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Heroes and outlaws in literature
Examples of an outlaw hero
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Dexter and Green Arrow In the essay “The Thematic Paradigm, “Robert B. Ray discusses how American films have traditionally reflected fundamental patterns and contradictions in the myths and values of society. Americans are drawn to characters that possess two traits within in one character: the official hero and the outlaw hero. While the characters and story lines differ in movies or television shows, there are three types of characteristics that define the outlaw and official hero type. The first characteristic is aging: The outlaw heroes portray childlike qualities. They are more emotional, lack responsibility, freedom, trusting and naïve. In opposition, the official heroes embody adulthood characteristics: sound reasoning and judgment, …show more content…
wisdom from experience, responsibility, less freedom and tend to be indecisive. The second characteristic is society and women: The outlaw hero distrust civilization and is typically represented by women and marriage. The outlaw hero is unsettled and unmarried. The official hero is worldly, settled in society and has either a girlfriend or is married. The third characteristic is politics and law: The outlaw hero’s motto is “I don’t know what the law says, but I do know what’s right and wrong.” In contrast, the official hero’s motto is “We are a nation of laws not men” or “No man can place himself above the law” (Ray 450-454). There are two characters from two different television shows that follow this theory of split hero personalities in one character. Dexter Morgan, from the HBO series “Dexter” and Oliver Queen also known as Green Arrow, from the television series “Arrow.” While the story lines are very different they both follow the pattern and traits of the official and outlaw heroes. Although Dexter does possess some of the qualities of Ray’s theory, he is not a perfect fit.
Dexter Morgan is a Forensic Expert who specializes in blood splatter analysis working for the Miami Police Department. He was adopted at a young age by Harry Morgan, who was a detective, and his wife. When Dexter is in his teens, Harry discovers that Dexter is killing animals and tries to help him stop this behavior. After a period of time Harry realizes that Dexter is unable to suppress these urges so he provides Dexter with some structure, a code to follow. He trains Dexter how to hunt murderers without being caught. This is where the vigilante, outlaw hero personality evolves for Dexter. The “code of Harry” is what Dexter refers to throughout the series. He only kills serial killers that fall through the system. The code is that he also has to be certain the killer is guilty and leave no evidence behind, do not get caught. Dexter is a sociopath and is unique compared to most hero types. While he does lead a respectable, responsible life as Forensic Expert, his official hero role is forced and fabricated since he is unable to have the normal feelings that people have in relationships. He is liked by his friends and coworkers, respected in his field at work, at one point has a wife and family and follows the law in his daily life. As the outlaw hero, Dexter works alone and takes the law into his own hands by tracking the serial killer himself and once captured, he confronts them …show more content…
about what they have done and usually kills them in a setting or manner that coincides with the way they had killed their victims. This is justice in his mind and also fulfills his sociopathic urge. He is calculated and very thorough not to leave any evidence behind. He respected Harry as a father and by living by “Harry’s Code” he feels he is making his father proud, this represents the childlike side of the outlaw hero. Unlike Dexter, Oliver Queen fit’s the hero role in Ray’s theory.
Oliver, a billionaire, living in Starling City is also the vigilante, Green Arrow. Both have the same goal, to right the wrongs of his family and restore Starling City to its former state. The series begins when Oliver, presumed to be deceased, returns home after being shipwrecked on a remote island for five years. During his time on the island, he was trained to fight and hunt. Upon his return home, he finds a book of his deceased father’s, which contains a conspiracy to take out a section of the city known as the Glades. He makes a vow to right the wrongs of his family and becomes the vigilante, Green Arrow. He protects his identity by wearing a hood and hiding his in the darkness. Along with his bodyguard and chauffeur Diggle he creates a headquarters for his operations in the lower level of his home and begins to take the law into his own hands by tracking and capturing criminals. This represents the outlaw hero side of this
character. Prior to the accident Oliver, a selfish playboy , made poor choices. After he returns home, he adapts back into his life and takes on an adult, responsible role as part of the family business. He has close relations with women and eventually becomes engaged to Felicity, who is part of his vigilante team. He runs for Mayor an effort to keep his vow to restore the city against an opponent who is part of the criminal world. Oliver represents the official hero as he is abiding by the law, he is responsible and respected by the community. Both of these characters have similarities. They are upstanding citizens in society, have families and relationships with women, strive for justice and betterment of the cities in which they live. These traits represent their official hero persona in the series. In regards to the outlaw hero, both individuals have a secret life in which they still strive for justice and the betterment of their cities, however, they are vigilantes taking the law into their own hands They take risks and make decisions based on the what they think is best not what’s necessarily the responsible or law abiding methods. Dexter works alone, however, Arrow does eventually work with several others who keep his identity a secret and support his vigilante efforts. Dexter, a sociopath, adds another level or persona to these characters. This is not a hero persona, but the fact that he follows the “code of Harry” allows him to be considered as a character in this comparison.
