Blog Response- The American Anti-Hero

The rise of the anti-hero expanded the realm of the cinematic art, and equipped it with a tie between the events that occur in the real world and the creativity of film making. An anti hero is a reflection of our historical selves. As events heated up in the 20th century, the need for an anti-hero in films quickly arose. The anti-hero within films was a powerful way to depict events and the emotions that tied along with these events. Before anti-heroes were used in films, film makers portrayed real life only through a realistic style of shooting. This included longer shot durations and less cutting. The addition of the anti-hero was an outlet to escape the realistic style, yet still accurately coney events that occurred in the world. Along with that, this also allowed for the escape the overused approach of hero-villain scenario: "The spice of a story, the element that makes it more than simple heroes and villains lies within the character of the Antihero".

This transition of the depiction of real events being portrayed by individuality has increased the emotional output displayed in film. By taking this approach, we become tied to the character as he faces what can be a manifestation of the real world's current problems. These are the most compelling protagonist because although we usually will not be able to relate to them as the audience, we admire their independence and courage. This is exemplified by Travis Bickle in Martin Scorcese's "Taxi Driver".

Travis Bickle is a very unorthodox character, as he clearly is inexperienced at communicating with others. He is secluded not only in a social level, but a mental one as well. He is "a character, who violently deals with being "dislocated"" (Kolker 181). Although his thoughts are very rational to the common audience, within the film his view on life contradicts the people he is surrounded by; he wishes to end the filth that recurs in New York City while others promote it. Although his actions are definitely out of the ordinary and very extreme, we are sympathetic towards him because we understand that he is innocent within his own mind. It is very relieving to the audience that, in the end, he is rewarded for being the couragous and honest character that he consistently is.
The incorporation of an anti hero contradicts the forms of classicism because the purpose of each form is very different. Classicism suggests that things are directly related to one another, and the fast cutting enhances this idea of cause and effect. But with an anti hero, it contradicts classicism because the anti hero is somewhat absorbs these problems within this one character, and through his action he produces the effects. This doesn't necessarily have fast cutting as well; with anti heroes, fast cutting is much more selective. These anti-heros become virtually heroes within the film media, and are accurately chosen as they are symbolic for something larger, hat can be reflected in real life. These characters are inspiring: "the goal of the warrior/hero is not long life, but glorious life followed by glorious death"(Fitch www.usask.ca).