Vatina Sinda/1205030247

6B/Irony of Character

Napoleon Dynamite (2004)

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Deconstructing the Eccentricity: Analyzing the Strangeness of the Main Character in

Napoleon Dynamite through Poststructuralist Humanities Theory

I. Introduction

"Napoleon Dynamite" is a comedy film released in 2004, directed by Jared Hess. It

gained a cult following and became known for its quirky characters and offbeat humor. The
film is set in the small town of Preston, Idaho, and follows the life of Napoleon Dynamite,
an awkward and socially inept teenager. The characteristics in this film demonstrate how a
comedy film can convey statements about morality, philosophy, and society. "Napoleon
Dynamite" portrays the theme of morality through its characters. Napoleon Dynamite, the
main character, is a teenager who faces social pressures and moral dilemmas in his daily
life. He is confronted with moral choices, such as the pressure to conform to others or
remain true to himself. Through his struggles, the film teaches the importance of integrity
and loyalty to oneself. The philosophical aspect in "Napoleon Dynamite" is related to
existential questions and the search for meaning. Napoleon Dynamite is often seen as a
character who tries to find his identity and place in a complex world. The film explores
themes of emptiness, a sense of insignificance, and the struggle to find meaning in the
seemingly monotonous everyday life. "Napoleon Dynamite" presents a unique and
sometimes satirical portrayal of rural life in the United States. The film highlights themes
such as social stereotypes, conformity pressures, and social isolation. The characters in the
film face social struggles in finding their place within their community, which often creates
tension between the desire to be different and the need for acceptance. The characteristics
of "Napoleon Dynamite" reveal how a comedy film can address moral, philosophical, and
social themes. The film explores the importance of integrity, the search for meaning, and
the challenges of social acceptance in a unique and often humorous way.

In the intriguing world of "Napoleon Dynamite," there exists a character whose

peculiarities have captured the attention of the writer to do more deeper analysis into this
character. Napoleon Dynamite himself stands as a remarkable embodiment of quirkiness
and idiosyncrasies, making him an intriguing subject to explore within the realms of moral,
philosophical, and social statements prevalent in the film. His distinct qualities resonate as
a captivating portrayal of the human condition, prompting us to delve into the depths of
his character through the lens of poststructuralist theory within the realm of humanities.

Napoleon's unique persona disrupts the conventional norms and expectations of

society, acting as a vehicle for societal critique and examination. His awkward demeanor,
offbeat fashion choices, and unconventional interests challenge societal standards,
questioning the validity of conformity and emphasizing the need for individuality and self-
expression. By embracing Napoleon's eccentricity, the film prompts viewers to reflect on
the limitations imposed by societal constructs and the potential for liberation through self-
acceptance. Drawing upon poststructuralist perspectives within the realm of humanities,
we can analyze how Napoleon's character defies fixed meanings and binary classifications.
According to Jacques Derrida, poststructuralism emphasizes the fluidity and multiplicity of
meanings, deconstructing established norms and highlighting the power dynamics
inherent in language and discourse. By exploring Napoleon's unconventional identity and
his resistance against social categorizations, we can uncover the ways in which societal
structures seek to control and marginalize those who do not conform to the norm.

The examination of Napoleon's eccentricity through a poststructuralist lens invites

us to question the construction of reality and the influence of power in shaping societal
perceptions. Through his interactions with other characters, Napoleon challenges social
hierarchies and exposes the arbitrary nature of social distinctions. His unconventional
behavior disrupts prevailing power dynamics, exposing the constructed nature of societal
systems and opening up discussions on the complexities of human existence. By analyzing
Napoleon Dynamite's peculiarities and their interconnectedness with the film's moral,
philosophical, and social statements, we embark on a journey of exploration into the
nuances of his character. Through the lens of poststructuralism, we uncover the
significance of his eccentricity as a catalyst for societal critique and as a representation of
the fluidity of human identity. This analysis sheds light on the complexities of the human
experience and invites us to question the structures that shape our understanding of the
world.

II. Analysis

II.1. Narative element (Post Structuralism Jacques Derrida analyze Characterization : The
Strangeness In Napoleon Dynamite)
a. Destabilization of Identity

Napoleon Dynamite cannot be clearly categorized or placed within rigid stereotypes. He is

an awkward teenager, but he possesses unique and unexpected aspects. His character
challenges essentialist ideas about identity and demonstrates that human identity cannot
be reduced to static or fixed categories. Derrida's deconstruction encourages questioning
and challenging established norms to uncover the underlying power structures and
assumptions Napoleon's unconventional behavior and refusal to conform to social
expectations can be viewed as a form of resistance to oppressive norms.

(Napoleon ask the staff to borrowing his the phone to call his grandmother at 06:58 -
07:23)

Napoleon : hey, could I use your guys phone for a sec?

Staff : Is there anything wrong?

Napoleon : I don’t feel very good

From the screen capture about it can be clearly seen how the awkwardness caused by
Napoleon's presence unfolds when he says, "I don't feel very good." He uses a flat
expression and it makes facial expressions that reveal in the staff that have the phone
booth facial expression of strange because he appears to be perfectly fine as well.

(Napoleon do something unexpected behaviour 19:05 - 19:25)

Napoleon : Are you gonne eat your tots?

Pedro : No

Napoleon : Can I have’em?

