Nashville

This new television show features a fading country music legend (Rayna James) and her up and coming competition (Juliette Barnes.  The show sets the two up for an on-going power struggle for the spotlight. 

Until this point in time I have not watched an episode of the new ABC show, Nashville.  While I love a good new show, this would not be a show I would typically have taken up watching. 

 One thing I noticed in watching the show was that many scenes are shot in the kitchen or around instruments or musical settings.  Thing is shows the South’s focus on food. 

The show could not be set anywhere other than Nashville.  The rich music heritage of Nashville provides an immediate backdrop for the drama that plays out throughout the season.  There are few places in the United States where people compete for fame as they do in Nashville.  There is no other place in the South that could play host to the show because there is no other city that births as many stars as Music City.  The industry, here, is continually growing and evolving insisting a constant out with the old, in with the new. 

Rayna is an incredibly successful woman, regardless of her recent decline in fame; yet, she is still shown preparing meals in the kitchen.  This is interesting in that even though she is a successful woman and could be self-reliant financially, she can’t seem to get herself out of the kitchen.  She is not exempt from the southern female stereotype.  I can’t promise that I will continue to keep up with this tv show, but it does have some interesting qualities.  I do like Hayden Panettiere, however, so I might give it another try.  - Lauren Copeland

Justified (Season One)

Sex, alcohol, drugs, cowboy hats and boots, and quick draw gunfights elicit images of just about any location other than the American South.  However, these images come from just below the Mason-Dixon Line in rural Kentucky.  Rural Kentucky is about as close to the lawlessness of Appalachia that an audience can get without actually visiting the region.  What the audience really needs is a tour guide through the crime-ridden foothills of Kentucky.  Enter Raylan Givens (Timothy Olyphant), a native of Harlan, Kentucky, and a U.S. Marshal freshly redeployed from his long stint at the Marshal’s office in Miami, Florida.  Raylan lives life in the fast lane, and his actions are almost always justified, at least in his mind.

 

Raylan rarely takes prisoners, but he is fair.  He only fires his weapon when he feels the need to protect himself; in fact, he only shoots to kill.  Raylan is not a stone cold killer; although, many characters agree that he harbors some hostility.  Yet, Raylan always tries to give people a way to save themselves.  For example, the very first scene of the first episode of Justified features Raylan killing a gun runner after he refused to leave Miami by the deadline Raylan offered him.  This scene is the genesis of Raylan’s new journey through the foothills of Kentucky; indeed, it even gives rise to his unofficial catchphrase, “It was justified.”

If we look at Raylan’s character as a metaphor, it is possible to draw parallels to the post-9/11 foreign policies of the United States.  Raylan’s character is not a strictly shoot-first-ask-questions-later lawman.  Rather, he deliberately gives his opponents the opportunity to end their shenanigans before something bad happens.  In a sense, he tries diplomacy before resorting to violence; though, he has no qualms with putting a man down.  Similarly, the United States has on numerous occasions given foreign leaders and groups various opportunities to cease hostilities.  If diplomacy fails, then military action is taken.  For example, the United States warned Saddam Hussein to rid Iraq of weapons of mass destruction.  When Hussein refused, the Iraqi War resulted, which eventually lead to Hussein’s capture and execution.  In a word, Raylan and the United States are not unalike in spirit.

Basing the series in real locations like Lexington, Kentucky and Harlan, Kentucky is crucial to the success of the show.  If the setting was a fictional location, such as Mayberry from the Andy Griffith Show, then there would be little connection to the real world.  More importantly, the audience would be unable to make the connection of reality to fiction.  In a sense, the series would lose all sense of concreteness.  It would be difficult to take seriously a crime drama that occurs in a fictional location.  However, the realness of the locales in the series allows for a real world connection for the audience.  The realness of the locations allows the audience to suspend its disbelief just enough for the show to be successful, whereas a fictional location would require a greater suspension of disbelief.  The settings of Justified are real and tangible, and this characteristic helps to solidify the realness of the characters in the series.

Raylan’s character develops throughout the first season of Justified.  He makes human errors, and he learns from his mistakes.  Yet, Raylan Givens is much more than just a man.  He is the embodiment of the spirit of the United States, especially the North.  He is an “other” in his home state, a fact that is bolstered when Raylan admits to not wanting to be in Kentucky.  It would seem that not just any outsider could tame the wild Appalachian hillbillies; indeed, only a native Kentuckian returned from extended exposure to “Northern” culture could bring civility to the foothills.  Only the spirit of the United States, forged by Northern ideals, can quell the wild Southerner.  Raylan Givens is that spirit in human form.  Raylan Givens is the redeemer of the Kentucky foothills.  One could even say he is the patron saint of lost causes, if one did not already exist.  -- Michael Beaver

The Office (Season 6): “Murder”

Never seeming to run out of satirical targets, The Office is a natural choice of shows to portray the horrors of the South.  For those who have yet to experience the beauties of the small, paper company, Dunder Mifflin, The Office documents the lives of salesman, accountants, and regional manager, Michael Scott (Steve Carrel) in Scranton, Pennsylvania, as they seem to do everything but sell paper.
In the Season 6 episode “Murder”, the South comes to Scranton in the form of a mystery game entitled “Belles, Bourbon, and Bullets: A Murder Mystery Game” (much like Clue with acted out roles) in which the entire office escapes the reality of corporate bankruptcy. Everyone in the company must take on a character role from the town of Savannah, Georgia. Cue the exaggerated, Southern accents. The greatest of all accents comes from Michael Scott who uses the expression, “I do declare,” before every sentence. The slowest and most ignorant of all the employees, Kevin (Brian Baumgartner), is seen practicing his Southern accent by slowly and painfully oozing the word “Y’all” out of his mouth. Even shy characters become more sexually open when they make the switch to their Southern themed character, which would not be as big of an atrocity if the majority of the characters were not related.  Angela (Angela Kinsey) blames her corrupt and misguided behavior on being exposed to Harry Potter. Not everyone chooses to participate in the game, however, like accountant, Oscar (Oscar Nunez), who busts into the conference room, where the game is being played, with urgent news from corporate. Michael is quick to stop “the outsider” by screaming, “What is that strange Yankee accent coming out of your mouth, son? This, here, is Savannah.” What follows this outburst is a reaction that is quite shocking: Oscar, who is Hispanic, proceeds to play the part of a slave as he attempts to relay the news to his master. Michael stays in character throughout the remainder of the workday despite his employees best wishes to get back to work. In his final talking head, Michael admits, “There has been a lot of murder and a lot of intrigue and my lil’ heart can barely take it no more. This has been the hardest I have worked in a very long time.”

