The Anti-hero Narratives In Film: American Society Research Paper

The Anti-hero narratives in film: how it became popular in American society
Introduction
The concept of heroism and anti-heroism can well be discussed from different perspectives such as sociological, historical, ethical, political as well as psychological dimensions. From the initial perception, all the characters in opposition to the hero always seem to be anti-hero. However, there is the aspect whereby the various protagonists are referred to as anti-hero by critics after detailed analysis. There is the relationship that exists between a sense of duty and ethics, from such a perspective, the consideration of hero in legends as well as epics is seen as the medium that sets the level of role models in the society (Vermeulen et al. 10). Such settings result in antihero that focuses on the negatives of heroism fitting best to the uncertainty of wars whereby the theme of individual anti-heroism prevails.
Historically, there have been various types of heroes that erupt at different ages. For instance, in the age of epics, various antiheroes are created possessing certain traits, the same applies to the age of romances. There is a uniqueness that surrounds every antihero that easily relates to the period of action. In the 20th century, the post-war period led to the development of a new personage that entails a world view of different emotional as well as a mental process resulting from a negative perspective of life as per the antihero (Vermeulen et al. 14). Further, the antiheroic tradition as per the views of Dostoevsky portrays the nature of an alienated individual struggling to make meaning out of their lives.
The traditional heroes were considered to be morally pure in comparison to anti-heroes who appears to have morally complex characteristics. The anti-heroes are associated with the display of hero-like characters that causes multitude to admire them (Jonathan). Conversely, they also act in manners that are at times regarded as morally questionable or rather bad behaviors. Some of the examples of such characters may include Jack Bauer, Bonny, Clyde as well as Tony Soprano amongst other characters featured in films and television series. The Affective Disposition Theory (ADT) as applicable in the explanation of the process of narrative enjoyment asserts that some of the characters from the motion pictures have moral flaws which qualify them to be approached by less positive disposition as compared to the traditional hero narratives (Raney). Such a perspective would eventually result in less enjoyment of these characters from the audience. However, from the practical point of view depending on the research that had previously been done, there is tremendous support for the anti-hero narratives as compared hero narratives.
According to the ADT theory, the aspect of positive disposition as relayed upon protagonists acts as a prerequisite for emotional attachment (Raney). Such dispositions are based on moral examination of the character and motivation behind every behavior as per the traditional narratives. However, proof from previous research refutes the claim as part of antiheroes. This is since the audience scrutinizes antiheroes based on the character evaluation just as previously discussed in this study. At some point, viewers are capable of identifying with protagonists through the formation of dispositions towards antiheroes that enable them to enjoy narratives. As previously shown in this study, the aspect of being positive towards character acts as a prerequisite for enjoyment that makes the audience to build every necessary disposition around antiheroes. Despite the flaws in the character of antiheroes, the audience can still strive to see antiheroes through their morals. In this case, the concept of character identification drives the enjoyment of the narratives. However, ignorance towards the morality of antihero when overlooked by the audience, may lead to experiences of cognitive distress as well as interfering with the enjoyment of the narrative. The distress can only be avoided through the justification of different aspects of moral decadence whereby, identification of character influences antiheroes. The aspect where the audience identifies with antiheroes shows that viewers can identify with antihero moral complexity since they see some aspect of reality (Vermeulen et al. 14).
There are several factors as identified by some research studies that promote anti-heroism. Such factors include identification, personality traits as well as moral disengagement amongst other factors (Shafer). These provide a formula probable for the enjoyment of the antihero narrative that is different from traditional hero narratives. There are a number of narrative formats that are resourceful for such information such as text, short video clips and television series, which provides a unifying model for the anti-heroism support. It is also important to explore the extent to which anti-heroism is perceived from the emotional perspective and through cognitive assessment before being enjoyed by participants. For instance the characters from archetypical antihero protagonist that seeks revenge through violence disrespect to authority as well as the display of questionable behavior.
The past decade has seen entertainment scholars trying to extend the explanations of affective disposition theory beyond traditional hero narratives. This is done to reinforce the understanding towards the support of antihero narratives. There is a generalized model that tends to explain the impact of the antihero narrative enjoyment process. Research study reveals the consistency between the enjoyment model and at the same time highlights the role of the individual-difference that shows violence as one of the predictor’s of situational moral disengagement, which leads to character identification as well as liking, which ultimately directs towards massive emotional support (Shafer). In the American context, the popularity of anti-hero seems to be built upon identification that seems to be the process through which dispositions are built towards antihero character, as opposed to moral judgments.
The development of different kinds of narratives in anti-heroism considers morality as a key ingredient in the process of enjoying characters from traditional heroes. Some of the major considerations are those who feature in crime and punishment narratives. The ADT asserts that in normal circumstances the audience usually develops interest on characters displaying some moral uprightness (Raney). There is the situation where positive emotions activate empathetic concern for the various characters that eventually generates some sympathetic bond with the audience, especially during trials. In such an instance, the majority tend to take sides with morally upright characters and the opposite being true to the immoral. Such an exhibition of moral distinctiveness presents some level of moral amnesty where the audience has an emotional choice over characters.
Importantly, the various narratives where famous characters receive a reward for their actions are considered a success as compared to the strong feelings towards the same characters. This is since the actions are what the society considers as moral uprightness that deserves to be rewarded. Those who display high moral standards are considered as winners at the end of the journey. Such an existential level of trust in moral justice defines a very crucial part of feelings towards dramatic narrative.
