"Ama Ben Gerçekten Kahrolası Güzel Temizlerim": `True Detective' ve Motosiklet Alt Kültürünün Gösteri ve Yanıltmaca Olarak Temsili

Abstract

Bu makale alt kültürlere ait derin literatürden yararlanarak `True Detective' isimli televizyon serisinde kanunsuz motosiklet kulüplerinin nasıl sahnelendiğini ve bu tip önerilen temsiliyetlerin gerçekten etkin bir şekilde bu grupların 'alternatif hegemonyalarını' (Marksizm ve Edebiyat 111) nasıl zayıflattığını tartışacaktır. Bu serinin yönetmenleri, toplumumuza ve medya kuruluşlarımıza hitap eden ve bunların destekledikleri normatif varsayımlara karşı çıkmak yerine, bu alt kültür ile ilgili önyargıları ve/veya yanlış kanıları motosiklet sürücülerini hem karikatüre ederek hem de doğru olmayan simgelemeyle güçlendirecek birleştirici bir metodoloji ile uğraşmaktadırlar. Madem ki yönetmenler bizim farz edilen alt kültürel yanılsamaların, veya `maskelerin' (Pizzolato) arkasına gizlenmiş bireysel kimliklerine yoğunlaşmamızı istiyor, bizim bunun yerine Williams'ın adlandırdığı gönüllü "oyalama tarafından oyalanmadan oyalandım" (O'Connor 5) durumunu değerlendirmeli, ve bu temsillerin arka planında meydana gelen sınıf çatışmasını anlamalıyız. Bu muhtelif 'alternatif ve muhalif oluşumun' manidar ilkeleri ve uygulamalarını çalışarak, ve bu grupların değer ve pratiklerinin nasıl çarptırıldığını inceleyerek bu makale motosiklet kulüplerini tasvirinden yola çıkarak `True Detective'in izleyicilere sunduğu 'özgün' bir yıkım imgesi olarak ortaya çıkarmasını ve bu gruplarla ilgili baskın ideolojik fikirleri güçlendirmesini sorgulayacaktır. Son olarak, bu programın alt kültür temsillerinin Amerika'da ırk, toplumsal cinsiyet ve sınıf ile ilgili daha geniş bir tartışmayı nasıl engellediğini de göz önünde bulunduracağım.

Keywords

• True Detective,Motosiklet Altkültürü

"But I Do Clean Up Real Fuckin' Pretty": True Detective and Motorcycle Subculture Representation as Spectacle and Diversion

Abstract

Drawing on the extensive scholarship on subcultures, this paper shall discuss the ways in which the television series True Detective's renderings of outlaw motorcycle clubs (O.M.C.'s), and its suggestion that such representations are authentic actively undermines these groups' "alternative hegemony" (Marxism and Literature 111). Instead of challenging normative assumptions held by our society and media outlets to which they cater, the series' directors engage in a method of incorporation that employs both caricature and inaccurate representation of bikers to reinforce preconceptions and/or misconceptions about this subculture. Whereas the directors would like us to focus on individual identities that are hidden behind presumed subcultural facades, or "masks" (Pizzolato), we should instead consider what Williams calls our willing "distraction from distraction by distraction" (O'Connor 5), and understand the class struggle that is occurring beyond these representations. By studying the meaningful tenets and practices of this diverse "alternative and oppositional formation" (119) and how the values and practices of these groups are distorted by the show's creators, my paper will interrogate the ways in which True Detective offers its audience an "authentic" image of subversion and, through its portrayal of O.M.C.'s, reinforces dominant ideological beliefs about such groups. Finally, I will consider how the show's representation of subcultures occludes a larger discussion about race, gender, and class in America.

Keywords

• True Detective,Motorcycle Subculture

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