Several Southern characteristics are being satirized in this episode but some cannot go unchecked. My personal favorite was the attack on Southerners for our revered judgment of Harry Potter. Maybe it is the deeply religious background and strong traditional ties we have here, but I will never understand the conviction of it being “witchcraft.” Some Southern parents will never allow their children to watch or even read Harry Potter based on this wild assumption. The slave and master reference also cannot be avoided. Not a believable characteristic of the present day, can this slash to our past really disturb us at all? Similarly, the majority of the satire on the South comes in innocent fashion: laughing at our accents and values, desires of incest, and radically simple lives (thank God this aired before Here Comes Honey Boo Boo came out). It even points out our stereotyped belief that we country folk are harder workers than Northerners. Beyond all of this, there is a much harsher stereotype being satirized – the South is good at putting up a front or mask. We avoid controversial issues and “sticky” situations in the same way Dunder Mifflin played a simple mystery game at work to avoid the scary thought of losing their jobs. Perhaps the reason we look so much different from the rest of the world is because we are afraid of facing impending change. We are, often, afraid of reality itself. Even today, our country looks to be changing more than ever, so, in turn, the South signs petitions to secede from the Union. Let’s face it, sometimes, we deserve to be mocked and ridiculed especially at the hands of Michael Scott and Dunder Mifflin. - Brandon Landis

 

Sweet Home Alabama

The episode that I was able to watch of Sweet Home Alabama was of Season 2. Former Clemson Tiger quarterback Tribble Reese is the bachelor in Season 2. He is from Birmingham, Al (the south.) This really reminds me of The Bachelor but with the added north/south stereotypes. Nonetheless, it goes farther by stereotyping the different classes of southern people. In this case it is southern women. In the beginning of the show two southern women, Ashley and Mandy, were yelling at each other. Ashley felt like Mandy is the “hillbilly” or “white trash” and Mandy felt like Ashley is “fake.” This represents the two different types of southern people. The show already has the division of the north and south but this added Southern stereotyping blew my mind. However, is this just how people act? Do southerners classify people within the south and tear itself apart? Or is this all premeditated, as in the show producers tell the people on the show to spice things up for ratings?  I noticed that when someone speaks on the show and they put their names up that all of the southern girls had their job title plus what type of southern element they have. The northern women were only introduced with their job title. The categorizing of north/south women in the show is unmistakable. It is almost thrown into your face, as if the accents aren’t enough. This makes me think that the producers have some kind of hand in what they want the viewers to see of the south and of the north. The dress of the women is questionable as well. The southern women dress VERY southern. Is this intentional, or really how these girl’s dress? That was just another thing that caught my eye and made me wonder how much did the producers manipulate in this reality show. Furthermore, Tribble goes on a date with a northern woman, then a southern woman. The differences in the two personalities are humongous. However, Tribble seems to like both women equally. Tribble gives this long speech about how he was raised in a Southern family. He hits almost every Southern stereotype there is. He is a football player, he says he was raised to go to church on Sunday’s, and to sit around the table with the family for every meal. Nevertheless, these Southern qualities were subtly placed in between kisses and the girl telling the camera how she lets the guy know that she really likes him.

The next part of the show is a group date where he takes them to his alma mater, Clemson. This part of the show is very stereotypical of the South. Also, they have the Northern girls commenting on the moonshine and tailgating. This show really points out the differences of the south and north. Furthermore, this show pretty much sets up the preconceived notion of how southerners are, which is not actually true for all southerners.  - Autumn McMunn

Duck Dynasty

I am the type of person who usually doesn’t watch television, so I had no clue where to begin my search for a television show with southern elements. Thanks to Facebook, I settled on Duck Dynasty. For those who have not watched Duck Dynasty, the A&E show revolves around the daily challenges of the Robertson family, who all live in Monroe, Louisiana. The Robertson's started their own business, Duck Commander, of making duck calls; as a result, they recently became a multimillionaire family. For this blog post, I will focus on the episode “Spring Pong Cleaning.” Why this episode? 1) It was difficult trying to find a full episode online, so I chose the first one that I found. 2) Unfortunately, I do not own Netflix.

The episode begins with the Robertson guys, Willie, Jase, Phil, and Si, along with some coworkers shaking trees and collecting muscadine berries to make homemade jam. As I watched the opening scene, I couldn’t help, but think of how the wilderness accurately describes the men of the Robertson’s. They act untamed, display wild beards, and are not afraid to get a little dirty. Even though the audience knows that they’re multimillionaires, they choose to stick with their true southern roots. It is interesting to observe and compare the southern reality television shows of today, such as Ducky Dynasty and Here Comes Honey Boo Boo. These shows follow the lives of southern families, who realistically are filthy rich, yet they do not act any differently than when they were dirt poor. They still live in the same small houses, wear the same non-brand clothes, and live the same lifestyle. Apparently, viewers enjoy these types of shows, and I hope to see, or in my case hear, more shows like these ones that display positive, authentic qualities of closely knit families.

Anyways, going back to Duck Dynasty. This particular episode describes some normal everyday tasks, such as cleaning out the warehouse and going to the eye doctor. However, the characters put their own Robertson twist on these tasks. For example, as the guys are cleaning out the warehouse, they find a ping pong table and begin playing on it. To make the game more violent, they add in a “red belly rule,” where the loser of the serve lifts up his shirt to receive a hard hit from the ping pong ball on his bare belly from the other player. Crazy? Yes. Out of the ordinary for the Robertson’s? No. Some of the Robertson’s actions can be questionable, but no matter what they do, they always enjoy spending time together as a family. The Robertson’s may not appear as the average southern family, but average never describes the Robertson’s.

As I watched the show, it was hard to miss the obvious closeness and family values of the Robertson’s, which are traditional characteristics of southern families. Except for Thanksgiving, in America it is rare to find the whole family sitting down to share a large home-cooked meal with no cell phones or technology as distractions. However, the Robertson’s set a prime example of this forgotten tradition. In the closing scene, the whole clan gathers at the table to eat a large southern dinner together. When I say “southern,” I mean crispy fried crappie, cornbread, homemade muscadine jelly, and large ice-filled glasses of sweet tea. The patriarch, Phil, says the prayer before dinner, which displays another aspect of the South: religion. Southerners are known for their strong, religious beliefs, and the Robertson’s do not try to hide this aspect.

