Rhetorical Analysis Of ' The ' Clock Shadows And ' Dark And Gritty '

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Aristotelian mimesis dictates that the “art” produced by our culture and society is an imitation of our reality. If so, then our contemporary entertainment era overstocked in brooding, morally ambiguous anti-heroes bearing five o’clock shadows and “dark and gritty” narratives are a reflection of the flawed and unrelenting modern-day reality that we inhabit. This age of morally gray storytelling is a stark contrast to the idealistic depictions of American society and “traditional family values” found throughout various 1950s television (Museum of Broadcast Communications). The force behind this shift from a rather jubilant, dreamlike state of Cold War era media, to the grim and cynical state of present-day film, television, and music can thus be interpreted by some romanticists with a longing for the “good ol’ days” as a decline of virtues and goodness in American society. However, the “goodness” of America found in 1950s media was hardly a true reflection of reality. Through the further development of mass media and communications in the following decades, however, American audiences were then able to see passed the “goodness” from the shelter of their own homes (Murray). The realities that went into the lenses of news cameras, and out the screens of black and white television tubes exposed the horrors of war in Vietnam and the injustice towards nonviolent Black protestors to the archetypical nuclear families of America, distorting their idealized perceptions of American

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