Pedro : ‘noods’

The scene where Napoleon takes food for Pedro and puts it in his pocket is unexpected and
shows Napoleon's noncompliance with social norms that govern everyday actions. By
storing food in his pocket, Napoleon performs an unusual act and violates the common
expectations of how food should be served and consumed. In this context, the scene
demonstrates Napoleon's disobedience towards societal norms.

b. Language and Meaning

Derrida's emphasis on the instability of language and the multiplicity of meanings can
shed light on Napoleon's communication style. Napoleon often uses ambiguous language,
non-verbal cues, and unconventional expressions, making it difficult to pin down his exact
intentions or meanings. This aligns with Derrida's idea that language is inherently slippery
and that meaning is always deferred or open to interpretation.

(Napoleon make his own language 29:46 - 29:57)

Deb : What are you drawing?

Napoleon : A liger

Deb : What’s a liger?

Napoleon : It’s pretty much my favorite animal, its like a lion and tiger mixed, bred for its
skill in magic
Deb : hmm

In this scene napoleon try to combination the lion and tiger and makes dab questioning
about what is liger, and this is proff how napoleon did’nt use word for the exact intentions.

(Napoleon speak unconventional language 17:42 - 17:52)

Napoleon : So me and you are pretty much friends by now, right?

Pedro : Yes?

Napoleon : So, you got my back and everything

Pedro : What?

Napoleon : Nevermind

In here Napoleon try to describe how he will make a friends with someone, how he
Imaginate being have relationship such as friend with someone, but the way he express it,
is really uncommon and become strange.

c. Identity an outsider

Derrida's notion of differance, which highlights the constant play between identity and
difference, can be applied to Napoleon's character. Napoleon is often seen as an outsider,
someone who doesn't fit neatly into established categories or social groups. His identity is
marked by difference, as he navigates the complexities of adolescence and tries to find his
place in the world.
 (Napoleon do play the ball all alone 06:24)

In this scene is fulfill the proof that napoleon has his own world and be the person who
does’nt fit with the other student.

(Napoleon finally have friend 17:42)

Napoleon : So me and you are pretty much friends by now, right?

Pedro : Yes

Napoleon finally have friend but still outsider by a people because they behaviour as same,
unsual than the others.

d. Subverting Hierarchies

Napoleon Dynamite's character challenges traditional hierarchies and power structures.

Derrida's deconstruction seeks to expose and disrupt hierarchical relationships that
privilege certain groups over others. In the film, Napoleon's unexpected triumphs, such as
winning the dance competition, can be seen as a subversion of hierarchical expectations,
where the underdog emerges victorious.

(Napoleon show his dance and have a lot of appreciation 01:20:37 - 01:23:02)
 II.2. Cynematic elements

In analyzing the peculiarities of the main character Napoleon Dynamite using a

poststructuralist humanities theory approach, we can also observe how the film's
cinematic language supports the representation of his peculiarity. Some cinematic
elements that can be analyzed are:

a. Visual setting

The film "Napoleon Dynamite" employs a distinctive visual setting to emphasize the
uniqueness of the main character. The use of muted colors and same usual costume
combinations creates an eccentric aesthetic that sets Napoleon apart from his
surroundings. This defies visual conventions and reflects Napoleon's distinctive
characteristics visually.

b. Composition of shots

The composition of shots in the film often

reinforces the peculiarity of its characters.
For instance, the use of loose framing and
asymmetrical compositions provides an
unconventional visual tone that mirrors
Napoleon's uniqueness. The utilization of
negative space and placing the character in
the center of the frame also highlights Napoleon's feelings of often being alienated and
separate from others.

c. Character cinematography
The way Napoleon is captured on film also enhances his peculiarity. The use of close-up
shots to highlight his awkward facial expressions and scenes that depict his thin and
disproportionate body create a contrast with the idealized beauty we often see in
mainstream films. This showcases Napoleon's physical differences and portrays his
unconventional identity.

III. Conclusion

In analyzing the characterization of Napoleon's eccentricity using poststructuralist theory,

particularly influenced by the works of Jacques Derrida, we discover that the film
"Napoleon Dynamite" conveys several moral, philosophical, and social messages. These
messages can be identified within the narrative and the portrayal of Napoleon's character.
The film challenges societal norms and expectations by celebrating individuality and
nonconformity. Napoleon's eccentricity and refusal to adhere to conventional standards
highlight the importance of embracing one's uniqueness and resisting pressures to fit into
predefined molds. This sends a moral message about the value of authenticity and self-
acceptance. The film explores the limitations and constructed nature of identity.
Napoleon's character defies categorization and conventional definitions of success or
social status. Through a poststructuralist lens, the film questions the stability and
fixedness of identity, emphasizing that identities are fluid and subject to societal
constructs. This philosophical message invites viewers to reflect on the complexity of
human identity and the impact of societal norms on self-perception.
Reference

Hacer, A. K. E. R. (2022). Deconstruction in film analyses: Poststructuralism, Derrida and

cinema. Kaygı. Bursa Uludağ Üniversitesi Fen-Edebiyat Fakültesi Felsefe Dergisi, 21(1), 333-
353.

“Napoleon Dynamite” (2004) . Wikimedia Foundation. 11 June 2023.

https://en.wikipedia.org/wiki/Napoleon_Dynamite