Duck Dynasty displays positive southern qualities and teaches America some valuable lessons. The men’s appearances and vocabulary may appear redneck and uncultivated, but a deeper look into their actions and values makes viewers revise their persona. As momma always said, “Don’t judge a book by its cover.” -Paige Pack

True Blood

 

I’ve been watching True Blood for almost as long as it’s been on the air, and it’s hard to find a lot about it that isn’t Southern.  True Blood is set in the rural Louisiana town of Bon Temps and is filled with the standard set of stereotypes along with vampires and other supernatural beings.  There are the “whitetrash” Rattrays, the bumbling deputy Andy and the main character Sookie, a blond waitress with the unusual ability to read minds.   At the heart of the story are romantic entanglements of Sookie and Bill, the 150 year “Southern gentleman” with fangs.  However, it is the characters that are obviously not Southern who pose the biggest threat.  The Southern characters while dangerous and occasionally unpredictable are understood.  Eric, the vampire Sheriff of the area, is obviously not Southern; he’s a 1000 year old Viking.  To the characters in the show he is the most dangerous and unpredictable menace to Bon Temps.  True Blood asks the viewer whether the familiar stereotypes we know are safer than the ones we don’t.   Eric has the power and authority in the vampire community to threaten the sleepy life and status quos of Bon Temps. 

The setting in Louisiana makes the appearance of vampires and other supernatural beings more believable.  Louisiana has a long history of supernatural stories and legends.  Southern gothic stories were basically born in Louisiana.  The definition of Gothic is the emphasis on the mysterious and grotesque and barbaric; all of which True Blood embodies.  Violence, death and mysterious people and situations pervade season 1 and subsequent seasons.  Without giving anything away the end of the season introduces a new character from a “good” “Bible thumping” family whose life is completely turned upside down by the vampire community.  While the vampire community contains “Southern” members it is, like Eric not safe.  The Southern community Sookie lives in rarely surprises.  Only the “other” characters offer anything new to Bon Temps and Sookie, but they also offer danger and change to a stagnant culture. 

True Blood shows the South at its best and worse.  Sookie’s grandmother is kind and nuthuring but another member of the community is a killer.  Bill is a “Southern Gentleman” but has also killed and the end of season 1 brings a complication to his “mainstream” life.  These “Southern” characters are not, however, leaving Bon Temps anytime soon.  The vampires and other supernaturals bring change and newness to Bon Temps.  While the Southern characters seem much safer than vampires, True Blood poses the question that only something as drastic and different as vampires can alter the stagnant culture Sookie Stackhouse inhabits. - Lauren Daley

Doctor Who & the South: Daleks in Manhattan

The presentation of an American-Southerner stereotype is not something one necessarily expects when settling in to watch a British television production such as Doctor Who. However, as the show features extraterrestrial and supernatural beings of all sorts, the portrayal of an American-Southerner may come as no surprise after all. The Southern character in this instance is Frank, portrayed by Andrew Garfield. Set amidst the harsh times of economic despair surrounding Hoover's presidency, we first meet Frank in the impoverished setting of a "Hooverville." Frank's role lasts throughout two episodes of Doctor Who, but his identity and ensuing Southern stereotype are introduced within the first twenty-three minutes of the first epiusode. The director achieves this through dialogue and semiotics.

The first interaction the audience has with Frank is an interesting enough scene in itself: the Doctor and Martha are conversing with Solomon, the unofficial leader of this particular "Hooverville." Frank bursts in and relays a message to Solomon, an African-American. This hierarchy shows a reversal of traditional Southern stereotypes as Frank willingly reports to and obviously respects the African-American Solomon. Past this point, many of the traditional stereotypes are enforced. When the antagonist of the episode appears seeking help with "tunnel work," Frank is the first to question the man and take a stand against going. As the Doctor the volunteers, Frank quickly changes his position and volunteers as well. The audience infers two messages from this: 1) Frank contains an admirable amount of courage as he follows the Doctor into a precarious position 2) Frank appears malleable as he immediately reverses his position based on nothing but a whim from the Doctor.

The next time the audience sees Frank is below the city, in the tunnels themselves. After brief dialogue with the antagonist, the party sets off into the darkness. Each member of the four-person party bears an electronic torch, but the physical arrangement of the party is interesting here. As the Doctor and Solomon walk together, Frank sticks close to the Doctor's companion, Martha. A woman in her early mid-twenties, she has seen great adventure with the Doctor and needs little protection from Frank. Frank remains by Martha's side though, going so far as to tell her, "You stick with me, and you'll be alright" in his thick Southern drawl. As the two walk, Martha remains bundled up due to the cold while Frank walks just a step ahead of her to remain the image of defense against danger.

Frank's courage quickly fades though as the group wanders upon an inanimate extraterrestrial substance, appearing similar to a brain. Unmoving, the brain appears harmless and non-threatening. It simply appears as an "unknown element." However, Frank quickly falls to the back of the group and stands behind his three companions. A shadow falls across his face, coupling with his own expression of fear to show the audience Frank's dramatic swing from bravery to fright. As the creature shows no sign of danger, the audience assumes Frank is only scared because the creature is outside his sphere of "knowing." Solomon, the native Northerner, appears less rattled. Juxtaposing these two figures, the Northerner appears more able to cope with the unknown, as the Southerner seems scared and possibly even unable to comprehend that extraterrestrial beings may exist. The Southerner appears less advanced. The final stereotype is implemented when the four attempt to escape out of a manhole cover after being chased by a hostile group of "pig men." Seeing that the creatures are closing in, Frank picks up a makeshift weapon and valiantly holds the creatures off until all can escape, sacrificing himself in the process. Forgoing his previous fear, Frank appears brave and valiant once more. Within the first twenty-three minutes of the episode, the producers of Doctor Who show that traditional stereotypes of the American-Southerner do not end at American borders. It appears that many of the stereotypes have leapt across the seas and found themselves embedded in foreign cultures as well. - James Cochran

Here Comes Honey Boo Boo

After weeks of bringing it up in class, it should come as no surprise that my television show of choice was Here Comes Honey Boo Boo. For those unfortunate souls who have yet to view this amazing show, Here Comes Honey Boo Boo follows one of the highlights of TLC’s “Toddlers and Tiaras,” six-year-old Alana and her family during their daily routines.  Alana’s father, mother, and three older sisters are the “typical” backwoods Southern Georgia natives (according to the TLC portrayal) who have some pretty, for lack of a better term, quirky characteristics. For this blog post, I will look at the first season’s first episode, which, can be found on YouTube, by the way.

