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Crime, Hooded Crusaders, and (Private) Justice: Arrow and the Exoneration of Vigilantism in Contemporary Popular Media

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Resumo:Abstract As a form of extralegal crimefighting, vigilantism involves relevant questions about crime, justice, and law enforcement, and it is a staple of popular media. In the 1980s, several popular culture products took a critical approach to vigilantism as a part of the deconstruction of the superhero genre, which included a critical reflection on the psychological and political implications of the motivations behind private justice enforcers’ behavior. In this context, this paper focuses on the representation of vigilantism within the popular television show Arrow, and analyzes how it depicts, rationalizes, and ultimately exonerates vigilantism as a response to criminal activity. The empirical analysis focuses on the various rhetorical strategies used by Arrow to justify vigilantism, such as the representation of legal and governmental institutions as corrupt and inefficient, the multiple rationales whereby vigilantism is practiced, and the sanctioning of private crimefighting by institutions. The analysis indicates that the show delivers an apology for the vigilante ethos: Arrow mirrors superheroes’ dark turn in the 1980s and their reflection of societal fears about crime. However, in the show’s worldview, these fears can only be appeased by private vigilantes. By portraying the state as inefficient and/or corrupt, the show boosts ideologies of individualism and anti-government neoliberalism.
Autores principais:Jiménez-Varea,Jesús
Outros Autores:Pineda,Antonio
Assunto:crime justice vigilantism Arrow
Ano:2022
País:Portugal
Tipo de documento:artigo
Tipo de acesso:acesso aberto
Instituição associada:Fundação para a Ciência e Tecnologia
Idioma:inglês
Origem:SciELO Portugal
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author Jiménez-Varea,Jesús
author2 Pineda,Antonio
author2_role author
author_facet Jiménez-Varea,Jesús
Pineda,Antonio
author_role author
country_str PT
creators_json_txt [{\"Person.name\":\"Jiménez-Varea,Jesús\"},{\"Person.name\":\"Pineda,Antonio\"}]
datacite.creators.creator.creatorName.fl_str_mv Jiménez-Varea,Jesús
Pineda,Antonio
datacite.rights.fl_str_mv http://purl.org/coar/access_right/c_abf2
datacite.subjects.subject.fl_str_mv crime
justice
vigilantism
Arrow
datacite.titles.title.fl_str_mv Crime, Hooded Crusaders, and (Private) Justice: Arrow and the Exoneration of Vigilantism in Contemporary Popular Media
dc.creator.none.fl_str_mv Jiménez-Varea,Jesús
Pineda,Antonio
dc.format.none.fl_str_mv text/html
dc.identifier.none.fl_str_mv http://scielo.pt/scielo.php?script=sci_arttext&pid=S2183-35752022000200133
dc.language.none.fl_str_mv eng
dc.publisher.none.fl_str_mv Centro de Estudos de Comunicação e Sociedade - Universidade do Minho
dc.rights.none.fl_str_mv http://purl.org/coar/access_right/c_abf2
dc.source.none.fl_str_mv Comunicação e Sociedade v.42 2022
dc.subject.none.fl_str_mv crime
justice
vigilantism
Arrow
dc.title.fl_str_mv Crime, Hooded Crusaders, and (Private) Justice: Arrow and the Exoneration of Vigilantism in Contemporary Popular Media
dc.type.none.fl_str_mv http://purl.org/coar/resource_type/c_6501
description Abstract As a form of extralegal crimefighting, vigilantism involves relevant questions about crime, justice, and law enforcement, and it is a staple of popular media. In the 1980s, several popular culture products took a critical approach to vigilantism as a part of the deconstruction of the superhero genre, which included a critical reflection on the psychological and political implications of the motivations behind private justice enforcers’ behavior. In this context, this paper focuses on the representation of vigilantism within the popular television show Arrow, and analyzes how it depicts, rationalizes, and ultimately exonerates vigilantism as a response to criminal activity. The empirical analysis focuses on the various rhetorical strategies used by Arrow to justify vigilantism, such as the representation of legal and governmental institutions as corrupt and inefficient, the multiple rationales whereby vigilantism is practiced, and the sanctioning of private crimefighting by institutions. The analysis indicates that the show delivers an apology for the vigilante ethos: Arrow mirrors superheroes’ dark turn in the 1980s and their reflection of societal fears about crime. However, in the show’s worldview, these fears can only be appeased by private vigilantes. By portraying the state as inefficient and/or corrupt, the show boosts ideologies of individualism and anti-government neoliberalism.
