OTHERNESS IN HOTEL TRANSYLVANIA (2012)

A Thesis

Submitted to the Adab and Humanities Faculty of Alauddin State Islamic

University Makassar in partial Fulfillment of the Requirements of the Degree of
Sarjana Humaniora

ASHRIL AWWAB

40300116062

ENGLISH AND LITERATURE DEPARTMENT

ADAB AND HUMANITIES FACULTY

ALAUDDIN ISLAMIC STATE UNIVERSITY OF MAKASSAR

2020
 MOTTO

“PROBLEM IN LIFE IS JUST LIKE A FILM. YOU HAVE TO BE THE

DIRECTOR OF IT, OR YOU WILL BE DIRECTED”

i
 ACKNOWLEDGEMENTS

Alhamdulillahi rabbil ‘alamin, the researcher would like to express his

confession and gratitude to the most precious, Allah SWT, for guidance, grace and

mercy in completing this study. Shalawat and Salam are still handed over to the

great Prophet Muhammad Saw, his family and his disciples, until the end of time.

The researcher found that he had some difficulties in carrying out this work.

Such issues could not be overcome without the assistance, support, guidance,

inspiration, critique, encouragement and advice of many people. The researcher

would therefore like to express his deepest thanks to the following:

1. The researcher’s beloved family M. Adli Alhakim and Ni’mah Alkaf

M.Hi, for all their prayers, supports and eternally affections as the biggest

influence in his success and happy life and also to his beloved siblings

Fikran Hafidz and Meydina Asra in giving reasons to finish his study

immediately.

2. Prof Hamdan Juhannis M.A Ph.D as the Rector of Alauddin State Islamic

University of Makassar.

3. Dr. Hasyim Haddade, S.Ag., M.Ag as the Dean of Adab dan Humanities

Faculty, Dr. Jumharia Djamereng, M.Hum as the Head of English and

Literature Department and Syahruni Junaid, SS. M.Pd as the Secretary of

English and Literature Department for their support, encouragement, and

help.

ii
 4. Special thanks to his dedicated supervisors, Dr. Umar Thamrin, S.Ag.,

M.Hum and Syahruni Junaid, SS. M.Pd who have helped, guided, and

supported the researcher during the writing of his thesis.

5. The researcher’s gratitude is also due to his examiners, Dr. H. Dahlan,

M.Hum and Nasrum, S.Pd., M.A for their advice, criticism, and

suggestion.

6. The lecturers of Adab and Humanities Faculty, for their knowledge and

enlightenment, also to the staffs of Adab and Humanities Faculty for their

help and administrative support.

7. Massive gratitude to Eliots Letters for all the knowledge, experience,

supports, and love since the researcher become a student in English and

Literature Department.

8. Deepest appreciation individually and collectively thanks to students of

the English and Literature Department Ulysses Academic Year 2016; AG

1-6.

9. Special thanks to his best friends, Rian Athaillah S.Hum, Wahyu Ramadan

and also to Riski Amalia Pradita for their sincere assistance during the

writing of this thesis.

10. All of the people around the writer’s life who could not be mentioned one

by one by the writer, and who have given a big inspiration, motivation,

spirit and pray to him.

The researcher realizes that writing this study is far from good. Remaining

mistakes are the researcher’s own; constructive observations and suggestion

iii
would also be greatly appreciated. Will all our efforts be rewarded by Allah SWT,

Amiiinn.

Samata, July 29st 2020

Ashril Awwab

iv
 TABLE OF CONTENTS

MOTTO ............................................................................................................................... i
PERNYATAAN KEASLIAN SKRIPSI ............................................................................
PERSETUJUAN PEMBIMBING .....................................................................................
APPROVAL SHEET ..........................................................................................................
PENGESAHAN SKRIPSI ..................................................................................................
ACKNOWLEDGEMENT .................................................................................................. ii
TABLE OF CONTENTS ................................................................................................... v
ABSTRACT ............................. ........................................................................................... vii
CHAPTER I INTRODUCTION
A. Background ....................................................................................................................... 1

B. Research Question ............................................................................................................ 5

C. Research Objective ........................................................................................................... 5

D. Research Significance ....................................................................................................... 6

E. Research Scope ................................................................................................................. 6

CHAPTER II LITERATURE REVIEW

A. Previous Findings.............................................................................................................. 7

B. Pertinent Ideas ................................................................................................................... 9

1. Otherness....................................................................................................................... 9

2. Film as literature ......................................................................................................... 10

3. Deconstruction ............................................................................................................ 11

A. Steps of Deconstruction .......................................................................................... 13

4. The Phenomenon of Otherness in the film.................................................................. 14

a. Internal use of otherness ......................................................................................... 15

b. External use of otherness ........................................................................................ 15

5. Content Analysis ......................................................................................................... 16

CHAPTER III RESEARCH METHODOLOGY

A. Research Method ............................................................................................................ 17

v
B. Source Of Data ................................................................................................................ 17

C. Research Instrument........................................................................................................ 17

D. Data Analysis .................................................................................................................. 18

1. Procedures of Data Analysis ....................................................................................... 18

2. Technique of Data Analysis ........................................................................................ 18

CHAPTER IV FINDINGS AND DISCUSSION

A. Findings........................................................................................................................... 19

B. Discussion ....................................................................................................................... 35

CHAPTER V CONCLUSION AND SUGGESTION

A. Conclusion ...................................................................................................................... 39

B. Suggestion ....................................................................................................................... 39

BIBLIOGRAPHY ................................................................................................................. 41

APPENDICES ................................................................................................. 44

AUTOBIOGRAPHY ...................................................................................... 51

vi
 ABSTRACT

Name : Ashril Awwab

Reg. Number : 40300116062
Major : English and Literature Department
Faculty : Adab and Humanities
Title : Otherness in Hotel Transylvania (2012)
Supervisor I : Dr. Umar Thamrin, S.Ag., M.Hum
Supervisor II : Syahruni Junaid, SS., M.Pd

This thesis discusses about Otherness concept in children’s animated film:

Hotel Transylvania. The thesis aims to deconstruct how Otherness concept
appeared in the film. This research uses content analysis method. In analyzing the
data the researcher used theory of deconstruction from Jacques Derrida to reveal
the concept which was the main purpose of this study. This study focuses on the
characters who brought the concept of Otherness through their dialogue.
As the result of this study, the researcher finds that both of human and
monster kind are projecting each other identity based on their own perspective
subjectively. The implication of this research is to give understanding to readers
how Otherness concept is really close to our daily life, even we do not realized
that happened already.

Keywords: Otherness, Human-kind, Monster-kind.

vii
 CHAPTER I

INTRODUCTION

This chapter discusses the basis of the research. It consists of background,

research question, research objective, research significance, and research scope.

A. Background

Film is another media alternative to tell a story. Film is a significant form of

art, a source of popular entertainment and a powerful means of education. Film is

responsible for ensuring that these processes are discussed intentionally or

unconsciously, individually or collectively, individually or institutionally,

however, it requires theory to do this (Arnheim, 2006:9).

Film theory was introduced to academic institutions in the 1960s and 1970s,

which imported concepts from established fields like psychoanalysis, gender

studies, anthropology, linguistic studies, semiotic and literary theory. Film theory

aims to explore the essence of film and to provide conceptual frameworks to

understand the relationship between film and reality, viewers and society

(Nyuminnar, 2011:1). In addition, films aim at bringing significant value and

moral message to the audience, in which, the messages created by a film always

refer to the phenomenon on the context of specific time. There are a lot of values

and moral messages that appeared in the film. One of which is Otherness.