The premier episode of Here Comes Honey Boo Boo needed to re-introduce the Thompson family that America had all, supposedly, fallen in love with from Toddlers and Tiaras. The show also had to capture the viewers’ attention by introducing a new dynamic to the already well-known family. The producers choose to portray the family as one with deep, Southern values; however, the Thompson family’s values are offset by their unusual family activities and phrases. More importantly, the emphasis on the different characteristics between a normal American family and the Thompson family is what increased viewer ratings. Alana, for instance, introduced her three sisters as: Pumpkin, the craziest (Lauryn, 12); Chickadee, the pregnantest (Anna, 17); and, Chubbs, as her bff (Jessica, 15).  Furthermore, Alana’s dad is described by her mother as the “baby daddy” and reaffirms that none of her children have the same father. The lively introduction already sets the Thompson family as “other” against the stereotypical Southern family of a mother, father, and 2.5 children. In addition, the family is very overweight based on a diet consisting of soda and cheese balls. As a result, the family agrees to begin a family led weight loss program. The dynamic of a healthy, active Southern family is quickly replaced with the image of the redneck Thompsons.

The family activities are also brought into question within the course of the show. For instance, the “Redneck Games” is described as being very similar to the Olympics only with a lot more butt crack. The viewers are given a crash course in redneck culture as the three sisters are found diving into a mud pit and using their mouths to pick up raw pig legs from within a bin full of water. The need for a family weight loss program (in which, physical activity is not addressed as a possible solution) opens up new doors for the rest of the season.  The family is not following in the footsteps of a family steeped in sports or religion (as many Northern men and women view Southerners) due to lack of funds. The family’s low income levels involve the girls all being more aware of their spending or wasting of money, as seen by the cheese ball spill fiasco, but, also, involves the mother teaching each of her daughters how they should love themselves for, well, themselves.

Although the Thompson family is not the definition of a true American family, it is one that illustrates the typical values that most Americans want within their home. Alana’s mom, Shannon, insists that her family stay connected and act as one unit, reliant on one another.  So, though many viewers could be watching the show to get a good laugh, the viewers may find that they are learning a few things from Alana and her family instead. –Corinne Beckinger

The Secret Life of Bees

The Secret Life of Bees is a coming-of-age tale of 14-year-old Lily Owens in rural South Carolina.  She, with friend and caregiver Rosaleen, escape to Tiburon, South Carolina in search of answers about her mother’s death at an early age.  The two find themselves in the home of the lovely August Boatwright and sisters May and June.  During a heated time of racial tensions in the 1960s South, Lily learns the true meaning of love and motherhood from the strong community of African American women.             

This movie exhibits many southern stereotypes including the abrasive white male and his attempt to preserve the purity of the white female.  Lily’s father T. Ray is repeatedly loud, abusive, and brash.  He maintains his fixed character throughout the film.  In the midst of Lily’s quest for answers, she begins to recognize her underlying feelings for Zach (an African American help on the honey bee farm).  When Lily and Zach attempt to see a movie together, they are met upstairs by 3 anonymous white men who strike Lily and arrest Zach on the scene.  The abuse of Lily here, is still consistent with the stereotype of the white male because of her new interest in an African American.  She is now considered “other” or, rather, “tarnished” because of her crush on Zach. 

As the movie a progresses, Lily finds that she is indeed loveable and that her mother did not leave her but left her father. This also lends to the idea that T. Ray was not just harsh toward Lily but to his wife as well. 

The Secret Life of Bees is a wonderful film with very highly acclaimed actresses.  I would recommend anyone to watch it and consider the many different southern elements throughout the film.  --Lauren Copeland

Doctor Who-"Daleks in Manhattan" and "Evolution of the Daleks"

Though Doctor Who majorly strays from Southern American culture during the first few seasons of its current reboot, the two episodes “Daleks in Manhattan” and “Evolution of the Daleks” give a slight glimpse into British views of Southern life via the character of Frank, played by Andrew Garfield. The beauty of these episodes lies in their ability to overlook Frank’s Southern-qualities. In fact, the only designation of difference his character ever really suffers is through his horrible accent (whether that is Garfield’s fault or the director’s remains unknown). All it really adds to the story, though, is some slight comic relief during the episodes’ darker moments, which refreshingly shows that Southern people can be just as normal as other character types.

The beauty of the episodes comes from how little “other” qualities Frank possesses versus the alien onslaught that The Doctor and the other Manhattan residents face. When everything from the Daleks, age old war machines, to their race of hybrid Pig-humans is considered, Frank’s Southern accent seems hardly like anything to fret about. Frank is poor and rural, like several stereotypes we’ve explored have been, but so are the other residents of Hooverville (a makeshift town of dirt poor individuals in the venter of Central Park) in the episode. In the end of the two episodes, it is Frank that convinces his fellow townspeople to allow Laszlo, a half pig half human, to live with them. His own experience as an “other” has contributed to allowing Laszlo’s even greater “otherness” to be deemed acceptable. Considering this is a British TV show, this could very well be a statement on how cultural lines tend to be pretty solidly drawn between North and South here in the U.S. In the grander scheme of things, those designations can be pretty pointless and trivial. A human being is, after all, just a human being.  - Michael Carter

Cat on a Hot Tin Roof

I’ve seen Cat on a Hot Tin Roof before, but I’ve never looked at specifically for its “Southern-ness.”  The basis of the story revolves around the Pollitt family, and their internal drama. The patriarch of the family, Big Daddy, is dying of cancer but this fact is hidden, at least at first, by the family doctor.  The whole family has come down to the house, the oldest brother Gooper and his wife Mae, and the younger son Brick and his wife Maggie.  While Gooper and Mae have several children Maggie is childless, the audience learns that Brick ignores his wife’s plea for children because he believes she had an affair with his best friend.  Gooper and his wife are trying to gain control of the family money while Maggie is trying to resist their taking over.  To gain the upper hand Maggie lies and says she is pregnant, a lie Brick supports her in, and the audience understands that while it’s a lie now it won’t be for long.

