p. 1). According to Arthur Krystal, in his article ‗What is Literature? In
Defense of the Canon‘, published in harpers.org, ―literary means not only what is written but what is voiced, what is expressed, what is invented, in whatever form‖
(Krystal, 2014). In other words, literature is not only related to written form but also a form of expressing things. Therefore, painting, film, photography, music are also included as forms of literature. Literature has contributed, and it has close relations to society and social life. There are many relations that literature has
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made related to society and human life. One of them is the relation between film and literature.
Film and literature are two different things, yet have a similar way to communicate some elements. They have similar goals to create artistic expression and understanding of human creation (Ramrao, 2016, par. 1). Literature and films are two things that can communicate some elements in the thesis rest on the principles used in the literary analysis (Boggs and Petrie, 2008, p. 41). It means that literature and film both are two essential things that have a function to communicate the elements they have by adopting humans‘ ideas and perspectives.
Every human needs tools to express their perspective and idea. One of the tools is film. According to Boggs and Petrie, in their book The Art of Watching
Films, films are not easy to study since films are more likely to show rather than tell what the story is about. Unlike other literary works such as novels, short stories, plays, and poems, the film presents its story in dramatic form, and through film, people can express what is in their mind (2008, p. 41).
By doing an in-depth analysis of one particular film, the audience can find the message that the film is trying to deliver. According to Ramrao, literature defined as written communication, which means literature always employs human experience, and literature needs some narrative devices. There are two shapes of literature; fiction and dramatic (Ramrao, 2016, par. 2). Meanwhile, in the beginning, the film is something related to photography as it needs some devices such as a camera. Both movies and literature employ communication aspects and adopt a human's idea. The film has existed since the Victorian era. Film
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technology has always needed tools since the first time it existed; for example, camera devices, projectors, and movie techniques mastered over a hundred years ago.
The film has developed from time to time. Films have developed since the
Lumière Brothers came out in 1895 and claimed themselves as the first filmmakers. They improved cinematography and became worldwide successful filmmakers. Soon, many film production companies and studios were established all over the world. The first decade of motion picture saw film moving from a novelty to an established abundance of the entertainment industry. The earliest films came in black and white, in order to provide a particular thematic impression; images tinted with monochrome colors. According to Vaux, filmmaking became more sophisticated, black and white have got limited by the director (Vaux, 2017).
One film production company that still exists until now is Walt Disney.
Since 1923 it has been developing and becoming one of the biggest film production companies in the world. In the record, Walt Disney produced more than 100 feature films (Biography.com, 2014).
One of Disney‘s famous movies is Aladdin. The very first Aladdin released on November 25, 1992. It was the thirty-first animated feature film in the Disney
Animated Canon, which became the most successful film of 1992 that won an
Oscar as the best-animated movie in 1992, with gained over $217 million in domestic revenues and $504 million worldwide (Disney.fandom.com, 2019). The
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success of the film led Disney to produce two direct-to-video sequels: The Return of Jafar released in 1994 and Aladdin and the King of Thieves released in 1996.
In 2019, Disney produced a live-action movie version of Aladdin. Aladdin's live-action version has become the most attractive Disney‘s movie so far. This movie is the adaptation of Aladdin's animated movie that was produced in 1992 and as well directed by Guy Ritchie. This movie brings up Hollywood actors as the characters to support this movie. The role of the street rat that falls for
Princess Jasmine, actor Mena Massoud is starring Aladdin. Princess Jasmine starred actress Naomi Scott. There are not many changes that appear in this live- action movie; the story is still the same from the previous movies. It is about
Aladdin, a street urchin who retrieves the magic lamp from the cave of wonder.
Aladdin gifted loyalty wishes of three by Genie so he can transform himself to be a Prince Ali of Ababwa. Along his journey, he got his biggest enemy named Jafar, who also want to get the lamp and get what he wants.
The background of this movie still brings up the Middle Eastern vibe and theme. The message of the story is very clearly conveyed in this live-action version by the way the actors felt deep into each character them starring. The main character, Aladdin, portrays a significant role in this movie. Aladdin has experienced many things, and he was in such tough situations. He was born in a low-income family until he experienced becoming a king of Agrabah. Many things surround him. The things itself affect his characteristics and must have its meaning to reveal. Symbolism is an appropriate topic for this study. Several symbols can reveal Aladdin's characteristics. The first is Abu, he got his monkey,
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Abu, as a symbol of loyalty. The monkey was always right there beside him for the ups and downs he had been through. Other than Abu, he has his magic carpet with him, which takes wherever he wants to go. He also has a friend named
Genie. Genie is a creature that had been living in a lamp for a hundred years. He also granted him three wishes. He got three chances, during his time to take those three wishes, he got personality and behavior changes, which means he was more arrogant and shameful in some kinds of way.
Disney's live-action Aladdin is interesting to analyze since it has supporting symbols to reveal a character. This study focuses on analyzing what are the symbols in Disney‘s Aladdin live-action movie by relating the symbols to reveal the characteristics of the main character, Aladdin. The ideas of finding the meaning of the symbols and identifying the characteristics of a character through symbols seem appealing for the researcher since not many people analyze the character through symbols in the previous studies. Symbolism is chosen as the topic of this study. It is chosen because the researcher wants to give insight into the symbols presenting in Disney's live-action Aladdin and to find out the relationship between elements of literary works such as symbols to a particular character in the film.
B. Problem Formulation
In line with the background, there are two problems that are formulated in this research
1. What are the symbols found in Disney‘s movie Aladdin?
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2. How do the symbols present in Disney's Aladdin live-action movie reveal
Aladdin‘s character?
C. Objectives of the Study
In line with the formulated problems, the objectives of the study are necessary to guide the researcher to conduct this research. This undergraduate thesis aims to find the significance symbols that are presented in Disney‘s Aladdin live-action movie to reveal Aladdin's character. First, it discussed the significant symbols in the movie and revealed the meaning of each symbol in the movie.
Second, it identified what are correlations each meaning of the symbols to reveal the characteristics of Aladdin. The theory of symbols and filmmaking techniques applied to help the researcher find the answer to the first objectives of the study.
The theory of character and characterization applied to help the researcher find the answer to the second objective of the study.
D. Definition of Terms
Two terms need to be explained in this research in order to give a clear explanation and to avoid misunderstanding.
The first term is the symbol. A symbol is representative of some particular object.
It can be a place, word, thing, person, or action (Nordquist, 2019). According to
Boggs and Petrie in their book The Art of Watching Films,
A symbol is something (a particular object, image, person, sound, event, or place) that stands for, suggests, or triggers a complex set of ideas, attitudes, or feelings and thus acquires significance beyond itself (2008, 72).
Which means a symbol is a representation of a thing. A thing itself defined as a place, word, person, or action.
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According to Salvatore Settineri, citing Sigmund Freud,
The symbol is the construction of a replica, which makes the relationship with the object not direct but mediated. A symbol is a real sign since it expects the intervention of interpreting in its real constitution (Settineri, 2017).
The quotation, as mentioned earlier, tells the readers that to understand a particular object is a symbol we need to use human interpretations, instincts, and knowledge. From possessing the ideas to the particular object, people can identify the symbols.
The second term is the character. According to Boggs and Petrie, character plays a significant and essential part of the movie. If the audience not interested in the character, they surely will not get the point of the whole film. Characters should be real, understandable, and worth caring about that are necessary for the character to be interesting. For the most part, the characters in a story are believable in the same way that the story is believable (2008, 60).
"If characters are truly credible, it is almost impossible to remain completely neutral toward them." We have to respond in some way: We may admire them for their heroic deeds and their nobility or pity them for their failures. We may love them or identify with them for their ordinary human qualities. We may laugh at them for their ignorance or laugh with them because theirs is human ignorance that we all share (Boggs and Petrie, 2008, 60).
Character has an important function in film. Character is an element that has function to catch audience‘s attention with their existence. Through character we can understand the whole film is about and what the message.
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CHAPTER II
REVIEW OF LITERATURE
This chapter consists of three parts. The first part is a review of the study, the second part is a review of related theories, and the last part is the theoretical framework. In order to complete the first part, the researcher reviews four studies or sources that previously done by other researchers. The researcher reviews three theories from experts in order to lead and help to get the answer to what is written in problem formulation as a research question. The theoretical framework is necessary for this thesis in order to present the role of each theory to solve the two formulated problems.
A. Review of Related Studies
In this part, the researcher reviews a journal and three theses that have previously done before. The first one is a journal article from William Main entitled Symbol and Object in Science and Literature. The study discussed the significant connection between two different dimensions of knowledge between science and literature. The second is a thesis written by Palupi Sulistyomurni entitled Symbolism in James Baldwin’s Giovanni’s Room, which written in 2018.
It mainly discussed the symbols and their relation to homosexuality in Giovanni’s
Room. The third is a thesis written by Amany Yehia Elmogahzy entitled A
“Whole New World”: Race and Representation in Disney’s Live-Action Remakes of Aladdin, The Lion King, and Mulan it was written in 2018. It mainly discussed
Disney's Live-action films adapted from Disney‘s animated films. The fourth is a
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2016 undergraduate thesis entitled Theme Revealed through the Symbols Stockett's
The Help, written by Fenny Monica Sari. The thesis mainly discussed the significant symbols found in the novel and the relation to symbols to find the theme of the story.
William mainly discusses the significant connection between two different dimensions of knowledge between science and literature. According to William, science and literature are between ―technical knowledge‖ and ―existential knowledge‖ (Main, 1958, p. 251), which means science sees knowledge technically while literature sees knowledge in something that already exists. On the other hand, science sees reality as an object, while literature sees reality as a symbol. Whereas, according to William, reality as a symbol is transfinite, subjective, and quantitatively immeasurable, while reality as an object is finite, purely cognitive, and quantitatively measurable. (Main, 1958, p. 248).