Otherness is viewed in many aspects in almost every community, in a social

interaction, like image of East by West, Women by Men, etc. It has a strong

influence in social interaction. It is dominantly negative and defined as a negative

1
generalization or discrimination used for one group by another group just because

they are different. Otherness, in representing difference as Hall (1997:258) points

out, allows us to view group members as being all the same, to isolate and clarify

a few of the characteristics and to relate them without exceptions to a whole

individual. It is creating provocative generalizations, producing incorrect

assumptions, and causing unwanted discrimination.

Otherness is highly related to identity, in which, we project the others

identities based on what we experience or our perception, and based on these; we

unconsciously project our own identity (Okolie, 2003:2). Otherness constructs the

addiction of identity, indeed without the "Other", identity is meaningless.

Therefore, it defines a notion of normality based on the existence of identity, in

which a dominant in-group ("us," normal) builds a dominated out-group ("them,"

Other) by marginalizing a real or assumed difference, and maybe as a cause for

possible discrimination (Staszak, 2008:1). However, Otherness eventually created

characteristics of 'us vs. them' (Helsby, 2005:145), in other words explained that

otherness (them) is different and need to be dominated by the majority or

predominant group.

Otherness cannot be understood without constructing the majority and

minority. However, Otherness as the representations of the different group does

not emerge by itself, but by the intervention of the dominant group. This concept

constructs our mind to think if another group that differs to us is bad, therefore,

we could probably underestimate them (Other).

2
 With regards to the previous statement, Allah SWT had said in Qur’an surah

Al-Hujurat verse 11:

‫س ٰى أ َ ْن َي ُكونُوا َخي ًْرا ِم ْن ُه ْم‬َ ‫ع‬ َ ‫َيا أَيُّ َها الَّذِينَ آ َمنُوا ََل َي ْسخ َْر قَ ْو ٌم ِم ْن قَ ْو ٍم‬
َ ‫س ٰى أ َ ْن َي ُك َّن َخي ًْرا ِم ْن ُه ّن‬
َ ‫ع‬ َ ِ‫سا ٌء ِم ْن ن‬
َ ٍ‫ساء‬ َ ِ‫َو ََل ن‬
Translation:

O you who believe! let no people look down upon another people for the

(latter) people may be better than they, nor let women (look down) upon other

women, who (- the women who are treated lightly) may be better than the other

ones. (Q.S Al Hujurat: 11)

The representation of otherness is very clear in this ayat, in which the

dominant group feels better and humiliates the dominated (Other) group.

Therefore, this notion will give an explanation that they (dominant) will reject

every idea, suggestion, or argument that comes from them (Other) and eventually

is seen as nothing.

Otherness representations also build in film industry, as a media of

entertainment, for instance, in the last decade of the 20th century, most Disney

animation films concentrated on portraying Otherness representations by using

traditional culture, figurative language, and visualizations in narrating the story.

Otherness representations in Disney film, in terms of identities, for example,

appears in the opening sequence of Aladdin (1992), where the Arabic culture

which is at the center of narration is explicitly defined barbaric from the very first

lines which make up the opening song.

3
 Otherness is also represented in another film which a children’s film: Hotel

Transylvania (2012) is a story of a powerful Dracula who build a hotel only for

monsters (ghosts), he thinks that the existence of human is bothering or even

breaking the sanctuary of monster’s place, the hotel. The Dracula has a daughter,

Mavis. He is trying hard to avoid Mavis from human. He also tell a bad story,

subjectively, about human to all the monsters including Mavis. Then, one day, a

human teenager come to the hotel. He is a traveler, and getting lost to the hotel.

The Dracula is frightened not because the man will probably kill their population,

but he scared because the other monsters will know if the human is in the hotel,

they will leave the hotel, scared, then what he had thought ever since about the

sanctuary of the hotel will be known as a lie. However, the Dracula is trying

anything to get away the human from the hotel. He even make over, change the

appearance, of the man to be seen likely as monsters in order to not to freaking the

other monsters out.

Suddenly, Mavis and the human are falling in love. The Dracula is madder,

The Dracula is threated the human to leave Mavis or will be dead. Unfortunately,

the human’s compromised is revealed. Then, the human is leaving the hotel.

Mavis does not care if he is a human, she is as sad as the human left the hotel. As

a father, the Dracula cannot stand to see his lovely daughter sad. He then chased

the human in order to make Mavis happy again. The Dracula and some of the

monsters are going to the human places. Then, they found that human is not as

bad as they think. They even get helped to bring them faster to the man whom

4
they chased. Finally, the monsters are not thinking badly of human anymore, and

they could accept human existence in their world.

The researcher can conclude that Otherness representations are portrayed in

the story, in which the Dracula does not want others, specifically human, to be a

part of monsters civilizations. The researcher analyze the concept of Otherness

based on Deconstruction theory, in contrary, in fact this film and reviews about

this film is nothing about Otherness. However the researcher need to use

deconstruction approach to prove and explore the concept within the film. In order

to prove and explore the concept within the film, the researcher identifies the

characters’ representations, dialogues and context using content analysis. The

concept of Otherness is explained by the researcher further in the next chapter.

B. Research Question

In this study, the researcher formulates a research question based on the

background above:

How is Otherness represented in Hotel Transylvania?

C. Research Objective

Regarding to the above research question, the researcher determine the study

objective, in which, to find out how Otherness is represented in Hotel

Transylvania.

5
 D. Research Significance

This study demonstrate, with critical reading in which it is a type of reading

that leads to awareness of ideology of otherness, and how otherness emerges in a

literary work. Therefore, readers will be able to learn how to apply the critical

reading in defining otherness in a literary work.

E. Research Scope

This research focuses on the concept of Otherness in deconstruction

perspective based on Jacques Derrida, in which how the Dracula is trying to avoid

human existence in monsters civilizations, because they are different.

6
 CHAPTER II

LITERATURE REVIEW

A. Previous Findings

Mikelli (2009) in her thesis, “Constructions of Identity and Otherness in Jack

Kerouac's Prose”, this clarified a lot about the role of the prose against Western

interpretations of Eastern spirituality, the negotiation of the portrayal of the other

exotic, and the narrative creation of ethnicity and identity. Using the work of

theorists such as Baudrillard, Virilio and Derrida, as well as reflecting on post-

colonial studies, he shows how Kerouac creates a highly performing prose of

identity and heterogeneity in the author's projections. This is the desire to

converse with literary and cultural changes up to the present day that best

describes the real relevance of Kerouac's deconstructive approach to the concepts

of identity and Otherness.

Osei-Bonsu (2018) in her research, “Representations of the Other in Selected

Works of Joseph Conrad”, explained that the notion otherness proceeds from the

premise that Conrad’s writing engages with an abiding concern with the

individual’s construction of an identity in relation to society. From this

perspective, it investigates issues of race and culture as they relate to identity

within the contested terrain of social space. In addition to demonstrating how the

Other is revealed through the selected texts, this study also yields insights into the

possibility of perceiving the Other through a ‘third sight’ perspective. It then

becomes possible for the reader to arrive at alternative and plausible meanings

7
that sustain her overall argument that Conrad demonstrates an abiding interest in

representing varying forms of Otherness in his writing.