This movie would fall under the category of the “Southern decay” film.  The film is extremely sexual.  The opening sequence consists of a red back ground with a drawing of a woman alone in bed, while sultry jazz plays in the background.  The audience knows before the beginning of the film that there is serious sexual tension and repression present.  Maggie and Brick are both highly sexual beings, and the sexual tension between them is thick.  She won’t be silent about what really happened with Brick’s friend until the whole truth is out; while Brick runs away.  Another trademark of the “Southern decay” film is the disrepair of the house; while the house is pristine the family dynamic is not.  Big Mama admits that the family never had a “happy home” that their home had very little joy.   The family obviously has money and status, things that would link them to the antebellum south.  However, their “empire” as Big Daddy puts it is a new one built during his lifetime.  While the Pollitt family has this beautiful and gracious lifestyle they cannot escape their stigmas.  Throughout the semester in our readings of Graham, one thing has remained constant: that white southern men are incompetent and impotent.  Brick and Gooper both display this, their wives are stronger characters.  Brick has given up after the death of his friend and become a drunk and Gooper is dominated by his wife.  The quality that might question the status of Cat on a Hot Tin Roof as a “Southern decay” film is the redemption of Brick at the end of the film.  He expresses to Big Daddy that he doesn’t want the money and the land but his father’s love and takes back Maggie into his trust.  Brick comes to this redemption mostly on his own, but the revelation of the truth by Maggie and Big Daddy’s impending death do spur on his actions.  Brick seems, unlike many of his counterparts in other “Southern” films, to find his rebirth mostly within himself.  - Lauren Daley

King of the Hill

King of the Hill, the popular 1997-2010 television comedy series, tells the story of Hank Hill, his family, friends, and neighbors. Set in fictional Arlen, Texas, every episode tells a story of the crazy antics of the neighbors or a family catastrophe that is certain to happen. The main characters are Hank, Peggy, and Bobby Hill, Dale Gribble, Boomhauer, Bill, and Luanne. Although it is set in Texas, a state not usually seen as “Southern”, King of the Hill contains numerous southern elements. These elements are not necessarily portrayed as negative. As with many contemporary southern television shows, much of the comedy comes from these southern elements.

Hank, Dale, Boomhauer, and Bill can typically be found out in their neighborhood alley, beer in hand. They don’t always have much to say, but they have plenty of beer. This love of beer is frequently linked to “redneck, white-trash” southerners. Hank and his friends were so upset once at the recall in Arlen of their favorite beer that they drove to Mexico to get it. Southern traits are also revealed through the character’s speech. Southern accents and one of Hank’s catchphrases, “gosh dang it”, only add to the southern connotations. Their slight Southern accent is one aspect that differentiates them from Hank’s neighbors, the Souphanousinphone’s. The Souphanousinphone’s are a Laotian family that moved next door in one of the early season’s and have often served as antagonists to the Hill family. Kahn, the man of the family, enjoys ridiculing Hank and his friends for all of their “redneck” ways. He often laments the fact that he lives in the same neighborhood with all of these “rednecks”, claiming that is why he is always rejected by the exclusively Asian country club.

Although Hank, his family, and friends typically ignore these jabs and laugh them off, the Souphanousinphone’s are the voice of the Other, the outside world. While Southern viewers can relate to many of the aspects of the show without giving it a second thought, the Souphanousinphone’s point out the absurdity of some of the things southerners do. Some of their commentary is on the American way of life in general, but most of their criticism is flung towards the distinctly southern way of life represented by the Hill’s and their neighbors. As with many other shows and movies commenting on the South, King of the Hill uses the views and opinions of an outsider to point out aspects southern life, either positive or negative.   -Shelby Heathcoat

Tucker & Dale vs Evil

Deep in the backwoods of West Virginia, two young hillbillies embark on the camping trip of a lifetime. Their journey is a touching tale of overcoming insecurities, challenging stereotypes, strengthening friendships, falling in love, and accidentally causing the gruesome deaths of several unsuspecting college students. Tucker & Dale vs. Evil, a comedy/horror film directed by Eli Craig, challenges the idea of the stereotypical, backwoods southerner through the film’s portrayal of its titular characters.  
In the film, Tucker and Dale are two friends who have just purchased a dilapidated vacation cabin in a forest in West Virginia. They drive out to the cabin hoping to drink a few beers, catch a few fish, and relax. Unfortunately, their camping trip ends up being a little more exciting than they had hoped. A group of college students have decided to camp right near Tucker and Dale’s new cabin. When the students first see the duo, they automatically categorize them as Deliverance-style hillbillies who would rape them at the first chance they could get. Tucker and Dale’s dirty overalls, trucker hats, and their general unkempt appearance conjure up an image of backwardness that elicits fear in the minds of the college students. This fear is multiplied when one of the students, Allison, is seemingly abducted by Tucker and Dale. In actuality, she had simply knocked herself unconscious, and the two main characters had taken her back to their cabin to nurse her back to health. Sadly, this miscommunication mixed with unfounded fear leads to the accidental bloody massacre of almost every single college student on that camping trip.

In between all the unnecessary violence, the director subverts certain stereotypes associated with hillbillies. The bearded hillbilly, Dale, ends up falling in love with Allison. Going by conventions, this is usually the point in the film where the hillbilly would rape the defenseless outsider. Instead, the director breaks this convention by showing that Dale is well-meaning and a little insecure about himself. When Allison wakes up, Dale brings her breakfast in bed and plays board games with her. He makes it clear that he has no desire to hurt her in any way. His respect and care for Allison challenges the notion that all hillbillies are misogynistic wife beaters. Dale is far from the rugged, salt-of-the-earth type character his appearance would suggest. Behind that beard is a man who has little trust in himself. Several sections of the film show scenes where Tucker tries to help Dale with his insecurity issues. This strays away from the stereotype of the closed-off hillbilly who never talks about his feelings. The image of the ignorant hillbilly is shattered by showing Dale’s intelligence. While voicing his insecurity about his own intelligence to Allison, he reveals that he is actually quite intelligent and has the uncanny ability to remember everything he reads. Finally, in a heartfelt exchange between Tucker and Dale towards the end of the film, Dale breaks yet another stereotype when he confesses to Tucker that he has never really enjoyed finishing.

Tucker and Dale vs. Evil is a breath of fresh air for both the horror and hillbilly genre in film. It reverses character roles and challenges conventions in society all while foregrounding the importance of breaking these stereotypes. It shows that not every hillbilly has to be an unintelligent, savage misogynist with no regards for human life outside of their own kind. - Holden Belew

Jarhead

We usually do not associate the film Jarhead (2005) with the Southern United States.  A young Marine’s journey through the war-torn oil fields of the Middle East with a squad of disillusioned, dysfunctional misfits seems far removed from the tranquil cotton fields of the South.  Indeed, while the main characters and setting of Jarhead are not Southern in their own right, there is a character named Chris Kruger (Lucas Black) that connects Jarhead to the Southern United States.

Kruger is a man who hails from the town of Baytown, Texas.  Unlike his comrades, Kruger sports a thick, prominent Southern accent.  Kruger, in his own right, is an “other” amongst his squad mates; he is a redneck whereas everyone else hails from other parts of the country.  This role reversal is critical because it emphasizes the minor role Kruger actually plays in the film.  If he had been a member of an all-Southern squad, his character would have had no effect on the audience.  Rather, his quirky, stereotypical redneck attitude has a greater impact on the audience because he is the only character in the film with these characteristics.  In effect, he is unique amongst his fellow Marines.

