Jelita Dewanty Hendarsyah

CHARACTER AND CHARACTERIZATION IN THE FILM INSIDE OUT BY PETER HANS DOCTOR

Introduction

Character and characterization in the film inside out by peter hans doctor. Analyze characterization and basic emotions in Disney's "Inside Out" via Roland Barthes' semiotic method. Uncover denotations, connotations, and myths of Joy, Sadness, Anger, Fear, Disgust.

Abstract

In the animated film Inside Out explained about various types of emotions, including five basic emotional characters found in the film Inside Out, such as Joy (happy), Sadness (sad), Anger (angry), Fear (fear) and Disgust (disgust or hate). The basic emotions in this animated film will be interpreted by the signs implicit in the film. Mass media are official means and channels as a communication tool to spread news and messages to the wider community. But the media are not only a source of information and entertainment, but are also used as a means of communication. This study aims to find out how to present basic human emotions in the animated film Inside Out. The method used in this research Semiotic analysis method is Roland Barthes's semiotic analysis, by looking at the meaning of Denotation, Connotation, and Myth. The result we can see from the specified criteria, namely physical, fashion and clothing. This research shows that there are denotations, connotations, and myths in the representation of basic emotions in the film Inside Out.

Review

This paper proposes a semiotic analysis of the animated film *Inside Out*, focusing on the characterization and presentation of its five core emotional figures: Joy, Sadness, Anger, Fear, and Disgust. The study aims to uncover how these basic human emotions are visually and symbolically communicated within the film. By employing Roland Barthes' framework of denotation, connotation, and myth, the research embarks on an intriguing exploration of how a popular mass media text articulates complex psychological concepts, which is a commendable and relevant area of inquiry given the film's widespread cultural impact and thematic depth. The methodological choice of Barthes' semiotic analysis is appropriate for dissecting the layers of meaning embedded within a visual narrative like *Inside Out*. The abstract specifies an analytical focus on "physical, fashion and clothing" as criteria for interpretation, which offers a concrete starting point for decoding the characters' representations. However, the abstract could benefit from a clearer articulation of *how* these specific visual elements are systematically mapped onto the denotative, connotative, and mythic levels for each emotion. While the abstract states that the "basic emotions... will be interpreted by the signs implicit in the film," a more explicit outline of the analytical process beyond simply listing the criteria would enhance understanding of the study's rigor. Furthermore, the brief mention of "mass media" feels somewhat disconnected from the core analytical approach to the film; integrating this broader contextualization more tightly with the specific semiotic framework would strengthen the paper's foundational argument. The stated finding that "there are denotations, connotations, and myths in the representation of basic emotions" points towards a successful application of the chosen methodology. For the full paper, it will be crucial to not only demonstrate *what* these specific meanings are for each character but also to thoroughly discuss the *implications* of these findings for our understanding of characterization in *Inside Out*, emotional portrayal in animation, or the film's broader cultural messaging. Future iterations or the full paper would benefit from elaborating on the significance of these interpretations, perhaps comparing them to psychological theories of emotion or existing analyses of the film. A strong concluding discussion that synthesizes these semiotic findings into a cohesive argument about the film's contribution to portraying human emotion would undoubtedly elevate the impact of this promising research.

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