Giovanni (2007) in her research, “Disney Films: Reflections of the Other and

the Self”, stated that these films rely almost exclusively on conventional cultural

metonymies to make representations of the Other. More specifically, references to

otherness are complicated by the multitude of visual and verbal elements that are

part of the narrative culture. If the viewpoint of the cultural influences that take

place in these Disney films can easily be seen from the analysis of the original

screenplays, it is only by taking their Italian translations into account that it

becomes fully evident. So that, by comparing quotes from the original and Italian

versions of the films, this paper seeks to explore the threefold cultural encounter

that takes place within them, and ultimately highlights the complexity of the

transfer of all-specific American references rather than the generalized,

universally-known visual and verbal clichés that are used to evoke the Other.

According to those researches above, they are all had the same research

problem which was the marginalized subject or the Other that focused on the

social or political class. This research differ from previous researches which

brought up from the fiction, animated children’s movie, as the concept of

Otherness with the perspective of Deconstruction theory by Derrida, whereas

build in the characters and the story line that symbolize in the tale of human-

monsters conflict.

8
 B. Pertinent Ideas

This part presents four materials such as Otherness, Film as literature,

Deconstruction, The Phenomenon of Otherness, and Content analysis.

1. Otherness

According to Augé (1987), there are two forms of otherness. The first form is

the otherness of internal use (distinctness from "others"), and the second is the

otherness of external use, which is more radicalistic (it is about excluding, even

eliminating the other). The concept of otherness is like an indirect and harmful

way of thinking someone as different.

We can see that the ways to relate to otherness are based on knowing

differences from a particular identity. We can define Otherness by defining

identity. This articulation is the result of the process of categorization that is

equivalent to each culture, which is basically the opposition between the similar

and the different. It produced the relationship between me - the Other which can

be illustrated by these opposite pairs, as follows: similar-different, local-foreign,

close-far, friend-enemy, east-west, majority-minority, etc. When all these aspects

of otherness are identified, we can consider that identity is defined. Identity,

therefore, is about identifying otherness. During the interactional communication

process, individuals are identified as belonging to some social categories. And

then, media permanently construct and reconstruct representations that refer to

these identities.

9
 The directions of the otherness are shaped by the social forces, as Hazell

(2009) suggested, in other words, win and retain their authenticity in the world. A

person will make the image of otherness through the concept of the relationship he

has with the "other," that will influence him in understanding and behaving

towards the "other."

2. Film as literature

Film incorporates the dynamic interplay of light and shadow, manipulates 3D

space and relies on moving images with complex rhythms. Film interacts with

pictures, metaphors and signals, with actions and movements, with verbal dialog

and explicitly with actual images and sounds. Finally, it extends or compresses

space and time, moving freely across its broad borders. It was differently related

to other literary forms; clarify by Joseph M. Boggs and Dennis W. Petría

(2008:3).

Film is an art work, like other literature pieces. It is a dynamic text textual,

procedural and graphical code structured to create a particular meaning, (Nikmah,

2014:1). Film is a partial distortion, just like the theatre in which the environment

that people live is being identified (Arnheim, 1957:28). This gives the impression

of real life to a certain degree. Film is simpler and less text, it's quite different for

books and poems, that the story is based on the text which takes more time to

interpret, while film needs further research in order to understand the hidden

meaning of less texts.

10
 Arnheim (1957:29) points out; likewise in film or theater the illusion takes

place, as long as the essential elements of every event are shown, moreover, as

long as the people on the screen are human and live, it is not necessary for us to

have them in front of us as substantial living beings or view them occupy real

space, in other words they are as real as they are. However, in film, objects and

events can be viewed in a live and imaginary way at the same time and simple

lighting patterns on the projection screen as actual objects. After all, this is the

fact if film can be classified as a literature work.

3. Deconstruction

In this thesis, the researcher uses Deconstruction theory by Jacques Derrida in

order to identify the concept of Otherness within the film, based on the characters,

which is the main purpose of this thesis. The word deconstruction was invented in

the late 1960's by the French philosopher Jacques Derrida and influenced America

in the 1970's to the 1980's (Enwald, 2004:50). The term ‘de-construction’ is

closely related not to the term ‘destruction,’ but to the word ‘analysis.’

Deconstructive reading does not imply the weaknesses or stupidities of the writer,

but the need in which what he sees is systematically connected to what he does

not see (Derrida, 1981: xiv).

Deconstruction movements do not destroy the structures from the outside. The

movements are not practical and efficient, nor can have a specific target, even by

dealing with those structures. Necessarily working from the inside, borrowing all

the components from the old structure, borrowing them structurally, in which, this

11
is what the person who started the same work in another area (Derrida, 1997:24).

As Derrida (1981:43) says in his book Dissemination, the textual field out of the

workings of intertextuality or of infinite referral from trace to trace; the re-

inscription, within the differential field of the spacing of theme effects, substance

effects, and content.

Generally, the task of deconstruction reveals the problematic nature of

discourse centered on the part of others to deconstruct phenomenology by

conceptually modifying the limits. While M.A.R. Habib (2005:649) writes that

deconstruction is "a way of reading, a way of writing and, most of all, a way of

challenging the interpretation of texts based on traditional views of the

consistency of the human self, of the external world, and of language and

meaning." It can be said that deconstruction is a way of reading philosophic texts

with the purpose of questioning these texts directly, and forcing the texts to take

role of their own contradictions and exposing the oppositions the texts have

ignored or repressed.

Ghofur (2014:72) considers deconstruction as a new perspective in the

literature study. Deconstruction is exactly an opportunity to develop anything that

has not received attention. Construction also allows any intellectual exploration to

take place without being obligated by a single rule that is considered to be

universally applicable. In deconstruction, reading does not have to start from the

beginning; it can start from anywhere. Reading is made up of several units of

speech deadlock.

12
 While also, Derrida focuses first of all on binary oppositions within a text such

as man / woman, major / minor. Every case of a binary opposition is marginal

because the self-identity of each case is defined as a margin between the two poles

of the binary. Each case is differential, both poles of a binary at once and neither

one exclusively. In the binary opposition of theory and practice, the margin is the

limit where theory and practice both meet and divide, where theory establishes

what it is, its self-identity, in relation to what is other than or different from it

(Ryan, 2019: 12).

Second, it shows how these opposites are related, how one is central, natural

and privileged, the other is ignored, repressed and marginalized. Third, it actually

negates or subverts the hierarchy to mean that the text is ignored or even the

opposite of what it originally appeared to indicate. Finally, in the last step, both

words of the opposition are seen dancing in the free play of non-hierarchical, non-

stable interpretations. Based on the explanation above, the researcher assumes

that, from Derrida’s perspective, there are two steps in the theory of

deconstruction: identifying the opposition, deciding which one is privileged (Ibid,

12).

A. Steps of Deconstruction

Derrida (1981:41-42) explains in his book Position which make the researcher

concludes that there are two steps to deconstruct the text. The first is to identify

the opposition, the second is to decide which one is privileged.

13
 1. Identifying the opposition

Deconstruction should "necessarily" operate "from the inside." According

to Derrida in Ozdemir (2014:62), there are two ways of finding from inside

the text; by pointing out the ignored parts of the texts and then challenging

them, and identifying their contradictions, and dealing with the binary

oppositions used in the texts. In other words, if anyone wants to deconstruct a

text, they should find any significant or essential parts that are underestimated

or ignored and question those parts from different perspectives in order to

create different interpretations.