In “The Thematic Paradigm,” University of Florida professor of film studies, Robert Ray, defines two types of heroes pervading American films, the outlaw hero and the official hero. Often the two types are merged in a reconciliatory pattern, he argues. In fact, this
My analysis begins, as it will end, where most cowboy movies begin and end, with the landscape.Western heroes are essentially synedoches for that landscape, and are identifiable by three primary traits: first, they represent one side of an opposition between the supposed purity of the frontier and the degeneracy of the city, and so are separated even alienated from civilization; second, they insist on conducting themselves according to a personal code, to which they stubbornly cling despite all opposition or hardship to themselves or others; and third, they seek to shape their psyches and even their bodies in imitation of the leanness, sparseness, hardness, infinite calm and merciless majesty of the western landscape in which their narratives unfold.All of these three traits are present in the figures of Rob Roy and William Wallace--especially their insistence on conducting themselves according to a purely personal definition of honor--which would seem to suggest that the films built around them and their exploits could be read as transplanted westerns.However, the transplantation is the problem for, while the protagonists of these films want to be figures from a classic western, the landscape with which they are surrounded is so demonstrably not western that it forces their narratives into shapes which in fact resist and finally contradict key heroic tropes of the classic western.
The image created for the outlaw hero is the “natural man.” They are adventurous but also wanderers, and loners. Outlaw heroes are more likely to commit a crime, use weapons and carry guns. The outlaw hero represents self-determination and freedom from conflicts. On the other hand, the official hero is portrayed to be “the civilized” man. He often follows the norms of society, and has typical roles such as a lawyer, teacher, and family man.
In “The Thematic Paradigm,” Robert Ray explains how there are two vastly different heroes: the outlaw hero and the official hero. The official hero has common values and traditional beliefs. The outlaw hero has a clear view of right and wrong but unlike the official hero, works above the law. Ray explains how the role of an outlaw hero has many traits. The morals of these heroes can be compared clearly. Films that contain official heroes and outlaw heroes are effective because they promise viewer’s strength, power, intelligence, and authority whether you are above the law or below it.
As with most vigilantes, Arrow is ultimately a criminal. Although he is saving innocent lives and tries to keep corruption at bay, by doing so, he is still killing people. A series of flashbacks help the audience understand his passion for repairing his wealthy families wrongs. He gets shipwrecked alone on an island after he watches his father kill himself to save his own life.
Every generation has its own heroes that display, what they believe to be, ideal characteristics. While each is different in their own way, many of these role models share similar qualities. Most tend to have courage, strength, compassion, or another respected trait, but this is not necessarily why they win the adoration of their followers.
Jesse James and Billy the Kid are almost perfect examples for the definition of outlaw. Billy and Jesse lead a life of defiance, always running from the law, their lives clinging to existence, hoping death was not a breath away While running from a governor or robbing a bank, both Billy and Jesse were not the type of men that stop and smell the flowers. It is hard to think that these two men were proud of all they had done, but their choices lead them to become legends and icons of the wild wild west, and their fast lives created senerios in the minds of young and old people everywhere. Their stories were embedded in the history of America, stories of two not so different men.
Westerns have been around for many years. Some would consider westerns to be American classics because they describe early life in a mostly undiscovered America. In class two western films were watched and discussed. These two westerns were High Noon and Shane. On the surface, these movies are categorized as the same genre and look very similar but after further inspection it can be determined that the movies have a lot of differences. Of course, both movies share the same central theme of law versus social order, but the way each movie portrays this central theme is very different. This universal theme between the two movies can be investigated through, setting, violence, view of family, how women perceive guns/violence, and the choice of
Briefly (in several sentences or bullet points) define, compare and contrast the outlaw hero and the official hero as Ray defines them.
