Renegade Hero or Faux Rogue

The Secret Traditionalism of Television Bad Boys

Nonfiction, Entertainment, Television, Performing Arts, Social & Cultural Studies, Social Science, Cultural Studies, Popular Culture
Cover of the book Renegade Hero or Faux Rogue by Ashley M. Donnelly, McFarland & Company, Inc., Publishers
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Author: Ashley M. Donnelly ISBN: 9781476614632
Publisher: McFarland & Company, Inc., Publishers Publication: April 22, 2014
Imprint: Language: English
Author: Ashley M. Donnelly
ISBN: 9781476614632
Publisher: McFarland & Company, Inc., Publishers
Publication: April 22, 2014
Imprint:
Language: English

This book explores the presence of the anti-hero in mainstream dramatic serial television. It offers critical examinations of Dexter, Sons of Anarchy, True Blood, Breaking Bad, and Boardwalk Empire. What purpose might such unusual protagonists serve in today’s culture and what do their tales tell about U.S. political and economic issues from 2008 to 2012? The author discovers how the characters that seem initially so different prove to be strong examplars of established forms of power, such as white patriarchy and late capitalist interests. The study finds that even when the characters are groundbreaking fictional figures, they are all eventually written into submission by the narratives of their series, echoing the same tales of fictitious heroism recycled in American television narratives for decades. New trends in television narratives are discussed—with the expectation that perhaps future dramas will free audiences from oppressive narratives rather than continue to normalize them.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

This book explores the presence of the anti-hero in mainstream dramatic serial television. It offers critical examinations of Dexter, Sons of Anarchy, True Blood, Breaking Bad, and Boardwalk Empire. What purpose might such unusual protagonists serve in today’s culture and what do their tales tell about U.S. political and economic issues from 2008 to 2012? The author discovers how the characters that seem initially so different prove to be strong examplars of established forms of power, such as white patriarchy and late capitalist interests. The study finds that even when the characters are groundbreaking fictional figures, they are all eventually written into submission by the narratives of their series, echoing the same tales of fictitious heroism recycled in American television narratives for decades. New trends in television narratives are discussed—with the expectation that perhaps future dramas will free audiences from oppressive narratives rather than continue to normalize them.

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