2. Deciding which one is privileged

After identifying the opposition in the text, the next step is to decide which

side is the privilege. As Marx in Ryan (2019:22), may have claimed that to

privilege interpretation is to limit oneself to "things" at the cost of the

imperceptible social contacts that create them. Deciding the privileged term by

revealing how the repressed, marginalized meaning can also be central. In

order to subvert the original hierarchy from the first term over the second, this

reversal step is required. Derrida (1981:77) implied to change or reverse so

that they can be fair, which allows all sides the right to represent themselves.

4. The Phenomenon of Otherness in the film.

There are some phenomenon’s in the film that assume as the concept of

otherness based on what Augé explained earlier, as follows:

14
 a. Internal use of otherness

Internal use of Otherness is simply put, as Augé (1987) explained that the

distinctness from others. The researcher concludes that this kind of behave which

separated the victim or oppressed from the social common set. In the film, we can

see if the Dracula is trying so hard to hide and vanish the man from his hotel just

because the bad past memory from the Dracula of human. The Dracula also tried

to make over the man, his appearance, to be seen as a monster and said if the man

is normal just like us, thereby, nothing is worried about. As Staszak (2008:1) said,

by identifying ourselves, we identify other people. This directly linked to

‘normality’ objective standards. This explains that "us" is normal, while "they" are

"Other" by generalization, stereotyping and even discrimination in society and

finally produce characteristics of us against them

b. External use of otherness

External use of otherness, as Augé explained, is more radicalistic. It is more

than just distinctness from others, moreover, is excluding and eliminating the

other. For instance, speaking prevention. This kind of behave sometimes applied

to the inferior or marginalize subject by the superior. Speaking prevention is

described in Hotel Transylvania, when the human came to the hotel, in which the

Dracula directly shuts his mouth and blocks his steps in order to make the hotel is

free from human contamination, as what he already declared for years. It is shown

also when the human interacts to his daughter, whereby the Dracula feels so mad

and controls their conversation.

15
 5. Content Analysis

In order to analyze the literary work, the researcher uses content analysis.

Content analysis is a method of analysis to determine how otherness is

represented in film. This method is for analyzing based on the previous content

analysis of the research in which the film was the subject. The content analysis for

the present study is defined as a summary that relies on the scientific method

(including attention to objectivity, reliability, validity, generalizability,

replicability, and hypothesis testing) and is not limited to the types of variables

that may be measured or the context in which the messages are generated or

presented (Neuendorf, 2002:10).

Content analysis is an analysis of messages from different media formats to

make inferences (Weber, 2004). It is suited to the study of popular culture, such as

film, with the aim of developing inferences from various forms of media, such as

books, songs and films (Schutt, 2012).

16
 CHAPTER III

RESEARCH METHODOLOGY

A. Research Method

In order to discover the concept of Otherness in the perspective of

Deconstruction theory based on Jacques Derrida portrayed in the film, the study

uses a descriptive qualitative method. (Sukardi, 2003:11) Descriptive qualitative

is a method of research which trying to picture out and interprets the object as in

the fact. So, in this study the researcher conducts a descriptive qualitative in order

to describe systematically about the fact and characteristic of the object or subject

accurately. It is also called as non-experiment research, because in this research

the researcher does not need to give control and manipulate the research variable.

B. Source Of Data

The source of the data in this thesis is a children’s film, Hotel Transylvania,

which directed by Genndy Tartakovsky and storied by Todd Durham. Published

in 2012, the film is inspired by the novel Motel Transylvania written by Todd

Durham.

C. Research Instrument

In this research, the instrument is the researcher himself. The researcher

interprets the film, take a note in the scenario and find the portrayal of the concept

of Otherness in the characters of Hotel Transylvania.

17
 D. Data Analysis

The data analysis is divided into two: Procedures of data analysis and

Technique of data analysis.

1. Procedures of Data Analysis

In analyzing the data, the researcher applies some procedures as follow:

1. The researcher watches the film Hotel Transylvania more than once.

2. The researcher identifies the representation of characters in the concept of

Otherness by the perspective of Deconstruction theory based on Jacques

Derrida in Hotel Transylvania, in which, identifying the opposition, then

deciding which one is privileged.

3. The researcher analyzes the data using content analysis, as follows:

a. The researcher makes a group of the phenomenon of otherness

based on characters in the film.

b. Then, the researcher takes the necessary parts of the script as the

analysis object, including the dialogue.

c. Finally, the researcher strengthen the explanation by reasons why

those datum are fitted into the concept of otherness.

2. Technique of Data Analysis

In analyzing the film, the researcher applies the concept of Otherness in the

perspective of Deconstruction theory based on Jacques Derrida. The researcher

uses this concept to explore the representations of characters as Otherness in Hotel

Transylvania.

18
 CHAPTER IV

FINDINGS AND DISCUSSION

A. Findings

This part presents the results of a data analysis of the concept of Otherness in

Hotel Transylvania based on Deconstruction Theory. The researcher uses the

terms ‘Datum’ towards explaining the categories of the phenomenon appeared in

the film. There are 21 datum here, and will be explained in the discussion’s

section.

In order to deconstruct the characters, the researcher classifies the steps of

deconstruction as follows; first to discover the opposition and second decide the

privilege one, and then to change them in order to achieve a new sense of meaning

that is often missed in the text. Result and solution are parts of Derrida’s theory in

deconstructing meaning due to answer the research question of this study. The

following are the detail explanation of the datum based on the classification of

Otherness issues:

1. Binary Opposition

Based on the film through the characters, the binary opposition is between

Dracs (Monster) vs Jonathan (Human). Those characters lead the conflict between

monsters kind vs human kind in the film. The following are the datum that the

researcher found:

19
 Dracula (Dracs)

Datum 1: Judging human subjectively

00:09:41

Dracs: …and another successful year of refuge from them! These are recent
human images our surveillance has uncovered. They are getting fatter so
as to overpower us. And they are wearing less clothing, allowing more
movement to strangle us or cut open our heads and put candy in them.
But they will never find us here. Evil villain, you will never win!

Dracs is trying to convince all monsters that humans are dangerous and their

enemies forever. He was collecting human’s photograph randomly then make a

made up story, creating a bad image of humans, in front of all monsters.

Unfortunately, all monsters believe to him without any doubt.

Datum 2: Convince Mavis that what he told ever since is right

00:15:50

20
(Dracs made the zombies acting like a human to scare Mavis.)
Dracs: lt worked. Now my baby will be safe forever.

It is Mavis’ birthday, she is trying to tell her father if she is old enough to

explore world, including to see human’s place. But Dracs never gives her a chance

to do so. He already thought if her daughter will insist him, so, he made a fake

human village near the hotel, with all zombies were taking a role as human who

carrying all her phobia, like garlic, and other weapons to get Mavis away. Then,

he did it. Now, Mavis trusts and proves that humans are really sadistic.

Datum 3: Generalizing all humans to be carrying a weapon

00:21:28
Dracs : What weapons are you keeping in this container? Your
pitchforks? What is this? A torture device? A secret mind
controller? You won't read my thoughts.

Jonathan : l won't let you. Dude, it's just music.

Jonathan, the human, is suddenly coming to the hotel. Dracs is directly hiding

him and trying to prove if Jonathan is carrying a weapon in his backpack, as what

21
he believed ever since. In contrary, Jonathan is different. He is just a traveler who

lost to the hotel by chance, and never want to hurt or even kill monsters.