As with the journal article, the research entitled Symbolism in James
Baldwin’s Giovanni’s Room, which was written in 2018 by Palupi Sulistyomurni, mainly discussed David's sexuality. Two problems formulated in Sulistyomurni‘s thesis, the first is finding the symbols and its meaning, and the second one is relating the symbols to the main character, David, in order to reveal his sexuality.
To get into the goals of her research, Palupi Sulistyomurni uses the theory of symbols to find the correlation from each symbol to reveal David‘s sexuality.
After finding the correlation symbol, Palupi Sulistyomurni uses the perspective of homosexuality to find the messages conveyed by the symbols.
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The third is a thesis by Amany Yehia Elmogahz a student from Auburn
University, in Auburn, Alabama entitled “A Whole New World”: Race and
Representation in Disney’s Live-Action Remakes of Aladdin, The Lion King, and
Mulan” This thesis mainly discussed Disney's Live-action films adapted from
Disney‘ animated films. This study examines the understanding of the audiences in shaping their discourse to Disney‘s films regarding their racial politics.
The researcher examines the representations and the pretexts surrounding in both the animated and live-action texts throughout the Aladdin (2019), The Lion
King (2019), and Mulan (2020), this study is to reveal the racial ideologies that define Disney‘s representations of race historically and in contemporary contexts.
This study interrogates the influence of Disney‘s approach to the casting of their films.
The last is the study entitled Theme Revealed through the Symbols Stockett's
The Help, written in 2016 by Fenny Monica Sari, a student of Sanata Dharma
University. The researcher chooses “The Help” novel written by Kathryn Stockett as her object of the study. The novel is Stockett‘s debut novel and tells the early
60s story of black maids working for a white family in Mississippi. This novel is one of Stockett‘s famous novels that was published in 35 countries and translated in 3 languages. However, this novel first published in 2009 in Berkley, USA.
This thesis mainly discussed the significant symbols found in the novel and related the symbols to find the theme of the story—two problems formulated in this thesis. The first problem is to find the symbols in Stockett‘s novel, and the second problem is to find out the role of the symbols to reveal the theme of
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Stockett‘s novel. According to Sari, there are four symbols found in this novel to reveal the theme of the story. The first symbol is the bathroom, and it symbolizes segregation. The second symbol is the chocolate poo pie, and it symbolizes the revenge of Minny Jackson, the black maid towards Hilly Holbrook, the white people. Third, the book entitled ―Help‖ symbolizes the protest against segregation. Lastly, the symbol found in The Help novel is two black characters;
Aibileen Clark and Minny Jackson symbolized courage. In conclusion, the theme of ―The Help'' revealed. The theme is fighting against segregation.
From those mentioned earlier, four related studies, the researcher can get to the main point that this thesis is different from the four related studies. This thesis entitled revealing the Significance of Symbols in Presenting Aladdin’s Character in Disney’s Live-Action Movie Aladdin mainly focused on how the symbols presented in Disney‘s Aladdin live-action movie reveals the character of the main character, Aladdin. The researcher in this thesis uses three appropriate theories; they are the theory of symbol, film-making theory, and theory of character and characterization. New Criticism approach is appropriate to use in this thesis since
New Criticism sees the relation between elements of a literary text and words. In this thesis, the elements itself refers to symbol; in this thesis, the symbols used to get the meanings and use the symbols to reveal characteristics of a character.
B. Review of Related Theories
This thesis mainly discussed the meaning symbols and the use of symbols to reveal the characteristics of a character. Thus, three appropriate theories applied in
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this thesis. They are the theory of symbol, the theory of Character and
Characterization, and Film-Making Techniques.
1. Theory of Symbol
This theory used to answer the first research question. The use of symbols is involved in forms of human communication. The meaning of a symbol can be easily understood if we already possess the ideas or concepts associated with or built into the symbol (Boggs and Petrie, 2008, p. 72). The symbol is a presentation of an object to another object. The object can be a person, thing, situation, condition, and place. In literature, the symbols themselves connect with ideas, persons, and values and tighten them up together with their right as presentations
(Cohn, 1974, p. 181). According to Boggs and Petrie in their book The Art of
Watching Films,
―A symbol is something (a particular object, image, person, sound, event, or place) that stands for, suggests, or triggers a complex set of ideas, attitudes, or feelings and thus acquires significance beyond itself. A symbol is a special kind of energized communication unit that functions somewhat like a storage battery. Once a symbol is charged with a set of associations (ideas, attitudes, or feelings), it is capable of storing those associations and communicating them any time it is used.‖ (2008, p. 72).
It can also be understood that the term of ‗symbolism‘ denoted into many things, some of them are unconnected one and another. According to Papers on
Psycho-Analysis by Ernest Jones, the symbol has many significations. The word
‗symbol‘ derives from the Greek noun “symbolonis” equivalent to sign which currently used in a broad sense. The idea of what phenomena the symbols divided into various objects such as amulets, emblems, devices, tokens, marks, badges, talismans, trophies, phylacteries, and charms. It also used to indicate a figure of
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speech and modes of thought, such as simile, metaphor, apologue, metonymy, allegory, synecdoche, and parable (Jones, 1948, p. 129). It is easy to understand that symbol divided into several phenomena, and it used to indicate a figure of speech.
Along with quotation as mentioned above, the use symbols are necessary if it comes to any forms of human communication. According to Boggs and Petrie, in their book “The Art of Watching Films.”
All forms of human communication involve the use of symbols. We understand the meaning of a symbol if we already possess the ideas or concepts associated with or built into the symbol. A traffic light, for example, communicates its message symbolically (2008, p. 71).
From the quotation above tell us that symbol is a representation of an object that involve all human forms, which object itself is not always representing thing but also person, condition, situation, and place.
The symbol has a function to represent anything around us in daily basis, according to Kurt Moritz Arthur Goldammer in a website Britanica.com, the function of the symbol is to represent the truth, reality and to reveal in both gradually and instantaneously ―The symbol sometimes identified with the reality that it represents and regards as a pure tendency of it.‖ (Goldammer, 1999).
The symbol created to reveal something that left folded without stating the literal meaning in a long paragraph. In the film, symbols can refer to many aspects, such as the theme, the character, the plot, and more. Filmmakers often need to use appropriate symbols in their film in order to make full use of their communication potential. By using objects, images, or persons that automatically evoke complex associations, filmmakers save themselves of creating each symbol
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of the associated attitudes and feelings within the context to support each film
(Boggs and Petrie, 2008, p. 71). There is a way to charge the symbols from a character. The method is; value placed on an object by a character. This method is necessary to relate the use of symbols to the character in the film in order to make clear how symbols can refer to a person or character.
The film has unique ways of charging symbols and providing clues that an object can be seen as a symbol. According to the book “The Art of Watching
Films” by Boggs and Petrie, the method is the value placed on an object by a character; ―an object charged symbolically when a particular character places value and importance on it; by showing extraordinary concern for an object or by repeatedly mentioning an object or idea in the dialogue, the character indicates that an object or idea has more than ordinary significance.‖ (2008, p. 73).
According to the quotation mentioned earlier, symbols can represent a person or a character in a film who plays a big part in the movie and how they interact with another character.
When talking about a symbol in the film must be understood that anything can almost take on symbolic meaning in a film; understand the nature, function, and importance of its symbols required in approaching a work of art. The symbols are created in the popular culture of film. All of the symbols are interpreting and representing the world around us daily (Watson, para. 2).
In many stories, the setting has strong symbolic overtones. Characters are often used symbolically, and once characters become symbolic, the conflicts in which they take part become symbolic also. Therefore, it is essential to become aware of the special nature of symbolic communication in film (Boggs and Petrie, 2008, p. 72).
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According to Tammy Dang in the website Matrixedu.au, finding the characteristics that the object holds as well as the significance of such qualities in relation to text themes and messages need to be considered by the audiences to know the structure of the symbol (Dang, 2020, para. 13). To identify a particular object is a symbol, the audience needs to relate it with the text theme and message.
Meaning, or how something can be understood, can be said to exist at two levels - the literal and the metaphorical. The literal meaning is what is stated, what happens. Metaphorical meaning is about what can be inferred or interpreted. The meaning is dependent on the context of the observer (who, where from etc) and their knowledge, as well as the context or circumstances in which the symbol is used (Watson, 2020, para.3).
Meas that symbol‘s meaning is not always inherent with the symbol itself. That is why the symbol is relying on a human conception of culture and knowledge in which culture and human knowledge are necessary to identify and understand that a particular object is a symbol.
2. Theory of Character and Characterization
The character has an essential function in the film. The character is an element that has a function to catch the audience‘s attention with its existence.
According to Boggs and Petrie, in their book The Art of Watching Films, if the audience is not interested in the characters, there is a big possibility that they will not be interested in the whole film. Basically, in order to be interesting, those characters have to pass some criteria. The characters have to be real, worth caring and understandable (2008, p. 60).
Since this thesis mainly talks about the symbols and the relation of each symbol in order to reveal the characterization of Aladdin, the researcher will only
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use some of the suitable characterization terms written in “The Art of Watching
Films” book by Boggs and Petrie. According to the book The Art of Watching
Films by Boggs and Petrie,
Characters are often used symbolically, and once characters become symbolic, the conflicts in which they take part become symbolic also. Therefore, it is essential to become aware of the special nature of symbolic communication in the film (2008, p. 72).
According to Boggs and Petrie, there are eight ways to help the audiences find out the characterization of the characters. The following characterizations are; characterization through appearance, dialogue, external action, internal action, the reaction of other characters, and the last one is contrast: dramatic foils.
