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Marilyn Yaquinto - American Mythologies and Hollywood’s Rogue Crimefighters

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Marilyn Yaquinto American Mythologies and Hollywood’s Rogue Crimefighters
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Contents
Landmarks
Marilyn Yaquinto Policing the World on Screen American Mythologies and - photo 1
Marilyn Yaquinto
Policing the World on Screen
American Mythologies and Hollywoods Rogue Crimefighters
Marilyn Yaquinto School of Social and Cultural Studies Truman State - photo 2
Marilyn Yaquinto
School of Social and Cultural Studies, Truman State University, Kirksville, MO, USA
ISBN 978-3-030-24804-8 e-ISBN 978-3-030-24805-5
https://doi.org/10.1007/978-3-030-24805-5
The Editor(s) (if applicable) and The Author(s) 2019
This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.

Cover illustration: Mohamad Itani / Getty Images

This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG.

The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland

To my father, Sylvester Anthony Lingeman, Jr., the cop I most love and admire.

Acknowledgments

I wish to thank those who helped get this book done, whether as a fan or critic of such Hollywood fare or who offered robust moral support and hands-on assistance. To my colleagues at Truman State University for their support, friendship, and shared ideas, most notably Elizabeth Clark, Kevin Minch, work husband Jay Self, big brother Mark Smith, guardian angel Dorothea Shipman, Sara Orel, Julie Lochbaum, Christine Harker, and Jocelyn Cullity. To those who first helped me get this project off the ground, my original mentor and friend, Frank Beaver, who first encouraged me to love and study film back in Ann Arbor. To my tireless mentor and generous colleague, Michael T. Martin, whose dedication to honest and rigorous scholarship first brought this book to life, and whose steady encouragement kept it (and me) viable for the decade that followed. My former graduate school professors, Don Kubit and Rob Buffington, who greatly influenced my ability to write and research. Those real-life crimefighters of all stripes who helped inform this work, especially those who may be related to me, spoke to me on background, or generously shared information and inspiration about how they do their jobs.

I wish to thank all others who have also provided help and encouragement, from brainstorming and proofreading to offering suggestions and criticismnot to mention sharing hours (you will never get back) of screening crime sagas, spy dramas, police procedurals, and any show, program, series, or film (and a couple of cartoons) featuring cops, enforcers, secret agents, sheriffs, and assorted other crimefighters (with badges and one shield sporting a white star). To my husband Michael who frequently shared the mind-numbing process of mining research and detailing footnotes, along with being a ceaseless source of love and moral support. To my mother, whose blind faith and more than a few prayers meant more than she will ever know. For their love and support, my brothers, Chris and Mike; my sisters through marriage, Valerie and Lora, the Lippstreuers, and the entire Yaquinto family. There are also my sisters in life, Lorraine Jones and Wendy Piepenberg, along with younger sisters and friends, Allie Shetler, Hannah Rickman, Sara Kluba, and Susan Presley. To those Truman students who helped me grow (and claimed I helped them too): Diane Poelker Carrico, Jessica Scheetz Venker, Ingrid Roettgen, Jackie Yoo, Mary Tomlinson, Meagan Banta-Lewis, and Mary Di Valerio. Special gratitude to those students whose assistance on this specific project kept me (and it) going, Kathleen Gatliff and Aerin Johnson. To my former student and current filmmaker, Rahul Gandotra: remember to mention me at your Oscar acceptance speech. Finally, to my new friends at Encanterra, thank you for all your support during the books home stretch, especially to Pickle for his fabulous finish-the-book gift.

Contents
List of Figures
The Author(s) 2019
M. Yaquinto Policing the World on Screen https://doi.org/10.1007/978-3-030-24805-5_1
1. Introduction
Marilyn Yaquinto
(1)
School of Social and Cultural Studies, Truman State University, Kirksville, MO, USA
Marilyn Yaquinto

When President Ronald Reagan wanted to thwart Congress resistance to his plan to drastically cut taxes in the 1980s, he invoked a shorthand he knew most Americans at the time could relate to: he quoted Dirty Harry Callahan s famous taunt to make my day and invite his opponents to a showdown. Rather than rely on Constitutional measures to referee executive-level disputes with the nations two other branches of government, Reagan preferred a cultural weapon that leveraged public pressure on Congress to submit to his will; he effectively equated his tough stance with that of the popular screen enforcer intent on street justice . Reagans invocation not only testifies to the off-screen clout of such a character, but also lends the character political credibility and wider application. In this manner, such a character is performative, using Judith Butler s encapsulation of gender, but which is true of any performance of identity, being both cause and effectthe performance having the reiterate power to produce the phenomena that it [also] regulates and constrains.

This book is about the interplay between popular culture and politicsnot politics of a partisan nature, but as the tactics and strategies associated with power and authority and their ties to cultural norms and social control. Both realms are interested in trafficking in myths for their ideological utility, but the stars of this book are the myths themselves as well as who performs them, especially as they dance together. Reagan did so not only with Dirty Harry, but also with the fictional Cold War hero, Jack Ryan , whom one reviewer even dubbed a Reaganite hero. Jack Bauer , described as the first post-9/11 action hero , represents another manufactured hero available for political cover, giving conservative media gurus like Rush Limbaugh talking points to defend the CIAs use of torture in the War on Terror . Such a symbiotic relationship between popular culture and politics creates a fun-house mirror effect, as the fake and the real play hide and seekeven to engage what Jean Baudrillard terms the hyperreal, noting that once the real has been intertwined with fantasy, the hyperreal emerges, effacing contradictions between what is real and what is imaginary, as unreality no longer resides in the dream or fantasy but in the reals hallucinatory resemblance to itself. In the current environment of fake news and alternative facts, it is often difficult to spot the difference, let alone ponder the consequences of such confusion.

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