In "The Thematic Paradigm", Robert Ray explains how there are two distinctly different heroes, the outlaw hero and the official hero. The official hero embraces common values and traditional beliefs, while the outlaw has a clear sense of right and wrong but operates above the law (Ray). Ray explains how the role of an outlaw hero has many traits. "The attractiveness of the outlaw hero's childishness and propensity to whims, tantrums, and emotional decisions derived from America's cult of childhood", states Ray. (309) Ray also says, "To the outlaw hero's inconsistence on private standards of right and wrong, the official hero offered the admonition, you cannot take the law into your own hands." (312) The values of these two traditional heroes contrasts clearly. Society favors the outlaw hero because we identify with that character more. We see ourselves more so in the outlaw hero than in the official hero. The outlaw hero has the "childlike" qualities that most of us wish we had as adults. To civilians it may seem that the outlaw hero lives more of a fantasy life that we all wish to have.
Somewhere out in the Old West wind kicks up dust off a lone road through a lawless town, a road once dominated by men with gun belts attached at the hip, boots upon their feet and spurs that clanged as they traversed the dusty road. The gunslinger hero, a man with a violent past and present, a man who eventually would succumb to the progress of the frontier, he is the embodiment of the values of freedom and the land the he defends with his gun. Inseparable is the iconography of the West in the imagination of Americans, the figure of the gunslinger is part of this iconography, his law was through the gun and his boots with spurs signaled his arrival, commanding order by way of violent intentions. The Western also had other iconic figures that populated the Old West, the lawman, in contrast to the gunslinger, had a different weapon to yield, the law. In the frontier, his belief in law and order as well as knowledge and education, brought civility to the untamed frontier. The Western was and still is the “essential American film genre, the cornerstone of American identity.” (Holtz p. 111) There is a strong link between America’s past and the Western film genre, documenting and reflecting the nations changes through conflict in the construction of an expanding nation. Taking the genres classical conventions, such as the gunslinger, and interpret them into the ideology of America. Thus The Western’s classical gunslinger, the personification of America’s violent past to protect the freedoms of a nation, the Modernist takes the familiar convention and buries him to signify that societies attitude has change towards the use of diplomacy, by way of outmoding the gunslinger in favor of the lawman, taming the frontier with civility.
Barry, , Keith, and Grant, ed. Film Genre Reader III. Austin, TX: University of Texas Press,
Gina Marchetti, in her essay "Action-Adventure as Ideology," argues that action- adventure films implicitly convey complex cultural messages regarding American values and the "white American status quo." She continues to say that all action-adventure movies have the same basic structure, including plot, theme, characterization, and iconography. As ideology, this film genre tacitly expresses social norms, values, and morals of its time. Marchetti's essay, written in 1989, applies to films such as Raiders of the Lost Ark and Rambo: First Blood II. However, action-adventure films today seem to be straying farther away from her generalizations about structure, reflecting new and different cultural norms in America. This changing ideology is depicted best in Oliver Stone's Natural Born Killers (1994), which defies nearly every concept Marchetti proposes about action-adventure films; and it sets the stage for a whole new viewpoint of action in the '90's.
These people are usually murderers. His sister, a police officer is a very brave and curious person who works very hard to earn her detective shield, just like her father(tv.com). Through a series of events and commentary of the thoughts of Dexter, the author and director attempt to highlight the risks in life, and use Dexter’s thoughts and memories to try to question one’s intentions and actions by using the extreme scale of Dexter’s
The storyline is normally about a hero who comes to a town to bring peace and drive the villains out. A hero is usually seen as a vigilante as he is not told to come to help but does anyway. The hero often appears as a quiet, secretive, mysterious person who may make the audience admire him one minute and dislike him the next, he is also a very smart, cunning and adaptable which are all good values in a hero. The villain is usually fixed to one idea he thinks it is a smart cunning person but in the end is always defeated. Many scenes are set around the Saloon (bar) and there is quite often a romance involved with the hero and a local girl, the villain competing for her affections! There are two different types of villains in typical westerns Native Americans and white villains (cowboys).