The first one is characterization through appearance. Visually and instantaneously are two significant aspects to reveal film characterization. The more often some character appears on the screen, the more we can assume that character. ―We make certain assumptions about them because of their facial dress, features, mannerism, and their physical build, and by the way they move, our first visual impression may not be proven, but it is important to establish the character.‖ (Boggs and Petrie, 2008, p. 60).
The second is characterization through dialogue. To reveal how great the character is by what and how the character say. According to Boggs and Petrie, cited in the book “The Art of Watching Films,” ―we must develop a sharp ear, pay attention to the faintest and most subtle nuances of meaning revealed through the human voice also listen carefully to know not only what is said but also how it is said‖ (Boggs and Petrie, 2008, pp. 61-62).
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The third is characterization through external action. Actions are essential in revealing character. ―The real characters are much more important than other instruments of the plot, what they do for some purposes are consistent with their overall personality; there should be a clear relationship between a character and the actions which the actions should grow naturally out of the character's personality.‖ (Boggs and Petrie, 2008, p. 62).
The fourth is characterization through internal action. Sometimes, identifying the inner world of actions remains unspoken, unheard, and unseen by the listener or observer. ―Inner action occurs within the characters' minds and emotions and consists of secret, unspoken thoughts, daydreams, aspirations, memories, fears, hopes, dreams, aspirations, and fantasies.‖ (Boggs and Petrie,
2008, p. 63). To reveal the inner reality of some character, the filmmaker needs to bring the audience into the character‘s mind visually and aurally to know what the character is imagining, thinking, and remembering about.
The fifth is characterization through the reactions of other characters. To know the characterization of the character, the audience needs to know directly and indirectly for what other characters‘ views from other characters.
―Sometimes, a complex and intriguing characterization is provided through the conversations of other characters before the character appears on the screen.‖
(Boggs and Petrie, 2008, p. 64).
The last one is characterization through contrast: dramatic foils. According to Boggs and Petrie in the book “The Art of Watching Films,” states that by contrasting characters through behavior, lifestyle, opinions, attitude, physical
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appearance to the opposite of the other characters are the most straightforward technique to know the characterization (2008, p. 64).
3. Film-Making Techniques
Literature and films communicate many elements in similar ways.
Perceptive film analysis rests on the principles used in literary analysis since film and literature have a close relation.
The film has properties that set it apart from painting, sculpture, novels, and plays. It is also, in its most popular and influential form, a storytelling medium that shares many elements with the short story and the novel. Furthermore, because the film presents its stories in dramatic form, it has even more in common with the stage play: Both plays and movies act out or dramatize, show rather than tell, what happens. (Boggs and Petrie, 2008, p. 41).
The purpose of making a film is to present the audience with the story in a dramatic way. According to Boggs and Petrie in their book
The film even surpasses drama in its unique capacity for revealing various points of view, portraying action, manipulating time, and conveying a tremendous sense of space. Unlike the stage play, the film can provide a continuous, unbroken flow, which blurs and minimizes transitions without compromising the story's unity (2008, p. 3).
According to Boggs and Petrie, in their book The Art of Watching Films,
There are some techniques applied in making a film to enhance the story, plot, theme other parts of the film. Cinematography is the technique of making a film based on the cinematographer‘s point of view in order to create and conceptualize the visual element. The cinematographer supervises the camera movement and plays a significant role in conceptualizing the visual elements. When talking and analyzing visual style, we must first consider the composition.
Formally and dramatically of composition used by some directors; others prefer an informal or low-key effect. A specific type of arrangement of
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people and objects in the frame; another may place special emphasis on one particular type of camera angle are chosen by some other directors (2008, p. 371).
Formally and dramatically of composition used by some directors to let the audience have better experience and perspective in watching films based on different camera angles and positions.
From the quotation above, there are two compositions used by the directors to give a certain effect and give emphasis on a particular camera angle is also used by directors to emphasize something. There are two angles of camera that the director uses to emphasize visual style using a camera.
The first one is an objective style, this style using a camera to see the action as a remote spectator. The second is personal style; this style also using a camera to view the scene from a visual or emotional point of view of participants (Boggs and Petrie, 2008, p. 371).
Following to aforementioned, the cinematic point of view is necessary to give a different perspective on what the audience is seeing but also on how it is being shown and why it is being shown. There are four points of view employed in motion pictures: objective (camera as sideline observer), subjective (camera as a participant in the action), indirect-subjective, and director‘s interpretive (Boggs and Petrie, 2008, p. 127).
The first is an objective point of view; it is illustrated by John Ford's
"Philosophy of Camera." In this point of view, the audiences can have the experience to watch the actions as if they were taking place and see everything at a distance.
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The objective point of view employs a static camera as much as possible in order to produce this window effect, and it concentrates on the actors and the action without drawing attention to the camera. The objective camera suggests an emotional distance between camera and subject (Boggs and Petrie, as cited in Ford, 2008, p. 127).
According to Ford, he considered that the camera functioned as a window, and the audience functioned as a viewer outside the window viewing the people and events within. The objective point of view gives the audience emotional distance between the camera and subject and helps the audiences to be more focused on the action of the actor.
Second is the subjective point of view, this point of view gives the audiences the visual point of view, and the audience can feel emotional intensity by a character participating in the action. According to Alfred Hitchcock, the philosophy of the camera was opposite to that of John Ford, the point of view used to create a strong sense of direct involvement by the audiences.
Alfred Hitchcock elaborates the movement of a camera to create visual sequences that bring the audiences into the suspense; it forces us to become the characters and experience their emotions‖ (Boggs and Petrie as cited in Hitchcock, 2008, p. 128).
Third is the indirect-subjective point of view does not provide a participant's point of view, but it does bring us close to the action so that we feel intimately involved, and our visual experience is intense. Consider a close-up that conveys the emotional reaction of a character (Boggs and Petrie, 2008, p. 130).
The last is the director's interpretive point of view. According to Boggs and
Petrie, the director is always manipulating the viewpoint of the audience in unclear ways.
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The filmmaker chooses not only what to show the audience but also how they will see it. By photographing a scene from special angles or with special lenses, or in slow or fast motion, and so on, he or she imposes on the image a certain tone, emotional attitude, or style. We forced to react in a certain way to what we see, thereby experiencing the director's interpretive point of view (Boggs and Petrie, 2008, p. 132).
By using the director interpretative and using particular angles with the different movements of a camera the audience experiences different ways to enjoy the movie.
C. Theoretical Framework
This research is entitled ―Revealing the Significance of Symbols in
Presenting Aladdin’s Character in Disney’s Movie Aladdin,‖ which mainly focuses on the symbols presented in the movie. Furthermore, the researcher examined the meaning of symbols to reveal the characterization of Aladdin.
Three appropriate and suitable theories are applied to support the analysis.
First, the theory of symbols used to analyze particular symbols found in the movie and to reveal the meaning of each symbol. A symbol defined as an object that focused on person, thing, place, and action. After finding the meaning of symbols, the theory of character and characterization applied to reveal the characterization of Aladdin as the main character. The last theory of the film-making technique applied in this research since the researcher used the movie as the object of the study, and the theory is needed to answer the first research question.
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CHAPTER III
METHODOLOGY
A. Object of the Study
The object of the study is an American screenplay and film entitled Aladdin.
This research analyses Aladdin, a kind-hearted street rat that performs as the main character. Walt Disney Pictures released Aladdin live-action 2019 on May 24,
2019. It is a live-action adaptation of the 1992 animated film of the same title. It is a musical fantasy film directed by Guy Ritchie, and this movie written by John
August. The producers of this movie are Dan Lin and Jonathan Eirich. According to statistics number website the-numbers.com, Disney‘s Aladdin live-action 2019 produced a huge amount of the worldwide box office of $1,050,959,216. It included domestic box office of $355,559,216 and international box office of
$695,400,000 (The-numbers.com, 2019).
This live-action movie is a whole different from the first release, which is the animated version one. However, this Aladdin 2019 movie takes in a cartoon- like space that steps up this film to be more high-key create to the modern IT technology as the IT today is highly developed; they use CGI technology to make several characters unreal. A. O Scot, in nytimes.com, wrote that ―the animal sidekicks; a mischievous monkey, a loyal tiger, and a malignant parrot are not realistic. The human beings occupying the frame alongside them look, with the partial exception of the genie, it a real human being, but they used the CGI technology when that Genie character turned into a giant blue Genie. They run
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and jump and dance and sing and wear excruciatingly bright costumes, seldom memorable.‖ (Scot, 2019, par. 1).
This live-action movie version of Aladdin mainly focused on Aladdin, a warm-hearted street urchin who meets Genie, an electric genie who had been living for a hundred years in the magic lamp. Genie has the power to grant
Aladdin‘s deepest wishes. He got three biggest wishes; his first wish is to become a king. The reason he became a king is that he put his heart on Princess Jasmine, and he wants to be closer with Princess Jasmine, and the law states that only a prince can marry a princess. He comes to her as a king of Agrabah, tries to give back what he took from her; a diamond bracelet. By then, Aladdin and Princess
Jasmine become closer. His second wish is used up by Genie to rescue Aladdin from drowning deep into the sea. As he promised, he uses his final wishes for
Genie's freedom. However, all seems lost for Aladdin and Jasmine to be a couple.
B. Approach of the Study
In analyzing this thesis, New Criticism applied as the approach, which was an influential approach from the late 1920s and prominent until the late 1960s.
According to Britannica Encyclopedia Inc., New Criticism, post-World War I school of Anglo-American literary critical theory that insisted on the intrinsic value of a work of art and focused attention on the individual work alone as an independent unit of meaning (Britannica.com, 2018).
