La atrayente degradación del mito nacionalDeadwood, un western post 11-S

  1. Ignacio Fernández de Mata 1
  1. 1 Universidad de Burgos
    info

    Universidad de Burgos

    Burgos, España

    ROR https://ror.org/049da5t36

Journal:
Oceánide

ISSN: 1989-6328

Year of publication: 2017

Issue: 9

Type: Article

DIALNET GOOGLE SCHOLAR lock_openDialnet editor

More publications in: Oceánide

Abstract

Produced and aired between 2004 and 2006, HBO’s Deadwood was critically acclaimed to mythical proportions, but the show was left unfinished after only three seasons, to the chagrin of its devoted viewers. One of the keys behind its success —beside its villains’ impeccable performances— lies in its brutal updating of one of United States’ major national myths: the wild west and its world of hyper-masculine pioneers aided by Christian providence. With its gritty realism, the series presents the conflicts of a frontier community in which the only law that seems to prevail is the Darwinian’s survival of the fittest—or smartest. Deadwood’s skeptical worldview along with the moral weakness and cynicism of nearly all its characters resounded with the spectator’s post 9-11 society and its newfound fragility. This article analyzes the relations and constructions of identity, in their various roles and levels, that operated in the series’ frontier society, a society built on conflict, inequality and exploitation, where there was no room for the renowned “American innocence” (Fredericks & Bacevich, 2014: n.pag.), and where the coincidence of personal interests seemed to be the community’s only unifying force.

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