Datum 4: Do not want to admit about his bad perception to human is not

totally correct.

00:22:20
Dracs: And Mavis, if she saw you, she would know that l lied. No!

Fact that Jonathan is a different kind of person makes Dracs frightened. Dracs

starts to think how to get Jonathan away before other monsters see him.

Datum 5: Underestimate and distinct human kind

00:45:25
Frank: And it was so nice seeing Mavis laughing and hitting it off with him.

22
Dracs: Who's hitting what off? Please. Mavis could never be with someone of his
kind.

The way Dracs said that make a big distance between monsters-kind and

human-kind. He generalize people based on their kinds. Humans are bad, so as

Jonathan is.

Jonathan (the human)

Datum 6: Generalizing all monsters would be killing human

00:25:44
Jonathan : Please don't kill me. I'm so young. I have so many places l want
to see.
Dracs : Shut up already. It's impossible for me to think with all your
noise.
Jonathan : Wait. Aren't you going to suck my blood?
Dracs : Classic human paranoia. Human blood is so fatty, and you never
know where it's been.
Jonathan : So, Dracula doesn't drink blood?
Dracs : No, l use a blood substitute. Either near Blood or Blood Beaters.
You can't tell the difference.
Jonathan : So, wow, you're, like, the real Count Dracula. Like, "I'm Dracula.
Bleh, bleh-bleh."

23
Dracs : I've never said that in my life. "Bleh, bleh-bleh." l don't know
where that comes from.

Humans have an image about monsters. They represent monsters as cruel and

cold blooded killer. Including Jonathan, he thought the hotel is a Halloween place

or monsters festival that arranged by human. After knowing he meets the real

Dracula, he tried to ask for forgiveness from Dracs.

Datum 7: Humans make a legend and trust on that even it is a wrong

00:54:35

Jonathan : There's a whole legend around that lady.

Dracs : A legend?

Jonathan : The Lady Lubov. The story is that a lonely count met her by
chance, and they say that no two souls were ever more meant for
each other. Eventually, they settled down at CastIe Lubov and had
a child. But then, a horrible tragedy happened. A fire started
mysteriously one night, and it killed both of them. When l was at
the castle, l could still feel their powerful love. They say it's as if a
soul is still trapped in the ruins themselves.

Dracs : The legend is wrong. It was only the wife that died. And it was no
mystery who killed her. She was killed by your kind!

24
 After knowing that Mavis has a feeling to Jonathan. Dracs think he has to

tell the reason why he hate human-kind so much. Dracs is trying to show Jonathan

his and his wife photograph. But before that, Jonathan is telling a story about

Dracs’s wife, as he believed as a legend to all humans. In fact, it is a wrong

legend. The story is totally different.

2. Decide the privileged

Based on the explanation in the second chapter, the next step of

deconstructing is deciding which on the privileged, central, or superior, and the

rest is the repressed, marginalized, or inferior, as follows:

Dracula (Dracs)

Datum 8: Make over Jonathan to look like a monster

00:23:12
Dracs: This is totally normal, not a problem here. This is just a monster with me.

In order to get Jonathan away from the hotel silently, without any monsters

realized. He has to change Jonathan’s appearance to look exactly like monster, as

what they recognize as ‘normal’.

25
Datum 9: Block all Jonathan’s spaces to get closer to other monsters

00:35:35
Frankenstein : l think my cuz is gonna make this the best party ever!
Murray : Yeah! Maybe he can find a way to get me some chicks.
Other monsters : We should do a dance contest!
Dracs : We're not doing any of that. We've got to stay on
schedule, all right?

Dracs’ plan to get Jonathan out from the hotel is messed up. Indeed, other

monsters even like him, and think that he is fun. However, Dracs limits all

Jonathan’s moves to get closer to all monsters. He seems not happy and nervous

to see Jonathan getting closer to other monsters. So, one of his way to get him out,

is spy on what Jonathan’s doing and trying to distance them from Jonathan.

Datum 10: Being a dictator

00:52:41

26
Suits of armor : Sir, he made it into the kitchen.
Dracs : He what? What do l pay you for? l'm sorry, honey. I have to go.
Suits of armor : He doesn't pay me.

There has a moment that one of a monster, Quasimodo, knows if Jonathan is a

human. So, Quasimodo kidnap him and trying to roast him as a dinner menu.

Dracs, who start to like Jonathan, prevents Quasimodo. He commands his staff,

suits of armor, to chase Quasimodo. Unfortunately, they failed. Then, the scene

reveals how Dracs, a boss of the hotel, act like a dictator to all his staff.

Datum 11: Attacking the one who wants to reveal his secret

00:53:32

Quasimodo: A human! A human! Monsieur Dracula has brought a human into

the... (Then he is freezing, and cannot speak).

Quasimodo is yelling to tell all monsters if Dracs is a liar. So, Dracs, with his

power, freeze him down with the aim that Quasimodo keeps silent.

After two steps of deconstruction is done, then the researcher subverts the

hierarchy or changes them in order to prove that both kinds, human and monster

kind, are projecting each other, as follows:

27
 Dracula (Dracs)

Datum 12: Finally, admit what he thought about human is not totally correct

00:49:54
(Dracs and Jonathan are laughing)
Dracs: Who is that guy, Sir Breaks-a-lot? Oh, boy, l have to say, that was fun.
Okay?

Dracs gets madder, and detains Jonathan to arrange hundreds of tables in

the dining room. But still, Jonathan finds a way to make everything is fun. Then,

unconsciously Dracs gets into it and starts to like Jonathan’s personality.

Datum 13: Then admit to everyone if not all humans are bad

01:07:54

28
Dracs: I know l lied. I was wrong. But you have to believe this: Johnny wasn't a
bad guy. The truth is, l don't even know if humans are bad anymore.

The secret is revealed. Everyone knows if Jonathan is a human. All monsters

then start to leave the hotel and ask a refund. However, Dracs realized if Jonathan

is bringing a good impact to monsters especially his daughter, Mavis.

Consequently, he admits and apologizes to all monsters about his lie.

Datum 14: Realize if humans don’t hate them

01:15:10
Franks : Listen, before anything else, down there's the real
Dracula! Drac's daughter's in love, and he's got to
get to the airport! And he can't get through this
crowd! So, people, if you really are our friends,
clear a path for the man!

Human in Dracula’s suit : Okay. All Draculas, line up. Bleh, bleh-bleh.
Everyone else, lift the capes. Protect our friend.
Bleh, bleh-bleh.

People in Festival : Go get 'em! Go, Drac, go! We love you, Dracula!

In the way to get Jonathan, they stuck of people’s festival in the town.

They are trying to scare humans as what they believed, only power could control

them. Sadly, they are not scared at all. However, Franks tells everyone to help

29
Dracs to get to Jonathan. Then, Dracs realizes that he was wrong to generalize all

humans are dangerous.

Human in general

Datum 15: Wrong representation about monsters

01:16:40

The TV : Tell me, do you dream of being a vampire?

Dracs : This is how we're represented. Unbelievable.

When Dracs is trying to chase Jonathan in a plane, he sees a film in the

cabins TV. He did not expect monsters representation to be that way.

