Action Hero vs. Tragic Hero: First Blood, Cultural Criticism, and Schelling’s Theory of Tragedy

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dc.creatorSánta, Balázs
dc.date2020-06-26
dc.descriptionThe paper explores the possibility of analyzing Ted Kotcheff’s 1985 film, First Blood, the first piece of Sylvester Stallone’s Rambo series, from the perspective of dramatic structure as conceived in Schelling’s concept of tragedy and Schiller’s notion of the sublime. Perplexing as this critical context may appear at first, the paper argues for a reassessment of the movie’s aesthetic qualities as its protagonist is placed between Hollywood’s male-gendered stock figure of the action hero and the more complex character of the tragic hero, familiar from classical drama. Taking account of Rambo’s reception in recent cultural studies discourse regarding gender criticism and American post-Vietnam War cinema, the essay attempts to show the correlation between some of the aesthetic tenets of German idealism and the consequences of a close-reading approach to this popular classic. (BS)
dc.formatapplication/pdf
dc.identifierhttps://ojs.lib.unideb.hu/hjeas/article/view/7319
dc.languageeng
dc.publisherDebreceni Egyetemi Kiadó
dc.relationhttps://ojs.lib.unideb.hu/hjeas/article/view/7319/6724
dc.rightsCopyright (c) 2017 Hungarian Journal of English and American Studies
dc.sourceHungarian Journal of English and American Studies; Vol. 23 No. 2 (2017)
dc.source2732-0421
dc.source1218-7364
dc.subjectTed Kotcheff
dc.subjectFirst Blood
dc.subjectSylvester Stallone
dc.subjectfilm studies
dc.subjectsublime
dc.titleAction Hero vs. Tragic Hero: First Blood, Cultural Criticism, and Schelling’s Theory of Tragedy
dc.typeinfo:eu-repo/semantics/article
dc.typeinfo:eu-repo/semantics/publishedVersion
dc.typePeer-reviewed Article
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Hungarian Journal of English and American Studies