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person_str_mv Jiménez-Varea,Jesús
Pineda,Antonio
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publisher.none.fl_str_mv Centro de Estudos de Comunicação e Sociedade - Universidade do Minho
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spelling Crime, Hooded Crusaders, and (Private) Justice: Arrow and the Exoneration of Vigilantism in Contemporary Popular MediaJiménez-Varea,JesúsPineda,AntoniocrimejusticevigilantismArrowopen accesshttp://purl.org/coar/access_right/c_abf2http://scielo.pt/scielo.php?script=sci_arttext&pid=S2183-35752022000200133URLhttp://scielo.pt/scielo.php?script=sci_arttext&pid=S2183-35752022000200133URLHasVersion2022-12-01Abstract As a form of extralegal crimefighting, vigilantism involves relevant questions about crime, justice, and law enforcement, and it is a staple of popular media. In the 1980s, several popular culture products took a critical approach to vigilantism as a part of the deconstruction of the superhero genre, which included a critical reflection on the psychological and political implications of the motivations behind private justice enforcers’ behavior. In this context, this paper focuses on the representation of vigilantism within the popular television show Arrow, and analyzes how it depicts, rationalizes, and ultimately exonerates vigilantism as a response to criminal activity. The empirical analysis focuses on the various rhetorical strategies used by Arrow to justify vigilantism, such as the representation of legal and governmental institutions as corrupt and inefficient, the multiple rationales whereby vigilantism is practiced, and the sanctioning of private crimefighting by institutions. The analysis indicates that the show delivers an apology for the vigilante ethos: Arrow mirrors superheroes’ dark turn in the 1980s and their reflection of societal fears about crime. However, in the show’s worldview, these fears can only be appeased by private vigilantes. By portraying the state as inefficient and/or corrupt, the show boosts ideologies of individualism and anti-government neoliberalism.Centro de Estudos de Comunicação e Sociedade - Universidade do MinhoComunicação e Sociedade v.42 2022text/htmlengjournal articlehttp://purl.org/coar/resource_type/c_6501literature
spellingShingle Crime, Hooded Crusaders, and (Private) Justice: Arrow and the Exoneration of Vigilantism in Contemporary Popular Media
Jiménez-Varea,Jesús
crime
justice
vigilantism
Arrow
status SINGLETON
subject.fl_str_mv crime
justice
vigilantism
Arrow
title Crime, Hooded Crusaders, and (Private) Justice: Arrow and the Exoneration of Vigilantism in Contemporary Popular Media
title_full Crime, Hooded Crusaders, and (Private) Justice: Arrow and the Exoneration of Vigilantism in Contemporary Popular Media
title_fullStr Crime, Hooded Crusaders, and (Private) Justice: Arrow and the Exoneration of Vigilantism in Contemporary Popular Media
title_full_unstemmed Crime, Hooded Crusaders, and (Private) Justice: Arrow and the Exoneration of Vigilantism in Contemporary Popular Media
title_short Crime, Hooded Crusaders, and (Private) Justice: Arrow and the Exoneration of Vigilantism in Contemporary Popular Media
title_sort Crime, Hooded Crusaders, and (Private) Justice: Arrow and the Exoneration of Vigilantism in Contemporary Popular Media
topic crime
justice
vigilantism
Arrow
topic_facet crime
justice
vigilantism
Arrow
url http://scielo.pt/scielo.php?script=sci_arttext&pid=S2183-35752022000200133
visible 1