Raymond Reddington, a romanticised criminal on the NBC series The Blacklist
In literature and visual arts, the characterisation of criminals has long been a controversial subject. The romanticisation of villains in fiction has woven itself into the fabric of artistic expression. The concept of “willing suspension of disbelief,” famously coined by Samuel Taylor Coleridge in...
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| Formato: | Tesis de grado acceptedVersion |
| Lenguaje: | Español |
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2024
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| Acceso en línea: | http://hdl.handle.net/20.500.12272/11102 |
| Aporte de: |
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I68-R174-20.500.12272-11102 |
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dspace |
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Universidad Tecnológica Nacional |
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I-68 |
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R-174 |
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RIA - Repositorio Institucional Abierto (UTN) |
| language |
Español |
| topic |
Lengua inglesa Romanticisation Villain Audience response Postmodernity Romantización Villano Respuesta de la audiencia Postmodernidad |
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Lengua inglesa Romanticisation Villain Audience response Postmodernity Romantización Villano Respuesta de la audiencia Postmodernidad Algranati, Gala Raymond Reddington, a romanticised criminal on the NBC series The Blacklist |
| topic_facet |
Lengua inglesa Romanticisation Villain Audience response Postmodernity Romantización Villano Respuesta de la audiencia Postmodernidad |
| description |
In literature and visual arts, the characterisation of criminals has long been a controversial subject. The romanticisation of villains in fiction has woven itself into the fabric of artistic expression. The concept of “willing suspension of disbelief,” famously coined by Samuel Taylor Coleridge in 1817 can be said to invite the reader/viewer to temporarily immerse themselves in the work of fiction crafted by a given author. In addition, this suspension of judgement can be considered to allow for a more profound engagement with fictional narratives, enabling readers to empathise with characters who defy societal norms and, in some cases, embrace a life of crime. The present work purports to discuss some key elements that contribute to the romanticisation of the villain in a publicly acclaimed TV series —The Blacklist—, and to explore the extent to which such elements turned a notorious and wanted criminal, Raymond Reddington, into a romanticised hero. An exploration of the TV series and the mentioned character against the backdrop of audience response and other theories made it possible to conclude that there are some key elements that helped create the romanticisation of Raymond Reddington, the main character in the TV show: (a) the character’s mysterious past which is partially uncovered throughout the seasons; (b) Reddington’s physical description and clothes, manners, and language use, which seem central to his characterisation and appeal; (c) the character’s intelligence and his solid knowledge of criminal operations on a worldwide basis; (d) the impact of postmodernity helping ‘the bad guys’ take over. Raymond exhibits a sense of loyalty to certain individuals while remaining ruthless towards others. He defies conventional morality, fostering in the viewers’ feelings of identification, empathy, allegiance, and alignment, among others., and (e) a powerful finale which cannot be ignored as a clinching element. The treatment of willing suspension of disbelief is, to some extent, beyond the scope of this dissertation because there are some elements that belong to the field of psychology and which therefore call for a vast background in its experimental procedures. Therefore, neither the results nor the final conclusions will make any claim to any universal validity. It is interesting to point out, too, that the study presents some interesting areas that beg much further research. |
| author2 |
Ferretti, Juan |
| author_facet |
Ferretti, Juan Algranati, Gala |
| format |
Tesis de grado acceptedVersion |
| author |
Algranati, Gala |
| author_sort |
Algranati, Gala |
| title |
Raymond Reddington, a romanticised criminal on the NBC series The Blacklist |
| title_short |
Raymond Reddington, a romanticised criminal on the NBC series The Blacklist |
| title_full |
Raymond Reddington, a romanticised criminal on the NBC series The Blacklist |
| title_fullStr |
Raymond Reddington, a romanticised criminal on the NBC series The Blacklist |
| title_full_unstemmed |
Raymond Reddington, a romanticised criminal on the NBC series The Blacklist |
| title_sort |
raymond reddington, a romanticised criminal on the nbc series the blacklist |
| publishDate |
2024 |
| url |
http://hdl.handle.net/20.500.12272/11102 |
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AT algranatigala raymondreddingtonaromanticisedcriminalonthenbcseriestheblacklist |
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1809230354863620096 |