Mrs. Eunice (Frankenstein’s wife)

Datum 16: Describe human only by what she heard from Dracs

00:13:42

30
Aunt Eunice: Excuse me. Drac! Have you lost it? Letting your own daughter out
there with those horrible humans you always tell us about? That's
why you built this place. They hate us. They're vicious. And they're
very loud!

Every monsters believe that humans are harmful. All is because Dracs told

them that way. However, when Mavis is trying to explore outside to see how

beautiful world is, Aunt Eunice is trying to prevent her.

Datum 17: Confused with all the oppositions from what Dracula had said
ever since.

01:08:13

Aunt Eunice: He's not talking to you. First you tell us humans are bad, now
they're good. What else? Up is down, cold is hot, gremlins don't smell.

After Dracs admits and apologizes, all monsters, including Franks, is

confused. They never think if what Dracs had said is the opposite. They think that

they are too rude to generalize if humans are all bad.

31
Datum 18: Cannot understand each other because of “an aircraft cabin
windows”

01:16:57

Jonathan : Wait, it's talking. Dracula? Is that you? Dracula. I can't

understand you.

Dracs : What? My hand's in a tan shoe?

Jonathan : What? Japan's eating lamb stew?

When Jonathan is on his way to home, Dracs is chasing him to the plane. At

the time, they are trying to communicate, but there is an aircraft cabin windows

between them. However, they could not understand a word by each other.

The last is the researcher finds some solutions regarded to this issues. The

datum are as follows:

32
 Mavis

Datum 19: Believed that humans are not as bad as what they think

00:13:50

Aunt Eunice : They hate us. They're vicious. And they're very loud!

Mavis : Auntie Eunice, maybe they've changed.

Even all monsters believe how bad humans are, Mavis has a different

opinion about them. She thinks if it was an old story, she believe humans are not

all villain, and maybe could have changed now.

Datum 20: Trying to connect monsters and humans

01:01:19

Mavis : Maybe l want to give the village another chance. I just need to learn,
you know, just how to roll with it, like Johnny does.
Dracs : No, no, you can't go to the village again.

33
Mavis : Maybe you can make them see that we could be friends.
Dracs : No, that isn't possible.
Mavis : Well, you can't be sure. It’s all in how you present yourself.
Dracs : No, that won't make a difference!
Mavis : How do you know?
Dracs : Because it just won't!
Mavis : Why? Why won't it?
Dracs : Because that village doesn't really exist!

Dracs is trying to join the fun things with other monsters. Suddenly, he sees

Jonathan is kissing with her daughter. It makes him so mad. Dracs and Mavis then

have an argument. Mavis really does not understand why her father really hate

Jonathan. Mavis believe every bad things that we think of them is all in how we

present ourselves. Surprisingly, all the secrets are revealed here. Dracs admit if it

was a lie about the human village. He made that up to protect Mavis from human

cruelty. But it made everything messed up.

Datum 21: Could accept a diversity

01:03:32

Mavis : ls it true? Are you a human?

Jonathan : Yes. I'm so sorry.

34
Mavis : I don't care. I still want to be with you.

Jonathan is telling the truth if he is a human. But it makes Mavis to be more

like him. Unless, he is being honest. She does not really care with that, all she

knows is Jonathan is a good person.

B. Discussion

Some researches had done within this film as the object. However, those

recent researches focused on how parental fear is describe in the film, with the

representation of Dracula as a father or parent. If we are as viewers, watching this

film, we could probably blame human in the first place, because the story leads us

that way. However, the researcher deconstructs and finds that what happened in

the past time has no guarantee to re-happen in nowadays, even if it is from similar

origin. It is just a bad past memory from Dracula, then he brings that perception

until now, and generalizes humans are all the same. Likewise humans are also

having their own perspective of monsters.

Derrida (1981:41-42) explains in his book Position, which the researcher

concludes, that there are two steps to deconstruct the text. The first is to identify

the opposition, the second is to decide which one is privileged.

The first step in the study of deconstruction is to find the opposition. There

is clearly an opposition in the film, in which, monster-kind vs human-kind. Both

side of them are having their own perspective and representation of the other kind.

Dracula as the leader of all monsters makes a bad representation, based on his past

time memory, about human-kind and influences all monsters to think that way.

(D.1), (D.2) and (D.16) showed that how Dracula is trying to create a bad image

35
about human-kind, based on his relations to human at past, and it manages to

make the monsters think so. He is without hesitate making a fake human village to

prove his words about how dangerous human is.

Then, after he knows the truth about Jonathan is different with humans on

his mind, he won’t admit his wrong. He prefers to keep that secret and tries to get

the human out from the hotel as shown in (D.4) and (D.9). (D.10) and (D.11)

showed that he also would do anything to keep the secret.

(D.3) and (D.8) revealed that how Dracula treats the other kind, which is a

human-kind. He even suspects Jonathan carrying a weapon to kill monsters. He

also tries to change someone’s appearance to be like them in order to look normal.

Because normal means friends, and the opposite indeed an enemy. This term has

the exact meaning like what the researcher had explained in the first chapter about

normality, in other words, us vs them. In (D.5) is clearly shown how Dracula

assume other kind, human-kind, is inappropriate to be with his kind. This datum is

really fitted to the explanation about projecting ourselves identity is how we

project other’s identity, because when Dracula thinks that way, as a result he

thinks that his kind is better than them.

On the other hand, (D.6) and (D.7) indicated that humans also represent

monster-kind based on what they think monster is. Humans believe in legend and

myth about how horrified monsters are. In contrary, the fact of the monsters here

is the opposite. However, not only monsters represent human-kind. They

represent each other kind based on what they describe the other, even though is

not true.

36
 (D.12), (D.13) and (D.14) revealed that all facts and representations from

each other kind are all reverse. Dracula realizes human is not all the bad from the

first place he met Jonathan. While it strengthen the proof when they are in the

human’s festival to see how friendly and helpful humans are. On the other side,

Jonathan proves that all myths and legends are not all true. We could not

generalize someone by their kind or origin, (D.15) is the best proof how wrong

representations made.

As the result of misinterpretation to other kind, (D.17) showed how the

impact would be. Sometimes not all parties would believe the fact about other’s

bad representation. But, fear is had them to do so. Fear of the leader, or fear of

endangered lives, etc. However, if the fact is revealed, and the leader is proven

lying, people will be confused, then they will think clearly without any

intervention.

In every issues, there is always be a solution. In this film, we could find a

character who will mediate to the problem solving. She is Mavis. (D.19), (D.20)

and (D.21) showed that how we could actually solve the problem of this issue.

Dracula and all monsters believe how bad humans are, but Mavis think

differently. Mavis also tried to connect and clear up the conflict between monster

and human. She believe it is all just how we present ourselves, and never have a

negative thought of the other, since we are not be able to prove it ourselves.

(D.18) revealed that the only way to connect two different types of perception is a

good communication. The last thing is we need to accept diversity, because we are

37
not the only creature in this world. We could never be better than others just

because our genesis or kind. Better is measured by qualities, not origin.

As a common viewer, we are thinking of this film as a notion of how super

protective parent in rising his daughter towards any threat that comes to his

daughter’s age. However, inside of this film, there is an idea of Otherness concept

based on what the researcher had explained on the previous paragraph. To come

up with the Otherness concept, the researcher deconstruct the meaning beyond the

characters, and relation to other characters.

The film shows us how misunderstanding through other people

representation could give a huge impact in our mind. Other people representation

is all depends on what we want to think it is. The researcher also believes if this

concept of otherness will lead us to the notion ‘Don’t judge a book by its cover’.

