Narcissism In Baroness The Antagonist In Cruella Movie (2021): Heinz Kohut’s Perspective

International Journal of English Linguistics, Literature, and Education (IJELLE) Vol. 6, No. 2, December 2024, pp. 146-155 ISSN 2686-0120 (print), 2686-5106 (online) 146 http://journal.univetbantara.ac.id/index.php/ijelle/index Narcissism In Baroness The Antagonist In Cruella Movie (2021): Heinz Kohut’s Perspective Anggita Vina Febriyani a,1,*, Sumayahb,2 a,b Department of English Education, University of Muhammadiyah Surakarta, Sukoharjo, 57169, Indonesia ; 2 * Corresponding Author 1 Received 20 December 2024; accepted 30 December 2024; published 31 December 2024 ABSTRACT This study analyzes the narcissistic traits of Baroness, the antagonist in Cruella (2021), using Heinz Kohut's self-psychology theory. The research aims to (1) identify indicators of narcissism based on Kohut's perspective and (2) examine how Baroness's actions represent narcissistic characteristics. A qualitative method was applied to analyze Baroness's behavior, dialogue, and monologue. Data were collected from the film and supported by psychoanalytic theories, ejournals, and literature on narcissism, with analysis conducted using Miles and Huberman's interactive model. The findings reveal that 23 instances of Baroness's behavior, dialogue, and monologue, categorized into five narcissistic traits: grandiose self (39%) Baroness’s grandiose self through her superiority complex and relentless desire for recognition, lack of empathy (26%), exploitativeness (17%), need for admiration (9%), and narcissistic rage (9%). Her lack of empathy and exploitativeness are evident in her manipulation and disregard for others, while her need for admiration and narcissistic rage highlight her fragile self-esteem and defensive reactions when her authority is challenged. These traits align with Kohut's theory, emphasizing how unmet early emotional needs can lead to pathological narcissism. The study underscores the film's capacity to portray psychological and social issues, providing insights into mental health representations in popular culture and encouraging further exploration of their societal implications. KEYWORDS Narcissism, Heinz Kohut, Cruella (2021), Psychological Analysis, Film Adaptation This is an openaccess article under the CC–BY-SA license 1. Introduction Narcissism has become a big problem in modern society, especially now that people use social media to try to get notice and approval (Nindita et al., 2023). Reflecting more general psychological and social concerns, this behavioural trend sometimes shows as self-centredness, too great self-importance, and a search for validation. Since its story shows how ambition, selfadmiration, and power conflicts support narcissistic behaviour, the 2021 Cruella film is a great tool to examine such inclinations. In the framework of popular media, knowledge of this problem is absolutely essential since films frequently reflect psychological complexity and society ideals (McLean, 2007). Heinz Kohut's self-psychology theory offers insightful analysis of the roots and expressions of narcissism, therefore providing the theoretical framework for this study. Kohut (2013) claimed that narcissism results from unfulfilled emotional demands in early developmental phases, therefore producing an unstable self-image, lack of empathy, and a continual desire for appreciation. Examining the Baroness's actions in Cruella which are marked by grandiosity, exploitative impulses, and a lack of emotional ties to others requires these ideas. The Baroness is a fascinating subject for psychological study since Kohut's theory highlights the part self-object interactions play in the growth of narcissistic features. This study closes the link between psychology, literature, and visual media by using Kohut's framework, showing how films like Cruella function not just as entertainment but also as venues for analysis of human behaviour and psychological diseases. This study is significant because it reveals how modern films depict narcissistic impulses and their applicability to society expectations. Although earlier studies have looked at narcissistic doi :10.32585/ijelle.v6i2.6097 147 International Journal of English Linguistics, Literature, and Education (IJELLE) Vol. 6, No. 2, December 2024, pp. 145-155 ISSN 2686-0120 (print), 2686-5106 (online) tendencies in visual arts and literature, this paper concentrates on the Baroness's character as a singular case of narcissism. Richardson (1969) claims that researching psychological depth and human emotions in literature and films is a complementing process. Tan (2018) adds that films improve their capacity to examine psychological subjects by means of visual and auditory features, therefore expressing feelings and ideas. Through cinematic techniques including lighting, music, conversation, and character development, the conversion of textual materials into a visual form enriches the complexity of the narrative in Cruella and permits a sophisticated examination of narcissism (Conlen et al., 2023). Inspired by Dodie Smith's The Hundred and One Dalmatians (1961) and set against the backdrop of 1970s London during the punk music revolution, Craig Gillespie's 2021 Cruella de Vil depicts the sinister genesis story of Estella's metamorphosis into The story explores Estella's challenges to get noticed in the cutthroat fashion business and the startling disclosure of her background that drives her change into the brave Cruella (Pranaya & Wijaksono, 2023). Although Estella's path shows ambition and rebellion, the Baroness shows up as a major enemy whose narcissistic qualities fuel the tension of the narrative. Her actions—manipulation, exploitation, and emotional detachment—fit very nicely with Kohut's ideas of narcissism, offering a rich ground for psychoanalytic investigation. Often with an eye towards its manifestations and effects, past research have thoroughly examined narcissistic personality disorder (NPD) in many characters across films and literature. For instance, Fasikh et al. (2024) investigated Baroness in Cruella, using the DSM-V framework to analyse her narcissistic features and then spoke about how these affected subordinates and coworkers. Using the dark triad theory, Shalicha et al. (2024) examined the Baroness's dark personality qualities to show how her narcissism supports machiavellianism and psychopathy. In The Devil Wears Prada, Musyarofah (2023) examined narcissism; Kiranamita & Samanik (2021) examined Disney villains, stressing the negative interpersonal consequences of narcissistic tendencies. However, this research gives behavioral analysis top priority over in-depth psychological theories. Some studies, meanwhile, point to complex representations of narcissism. Examining Lucifer Morningstar in Lucifer, Islami et al. (2023) showed how narcissistic features could support personal development and better interpersonal dynamics. Examining Norma Desmond in Sunset Boulevard, Hanafi & Adzhani (2023) underlined the part (...truncated)