This theory is suitable for this thesis since the researcher analyses the symbols as the element of a literary text, which in the thesis, the researcher relates the meaning of the symbols and relate them to reveal characteristics of a character, Aladdin. This theory is necessary to guide and to assist the researcher in finishing this thesis.
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New Criticism is an approach that focused on engaging with some texts and paying close attention to the form and meaning. According to Britannica.com, through literary works, the authors can express their thought and feeling that could not be expressed in any language, but it can convey valid meanings.
Various function of figurative languages such as symbol, metaphor, and image can emphasize on the connotative and associative value of words (Britannica.com,
2012). According to Britannica Encyclopedia Inc., New Criticism let people communicate feeling and thought that could not be expressed in any other kind of language. It differed qualitatively from the language of philosophy or science, but it conveyed valid meanings.
Such critics set out to define and formalize the qualities of poetic thought and language, utilizing the technique of close reading with special emphasis on the connotative and associative values of words and on the multiple functions of figurative language—symbol, metaphor, and image—in the work (Britannica.com, 2018)
According to Bressler, in his book Literary Criticism: An Introduction to
Literary and Practice, New Criticism stands as one of the most important
English-based contribution to literary critical analysis. The term of New Critics use to describe this approach to understand literature. This approach provides the reader with a formula for providing a correct interpretation of using a text
(Bressler, 2011).
Many critics use the New Criticism approach to examine some elements in literary works and find out some develop patterns through individual words, phrases, sentences, clauses, figures of speech, and allusion. It helps the critics note any symbols that represent something else (Bressler, 2011).
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According to Selden et al. in their book entitled A Reader’s Guide to
Contemporary Literary, as cited in Schorer in his the second essay, Fiction, and the Analogical Matrix, ―Schorer extends his analysis of the language of fiction by revealing the unconscious patterns of imagery and symbolism‖ (Selden et al. as cited in Schorer, 2005, p. 21).
C. Method of the Study
Library research used by the researcher as the method of study. There are two categories of data. The first primary data source is the 2019 film of Aladdin, the live-action version of the 1992 animated film version directed by Guy Ritchie.
The data collected by watching the movie. The second is secondary data; the data source is collected by reading many sources related to the theory of symbols, the theory of personality, New Criticism as well as the film Aladdin (2019), which was directed by Guy Ritchie. The live-action version of Aladdin brings essential elements of the film.
There are two steps to conduct the study. The method begins with watching the movie in order to find the symbols that appear in the movie and the meaning it carries by analyzing it using film-making theory, the theory provided in the book
The Art of Watching Films by Boggs and Petrie. The next step after watching the movie, the researcher listed some symbols. To analyses the symbol‘s meaning is by reading the books The Art of Watching Films by Boggs and Petrie and The
Journal of Aesthetics and Art Criticism by Cohn, the researcher able to find the theory of symbol. After finding the meaning of the symbols, the researcher relates it to another character; it is necessary in order to examine Aladdin's
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characterization. In this second step, after finding the symbols‘ meaning the researcher relate it to the theory of character and characterization proposed by
Boggs and Petrie in their book entitled The Art of Watching Films, the theory is needed to help the researcher revealing Aladdin‘s character.
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CHAPTER IV
ANALYSIS
A. Symbols and Meanings in Aladdin
Symbols cannot be separated from our life since we live in a world full of signs. Symbols themselves give us the understanding to know any particular thing more straightforwardly without putting it into words and long paragraphs.
Symbols used as a tool to explain what each thing means by explaining it into a thing called ―sign or symbol.‖ Symbols are beneficial to be used for some purposes.
All of the communication forms must need a symbol; therefore, the symbol has a close relation to every character in the film. According to Boggs and Petrie in their book The Art of Watching Film
―Characters often used symbolically, and once characters become symbolic, the conflicts in which they take part become symbolic also. Therefore, it is essential to become aware of the special nature of symbolic communication in film.‖ (2008, p.71).
In this part, there are two steps to answer what stated in the research questions; the researcher will point out seven significant symbols found in
Disney‘s live-action Aladdin (2019) and their meanings. The second is to reveal
Aladdin‘s character through the symbols.
1. Princess Jasmine
Symbol not always refer to the object as a thing; it can also refer to a person.
The Princess of Agrabah, Jasmine, is chosen as a symbol because she is a brave, compassionate, and independent female figure in this movie. She radiates
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positivity. ―She is fearless, compassionate, and funny, refusing to marry for anything except love.‖ (Richardson, 2019).
Figure 1
Aladdin: She is smart, kind, and so beautiful. (line 694)
From the figure one, the Princess gave some bread for two hungry kids. She is the excellent depiction of the actual Princess, to protect her people and to be kind for others. What she has done is what the Princess supposed to be; the kind-hearted one. Aladdin‘s dialogue above can show that Jasmine is kind.
The word ‗fearless‘ suits her better since she stands for herself to fight for women's rights. She beats up people who try to shut her and other women down.
In the movie, the feminist side of her can be seen when she fights against a dictator, Jafar who is trying to overtake the kingdom to take control over Agrabah and Jafar forced her to marry him, or he will kill her father as well as those people she loved using his power he got from Genie. To support her and her effort against patriarchy, a song entitled ―Speechless‖ is written to amplify her feminist voice. The lyrics can be interpreted that every woman has the power and rights to speak up, which directly pointed out to women out there to fight for themselves against patriarchy by means women should not be ―speechless‖ when they being oppressed or experiencing injustice. As stated in the website Stylists.com written
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by Hollie Richardson quoted from Digital Spy in the interview of Naomi Scott, who plays for Jasmine character in Aladdin 2019, she stated that ―I think that for
Speechless I did feel the weight of the message of the song, I think the message is so powerful, the idea that she is not going to go speechless and you do have a voice and you should speak up against injustice.‖ (Richardson, 2019). ―Jasmine says, ‗Enough is enough, I am going to make a choice here and stand up for what
I believe in.‘ It is such a strong song.‖ (Richardson, 2019).
Jasmine : I can help. Jasmine : I know I can. Jasmine : I was born to do more than marry some useless prince. (lines 346 – 348)
She bravely spoke to Jafar; it happened in the palace when he finally got the magic lamp and used his first wish to become a sultan of Agrabah and wants to take over the city by asking Hakim, the most trusted soldier of Agrabah to remove the sultan and his daughter, Jasmine out of the palace. However, Jasmine, with her braveness, will not let that happen. She only wants to make the people in the city get their rights and live peacefully. She reminded him about what his dad has done for him and tried to convince Hakim not to obey what Jafar has said to invade Shirabad, a place where Jasmine‘s mom born.
Jasmine : Will you stand silent while Jafar destroys our beloved kingdom or will you do what is right and stand with the people of Agrabah? (lines 1384- 1387)
Not only compassion but also independent; it can be seen when she went out of the palace, there is nobody accompanied her despite her status as the Princess of
Agrabah; also when she was in disguise, Jasmine ran and jumped sprightly in
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order to get away from the guide; Jasmine was not behaving the way as a Princess when she is outside the palace. Since her mom passed away, her dad has been very overprotective; he would not let Jasmine go outside the palace, and she felt like she is trapped because all Jasmine has to do staying at the palace and waiting for the right prince to marry her, though, Jasmine refused to get married because she wants to become the Sultan of Agrabah and she would fight for the patriarchy that has become a nightmare for all women in Agrabah for long times. ―The patriarchal princess stories. The cultural and racial stereotypes.‖ (Scott, 2019). In that era, women cannot rule, and the most terrible thing is that women cannot speak up their voice towards anything. ―Jasmine, do her actions, words, gestures, or intent to make concessions for her gender.‖ (Pal, 2019). In speechless lyric, there is a part that shows that in the old centuries, women cannot speak up and cannot do any action to stand up for justice.
Every word Centuries-old and unbending "Stay in your place" "Better seen and not heard" Well, now that story is ending (Aladdin, 2019)
In the scene that captured in figure 3 and 4, the film-making techniques applied, the different angles of camera and objective style applied to view the action; the style used to get the action of Jasmine running, flying and jumping bravely overt building to building.
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Figure 2 Figure 3
The Sultan: All I saw was my little girl, not the woman you have become. The Sultan: You have shown me courage and strength. The Sultan: You are the future of Agrabah. (lines 1969 – 1971)
According to the evidence, as mentioned earlier about Princess Jasmine, the researcher can draw into one line that Princess Jasmine symbolizes brave and compassionate. Her braveness and compassionate acknowledged by his father after being so protective to her since his mother‘s death, he finally realizes that
Jasmine is not just a useless princess that only born to be married; instead, she can do something for the better future of her city, Agrabah.
2. Genie
Genie is a giant blue fictional Genie who portrayed as a powerful creature who can give everything that Aladdin wished for. The way Aladdin met Genie was genuinely out of words by means, and it was such an unpredictable bump.
Reverse back when Jafar wanted him to get inside the cave of wonders to retrieve the magic lamp in order to make him be the most powerful king of
Agrabah. There is nobody in the record can get out of the cave after they get the magic lamp. Before entering the cave, the lion head, who also the keeper of the cave, will be warned not to take more than one thing before somebody gets inside
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the cave, unfortunately, Abu took a diamond, and the earthquake hit the cave, it made they both trapped within the cave.
Figure 4 Figure 5
Genie: Great one who summons me, terrible one who commands me. I stand by my oath, loyalty to wishes three. (lines 507 – 510)
Aladdin and Genie meet in an unexpected way when he suddenly rubbed the magic lamp to clean it up from the dust. In figure 4, there is the action of Aladdin rubbing the lamp; the first meeting of Aladdin and Genie was when he rubbed the lamp; suddenly, he sees the blue smoke out from the lamp, and it shocked him. In the fifth figure, the giant blue Genie is appearing. Film-making techniques applied in the captured-scene of figure 4, close-up shot used to let the audiences to observe his ‗shocked‘ facial expression. He basically would grant three wishes for the one who summons him who had trapped in the lamp for a thousand years. The first sentences that he said was written in lines 507 – 510 in the minutes of
00:40:52,615 - 00:41:02,892.