While the cover that appeared in our mind is based on our own thinking in the

first place. However, if we could stop hating, or distinct other people, we could

stop any discrimination or even war that will raise caused of this issues, and

together we could create peace in this beautiful life.

38
 CHAPTER V

CONCLUSION AND SUGGESTION

After analyzing the results and the discussion of the research in the previous

chapter, conclusions and suggestions were taken. The conclusion was made on the

basis of the formulation of research question, while the suggestion was expected

to provide knowledge to the next researchers who interested in further work in this

field.

A. Conclusion

After analyzing the data, the researcher concludes the result of this research

that otherness concept based on deconstruction theory in Hotel Transylvania

appeared in the conflict of monsters and human. The researcher could likely say if

this film contains the practical of otherness, in which, internal and external use,

that not all viewers could realize it. Besides, in the film, the character of Dracula

is represented a figure that intimidating other people is not allowed for whatever

reasons. Accepting diversity and start to create a good communication among

others are the way to erase the concept of us vs them, superior vs inferior, east vs

west, radicals vs moderates, and other similar forms which could create conflict or

hostility, in contrary, creating love in this beautiful life.

B. Suggestion

Based on the conclusions above, the researcher would like to give several

suggestions:

39
1. The researcher suggests for the next researcher who will make the similar

research about otherness using deconstruction approach can use this result of

study to undertake further research.

2. The researcher recommends that the readers can analyze the other types of

literary work. For example, novel, poem, drama etc.

3. The researcher hopes that through this thesis, that readers will be able to learn

how to apply the critical reading in defining otherness in a literary work.

4. Finally the researcher suggests for the students of English and Literature

department could analyze the other aspect of literary work by using

deconstruction, so the other are able to know other aspect of deconstruction

represented in literary work.

40
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43
 APPENDICES
Judge human subjectively
Dracs : I am so glad you are here to celebrate. Another birthday for my
sweet little Mavis, and another successful year of refuge from
them! These are recent human images our surveillance has
uncovered. They are getting fatter so as to overpower us. And they
are wearing less clothing, allowing more movement to strangle us
or cut open our heads and put candy in them. But they will never
find us here. Evil villain, you will never win!

Dracs represents Jonathan as other humans

Dracs : A human. Who are you? And how did you find this place?
Jonathan : I'm Jonathan. And l was just mountain climbing with some
dudes... ...and heard this story about a spooky forest. And who's not
going to go into a spooky forest, right? So, then I see these goofy-
looking dudes on fire. And l just kind of followed them to this,
like, amazing castle. But, of course, be smart. No bonfires, no
firework shows.
Dracs : How many of you are there?
Jonathan : Just me. I like to hit it alone. You meet so many awesome people
in the youth hostels. Hey, speaking of awesome, that cape thing is
killing it. Is there, like, a costume party here?
Dracs : What have l done? This is all my fault. You have to leave.
Jonathan : Oh, no.
Gremlin : Excuse me. One of your piranhas in the lake is very rude. He ate
my sister-in-law.
Dracs : Be right with you.
Hydrabergs : Mr. Dracula, we asked for a room with a view of the pool. The
room's fine. We want to book a massage. -Yes, Swedish. -Shiatsu.
-Aromatherapy. -Lower back. -Do you have hot-stone? -We want a
massage.
Dracs : I'll get back to you, Mr. Hydraberg.
Hydrabergs : l hope so. -I doubt it. -See that you do. -That's Ms. Hydraberg.
-Thanks.
Dracs : Yes, nice to see you.
Franks : Dude, seriously, what's up? It's kind of funky to breathe under
here. Drac. Hey, Drac. How'd it go with Mavey? Hey. Where'd you
go?
Jonathan : Wow! This room's kind of small for a big castle. No bed, but
check out these awesome dustpans they give you.

44
Dracs : Quiet, you fool. What weapons are you keeping in this container?
Your pitchforks? I can't breathe. It's killing me.
Jonathan : Yeah, definitely due for a fluff and fold.
Dracs : What is this? A torture device? A secret mind controller? You
won't read my thoughts.
Jonathan : I won't let you. Dude, it's just music. Here, try it.
Dracs : It's taking my soul!
Jonathan : What? It's a good jam. Don't be a grandpa.
Dracs : You need to go. No human has ever entered this castle. And if
someone should see you, the safety of the hotel, the sanctuary, no
one would ever come again.
Jonathan : Yeah, go for it. "Ever come again!" I love your Dracula voice. It's
so over the top.
Dracs : And Mavis, if she saw you, she would know that I lied. No!
Jonathan : Who's Mavis? Is this her room? I'm good with a roommate. I had
six brothers growing up, so l could totally share.
Dracs : I can't kill him. It would set monsters back hundreds of years.
Jonathan : One time, in Hamburg, I roomed with this dude who l caught
stealing my shampoo. I said, "Whoa, man," and he threw a flower
pot at me, but he was cool.
Dracs : What are you babbling about?
Jonathan : What? Whoa. Check out these awesome costumes.
Dracs : Costumes.
Jonathan : What's this? Sorry, man. I just can't be without my backpack. You
know, everything I owns in there.
Dracs : It'll be right here.
Jonathan : Okay, I just... I love my backpack. Whoa. Hey, what are you
doing?
What are you... What are you doing to my hair? Stop. Oh, wait,
that tickles. Come on, man.
Check it out. l'm a Franken-homie.
Dracs : Yes, hello.
Jonathan : Look at me!
Dracs : This is totally normal, not a problem here. This is just a monster
with me.

Underestimate other kind

Dracs : Didn't I tell you guys we'd have fun in here? Is this not the best?

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Werewolf : Yeah, I'm working up a nice sweat.
Murray : When's that Johnny kid gonna be done party planning?
Griffin : He's a great hang.
Franks : Yeah, he's an animal. And it was so nice seeing Mavis laughing
and hitting it off with him.
Dracs : Who's hitting what off? Please. Mavis could never be with
someone of his kind.
Franks : I'm sorry? "His kind"? You're saying our kind's not good enough
for you, "Your Lordship"?
Dracs : No, no, no! Frank, l didn't... I meant that she wouldn't be into
someone with such red, curly hair.
Griffin : What's wrong with red, curly hair?
Dracs : Why are you getting upset?
Griffin : I have red curly hair!
Dracs : Well, how was l supposed to know that? Look, settle down, fellas.
This is all a moot point because Johnny, he left.
Franks : Wait a minute. He left?
Dracs : Yes. He decided he didn't like Mavis, or any of us.
(Then Johnny fall from the roof to the sauna room)
Jonathan : Hi.
Franks : I guess Johnny had second thoughts.

All the opposites of what Dracula had said

All monsters : Where is my bill? -Over here. l'm next. -l'm checking out. -Take
my key! Take my key!
Werewolf : What is this minibar charge?
Mrs. Werewolf: Honey, the kids threw the minibar out the window.
Werewolf : And that's our fault?
Mrs. Werewolf: Well...
Murray : Excuse me! Pardon, yeah. Excuse me, l got a couple of people to
express mail.
Dracs : Friends, please, stop.
Murray : It's too late, rat-bat!
Dracs : Please, l'm begging you. l need you to help me find Johnny.
Werewolf : The human? He could've killed us!
Murray : He touched my guitar!
Griffin : He put his hand in my mouth to see if it would disappear.
Old Gremlin : He let me eat his scooter!

