“This is a […] Story;”” the Refusal of a Master Text in Noah Hawley’s Fargo
Each episode of Noah Hawley’s first two seasons of Fargo begins with the same claim: “this is a true story.” The claim might invite the formation of what Thomas Leitch (2007) calls a “privileged master text,” except that Hawley undermines the creation of such a text in at least two ways. On the one...
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| Format: | Article |
| Language: | English |
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Alexandru Ioan Cuza University Press
2016-06-01
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| Series: | Linguaculture |
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| Online Access: | http://www.degruyter.com/view/j/lincu.2016.2016.issue-1/lincu-2016-0003/lincu-2016-0003.xml?format=INT |
| _version_ | 1817981053758865408 |
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| author | Redmon Allen H. |
| author_facet | Redmon Allen H. |
| author_sort | Redmon Allen H. |
| collection | DOAJ |
| description | Each episode of Noah Hawley’s first two seasons of Fargo begins with the same claim: “this is a true story.” The claim might invite the formation of what Thomas Leitch (2007) calls a “privileged master text,” except that Hawley undermines the creation of such a text in at least two ways. On the one hand, Hawley uses his truth claim as a way to direct his audience into the film he is adapting – Joel and Ethan Coen’s (1996) film by the same name. Hawley ensures throughout his first season that those who know or who come-to-know the Coens’ work will recognize his story as an extension of the Coens’s world. Hawley references the Coens’ world so much that his audience is never entirely outside the Coens’ universe, and certainly not in any world a story based on a true event might pretend to occupy. At the same time, Hawley allows different speakers to make the opening truth claim by the end of his second season, which further prevents his truth assertion from locating viewers in any actual world. Hawley’s second move reveals that true stories are always subjective stories, which means they are always constructed stories. In this way, a true story is no more definitive than any other story. All stories are, in keeping with Jorge Luis Borges’ attitude toward definitive texts, only a draft or a version of a story. Every telling invites another, alternative retelling. A true story is, therefore, above all a story. |
| first_indexed | 2024-04-13T23:02:01Z |
| format | Article |
| id | doaj.art-ab804649276d496989978f11289ae6a7 |
| institution | Directory Open Access Journal |
| issn | 2067-9696 2285-9403 |
| language | English |
| last_indexed | 2024-04-13T23:02:01Z |
| publishDate | 2016-06-01 |
| publisher | Alexandru Ioan Cuza University Press |
| record_format | Article |
| series | Linguaculture |
| spelling | doaj.art-ab804649276d496989978f11289ae6a72022-12-22T02:25:49ZengAlexandru Ioan Cuza University PressLinguaculture2067-96962285-94032016-06-0120161162610.1515/lincu-2016-0003lincu-2016-0003“This is a […] Story;”” the Refusal of a Master Text in Noah Hawley’s FargoRedmon Allen H.0Texas A&M University Central Texas, United States of AmericaEach episode of Noah Hawley’s first two seasons of Fargo begins with the same claim: “this is a true story.” The claim might invite the formation of what Thomas Leitch (2007) calls a “privileged master text,” except that Hawley undermines the creation of such a text in at least two ways. On the one hand, Hawley uses his truth claim as a way to direct his audience into the film he is adapting – Joel and Ethan Coen’s (1996) film by the same name. Hawley ensures throughout his first season that those who know or who come-to-know the Coens’ work will recognize his story as an extension of the Coens’s world. Hawley references the Coens’ world so much that his audience is never entirely outside the Coens’ universe, and certainly not in any world a story based on a true event might pretend to occupy. At the same time, Hawley allows different speakers to make the opening truth claim by the end of his second season, which further prevents his truth assertion from locating viewers in any actual world. Hawley’s second move reveals that true stories are always subjective stories, which means they are always constructed stories. In this way, a true story is no more definitive than any other story. All stories are, in keeping with Jorge Luis Borges’ attitude toward definitive texts, only a draft or a version of a story. Every telling invites another, alternative retelling. A true story is, therefore, above all a story.http://www.degruyter.com/view/j/lincu.2016.2016.issue-1/lincu-2016-0003/lincu-2016-0003.xml?format=INTtrue storiesadaptationCoen BrothersFargosubjectivityconstructivism |
| spellingShingle | Redmon Allen H. “This is a […] Story;”” the Refusal of a Master Text in Noah Hawley’s Fargo Linguaculture true stories adaptation Coen Brothers Fargo subjectivity constructivism |
| title | “This is a […] Story;”” the Refusal of a Master Text in Noah Hawley’s Fargo |
| title_full | “This is a […] Story;”” the Refusal of a Master Text in Noah Hawley’s Fargo |
| title_fullStr | “This is a […] Story;”” the Refusal of a Master Text in Noah Hawley’s Fargo |
| title_full_unstemmed | “This is a […] Story;”” the Refusal of a Master Text in Noah Hawley’s Fargo |
| title_short | “This is a […] Story;”” the Refusal of a Master Text in Noah Hawley’s Fargo |
| title_sort | this is a story the refusal of a master text in noah hawley s fargo |
| topic | true stories adaptation Coen Brothers Fargo subjectivity constructivism |
| url | http://www.degruyter.com/view/j/lincu.2016.2016.issue-1/lincu-2016-0003/lincu-2016-0003.xml?format=INT |
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