Kruger only appears in a few scenes, but he proudly and defiantly displays his “Southernness” in the scenes in which he does appear.  In one scene, as the Marines are being transported on trucks through the Kuwaiti desert, one Marine proudly cheers about the Marines being the “first to fight” Saddam Hussein’s soldiers.  Kruger responds with a cynical, paranoid-fueled rant that outlines a conspiracy in which the Marines are actually in Kuwait to protect the oil investments of the Arabian aristocrats and American oil interests.  He insists that the Marines’ role in Kuwait is actually to protect the profits of the oil moguls.  Kruger finishes his rant by alleging that the United States supplied Saddam Hussein with weaponry, which he then used to invade Kuwait.

In this scene, Kruger is clearly displaying a dislike for and distrust of the United States federal government.  His accusations paint the federal government as corrupt and untrustworthy.  There is some irony in Kruger’s situation: he dislikes the federal government, but he is a member of the Marine Corps, a governmental institution.  Indeed, Kruger seems more concerned with his own pride and the corruption of the United States federal government than the moral issues associated with war and murder.  The immorality of greed seems to trump the immorality of murder, at least in Kruger’s world.  Perhaps he really is just a dumb redneck conspiracy nut.  This one scene is not the only scene in which Kruger displays his stereotypical redneck characteristics.  In fact, in one scene, he imitates James Dean’s character from the film Giant, which none of his comrades have seen; this further solidifies his role as the Southern “other.”

Kruger is a great character because he embodies the Southern redneck warrior.  He loves the idea of war and pride, but he distrusts his government and its motives.  If the chance arises, you should watch Jarhead and experience Kruger’s character yourself; you will not regret it.  - Michael Beaver

 

The Blind Side

I absolutely adore the movie, The Blind Side! The semi-biographical film, starring Sandra Bullock, Quinton Aaron, Tim McGraw, Kathy Bates, Lily Collins, and Jae Head, was released in 2009. The film follows Michael Oher’s “rags-to-riches” life during his high school years up to his first-round draft pick in the NFL. As a homeless, black teen, Michael knows everything about the projects and the “other side” of Memphis, Tennessee, but he had no experience in school, football, or even family. One cold night, his life changed when Leigh Anne Tuohy invited him into her home. As time progressed, Michael becomes a member of the Tuohy family, the Wingate Christian school, and the school’s football team. Trouble stirs when the NCAA investigates Michael’s decision to play for Ole Miss. After running away from confusion, Michael returns and trumps the NCAA. The film ends with the Tuohy family saying goodbye to Michael at Ole Miss and the real Michael Oher being drafted in the NFL. In the end, everyone is a happy camper, minus Leigh Anne having to leave her baby boy at college.

The film’s setting, Memphis, Tennessee, portrays and compares two completely different parts of the South: the lower class and upper class. As the film begins with the opening credits, different areas of the city flash on the screen. For example, railroads, run down houses, and homeless people pushing buggies begin the credits, which characterizes the lower class of the South. Then, families playing in large front lawns, nicer neighborhoods, and a woman pushing a baby on a paved sidewalk close the credits and illustrate the upper class. Comparing this new South’s setting with the old South’s setting holds few differences, as far as representing social classes. This whole opening defines the clear distinction between the lower and upper class, whereas the relationship between Leigh Anne Tuohy and Michael Oher bridges the social and racial gap.

Leigh Anne, one of the wealthiest white people in Memphis, takes in Michael, a homeless black teenager, and cares for him like a son. This act of kindness causes uproar from Leigh Anne’s rich “friends,” who do not understand the situation. With their words, the rich women portray the old South. For instance, the women taunt Michael about his race and class, as well as Leigh Anne adopting him. One woman says, “Is this some sort of white guilt thing?” Another says, “What would your daddy say?” Of course, Leigh Anne snaps back at them and claims that Michael is changing her life, instead of her changing his life. Along with the rich women, the students at Wingate Christian school treat Michael differently with their actions. On his first day of school, all the students, who are all white, judge him by his appearance: a baggy, old shirt and shorts with worn out shoes. Plus, he carries his belongings, which consists of an extra shirt and his textbook, in a grocery bag. The students do not take the time to talk to him or acknowledge him; additionally, they stay away from him as if he has a disease. The teachers do not act any better, except for one who takes time to help him. It is ironic how these teachers teach at a Christian school, yet they seem to have trouble accepting and helping a colored boy. These three groups of people signify the old South through thinking, actions, and words.

On a different note, the character of Leigh Anne Tuohy does not wholly define a classic southern belle. Leigh Anne is a strong-willed woman who always gets her way. Instead of her husband, she acts as the “man of the house” and makes most of the decisions for the family. She speaks her mind, especially when someone bashes her family. However, Leigh Anne does possess some classic southern qualities. For example, she lives in a huge house, dresses properly, has blonde hair, and acts religious (for the most part). Furthermore, Leigh Anne’s most noticeable trait is her motherly and caring side. When she first saw Michael, his appearance, class, race, or demeanor did not intimidate her. Her motherly instinct knew that he needed someone to care for him, as well as a supportive family. With her help, Michael becomes the man he grows to be. Thus, Leigh Anne upholds a classic southern figure with a twist of her own style.

The Blind Side compares the old and new South, teaches classic and new southern traditions, and shows the South’s progression with class and race over the years. I conclude with two short clips of my favorite parts of the movie. Enjoy! - Paige Pack

 

http://www.youtube.com/watch?v=PaU6zQSZKwI

 

http://www.youtube.com/watch?v=0Cgp8b9o-ZA

 