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Dracs : l know l lied. l was wrong. But you have to believe this: Johnny
wasn't a bad guy. The truth is, l don't even know if humans are bad
anymore. Frank, come on, buddy. You understand.
Mrs. Eunice : He's not talking to you. First you tell us humans are bad, now
they're good. What else? Up is down, cold is hot, gremlins don't
smell.

Generalized all monsters would be killing human

Mavis : Who is that?
Dracs : Who is what? Oh, that. That is nobody.
Mavis : Seriously, Dad?
Jonathan : "Dad"?
Mavis : Yeah, l know, Dracula's daughter. Everyone freaks out at first.
Jonathan : Dracula?
Dracs : Okay, we got to go.
Jonathan : Please don't kill me. l'm so young. l have so many places l want to
see. l've got tickets to six Dave Matthews Band concerts. l'm
getting out of here.
Dracs : Shut up already. lt's impossible for me to think with all your
noise. Sorry, Glen. Go back to sleep.
Jonathan : Wait. Aren't you going to suck my blood?
Dracs : Classic human paranoia. Human blood is so fatty, and you never
know where it's been.
Jonathan : So, Dracula doesn't drink blood?
Dracs : No, l use a blood substitute. Either near Blood or Blood Beaters.
You can't tell the difference.
Jonathan : So, wow, you're, like, the real Count Dracula. Like, "l'm Dracula.
Bleh, bleh-bleh."
Dracs : l've never said that in my life. "Bleh, bleh-bleh." l don't know
where that comes from.
Jonathan : Can l just ask, what exactly is this place? What is this place?
Dracs : lt's a place l built for all those monsters out there, lurking in the
shadows, hiding from the persecution of humankind. A place for
them and their families to come to and be themselves. A place void
of torches, pitchforks, angry mobs. A place of peace, relaxation
and tranquility.
Jonathan : Cool. So, it's like a hotel for monsters?
Dracs : Yes, exactly. "A hotel for monsters."
Jonathan : Way to sum it up.
Dracs : Okay, hop on my back. We're leaving.

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Jonathan : Oh, man, you're a bat now. l always wanted to fly. What's it like?
This is insane. Wait. Wait, l want to stay. Can Frankenstein sign
my costume? Can l meet the lnvisible Man? Hey, if l stuck my
hand in the lnvisible Man's mouth, would it disappear?

A legend created by humans

Dracs : There's something l need to show you.
Jonathan : Wow. Hey, are we at a funeral right now? Oh, wait, no, it's your
bed. So creepy and cool. Wow! l know her! l've seen that picture at
the ruins of Lubov. That's my favorite castle. There's a whole
legend around that lady.
Dracs : A legend?
Jonathan : The Lady Lubov. The story is that a lonely count met her by
chance, and they say that no two souls were ever more meant for
each other. Eventually, they settled down at CastIe Lubov and had
a chiId. But then, a horrible tragedy happened. A fire started
mysteriously one night, and it killed both of them. When l was at
the castle, l could still feel their powerful love. They say it's as if a
soul is still trapped in the ruins themselves.
Dracs : The legend is wrong. lt was only the wife that died. And it was no
mystery who killed her. She was killed by your kind!
(Flashback)
Humans : Vampire!
Mrs. Dracs : Honey?
Dracs : Go hide. l'll take care of this.
Humans : Vampire!
Dracs : Martha! They are the real monsters. l built this place for my love,
to protect her child. As a father, you do everything to keep your
family safe, even if you have to break their trust. But now, Mavis
has feelings for you.
Jonathan : What? I just... Awesome.
Dracs : It's all right. You are a good one. lf the world was different,
maybe it would be possible.
Jonathan : Drac, this is the 21 st century. People aren't the same as they were
back then.
Dracs : Can you tell me for certain that if we came out in the open,
everyone would accept us? Everyone?
Jonathan : No. You're right. l'll go for good this time. You can just say l had
some emergency, or the gremlin lady ate me or something.

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Dracs : No, no, no, no, no. l don't want to ruin her birthday party. You
can sneak out after it's all done.
Jonathan : l'm sorry. The last thing l wanted was to hurt her. Or you.

Mavis tries to connect monster and human

Dracs : How could you? After l shared my pain with you?
Jonathan : But, no...
Mavis : Dad, it was just a kiss.
Dracs : No, you're not allowed to kiss.
Mavis : Dad, l'm allowed to do things. l'm not 83 anymore. l'm allowed to
like people, or go see the world again.
Dracs : What? You saw it! You said you didn't like it!
Mavis : Maybe l want to give the village another chance. l just need to
learn, you know, just how to roll with it, like Johnny does.
Dracs : No, no, you can't go to the village again.
Mavis : Maybe you can make them see that we could be friends.
Dracs : No, that isn't possible.
Mavis : Well, you can't be sure. lt's all in how you present yourself.
Dracs : No, that won't make a difference!
Mavis : How do you know?
Dracs : Because it just won't!
Mavis : Why? Why won't it?
Dracs : Because that village doesn't really exist!
Mavis : What do you mean "doesn't exist"? What did you do?
Dracs : l did what l had to do.
Mavis : What was it? What exactly did you have to do? Tell me!
Dracs : l... l built the town. The staff put it all together. The zombies
dressed up as the townspeople. Please. lf you really went out there
and something happened to you, l just couldn't live with myself.
Mavis : But you can live with this? Lying to me? Tricking me? Keeping
me here forever when you knew my dream was to go.

Accepting a diversity
Quasimodo : Liar! Liar!
Murray : Oil?
Eunice : English, please. Your voice is really annoying.
Fly : Wait, l speak frozen. He says, "Dracula has brought a human into
the hotel."
Mrs. Gremlin : A human?
Mr. Gremlin : Stay close, pookie!

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Fly : He says, "There is ze human." He has a French accent.
Franks : Johnny's not a human. He's my right arm's cousin. He's lying.
Griffin : Yeah. And why is he picking his nose?
Fly : He says, "lt's a long story."
Jonathan : Hey, wait, no! Get off me!
Fly : He says, "Behold ze human."
Franks : l don't believe it.
Mavis : ls it true? Are you a human?
Jonathan : Yes. l'm so sorry.
Mavis : l don't care. l still want to be with you.

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 AUTOBIOGRAPHY

Ashril awwab was born in Jakarta on April 19th 1998

as the first son from M. Adli Alhakim and Ni’mah

Alkaf. He has one brother, namely Fikran Hafidz,

and a sister, namely Meydina Asra. He started his

study at SDN Model Terpadu Madani Palu and

graduated in 2010. In the same year, he continued his

junior high school at SMP Al-Azhar Palu and

graduated in 2013. Then, he continued his study at MAN 2 Model Palu and

graduated in 2016.

In 2016, he enrolled himself in State Islamic University of Alauddin Makassar, as

a student of English and Literature Department of Adab and Humanities Faculty.

During his study, he was active in several social communities, and organizations,

such as ELIOTS LETTERS as a President in 2017-2018, UKM Kopma UINAM,

Trash For Class (TFC), WastEdu or Waste Education, and POSSIBLE HUB in

collaboration with YSEALI. He was also participated and collaborated in some

projects in English and Literature Department, such as Accreditation Team in

2019, Community Engagement, and event organizer in several Seminar.

If you have any question related to his thesis, you may contact him in

[email protected].

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