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I68-R174-20.500.12272-111022024-07-04T22:38:04Z Raymond Reddington, a romanticised criminal on the NBC series The Blacklist Algranati, Gala Ferretti, Juan Lengua inglesa Romanticisation Villain Audience response Postmodernity Romantización Villano Respuesta de la audiencia Postmodernidad In literature and visual arts, the characterisation of criminals has long been a controversial subject. The romanticisation of villains in fiction has woven itself into the fabric of artistic expression. The concept of “willing suspension of disbelief,” famously coined by Samuel Taylor Coleridge in 1817 can be said to invite the reader/viewer to temporarily immerse themselves in the work of fiction crafted by a given author. In addition, this suspension of judgement can be considered to allow for a more profound engagement with fictional narratives, enabling readers to empathise with characters who defy societal norms and, in some cases, embrace a life of crime. The present work purports to discuss some key elements that contribute to the romanticisation of the villain in a publicly acclaimed TV series —The Blacklist—, and to explore the extent to which such elements turned a notorious and wanted criminal, Raymond Reddington, into a romanticised hero. An exploration of the TV series and the mentioned character against the backdrop of audience response and other theories made it possible to conclude that there are some key elements that helped create the romanticisation of Raymond Reddington, the main character in the TV show: (a) the character’s mysterious past which is partially uncovered throughout the seasons; (b) Reddington’s physical description and clothes, manners, and language use, which seem central to his characterisation and appeal; (c) the character’s intelligence and his solid knowledge of criminal operations on a worldwide basis; (d) the impact of postmodernity helping ‘the bad guys’ take over. Raymond exhibits a sense of loyalty to certain individuals while remaining ruthless towards others. He defies conventional morality, fostering in the viewers’ feelings of identification, empathy, allegiance, and alignment, among others., and (e) a powerful finale which cannot be ignored as a clinching element. The treatment of willing suspension of disbelief is, to some extent, beyond the scope of this dissertation because there are some elements that belong to the field of psychology and which therefore call for a vast background in its experimental procedures. Therefore, neither the results nor the final conclusions will make any claim to any universal validity. It is interesting to point out, too, that the study presents some interesting areas that beg much further research. En la literatura y en las artes visuales, la personificación de los delincuentes ha sido durante mucho tiempo un tema controvertido. La idealización de los villanos en la ficción se ha entretejido en el entramado de la expresión artística. Se puede decir que el concepto de “suspensión voluntaria de la incredulidad”, acuñado por Samuel Taylor Coleridge en 1817, invita al lector/espectador a sumergirse temporalmente en la obra de ficción elaborada por un autor determinado. Además, se puede considerar que esta suspensión del juicio permite un compromiso más profundo con las narrativas de ficción, permitiendo a los lectores empatizar con personajes que desafían las normas sociales y, en algunos casos, abrazan una vida delictiva. El presente trabajo pretende discutir algunos elementos clave que contribuyen a la idealización del villano en una serie de televisión públicamente aclamada —The Blacklist—, y explorar en qué medida dichos elementos convirtieron a un criminal notorio y buscado, Raymond Reddington, en un héroe idealizado. Una exploración de la serie de televisión y del personaje mencionado en el contexto de la respuesta de la audiencia y otras teorías permitió concluir que existen algunos elementos clave que ayudaron a crear la romantización de Raymond Reddington, el personaje principal de la serie: (a) el misterioso pasado del personaje, que se descubre parcialmente a lo largo de las temporadas; (b) la descripción física y la vestimenta, los modales y el uso del lenguaje de Reddington, que parecen fundamentales para su descripción y atractivo; (c) la inteligencia del personaje y su sólido conocimiento de las operaciones criminales a nivel mundial; (d) el impacto de la posmodernidad al ayudar a “los malos” a tomar el poder. Raymond muestra un sentido de lealtad hacia ciertos individuos sin dejar de ser despiadado con otros. Desafía la moralidad convencional, fomentando en los espectadores sentimientos de identificación, empatía, lealtad y alineación, entre otros, y (e) un final poderoso que no puede ignorarse como un elemento decisivo. El tratamiento de la suspensión voluntaria de la incredulidad está, hasta cierto punto, más allá del alcance de esta tesis porque hay algunos elementos que pertenecen al campo de la psicología y que, por lo tanto, requieren una amplia experiencia en sus procedimientos experimentales. Por lo tanto, ni los resultados ni las conclusiones finales pretenderán tener validez universal. Es interesante señalar, además, que el estudio presenta algunas áreas interesantes que requieren una mayor investigación. Fil: Algranati, Gala. Universidad Tecnológica Nacional. Facultad Regional Villa María. Carrera Licenciatura en Lengua Inglesa, Argentina. 2024-07-04T22:38:04Z 2024-07-04T22:38:04Z 2024-05-22 info:eu-repo/semantics/bachelorThesis acceptedVersion http://hdl.handle.net/20.500.12272/11102 spa openAccess http://creativecommons.org/licenses/by-nc-nd/4.0/ Attribution-NonCommercial-NoDerivatives 4.0 Internacional Atribución (Attribution - BY) No comercial (Non Commercial - NC) Sin obras derivadas (No Derivate Works - ND) Compartir igual (Share Alike - SA) pdf |