Genie: I said I was all-powerful. The most powerful being in the universe. (lines 605 – 606)
The power of Genie has the power to make everything impossible become possible. He can do anything, create, makes, and change anything in this world.
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He can also become somebody else and make someone to be anything else. That is the reason Jafar wants to get the lamp and ask Genie to be what he wanted to be.
They mostly spent time together ever since. Nobody can get along with a creature called Jinn, but not for Aladdin. Because of Aladdin‘s kindness and
Genie‘s loyal manner, they become friends. In the movie, Genie is a being who can change and transform himself into whomever and whatever he wants.
Not also powerful he also funny and he likes to dance as well as sing. There is only one lucky person who can be friends with him; Aladdin is a lucky person to have a friend like Genie. However, nobody can have the best of friends like
Genie; by highlighting Genie‘s powerful being in the universe, thus, nobody can beat him over, and Genie can give anything to people he called ‗a master‘ just merely by rubbing the lamp and say the wish. His funny characteristics can be seen in the dialog below that he makes Aladdin be a prince; Aladdin not sure if
Ababwa is the real place or not, but Genie convinces him that it is real, and it has a brochure.
Aladdin : Right. Who am I? Genie : Who...? Prince Ali? Aladdin : From? Genie : Duh! From Ababwa. Aladdin : A-bub-wha? Genie : You're not listenin'. Ababwa. Aladdin : Is that a real place? Genie : Yeah! Like, everybody knows about it. It has a brochure. (lines 762 – 771)
Genie is the most powerful creature in the world, not only responsible for giving Aladdin a loyalty of three wishes, but he also gives a treat for Aladdin. He
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treats him like a master ever since he rubbed the lamp. The kind characteristic of
Genie can be seen when he saved Aladdin‘s life when he fell into the sea. As written in the dialogue script, lines 1492 until 1497 clearly stated that Aladdin thankful for what Genie has done to him.
Aladdin : Thanks, Genie. Genie : Hey, no problem, you know. It actually cost you a wish. Aladdin : Whatever it cost, you saved my life. (lines 1492 – 1497)
From the explanations mentioned above about Genie, the researcher can draw into one conclusion that Genie symbolizes power, kindness, and fun.
3. Abu (the Monkey)
The researcher is choosing this character since the character has a major significant role for Aladdin. Abu is Aladdin‘s CGI pet; like most of the pets, the monkey, Abu is smart and always loyal to the owner. Aladdin has been through so many ups and downs in his entire life, during tough or week, happy and sad; the only character who always beside him is Abu. Therefore, Aladdin is also grateful to have the monkey with him; Abu has a special place in his heart since there is nothing that he had but Abu; he lost his parents since she was young and his only living with his pet ever since. Sometimes he feels trapped in his current situation.
Being a street rat is not what he wanted to be since he had no choices to choose.
As seen in figure 6, perched on Aladdin‘s shoulder seems to be Abu‘s comfort place. The bond between Abu and Aladdin is powerful; wherever Aladdin goes, there must be Abu there too.
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Figure 6 He taught him to act as a good monkey, yet he taught steal as well. He is a fast runner and a pro jumper; every time Aladdin is in trouble Abu knows what he supposed to do. As written in the script conversation between Aladdin and
Jasmine in lines 192 until 199 in the minutes of 00:15:52,216 until 00:16:07,081 can clearly understand that Abu is the only creature Aladdin has.
Princess : And what about your father? Aladdin : I lost them both when I was young. Been on my own ever since. It is all right, it is just... Princess : What? Aladdin : It is a little sad. Having a monkey as the only parental authority in your life. (lines 192 – 199)
Another proof that Abu is so loyal to Aladdin is when Aladdin got in and trapped in the cave of wonder when Jafar fooled him; Abu was not left him alone in the cave, but he goes together with him.
Figure 7 Figure 8
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In figure three, Aladdin was about to enter the cave of wonder, Abu was perching on Aladdin‘s shoulder too, and he is ready to help him if there something terrible happen to him. In figure 7, Aladdin and Abu are in the cave in order to find the magic lamp for Jafar. Another proof is when Aladdin was becoming a
Prince Ali of Ababwa, Abu still with him even though he was not the real appearance of Monkey. In figure 9, Genie turned him to be a giant elephant as his hitch of animal that takes him to Agrabah, as seen in figure 10.
Figure 9 Figure 10
From the shreds of evidence as mentioned earlier, the researcher can make it into one point that Abu, the monkey, symbolizes the loyalty.
4. Jafar
In the movie, the support of the antagonist character is essential to enhance the plot and the story. In Disney‘s Aladdin live-action movie, the antagonist character portrayed from the character of Jafar, the Grand Vizier. Jafar is the antagonist character portrayed as a rude man who wants to take over the position as a Sultan of Agrabah. Not only wanted to take over the throne, but he also wanted to be convincing. The problem-maker in Aladdin's live-action movie is
Jafar. Jafar has always wanted to become the Sultan of Agrabah. He has been
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doing so many ways to achieve what he wants; sits in the throne as a Sultan because Jafar tired of being in the second, and he wanted to be first to no one. He wanted to be a powerful sorcerer as an act of revenge for being underestimated.
The shortcut he took to get what he wants is by finding the magic lamp because he knows that there is a giant creature that will give loyalty wishes of three for those who rub the magic lamp. He has been asking and promising many people to get down inside the cave to take the magic lamp for him, but nobody successfully brings it for him. He is very greed for the throne and obsessed to be a Sultan, as mentioned in the dialogue between Jafar and the guard. He gets mad when the
Sultan told him to remember his place; it means that he cannot make any decision because Jafar is just the Sultan‘s advisor, and he is just a second to the sultan.
He killed his guard by throwing him down to the well just because the guard thinks the magic lamp does not exist and he told him that he is not born as a
Sultan and to be in the second of Sultan should be enough, as stated in the conversation between Jafar and the guard in the minutes of 00:12:05,055 until
00:12:59,643, in the lines 117 until 136 and portrayed in figure 11.
The guard : You are already second only to the sultan! Jafar : Do you know what I had to do to get the power that I have? The sacrifices that I have made, the bodies that I have buried? The five years spent in a Shirabad jail? People need to understand that they will pay for underestimating me. Second is not enough! And it will never be enough! That's why I need the lamp, and why I no longer need you! (thrown him down the well) (lines 117 – 136)
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Figure 11
When Aladdin disguise up in the palace to give back Jasmine‘s bracelet,
Jafar saw Aladdin he offers him the job, and he accepted it (figure 12). His deceitfulness shows when Jafar tried to provoke Aladdin by giving a piece of correct information about Jasmine. Aladdin by promising Aladdin an abundance of money and promise to change his life to become a rich guy to impress Jasmine if only Aladdin can bring the magic lamp for him as appeared in the minutes of
00:31:34,190 until 00:32:37,154, written in the lines 429 until 447 and portrayed in the screenshot seen in figure 12. The magic lamp can only be found in the cave of wonder, along with the fact that once somebody gets inside the cave and they take anything in it, they cannot see the lights, or by another means, they will forever trapped in the cave.
Figure 12
Jafar : Aladdin. People like us must be realistic if. Aladdin : Us? Jafar : You see, I was once like you. A common thief.
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Only I thought bigger. Steal an apple and you are a thief, steal a kingdom and you're a statesman. Only weak men stop there. You are either the most powerful man in the room, or you are nothing. You, you stumbled upon an opportunity. I can make you rich. Rich enough to impress a princess. But nothing comes for free. Aladdin : What would I have to do? Jafar : There's a cave nearby, and in it, a simple oil lamp. Retrieve it for me and I will make you wealthy enough to impress a princess. Your life begins now, Aladdin. (lines 541 – 560)
According to the dialogue above, Aladdin finally took the opportunity that
Jafar offered because he had no choice; he always wanted to get out of his current life; he is kind of fed up being called ―a street rat‖ by people. Other than that, he thinks it is an excellent choice for him to become a rich man so he can impress the
Princess. He took the chance without thinking too long. He down the cave and get the lamp.
After Aladdin retrieved the lamp and gave the lamp to Jafar, he asked Jafar to help him come out of the cave, and he pulled his hand up. Instead of doing
Aladdin a favor for, Jafar stepped his hands until he fell back to the cave a portrayed in figures three and four. It portrayed that Jafar is such a cunning man who thirsts for the throne and craves power. He uses Aladdin as the tool to retrieve the magic lamp for him; then, he abandoned him all alone in the cave. A film-making technique used, and the objective style chosen to get the vision of the focused object; in his scene, the lamp is the object that the director wants to focus on. By putting different angles of the camera can help the audience experience the process of the dramatic way of giving and taking the magic lamp (figure 13 - 14).
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Figure 13 Figure 14
From the textual shreds of the evidence above, he did not get the lamp because Abu took it from him. Since that, the lamp belongs to him. However, his effort to get the lamp was not just stopped there, since Aladdin becomes Prince
Ali of Ababwa, he came to Agrabah palace to propose the Princess, however, in the dialogue below, the dialogue took place in the balcony. Jafar recognizes that
Prince Ali of Ababwa is Aladdin himself. Jafar took many ways to get the lamp from Aladdin by getting Aladdin in danger and threatening him and throw him down to the sea because Aladdin did not tell him where the lamp is. As vividly seen in the screenshot seen in Figures 15 and 16, film-making techniques applied; objective style applied in order to catch Aladdin‘s expression and make the audience experience the same way as what happened to Aladdin. The slow-motion technique applied to trigger the audience‘s feeling in the process of Aladdin fell off to the ocean. According to Boggs and Petrie, in their book ―The Art of
Watching Films,‖ the slow-motion technique is when things projected at an average speed (or altered digitally), the action slowed. The slow-motion is necessary to identify with characters that are making such tremendous physical effort or experiencing fatigue or even general physical frustration. The action,
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music, and sound all help to trigger the proper feeling (Boggs & Pettrie, 2008, p.