Gone With the Wind

This 1939 drama, Gone with the Wind, has been one of the biggest icons for the South throughout time. There are three different representations of the south; the pristine, the good ole hillbilly, and the scary hillbilly. For an accurate model of the south, in my opinion, would be to put the three together and see what you get. However, I am only going to analyze part of the pristine today. As most people know, Gone with the Wind is a lengthy movie. However, it can be summarized quite shortly. Scarlett O'Hara is a strong headed southern belle who is in love with Ashley Wilkes. Ashley loves Melanie. Scarlett marries a man to get back at Ashley. All of the men go to war. Scarlett’s husband dies so she goes to visit Melanie who ends up getting pregnant. Scarlett births Ashley and Melanie’s baby and takes them “home”. There is practically no “home” left and Scarlett’s mother is dead. Scarlett’s father is crazy and Scarlett makes a vow to never go hungry again. She ends up marrying her sister’s beau and getting him killed; thus leaving room for Rhett Butler, the other man. Scarlett marries Rhett, has a child that dies and ruins their marriage (although Scarlett did that mostly herself). Melanie dies and Scarlett finally realizes that she loves Rhett, but it is too late. Rhett has had it with Scarlett and leaves, so Scarlett goes back “home” to Tara in Georgia.
There are many many southern stereotypical characteristics within this film. Naming them all would take ten pages or more. What really interested me was how Rhett portrayed the “other,” Ashley and Melanie were the level headed Southerners, and Scarlett represented the stubborn go nowhere South. Rhett was distinguished early in the film as the other when the women were talking about that rumor about him that spread like wildfire. Rhett tried to love Scarlett, tried to make her see reason. Rhett exhibits the way that the North tries to teach the South. The South (Scarlett) is too stubborn to see reason or even to have the want to see reason. Scarlett portraying the South would of course have to survive off of nothing, stab her sister in the back by marrying her beau, and speak against the authorities when she was supposed to pay taxes. Another thing to be noted is Scarlett’s wardrobe throughout the film. In the beginning, as shown in the picture above, she is in white with a little stab of red; the purity and splotch of impurity is screaming through this scene. Throughout the film as the South loses the war Scarlett dresses in darker tones, and not just to mourn her husband’s deaths. Scarlett’s purity is stripped from her by the “other” and the color of her wardrobe represents this.  The major attribute to Scarlett’s portrayal of the South would be when at the end she goes back to Tara. The stereotype that all Southerner’s stay in the South and specifically stay home has a role in this. However, I see this act as the stereotype that Southerner’s go in circles and do not ever better themselves because of their stubborn pride. Scarlett begins at Tara and ends at Tara. Ashley and Melanie really add to the film by being the level headed Southerner type. They bring in a love triangle and portray the South in a way such that if the South would let go of their pride and accept that the South is not the only thing in the world would be like. Overall this film ties in the three characters of the pristine version of the South and also demonstrates the many stereotypical characteristics of the pristine South. ~ Autumn McMunn

A Time to Kill

In the 1996 film adaptation of John Grisham’s novel of the same name,  A Time to Kill is the story of the trial of a distraught father and the racial dynamics of a Southern town. Set in Clanton, Mississippi, a young ten year old black girl is viciously raped and almost murdered by two redneck, beer-guzzling white men. It is obvious that the men, Billy Ray Cobb and James Lewis Willard, are extremely racist as they are shown driving around town in their beat-up pickup truck, assaulting innocent African American bystanders. It is made very clear by the way they are shown that they represent the redneck racist due to the truck itself, drinking while driving, the confederate flag in the back window of the truck, and their bellies hanging out of their shirts in plain view. It’s definitely not a pretty picture. Out of fear that Willard and Cobb will get off with no punishment for their crimes, Carl Lee Hailey, the little girl’s father, takes justice into his own hands. This is the only way he sees that the men will get what they deserve. The night before Willard and Cobb’s trial, Hailey enters the Justice Building and hides in a closet overnight. Upon the two men walking in, he bursts out of the closet and guns them down, killing them and injuring an innocent police officer in the line of fire. Hailey is subsequently charged with murder and must face a racially biased, initially unfair jury. There are multiple instances where characters have already condemned Hailey as being guilty because they know he has virtually no hope of winning the trial just because of his race.

            Cobb’s brother, angered by the lack of immediate justice for his brother’s death, incites the Ku Klux Klan back into action, even against whites siding with Hailey. He even refers to them as the “good, God-fearing Klan”. Of course, this just seems ridiculous to the vast majority today as we realize that they were just perpetuating hate and violence. However, it wasn’t only the whites that were cast in a bad light. The African American pastor of Hailey’s church is depicted as deceiving and wanting only his own personal gain and advancement. The members of the NAACP appeared interested only in the monetary gain of becoming Hailey’s legal team instead of caring for his liberation. The south is generally negatively portrayed all the way around, with the few exceptions of Hailey’s legal team and the jury that sides with Hailey in the end. The negative portrayals of the south seem to far outweigh the positive. - Shelby Heathcoat

Joe Dirt

Once David Spade’s mullet-toting, sleeveless shirt wearing hero rolls into full camera view with some classic Southern rock blaring in the background, Joe Dirt makes it apparent from the very beginning that this is not a movie for the easily offended. Once one manages to wade through all of the potty-mouth humor, slapstick gags, and zany plot, he or she can find a heartwarming tale of self-realization and redemption as a good ole’ boy searches to find his parents in the midst of a scary Northern world. The carefully woven, down-home epic centers around its title’s namesake, Joe Dirt. Joe, armed with a mullet, accent, trailer park facial hair, and a shirt from every classic rock band the seventies had to offer, manages to pull off several classic Southern stereotypes all rolled into one. For the sake of this blog, though, the focus of the entry will be on one of his richer examples.

                The most prevalent stereotype manifests itself within Joe’s undeniable “redneck” qualities. His first weapon of choice: the mullet. Though its existence manages to say enough on its own accord, Joe’s character pushes it one step forward with an included backstory. Upon his birth, he was allegedly born without a top to his skull. His mother, deeming this trait far too gross to carry on, grabbed the quickest hair piece available to sew onto the top of his head. Thus the mullet was born. Forever a part of him, the mullet directly represents his unchangeable and slightly stubborn redneck/deep south nature. Coupled with his hair piece is undeniably southern facial hair: soul patch, swooped in side burns, and a classic ‘stache. None of the aforementioned are connected to each other though, of course. These were not his choices, though, as it is made evident in his radio interview during the movie. The radio announcer, Zander Kelly, seems pretty baffled by Joe’s statements: “Now, you're telling me that you were so ingrained with white trash DNA, that your facial hair actually grows in on its own all white trashy like that?" Joe, and honest southern man, answers him as honestly as possible.

                One cannot merely dress the part to fully a realize a stereotype, though, and Joe Dirt is the full package. During the opening sequence of the movie, Joe has a run in with the security guard, looking suspiciously more like a cop or state trooper than the former, as he enters his workplace for his daily janitorial duties. The guard makes some negative statements to which Joe Dirt fires back quickly, albeit a bit unintelligently. This lends itself to that stereotypical backwoods redneck archetype that refuses to let the “feds” keep him down in any way at all. With a good redneck’s sense of rebellion comes a love of watching things blow up, and Dirt is no exception to this rule either. During his first meeting with his Native American companion, Kickin’ Wing, Joe instructs him on the finer points of owning a fireworks stand: “"You're gonna stand there, owning a fireworks stand, and tell me you don't have no whistling bungholes, no spleen splitters, whisker biscuits, honkey lighters, hoosker do’s, hoosker don’ts, cherry bombs, nipsy daisers, with or without the scooter stick, or one single whistling kitty chaser?" His knowledge proves to be both impressive and frightening, and it even come packaged in his own trademark lingo.

