A passage in one of this week’s reading assignments piqued
my curiosity. In David L. Brown and Kai A. Schafft’s essay, Rural People and Communities in the 21st Century,
the authors state that North Americans and Europeans broadly possess
anti-urban and pro-rural sentiments. Intuitively, upon reading this, I felt
that it must be incorrect, or at least the statement, “North Americans and
Europeans hold favorable opinions about rural areas,” incompletely describes
general sentiments concerning rural areas.
My view regarding this statement stems from popular
culture’s depiction of rural areas, or at least what I have gathered from its
depiction. I have noticed a consistent trend in Hollywood, wherein horror movie
milieus, for instance, are rural areas (e.g., The Texas Chainsaw Massacre, Children of the Corn, The Village, Deliverance,
Misery, etc.). It seems to me that a rural milieu is almost essential for a horror
movie to have its desired effect of instilling fear in the audience.
I have also noticed that popular culture tends to depict rural inhabitants as philistine, politically backward, and generally
uneducated (e.g. The Beverly Hillbillies,
Cletus Delroy Spuckler from The Simpsons,
Duck Dynasty, etc.). Anthony
Hopkins’s infamous monologue, as Hannibal Lecter in The Silence of the Lambs, perfectly encapsulates this attitude in its most vitriolic form. The
sophisticated and intellectual Lecter lashes out at Jodie Foster’s character,
Clarice Starling, calling her a “rube,” a country bumpkin. The monologue is
worth quoting:
You know what you look like to me, with
your good bag and your cheap shoes? You look like a rube. A well scrubbed,
hustling rube with a little taste. Good nutrition's given you some length of
bone, but you're not more than one generation from poor white trash, are you,
Agent Starling? And that accent you've tried so desperately to shed: pure West
Virginia. What is your father, dear? Is he a coal miner? Does he stink of the lamp?
You know how quickly the boys found you... all those tedious sticky fumblings
in the back seats of cars... while you could only dream of getting out...
getting anywhere... getting all the way to the FBI.
Obviously, my observations do not necessarily conflict with
Brown and Schafft’s argument. They only conflict with the argument if
we presuppose that popular culture’s depiction of rural areas is a direct
reflection of popular sentiment. This is certainly a possibility; I think it is
fact. However, it is common knowledge nowadays that popular culture is not only
a reflection of popular sentiment, but that also it is a manufacturer of
ideology.
It seems to me, as Brown and Schafft articulated by
referring to the attitudes of “literary giants,” popular culture plays a large role
in shaping general conceptions of rural areas. The engineers behind popular
culture seek, of course, to make a profit as well as to inculcate values and
modes of thinking within the populace.
I would like to further explore the relationship between
popular culture’s depiction of rural areas and the general sentiment concerning
rural areas.
I am willing to concede, for the sake of discussion, that it
is true that the majority of Americans hold pro-rural beliefs, yet I ask: why
have these beliefs not been tarnished by the pervasive negative portrayal of
rural areas in popular culture? Could this be explained by the fact that
popular culture more emphatically depicts rural areas under a positive light? Western
heroes, like Clint Eastwood and John Wayne’s various characters (e.g. the man with no name, Josey Wales, Rooster Cogburn, etc.), are emblematic of
Hollywood’s powerful infatuation with rural frontiersman. Or could this be
explained as Americans simultaneously holding pro and anti-rural beliefs?
I do not think that this is a matter of one popular depiction
negating another. I think this is a matter of different depictions producing
different sentiments regarding rural areas, which, despite their difference, work
in unison for one ideological end. Americans hold simultaneously pro and
anti-rural beliefs.
On one hand, many films, television series, and popular
songs produce a fondness for the rural because of the rural area’s presentation
as technologically and legally untouched. The rural represents a divergence
from the daily technological and bureaucratic drudgeries of industrialized, urban
life. This depiction serves to enable the average blue-collar and white-collar urbanite
to vicariously experience the rugged frontiersman’s apparent freedom and peace.
On the other hand, horror films and the depiction of the “idiocy”
of rural life serve the purpose of reigning in this vicarious sense of freedom,
to make it covetable yet not so covetable. Horror films and others like them propagate
that the countryside’s lack of institutional and technological development
makes for a terrifying landscape. It is a place for all sorts of crimes to go
unnoticed, as the state and communication with urban centers are almost non-existent.
So, in a sense these depictions create a feeling of a need for law and order despite
the freedom glorified in other forms of popular culture.
I conclude from all this that the issue is not
cut and dried. It is impossible to say that Americans and Europeans generally hold
either pro- or anti-rural views. The methods through which the dominant means of
education and communication inculcate ideology are far too complex to summarize
their effect in one sweeping assertion.