Television dramas will often interweave stereotypes into the series as audiences will already have an idea of what to expect. This is done so that audiences will be able to quickly understand characters or ideas without the writers having explain. Nic Pizzolatto’s 2014 southern gothic crime drama, True Detective, is about two detectives, Rustin ‘Rust’ Cohle and Martin ‘Marty’ Hart, who are being questioned in 2012 about a bizarre murder case in 1995. These characters are constructed to challenge the pre-existing stereotypes of conventional heroes in society and film through Pizzolatto’s use of narrative conventions to construct and challenge these stereotypes. This helped by director, Cary Fukunaga through his usage of filmic codes and conventions.
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An example of this is when Marty is asking about Rust’s beliefs and he replies, “We are things that labour under the illusion of having a self … programmed with total assurance, that we’re each somebody. When, in fact, everybody’s nobody.” The phrase suggests that humans are deluded into thinking they are special but in the end, they are all just the same product of nature. Fukunaga helps emphasis this meaning by using dim lighting, dark colours and body language. Dim lighting is used because it helps provide tension and maintains a serious atmosphere. This along with the dark clothing, dark blue car, and the grey/black car interior shows that this scene is not supposed to be humorously interpreted. Rust’s body language of looking out of the window while speaking, instead of facing Marty shows that Rust is not looking for a reaction and understands that other people do not share this worldview. Rust only wants to communicate to Marty that he thinks this way. Marty on the other hand, often looks at Rust in confusion and occasionally shakes his head in disagreement, showing that he does not agree or understand with this philosophy. An example of Rust’s …show more content…
Rust challenges this dominant stereotype as is shunned by the people around him and as a result, he is withdrawn and isolated from society. This is constructed through characterisation and setting. When Marty first enters Rust’s home, Rust says “I’d offer you a seat, but uh...” This suggests that Rust does not usually have people in his house and it is likely that he did not expect Marty to come over either. Not having somewhere to sit down suggests Rust does not have any intention to entertain guests. Rust’s home is shown as having only the bare necessities for a person. In the scene, Fukunaga portrays the room with plain white walls, boxes of books related to criminology, and an absence of photos or artwork. His house could be a physical representation of his mind, rarely letting anyone in, deprived of any joy, and only contains things he deems as necessary in his life. The décor of Rust’s home suggests that he is withdrawn from society, but has accepted his loneliness. This is further emphasised by him spending is leisure time improving on his job. Rust’s characterisation of his personality and the symbolism of his home challenges the dominate stereotype of a hero who is generally loved by society. Also, from an anthropological viewpoint, humans genetically predisposed to rely on each other for various life sustaining purposes; going against this idea suggests that there is something wrong or
An example of this is when Marty is asking about Rust’s beliefs and he replies, “We are things that labour under the illusion of having a self … programmed with total assurance, that we’re each somebody. When, in fact, everybody’s nobody.” The phrase suggests that humans are deluded into thinking they are special but in the end, they are all just the same product of nature. Fukunaga helps emphasis this meaning by using dim lighting, dark colours and body language. Dim lighting is used because it helps provide tension and maintains a serious atmosphere. This along with the dark clothing, dark blue car, and the grey/black car interior shows that this scene is not supposed to be humorously interpreted. Rust’s body language of looking out of the window while speaking, instead of facing Marty shows that Rust is not looking for a reaction and understands that other people do not share this worldview. Rust only wants to communicate to Marty that he thinks this way. Marty on the other hand, often looks at Rust in confusion and occasionally shakes his head in disagreement, showing that he does not agree or understand with this philosophy. An example of Rust’s …show more content…
Rust challenges this dominant stereotype as is shunned by the people around him and as a result, he is withdrawn and isolated from society. This is constructed through characterisation and setting. When Marty first enters Rust’s home, Rust says “I’d offer you a seat, but uh...” This suggests that Rust does not usually have people in his house and it is likely that he did not expect Marty to come over either. Not having somewhere to sit down suggests Rust does not have any intention to entertain guests. Rust’s home is shown as having only the bare necessities for a person. In the scene, Fukunaga portrays the room with plain white walls, boxes of books related to criminology, and an absence of photos or artwork. His house could be a physical representation of his mind, rarely letting anyone in, deprived of any joy, and only contains things he deems as necessary in his life. The décor of Rust’s home suggests that he is withdrawn from society, but has accepted his loneliness. This is further emphasised by him spending is leisure time improving on his job. Rust’s characterisation of his personality and the symbolism of his home challenges the dominate stereotype of a hero who is generally loved by society. Also, from an anthropological viewpoint, humans genetically predisposed to rely on each other for various life sustaining purposes; going against this idea suggests that there is something wrong or