                While not the most thought provoking movie, Joe Dirt, is definitely an enjoyable romp through some of America’s stranger offerings via the viewpoint of a southern-fried character type. The redneck stereotype is in full force here, but not so much that it detracts from the experience. No real political stabs of pokes are made, as a majority of jokes are pretty light hearted. The movie definitely does not do much for fixing the stereotypes of old that the South is trying to shed, but it does provide Southern moviegoers with a safe vehicle to look back and have a little chuckle at some of the extremes of their culture… Roll Tide.  - Michael Carter

Remember the Titans

A staple of the "inspiration-sports" genre, Remember the Titans is a movie many are introduced to at early ages in the South. Many may see the film as a timeless representation of teammates overcoming racial adversity, but few take time to analyze the portrayal of the South itself. The film, set in small-town Virginia, depicts very clearly two of the themes discussed extensively this semester in class: "southern decay" and the "role of the outsider." Due to limited space, this entry will focus explicitly on Coach Herman Boone, played by Denzel Washington, and his relationship with these two elements. When examining the decay associated with many southern films, Coach Boone serves as the cure. Symbolic for the local society is the football team itself. The team begins the film divided by race, a unit comprised of students feeling victimized by a forced union of two local schools. While the team has many skilled individuals, the players refuse to function as a unit; they so far as to intentionally fail tasks on plays to harm players of the opposite race. Coach Boone, driven almost single-mindedly by his desire to win, forces players of opposite races to interact. As the film progresses, viewers witness how these forced encounters laid the foundation for beautiful relationships and friendships that later blossomed. Thus, Coach Boone shows the team the strength of a unified squad, sending a message to the town as well. Coach Boone also plays the role of outsider. This can be seen in how community members, players, and even his coaching staff treat him. The most visual representation of his lack of belonging comes when a brick bearing a racial slur is thrown through his window late at night. The fact that Coach Boone, an outsider, solves the problems of the team further enforces the message of many southern films: the South needs "outside" direction and influence to survive.  - James Cochran

Tarantino's Pulp Fiction and Kill Bill

 

As Pai Mei, the famous kung-fu master, trains The Bride (Uma Thurman) in martial arts high atop an oriental mountain pass in Kill Bill: Volume 2, finding any relevance of the South in Tarantino’s works seems doubtful, but look no further than Kill Bill (both volumes) and Pulp Fiction to find Southern stereotypes at their best. In Kill Bill, The Bride (Uma Thurman) seeks revenge on her former assassination squad for the murder of her unborn daughter. Bill, the squad leader, assists in crashing her wedding rehearsal while putting a bullet in her head that sends her into a four-year coma. Upon waking years later, The Bride succeeds in hunting down all four members of her squad, but not without difficulty. In the end, The Bride finds Bill and the daughter she once thought she lost forever. Unflinchingly, The Bride never strays from her path of revenge and kills Bill.

Two characters shape the entire image of Southern culture within Tarantino’s Kill Bill: the hillbilly trucker and Budd. While the Bride lays in a coma, a male nurse, Buck, sells her body for sex to, no other than, a hillbilly trucker. Similar to Deliverance, the Southern male is portrayed on a level more evil than monster. In this instance, rape in order to show dominance cannot be the case since the Bride is in an unconscious state – she cannot resist. Here, the rape of a woman who is unable to defend herself is an outrage. On the other hand, Kill Bill: Volume 2, presents the dimwitted Southern hick, Budd (Michael Madsen). Budd is first seen telling Bill that he pawned his priceless samurai sword for $250. The entire conversation takes place at Budd’s trailer while he sips on a liquor bottle. Ignorant fool, drunkard, and trailer trash are all Southern stereotypes that fit Budd. He goes on to talk very harshly and perversely about The Bride while she lies on the ground bleeding out from the shotgun shells he put in her chest. Finally, Budd is taken advantage of in a business trade with Elle Driver (Daryl Hannah). The cowboy is an easy target because his peers view him as ignorant and dimwitted.

An earlier film by Tarantino, Pulp Fiction, also has one of the most powerful scenes that portray the South in negative ways that followed, again, in Deliverance’s footsteps. The film contains multiple stories; however, the main Southern stereotype comes with the conflict of Butch and Marsellus. A washed-up boxer, Butch (Bruce Willis) is chased through the city streets by Marsellus Wallace (Ving Rhames) after Butch’s refusal to throw a fight breaks a business deal between the two. Both end up in a fistfight on the floor of Maynard’s pawnshop, where Maynard proceeds to tie them up at gunpoint before calling his hillbilly friend, Zed. The two are taken down to the basement where Butch is left with “The Gimp” – a man chained up in a full-body leather suit -  while Marsellus is taken into the next room and raped by Zed.  

Marsellus’s race is imperative in this scene. Tarantino portrays the Southerns as monsters who are consumed with such hatred that they rape a black man who comes across their path. Apart from John Boorman’s wild canoe trip, Pulp Fiction’s hillbilly monsters take advantage of criminals, which allows the audience to sympathize with criminals over Southerners. People who view this outside of the South see films like Deliverance and Pulp Fiction and, undoubtably, would never want to be left alone with a Southern man. Meanwhile, during the majority of the rape scene, the camera is held upon Butch and the dangling “Gimp,” who works as a symbol of the mask put up by the South to cover up their dark, sadistic desires. The hillbillies serve as a contrast or foil to the once rivals, Butch and Marsellus, who overcome their mutual differences in order to unite against the greatest enemy of all - the Confederate hillbilly (rebel flag is dawned in his pawnshop) and redneck sherrif.

Regardless of which film is viewed, Pulp Fiction or Kill Bill, Southern men serve the purpose of glorifying every other character they interact with. They are the antithesis of good and honest men. The Southern monsters unite black and white no matter what their differences because these men rape black men, take advantage of those who are defenseless, racially disgrace those who are different, and are ignorant drunks as depicted in modern films such as Pulp Fiction and Kill Bill. Regardless of the situation, Southern pride is set against all other entities represented in these films. The South is more than “backwards” in Pulp Fiction and Kill Bill; it is inhumane to the utmost. -

Brandon Landis