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Hyperreality and Loss of Identity in American Psycho and Escape from Tomorrow by Tyler Crawford a Thesis

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Hyperreality and Loss of Identity in American Psycho and Escape from Tomorrow by Tyler Crawford a Thesis The American Nightmare: Hyperreality and Loss of Identity in American Psycho and Escape from Tomorrow by Tyler Crawford A Thesis Submitted to the Faculty of The Wilkes Honors College In Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts in Liberal Arts and Sciences With a Concentration in English Literature Wilkes Honors College of Florida Atlantic University Jupiter, Florida May 2016 THE AMERICAN NIGHTMARE: HYPERREALITY AND LOSS OF IDENTITY IN AMERICAN PSYCHO AND ESCAPE FROM TOMORROW by Tyler Crawford This thesis was prepared under the direction of the candidate’s thesis advisor, Dr. Michael Harrawood, and has been approved by the members of her/his supervisory committee. It was submitted to the faculty of The Honors College and was accepted in partial fulfillment of the requirements for the degree of Bachelor of Arts in Liberal Arts and Sciences. SUPERVISORY COMMITTEE: ____________________________ Dr. Michael Harrawood ____________________________ Dr. Gavin Sourgen ______________________________ Dean Jeffrey Buller, Wilkes Honors College ____________ Date ii ACKNOWLEDGEMENTS First off, I would like to thank my advisor, Dr. Michael Harrawood, for taking me on as a junior year biology student, because he could tell where my passions truly lay, for reading this thesis so inexcusably late in the midst of grading a million papers, and for being the most exciting and the most supportive mentor and friend. I want to thank my second reader, Dr. Gavin Sourgen, for his invaluable advice, edits, and support, as well as his reading of my thesis whilst grading his million papers. I want to thank Dr. Yasmine Shamma for renewing my interest in poetry and forcing me to examine things, especially about NYC, a little differently. I acknowledge every teacher I have ever had the Honors College, because each has brought a new idea to my head and a new choice to make, particularly my first advisor here, Dr. Chitra Chandrasekhar, and the most amazing lab instructor ever, April. Thank you for all your help (and your paper). Even after I left the science department, you were still there for me whenever I needed you, and I will remain grateful for that. To my dearest friends, you know I love you all: The glue that held and holds us together, Rachel Turn--the smartest girl in the world and the kindest, the girl who helps you with your thesis formatting at 7 AM the day it’s due, whom you can tell your darkest secrets and never feel judged or alone; The party girl, Amy Stein—the girl you can cuddle with and watch a Disney movie, the generous one who is always ready to throw a great get-together together and use her dorm room (now apartment) as host site, the one who you can watch an endless parade of internet videos with and the laughter never dies; The buddy, David Brothers, the one who you can always share a space with who is always ready to welcome you with open arms, a Cards Against Humanity box, and iii maybe Whose Line on instant replay, the guy who you can turn to and go see a random play or movie and he will always be up for it to hang out; The musical girl, Cathy Ray, who you can sit up all night with, read Cosmo, gossip and never stop laughing, the one who you can talk musicals with and never end up making a better critique then she does, because she’s awesome; The popular girl, Laccia Bromell, the girl who loved everyone and will forever hold a piece of my heart captive, because we had a crazy, but truly wonderful undergrad career together; The gentle giant, Chris Olbrych, who may always seem like he wants to talk about Rachel Turn or bowel movements, but will drive nearly 30 miles out of his way to pick you up for school because you don’t have a car; I would never have survived without you all. Your friendship and love is something I will always cherish and be so beyond grateful for, you cannot possibly fathom. Also, I want to note Genesis B., Michelle D., Eli T., Ray, Kayla, Claire, Anna and Roger, and all the wonderful times we had. All of you are irreplaceable pieces of my life that I will back on with a wistful mind and a great big smile, because it happened, as they say. Last, but certainly not least, I acknowledge my family: my father Eugene Crawford, who always pushes me to do more and be better, because he knows I can; my mother, Melissa Crawford, who is always there with a gentle hand on my shoulder and a supportive word in the ear and willing to drop everything for me; my sisters, Tiffany and Taylor Crawford, who always have my back and are ready to talk whenever I need them; my grandparents, David and Dottie Miller, and Grace Crawford, who are proud of me no matter what; my aunts and uncles, cousins, teachers and staff at Discovery Key Elementary, who are all too numerous