210 – 211).
Jafar : Where is the lamp? Jafar : If I throw you off of that balcony, and you are who you say you are... you will die a watery death. If you survive, it can only be because of the lamp. In which case, I will have my answer. For the last time... where is the lamp? Aladdin : Listen to me. I do not know who you think I am. Jafar : Goodbye, Aladdin. (lines 1165 – 1176)
Figure 15 Figure 16
Jafar heartlessly and wickedly did it to him in an attempt to get what he wanted to become; he wanted to be a powerful Sultan of Agrabah.
Jafar : I could simply kill you all. But that would be inadequate repayment for years of humiliation and neglect. "Remember your place, Jafar." "You forget yourself, Jafar." The Sultan : Jafar. Jafar : No, what you need, Baba, is to suffer. Like I have suffered. Baba? Would watching me rule your kingdom be enough? Jafar : No, the most suitable punishment would be to make you watch while I take what you love most. Jasmine : No. No, please. Baba. Jafar : And marry your daughter. (lines 1427 – 1442)
When Jafar finally took the magic lamp, he can finally make himself become the sultan, as stated in the conversation above, he said that he wants to repay for years of humiliation and neglect. His obsession with being the first made
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himself turned to be the most powerful in the universe, which means a Genie without a master goes back to the lamp, and he trapped forever in the lamp.
Jafar : You think so, but I am sultan! I am the greatest sorcerer the world has ever seen. I will create an empire that history cannot ignore. I can destroy cities. I can destroy kingdoms. And I can destroy you. (lines 1502 - 1507)
In the quotation above can be seen that he is very proud to have the power to destroy anything. His ambition for the sake of his dignity and substance of being underestimated for so long got him heartless and careless toward whatever and whoever trammels his way of being a number one as a Sultan of Agrabah and powerful being in the universe made him the symbol of wickedness and deceitfulness.
5. Aladdin’s house
Aladdin is a street rat who is living in a wreckage building that has abandoned for years, located near the people‘s market in the central city of
Agrabah. He juggled up the old building into something he called it ‗a house.‘ His house looks like a historical building in the late 8th century and early 9th century.
The house built with a pile of bricks and no painted wall; this building is enormous; it has a balcony, so it is easy for someone to see the Agrabah from above (Figures 17 and 18).
Figure 17 Figure 18
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His level of creativity seems to be that much; the way to get into the house is way too secret that nobody can enter the house but Aladdin. Aladdin juggled up the old building into the mesmerizing one; he made the stairs to get into the house using woods— the stairs can be visible if somebody pulls down the rope, it looks more like secret stairs (Figure 19 and 20). He showed Princess Jasmine his house when she was in disguise. It is written the dialogue in lines 141- 147 in the minutes of 00:13:20,363 -- 00:13:49,059.
Figure 19 Figure 20
Figure 21 Figure 22
Jasmine: Is this. Is this where you live? Aladdin: Yep. Just me and Abu. Come and go as we please. Welcome to my humble. You will see. Jasmine: You are quite the magician. Aladdin: Thank you. (lines 141- 147)
The dialogue above took place in Aladdin‘s house. It happened when
Aladdin shows something significant about what he has done for his house to
Jasmine, and she precisely amazed by his skills. In his house, they talked a lot
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about their personal lives, and he gets so emotional when he talked about their parents. Aladdin has lived by himself in his whole life. He left by his parents since he was very young. His whole time has spent with Abu ever since. It happens to
Princess Jasmine too, and since her mom passed away, her dad has been very overprotective; he would not let Jasmine go outside the palace, and she felt like she is trapped because all Jasmine has to do staying at the palace and waiting for the right prince to marry her, though, Jasmine refused to get married because she wants to become the Sultan of Agrabah.
The building where Aladdin lived is far away from the actual meaning of a
―house‖ since there are no proper windows, the broken door, and an unstructured roof. There is no ceiling; he uses giant-red fabric as a ceiling. To put red fabric up is by pulling down the tool as pictured in figure two, and it will automatically lift a pictured in figure 22. That fabric is not enough to shelter him from the rain, cold during nights, and blaze of the sun during the days (figure 21 and 22). When we get inside, everything seems so messy because he used abandoned things to decorate his house.
Despite those facts, Aladdin prefers that old building instead of looking for a proper house to stay in. From those facts, the researcher can drag into one conclusion that Aladdin‘s house is the symbol of simplicity.
6. The Magic Carpet
The magic carpet is also a CGI thing that can act and behave as humans.
The magic carpet and Aladdin have bumped for the first time in the cave of wonders, and the carpet has strangulated over the big stone, and Aladdin set him
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free by helping him lifted the stone. The carpet was happy and hugged Aladdin
(figure 23). The magic carpet has chosen by the researcher as a significant symbol because of its obliging and flexibility. The flexibility appears to show kindness.
The carpet‘s flexibility to fly makes the carpet down to help Aladdin in any kind of situation, in a happy and even when Aladdin was in a terrible situation. The magic carpet helped Aladdin a lot. Firstly, the carpet helped Aladdin when the cave started to ruin down. Secondly, he got help from the carpet when he drowned in the sea by bringing the lamp so that Genie can help save his life. Thirdly, the carpet helped to save his life when he trapped and almost get him to freeze to death in snowfield. Lastly, the carpet able to make him feel free by taking him, and Jasmine flew away over the city, the waterfall and the desert, which it what
Aladdin and Jasmine crave for in their whole life.
As portrayed in figure 24, the magic carpet helped Aladdin passed through the problem as the cave of wonders starts to ruin down. Aladdin almost fell into the lava when he tried to reach help from Jafar after brought the magic lamp for him; however, he refused to help him. Instead, Jafar stepped his hand and intentionally wanted him fell to death. Without the help of magic carpet, Aladdin must have died drowned in the lava flow. In order to return the favor for Aladdin, the magic carpet sprightly caught him over; it seems like he would not let Aladdin fall off (Figure 24).
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Figure 23 Figure 24
Figure 25 Aladdin has been tremendously living in boredom; he lives in a lonely life, and a monkey is the only thing he has, but it is not enough for him. He also really fed up to be disrespectful in the society by being called ‗a street rat.‘ He feels like he trapped in this life; it seems like there is no way for him to find the freedom
Jafar craving until he came to the cave of wonder, and everything has changed. He became a prince Ali of Ababwa, and by the help of magic carpet, he able to fly with his loved one, Princess Jasmine, and they able to cruise over the Agrabah city in the night. They finally feel so alive because they can see something they had never seen before from a different perspective.
Fly high to the sky, over the waterfall, just the two of them. Film-making techniques also applied in figure 25; different sets of camera angles and the subjective style has chosen to catch the scene from a visual or emotional point of view of the character; to catch the magical feeling of freedom from the two characters; it also allows the audiences to feel the same as what the characters. In
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lines 5-7, it explains that it was ultimate and unexplainable happiness for them; to witness everything they were not able to see in their entire life and felt as free as a bird in the sky. They were super enjoying the ride, in the last sentence, they wish that they could do that forever and refuse to go back to real life. They can make finally live the fullest of freedom they have been craving for in the whole life with the help of magic carpet.
Figure 26 Figure 27
As vividly seen in the textual evidence; Jafar attempted to kill Aladdin by pushing him away into the ocean in order to get what he wants; the lamp, because
Aladdin did not want to tell him where the lamp is. In a good savvy of Abu and the magic carpet, they both quickly get the lamp out of the palace so that Jafar could not find it. Abu and Aladdin saw him fell from the balcony, but they a bit late to catch Aladdin. They brought the magic lamp for him with an eye to Genie help him to get over the ocean as well as save his life by giving his second wishes
(figure 26).
At the moment, when Jafar finally got the lamp, and Genie made him the most powerful sorcerer, by that Aladdin tried to get the lamp back. However, he caught red-handed is taking the lamp. He was outraged and ensured Aladdin‘s agonizing death by banishing him to the ends of the earth. In the meantime, the
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magic carpet wanted Genie to send him the ends of the earth as well to help
Aladdin by taking him back to Agrabah (figure 27).
From the evidence above, the researcher makes into one statement that the magic carpet symbolizes gentleness and flexibility.
B. Aladdin’s Character as Revealed through the Symbols
Every symbol created to reveal something that leaves folded without stating the literal or actual meaning. In the film, symbols can refer to several aspects, such as the theme, character, plot, and more. In Disney‘s Aladdin 2019 live-action movie intentionally provides by the writer and director of the movie in order to reveal many aspects and to holds a more prominent depiction much more than on the surface. This thesis mainly focused attention on the main character of the movie; this part is to reveal Aladdin‘s character through the six symbols found in
Disney‘s live-action movie Aladdin.
In order to catch the audiences‘ attention, the existence of character is much more critical for every movie. Sometimes the director does not depict the character clearly; that is why the director lets the audience know the character deeper by linking it through some provided symbols. According to the book The
Art of Watching Films by Boggs and Petrie, there are eight ways to help the audiences find out the characterization of the characters. The following characterizations are; characterization through appearance, dialogue, external action, internal action, the reaction of other characters, and the last one is contrast: dramatic foils.
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As mentioned in the first part of the analysis, there are six symbols found in
Disney‘s Aladdin 2019 live-action movie. Each symbol gives different of significant meaning to reveal the character of Aladdin.