However, eminent differences exist depending on the nature of the anti-hero stories. The anti-heroes are usually identified by some level of ambiguity, moral complexity and impurity that they exhibit contrary to the traditional heroes. If in any case, the audience considers moral ground as a dictate towards motivation as well as behaviors, then this creates a big disadvantage to anti-heroes. It is important that morality becomes a key factor that guides the character capable of attracting audiences. The other important factor that guides the explanation on anti-hero character is identification. The aspect of identification helps in predicting the nature of emotions towards antihero narratives, however, the audience at times perceive anti-heroes as presenting real situations as compared to near-perfect traditional heroes. The studies by (Konjin and Hoom 107) shows that characters represented as ambivalent appear more realistic contrary to those represented as a purely good or bad character. The anti-heroes are considered “ambivalent” since they encompass some level of weaknesses that do not flow with the social conventions. Despite, these characters are at times admirable, though unconventionally working towards some level of greater goodness. They seem easier to relate to owing to their nature on moral complexity and increase in identification.
The idea of portraying a hero in his/her defeated character possess some level of humane insecurity rather than an aspect of epic virtues has been the center of attraction after World War II. The anti-hero is presented as people with villain characters such as cynicism, brutality as well as ruthlessness. The heart and emotions of the antihero are represented as a conventional hero. The mental conflict of the audience tends to relate the different episodes that compose narratives. The antihero is identified as the source of the principal character in all modern narrative works and portrayed as having the qualities of the traditional hero. In essence, they are presented as having less concern to honesty, courage and often in constant confusion on morals. The antihero is a true reflection of the modern man’s ambivalence on social morals. The antiheroes are identified with criminal behavior alongside being depressed as well as being self-absorbed. Further, the antiheroic protagonists are identified by being without identity as well as self-determination. In simple terms, the antihero represents a simplified cutout character within a narrative.
Further, the queer theory is also used to expand on antihero explanation since it emanates from gender relations studies and evidently focuses on postmodernism. However, some critics argue otherwise by stating that gender results from the cultural set-up. From the critic’s perspective, sex as a means of diving gender is already considered a gendered system in itself. They consider sex to be a biological category and at the same time represents a cultural category. The division of human as male and female is done solely to suit the economic requirement that lends a natural view on gender (Butler 153). Moreover, it is also important to identify this study with post-postmodernism, which is a millennial school of thought. According to Kirby (34), the aspect of post-modernism reduces its meaning when it comes to pop culture. Kirby views the contemporary society from the technological advancements that ensure rapid shift into a society that demands illusionary participation. From the television perspective, it is evident that the current audience seems glued to reality shows as well as self-awareness drama that instills some intrinsic reality in an individual. Kirby’s pseudo-modernism concept tends to demarcate reality and fiction as well as the disparity between culture and history. His logic of reasoning points to technology infested era, where moving pictures are an easy consumption to a mindless consumer. Anti-hero narratives with no clear heroic morality became popular in American films in the 1900s as audiences related the anti-hero stories in real lives and realized that justice could be understood in many ways.
Factors Contributing to the Popularity of Anti-hero Narrative Films in the American Society
* Anti-hero narrative films corelate to people’s experiences in life
Among the factors contributing to the rising popularity of anti-hero narrative films in the American society is the fact people can relate to the roles played by such characters from their personal experiences. These anti-heroes possess different estranged characters easily viewed as either good or bad. They simply develop their characters that could enable them to achieve results that they consider to be just regardless of the law. This presents some aspect of subjective results that call for their agreement. However, there should be an understanding of the concept that antiheroes think differently when it comes to societal morals. According to the model provided by Kohlberg, there are always three levels of moral thinking. The first level is the pre-conventional level where individuals consider their behaviors as productive. At this stage, morality is measured by the level of satisfaction of individual needs. Then there is the conventional level that carries the majority. At this level, people recognize the rule of law within the community and people identifies with groups that uphold the rule of law. Then there is the post-conventional level where individuals who are morally upright uphold moral values as well as principles apart from the authorities. At this level, there is a clear perspective on community morals and societal values, therefore, makes moral decisions from the inside. Such model qualifies antihero as falling under the category of post-conventional thinkers. For instance, the antiheroes from the American society are identified with rebellion which contradicts the qualities from the traditional heroes. The antiheroes from American society seem to be very selfish and share both good and evil characters that make them appear human. This is contrary to traditional heroes who appeared more flawless and invincible.
The film industry was first to incorporate the aspect of the war-torn character before the television. There were also other forms of anti-hero such as the socio-political landscape of immediately after World War II that led to the establishment of the American Maverick coined by Neil Anderson as the American Hero based on morality grounds. The hero as presented does not reflect an anti-hero by default but is a product of traditional morals as per history. The adoption of moral principles by American Maverick was never their choice but forced down their throats (Anderson 30-31). However, the American Maverick is an anti-hero likened to the 18th Century Romantic hero that was used for the process of maintaining a unifying factor hence preventing cases of revolution. Even though there is no complete connection between the American Maverick and the anti-heroes seen on televisions currently, there is a particular hero whose character enabled the construction of modern anti-hero that is represented by the bad boy image. However, there are some anti-heroes in modern society that represents a bad character but still retain the essence of moral justness such as Daryl Dixon.
The existence of the antiheroes is considered a crucial element within the modern, post-modern as well as existential eras. The national tradition of the anti-hero character is eminent in this novel as experienced from the 1960s. Several events punctuated the era such as the Vietnam war, civil rights movements and the elaborate application of hallucinogenic drugs including the existence of the hippies all mark the nature of political environment within ...