to name, but you know you are, and the Tracy family, for all their generosity, love, and support from the time I was in diapers. iv ABSTRACT Author: Tyler Crawford Title: The American Nightmare: Hyperreality and Loss of Identity in American Psycho and Escape from Tomorrow Institution: Wilkes Honors College of Florida Atlantic University Thesis Advisor: Dr. Michael Harrawood Degree: Bachelor of Arts in Liberal Arts and Sciences Concentration: English Literature Year: 2016 The renowned French philosopher and cultural critic Jean Baudrillard, in his 1981 treatise Simulacra and Simulation, creates and defines the term “hyperreality” as “the generation by models of a real without origin or reality.” Utilizing this definition, this thesis analyzes the text and film versions of Bret Easton Ellis’s controversial postmodern classic, American Psycho, in conjunction with the anti-“Disneyfication” independent film, Escape from Tomorrow, as complex examples in fiction of the excess and ultimate consequences of American materialism that has developed since the 1991 publication of Ellis’s novel about the over-indulgent “yuppie” culture of the 1980’s. I argue that the main consequence of the practice of blind belief in the endurance and reliability of material signifiers for the protagonists of these works, Patrick Bateman and Jim White respectively, is the sacrifice of their identity to the machine of homogenized corporate capitalism. v To Frances Ann Gould The wise woman 80 years young who will always be with me vi TABLE OF CONTENTS Introduction to Hyperreality, American Psycho, and Escape from Tomorrow: the Theater of the American Nightmare…………………………………………………….1-7 Violence, Sexuality, Fatalism and Loss of Identity in the Hyperreal Environments of Bret Easton Ellis’ Manhattan and Randy Moore’s Disney World/Disneyland...........8-28 Conclusion: Contemporary Implications of the American Nightmare and Further Reading…………………………………………………………………………29-31 Bibliography……………………………………………………………………32-35 vii INTRODUCTION: Hyperreality, American Psycho and Escape from Tomorrow: The Theater of the American Nightmare “Reality itself founders in hyperrealism, the meticulous reduplication of the real, preferably through another, reproductive medium, such as photography. From medium to medium, the real is volatized, becoming an allegory of death. But it is also, in a sense, reinforced through its own destruction. It becomes reality for its own sake, the fetishism of the lost object: no longer the object of representation, but the ecstasy of denial and of its own ritual extermination: the hyperreal.” ---- Jean Baudrillard (Selected Writings, 144-145) “ABANDON ALL HOPE YE WHO ENTER HERE is scrawled in blood red lettering on the side of the Chemical Bank near the corner of Eleventh and First and is in print large enough to be seen from the backseat of the cab as it lurches forward in the traffic leaving Wall Street and just as Timothy Price notices the words a bus pulls up, the advertisement for Les Misérables on its side blocking his view, but Price who is with Pierce & Pierce and twenty-six doesn’t seem to care because he tells the driver he will give him five dollars to turn up the radio, ‘Be My Baby’ on WYNN, and the driver, black, not American, does so.” ----- American Psycho (Ellis, 3) “Walt Disney World is a tribute to the philosophy and life of Walter Elias Disney... and to the talents, the dedication, and the loyalty of the entire Disney organization that made Walt Disney's dream come true. May Walt Disney World bring Joy and Inspiration and New Knowledge to all who come to this happy place ... a Magic Kingdom where the young at heart of all ages can laugh and play and learn — together.” —Roy Oliver Disney, October 25, 1971 “Bad Things Happen Everywhere.” ----- Tagline of Escape from Tomorrow Baudrillard’s prophetic “allegory of death” is manifested in the very first words of Bret Easton Ellis’ seductive invitation into his version of the American Dream, 1 become nightmare. Set appropriately in the disorienting environment of neon- emblazoned 1980’s Manhattan, this backdrop would seem to be anathema to Roy O. Disney’s sentimental beckoning to the American neo-bourgeoisie in his younger brother’s posthumously constructed Magic Kingdom. Indeed, such saccharine rhetoric is so pervasive and inherent, the dedication stands today as an iron-cast monument at the entrance to Disney’s idealized version of “Main Street, U.S.A.,” plainly in view of all guests as they pass through the electronic turnstiles. This thesis is an attempt to reconcile the disparate elements that make up the American Psycho narrative of the 1980’s and those of the standard story of Walt Disney’s company and its products carried over since his death; and demonstrate how those elements come together through the concepts of Baudrillard’s hyperreality, particularly those imagined in avant-garde underground director Randy Moore’s contemporary portrait of Walt Disney World in Escape from Tomorrow.
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