1. Princess Jasmine
In line with the first part of the analysis, Princess Jasmine symbolizes brave and compassion. Princess Jasmine is the main female character who also plays a significant role in Aladdin's live-action movie. She got the most important figure next to Aladdin himself. There are lots of scenes that portray both figures of
Aladdin and Jasmine in one scene; in the movie, they play the role of two lovers since that the character of Jasmine and Aladdin are related one and another. The character of Jasmine is important to Aladdin and chosen as the symbol since every single thing that Princess Jasmine does affect Aladdin‘s life and behavior;
Aladdin decided to retrieve he lamp because Jafar knows that Aladdin is just a street rat and could not afford princess‘ love so that Jafar promise the wealth for him to impress the princess. The character of Jasmine chosen to be a symbol is because of her determination and compassion for fighting against the patriarchy and stand up for all women to roar loud for women's rights.
Since the first time Aladdin met Jasmine, he got something different for her, and the sight of her left him weak. They able to meet when she was disguise in her city; she was not acknowledged herself as a princess but a servant. It means that
Aladdin did not fell in love with Jasmine just because she is the Princess of
Agrabah, but he fell in love with her for who she is; the ‗compassion‘ word suits her better, it can be seen when she took the pieces of bread gave the loaves of
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bread for the two needy and hungry kids from someone stall without paid for it because she had no money. The word ‗fearless‘ also portrayed her better, and she is such a brave women, one of those reasons that Aladdin seek from Jasmine was her fearless; she was running and jumping off from building to building bravely to get away from the guides who tried to get her to the owner of the store because
Jasmine accused that she stole the loaves of bread from him.
Her braveness radiates the people around her, including Aladdin. It makes
Aladdin fearlessly came by disguising, running, jumping off overbuilding to building within the palace in order to see her, and gave her bracelet back. He was able to meet her and talked to her by disguising as a servant before he finally arrested to the jail because he accused as an intruder. He also braves enough to face Jafar who multiple times trying to kill him and revealed his inadequate attention to take his throne and take over Agrabah and told that to the sultan, even he know the consequences he might take after saying that.
Aladdin : We have to stop Jafar. (line 1210) … Aladdin : He had you under a spell. He's not to be trusted, Your Majesty. He wants your throne. (lines 1253 – 1255)
Aladdin has also been so supportive to what she decides to be. She demands a freedom to become a queen of Agrabah and refuse married. Thus, as it clearly stated Aladdin totally support her decision even though he knows that there is only a pinch of possibility for owning her heart. When Jafar get what he wanted for so long; owning the lamp, taking the revenge for what he undergone in the
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past and the most important one is he finally becoming a Sultan and he able to get the power. Since that, he forced her to marry him, during the marriage ceremony,
Jasmine quickly grabbed the magic lamp from him, and she ran fast and fell off from the balcony to get away from Jafar. Suddenly Aladdin and Abu who came from nowhere rode the magic carpet, caught her immediately, and flew away from
Jafar to revoke the marriage. Her braveness can be seen when she tried to grab off the magic lamp and run away from Jafar and the giant version of Lago in an attempt to revoke the marriage between Jafar and Jasmine as well as to take Genie back to Aladdin.
In the end, Jafar claimed himself as the most powerful being in the universe.
His last wishes brought him to get inside and trapped forever in a magic lamp. As everything back into a routine, Jasmine's father finally saw Jasmine as a brave woman, and he believes her to be the next sultan of Agrabah.
Sultan: All I saw was my little girl, not the woman you have become. You have shown me courage and strength. You are the future of Agrabah. You shall be the next sultan. (lines 1969 – 1972)
The word compassion that also symbolizes her radiates everyone near her too. It also helps the researcher reveal the character of Aladdin through the symbol of Jasmine. Aladdin is a very compassionate man. Even though he did not have much money and living in poverty, he still able to spread kindness to others.
He gave food to a poor and hungry boy; he gave the food to him even though he also hungry, and he did not have any money to buy another food for him. In figure
28 can be seen how happy the boy is after taking the food from Aladdin. It can be seen from a little smile he made.
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Figure 28
2. Genie
Genie symbolizes power and fun. The power from Genie helps to reveal
Aladdin‘s character as an influential person. He could ask what he wants Genie to do for him with his ―power‖ as being a master. Since he rubbed the lamp in the cave of wonder, Genie considers Aladdin as his master, because whoever who rubbed the lamp is his master or the owner of the lamp and able to get three wishes from him as a gift for set him free by letting him out from the lamp as written in the dialogue between Aladdin and Genie below clearly stated that somebody who rubbed the lamp is Genie‘s master. However, dialogue‘s last sentence means that Aladdin did not want to be called ‗a master‘ but Genie instead.
Genie : So, you rubbed the lamp? Aladdin : Okay. Hey, do you mind... Genie : If I could just stretch it out over here, do you mind? Aladdin : Are you asking me? Genie : Yes. You are my master. Aladdin : I am your master? Genie : Downward dog. Aladdin : No, no. You look like you should be my master. (lines 534 – 541)
Since Aladdin met him in the cave of wonders by rubbing the magic lamp, the meeting was life-changing; it seems like living life of freedom he had been
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craving for is not just a dream anymore. Since Aladdin has the magic lamp, he got to say what he wants as Genie gives his loyalty wishes of three. For the first wish, he got Genie to make him become a prince. He got to make his the second wish to get him out from drowning deep in the sea. In the conversation above, can be understood that Aladdin is such a fun person, other evidence that Aladdin is such a fun person is when he introduced himself as prince Ali of Ababwa and present gifts to the Princess, he said that funnily because he was a little bit nervous.
Aladdin‘s funny character seems to fit Genie. They both are so funny, and that a reason why they can get along.
Aladdin : Gifts coming right up! We have spices, golden camels, and spoons, tiny spoons! How do they make them that tiny? We have jams! Jafar : Jams? Aladdin : Yes, jams! Yam jams, fig jams. The servant : Yam jams! Aladdin : And date, jams. Seedless, delicious, exotic jams. Genie : Move away from the jams. (lines 829 – 838)
Genie symbolizes kindness. It can reveal the character of Aladdin as a kind person. As explained before, Aladdin has the authority to command Genie to do something for him. Hence, he is not that selfish, and he made his last wish to set
Genie free. In the first part, there is a dialogue between Genie and Aladdin took place in the desert. In the dialogue, he said that he wanted to be free, and he wishes to be a human. He said that he could not set himself free, only the owner of the lamp can do that for him, but no one of the owners would use their wishes for him.
Aladdin : Why do not you just set yourself free?
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Genie : Why do not I set myself free? Only way a genie gets to be free. is if the owner of the lamp uses one of his wishes to set him free. (lines 656 – 663)
Nobody uses the wishes to set him free, but Aladdin; he gave him a favor by using his last wishes for Genie‘s freedom. It can be seen in the conversation between Aladdin and Genie below. He did that because of Aladdin's kindness, a human being, and he wants to return the favor for Genie by doing something for
Genie because he has been a good friend to him. In the dialogue below, it can be understood that Genie does not believe that he finally turned as a human because of Aladdin‘s last wishes to set him free as he promised before.
Aladdin : Okay. Last wish. Genie? I'm ready, hold on. Genie : Here we go. Aladdin : I wish... Genie : Third and final wish. Aladdin : I wish to set you free. Genie : What? Whoa. What? Oh! Wait. Wait, am I...? (lines 1928 – 1936)
3. Abu
The bond between Aladdin and Abu are firm. Through ups and downs and many days have passed, not a day left Abu and Aladdin are living separated. The loyal manners depict not only the character of Abu but also Aladdin. Since he lives alone and has nobody to lay his head on, he has Abu instead; he treats and protects Abu as possibly as he could. He became the Prince of Ababwa since he made Genie do that for him to impress the princess. However, he still not forgetting Abu as his day one companion and friend.
Genie: I made you look like a prince on the outside. Genie: But I did not change anything on the inside. (lines 932 – 933)
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He underwent many things, from a street rat to a prince and many experiences and values that Aladdin got. One thing he knows is Abu always being care of him and helped him in every though moment he undergo. From the quoted dialogue above, Genie clearly said that he made him like a prince in appearance, but he would change him on the inside, it means that the old Aladdin who is loyal to his friend is still there. He is still a loyal friend to Abu; he still loves Abu, and
Aladdin takes Abu wherever he goes.
4. Jafar
Jafar, the antagonist character in Disney‘s Aladdin live-action, symbolizes wickedness and deceitfulness. He dedicates his life to take revenge by defeating people that underestimate him and tame his way to get what he wants.
Jafar‘s wrong manner can reveal Aladdin‘s character, as well. From the beginning of the story, Aladdin called a street rat because he always stole something; Aladdin did that to keep him alive since he got no job to make money.
Taking anything without permission is a bad thing, and it cannot be tolerated even if it has done for goodness sake. In the dialogue below shows that Aladdin always stole something and exchanged it for food.
The woman : Whatever it is you stole today, I do not want it. Aladdin : I did not steal anything. The woman : It is a family heirloom that's worth a lot. I will give you a bag of dates for it, nothing more. (lines 41 – 44)
The deceitfulness of Jafar can also reveal Aladdin character as well, when successfully retrieved the magic lamp he did not give it to Jafar, instead, he takes it for himself and uses his first wish for his own sake; when Genie make him be a
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prince, his life is change, Aladdin able to get what he wants just by telling his wish to Genie. He wanted to become a prince because he wanted to impress the princess. However, he is not telling the truth to Jasmine about whom he is.
Aladdin: I convinced her that I was a prince. Genie : And she believed you? Aladdin : I think so. Genie : Eventually, you are going to have to tell her the truth. Aladdin : Eventually, I will tell her. I sort of am a prince now. (Lines 1132 – 1138)
5. Aladdin’s House
Every house should be representing the owner of the house. It must represent the personality, lifestyle, and the characteristic of the owner of the house. In Disney‘s Aladdin live-action, the house of Aladdin pictured in the live- action version instead of the previous movie version. Aladdin is living in an abandoned old building located in the city center of Agrabah. In figure 17, the house looks like a historical building in the late 8th century and early 9th century, which means that the house is ancient and easy to tumble down. As stated in the previous analysis, the building he called house symbolizes simplicity. Thus it must be represented by Aladdin‘s character as the owner of the house as well.
The house he lived in for years is far from the word ‗fancy‘ yet he called his house as a ‗humble‘ house, as stated in the dialogue below between Aladdin and
Princess Jasmine when she was in disguise. He called it a ‗humble‘ house because of the building‘s ancient condition and wreckage. Thus, it easy to get ruin down.
For the interior, some disused kinds of stuff used by Aladdin to decorate his house, as depicted in figure 22 he used the cutouts textile as the ceiling to cover his house from the rays of the sun.
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Jasmine : Is this. Is this where you live? Aladdin : Yep. Just me and Abu. Come and go as we please. Welcome to my humble. You will see. Jasmine : You are quite the magician. Aladdin : Thank you. (lines 141- 147)
Despite all the evidence mentioned above, Aladdin still chooses that building as a place for him to live in since he has no other option to choose.
6. The Magic Carpet
The carpet symbolizes gentleness and flexibility. The symbol helps the reader to reveal flexibility in the act of kindness by helping his surrounding towards Aladdin‘s character. Every human should have the flexibility to blend themselves in situations and to get along with some groups of people. Since we live in this world with hundreds of different characteristics of people, flexibility is the most needed for some persons to socialize with other people. From flexibility that the magic carpet has to help Aladdin in any kind of situation can also show
Aladdin‘s flexibility to get along in every situation and some group of people and spread kindness by helping each other. It was proven when Aladdin be friends with a monkey and a giant blue creature, Genie, as well as the magic carpet. As seen in figure 23, the carpet loves him so much by hugging him. They are not many people who can get along with the monkey. As seen in the conversation below, Aladdin admits that there is only Abu that he has ever since he left by his parents.
Aladdin: ―Abu! Abu! Abu! Abu. Are you okay? (lines 1790 – 1792).
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Aladdin loves Abu, it shows when Aladdin and Abu sent to the coldest place by
Jafar, and cold weather almost got Abu to death. In the quotation below, Aladdin called out Abu while hugged him tight to keep him warm.
Aladdin and Genie have become close friends since he thinks that Aladdin is his master. They did so many things together; His kind characteristic shows when he did a favor for Genie because he is a lovely friend for him. Aladdin gives his last wish to set him free by turning him into a human.
Aladdin : I wish. Genie : Third and final wish. Aladdin : I wish to set you free. (lines 1931 – 1934) … Genie : Thank you. Thank you. Aladdin : No. Thank you, Genie. I owe you everything. (lines 1945 – 1947)
Not only has three people mentioned in the previous paragraph, he can also blend himself with the girls and the people in the area he lived. It is proven when he ran to save himself from a soldier for fooled Jamal, the owner of a stall many girls and women there help to keep him from the soldiers who try to take him. It can be seen in figure 29.
Figure 29
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His flexible and charming character can as well steal a princess‘s heart. He can make the princess fell off in his hands. Aladdin and Jasmine bumped the first time in the people‘s market when she was in disguise. Aladdin helped her from being accused as a thief.
Jasmine : You are quite the magician. Aladdin : Thank you. (lines 141- 147)
From the conversation between Aladdin and Jasmine above, can be seen that he can make Princess Jasmine amazed by everything he did; his kindness for helped her from Jamal, the owner of the bread stall, his supportive manner always to support her in every kind of way and lift her to go against Jafar.
The Sultan : How can I ever thank you? Aladdin : Oh, no. No, you do not need to thank me. (lines 1894 – 1895)
The most important of all, Aladdin has a big contribution in saving Agrabah from
Jafar. Genie and Aladdin tricked Jafar and make him trapped in a magic lamp for years. His kindness to safe Sultan, Jasmine, and the servant‘s life and Agrabah will always be reminded.
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CHAPTER V
CONCLUSION
This thesis, entitled ―Revealing the Significance of Symbols in Presenting
Aladdin’s Character in Disney’s Live-Action Movie Aladdin.‖ This thesis mainly focused on the symbols in order to reveal the main character, Aladdin. There are six symbols chosen from Disney‘s Aladdin 2019 live-action movie; Princess
Jasmine, Genie, Abu, Jafar, Aladdin‘s house, and the magic carpet. Those symbols successfully revealed the character of Aladdin.
Each symbol has its meaning, and it gives different interpretations of revealing Aladdin‘s character. The first symbol, Princess Jasmine, symbolizes fearless, and compassion that reveals the brave and compassion side of Aladdin.
He braves enough to fight with Jafar for the sake of righteousness. The second symbol is the Genie. He symbolizes power, kindness and fun. Through the symbols of Genie, the researcher could link it to the character of Aladdin and reveals that Aladdin also has a powerful side of him to ask genie what he wants since Aladdin is Genie‘s master. The kind also shows that Aladdin gives his last wish to make Genie a human as a favor of saving Aladdin‘s life. The fun can picture him better since he is lovely yet fun in every way he behaves and talks.
The third is Abu, the monkey. His pet symbolizes loyalty, which reflects
Aladdin‘s manner. The researcher found that Aladdin is also loyal to Abu, and they both have a close relationship as a friend. The forth is Jafar, and he symbolizes wickedness and deceitfulness. Hence, every character must have a bad
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side that grows inside them. From analyzing Jafar as the antagonist character, the researcher understands and able to reveal the wrong side of Aladdin. He was well- known as a thief, and he stole anything to live. He also lied to Jasmine about his real identity. Aladdin‘s house is the fifth symbol that symbolizes simplicity. Every house is the depiction of the owner, the personality, lifestyle, and the characteristic. From finding the meaning of the house symbolizes meaning, the researcher found that Aladdin is a modest man who has been living in simplicity.
The very last one, the magic carpet symbolizes. The very last one is the magic carpet that symbolizes gentleness and flexibility; it helps the researcher reveal that
Aladdin is a beneficial yet flexible man by means he can get along with different kinds of people and spread kindness by helping each other.
Through symbol, the director of the movie able to describe and portray the primary character way clearer and help the audience achieve the criteria of how significant the character is; great characters have to be real, worth caring, and understandable.
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APPENDICES
Appendix 1: Summary of Disney’s Aladdin Live-Action
Disney‘s Aladdin live-action was about a guy named Aladdin who struggle to get a better life. He has been living alone for his whole life, which the only family he got was Abu, a monkey. He lived in simplicity; he had to steal kinds of stuff to live, that makes sense for him to be called a street rat.
One day, he met a beautiful girl in the market. The girl is Jasmine, she was the princess of Agrabah, but she was not revealing who she was. One night, he came to the palace to bring back Jasmine‘s stuff. Jafar caught his disguised. Since that, Jafar offered Aladdin a job to retrieve a magic lamp in the cave of wonders by promising him to make him wealthy enough to get the princess‘ heart. He wanted to get the magic lamp because he wanted to be a powerful Sultan of
Agrabah. He wanted to do revenge for being underestimated for so long He took that and came down to the cave. However, after he finally got the lamp. He brought it to Jafar, yet he fooled him and threw him down the cave. Abu was trying to get the lamp from Jafar‘s hand, and they both fell. Luckily, the magic carpet helped and saved their life.
He accidentally rubbed the lam, unexpectedly, a big blue creature came up from the magic lamp, and he was Genie. He did a favor to Aladdin by giving him three wishes. He used his first wish to be a prince. The second he used his second wish to get him up from the sea. The third wish was for setting Genie free by turning him into a human.
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Along his way, Aladdin got Jafar, who always trammeled anything that
Aladdin did just because he wants to get the lamp back. One day, Jafar finally get the lamp, and the palace and everything belongs to him. He asked Jasmine to marry him. However, Jasmine refused that, and she ran away instead.
Unfortunately, luck was not belonging to her. Jafar threatened her by told her that he would kill somebody she loved.
Aladdin and Genie would not let Jafar ruin the city. Thus, they fooled him, and he used his last wish to make himself a powerful being in the universe, which means if a powerful being has no master at asking him what to do, he will go back to the lamp. Consequently, Jafar trapped for years in the lamp, and Jasmine successfully turned to be a queen of Agrabah.
Appendix 2: Biography of Guy Ritchie
Guy Stuart Ritchie or mostly known as Guy Ritchie, was born on September
10, 1968. He was born in Hatfield, UK. His name is widely popular as a film director, writer, producer, and businessman. He started his journey in the film industry in 1993, and his first project directed music videos and commercials. He stepped forward and had a chance to write and direct a short movie entitled The
Hard Case. That project gave him the confidence to write and direct movies that carried him to fame, those movies entitled Lock, Stock, and Two Smoking Barrels
(1998).
His career in the film industry leads his name as a great writer and director.
After debuting his two movies, he wrote and directed a movie entitled Snatch at
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the beginning of the new millennium era. In 2015 he wrote and directed The Man from U.N.C.L.E. and the most recent movie he wrote and directed two movies in
2019 and 2020. Aladdin's (2019) live-action is the adaptation of the animated movie was in the top ten at the 2019 domestic box office. The most recent movie he wrote and directed this year entitled The Gentlemen.
His works lead him to be nominated and received awards. He won and nominated in BFTA awards, nominated in British Independent Film Award, won
Edgar Ellen Poe Award, and won MTV Movie Awards.