Editing Stock character (section)

==Academic analysis==

There is often confusion between stock characters, [[archetype]]s, [[stereotype]]s, and [[Cliché|clichés]]. In part this confusion arises due to the overlap between these concepts. Nevertheless, these terms are not synonyms.<ref>{{cite web |url= https://www.masterclass.com/articles/writing-101-the-12-literary-archetypes#-is-an-archetype-the-12-literary-archetypes#what-is-an-archetype|title= Writing 101: The 12 Literary Archetypes|author=<!--Not stated--> |website= www.masterclass.com|publisher=Masterclass |access-date= 4 April 2020}}</ref> The relationship is that basic archetypes (such as "[[hero]]" or "[[father figure]]") and stock characters (such as "[[damsel in distress]]" and "[[wise fool]]") are the raw source material that authors use to build on and create fleshed-out, interesting characters. In contrast, stereotypes and clichés are generally viewed as signs of "bad writing or shallow thinking".<ref>{{cite web |url= https://www.masterclass.com/articles/writing-101-the-12-literary-archetypes#-is-an-archetype-the-12-literary-archetypes#what-is-an-archetype|title= Writing 101: The 12 Literary Archetypes|author=<!--Not stated--> |website= www.masterclass.com|publisher=Masterclass |access-date= 4 April 2020}}</ref> Some stereotypes, such as [[racial stereotype]] characters, may be offensive to readers or viewers.

According to [[Dwight V. Swain]], a creative writing professor and prolific fiction author, all characters begin as stock characters and are fleshed out only as far as needed to advance the plot.<ref>Swain, Dwight V. ''Creating Characters: How to Build Story People'' Writers Digest Books, 1990</ref>  E. Graham McKinley says "there is general agreement on the importance to drama of 'stock' characters. This notion has been considerably explored in film theory, where feminists have argued, female stock characters are only stereotypes (child/woman, whore, <!--Originally cited. Please do not remove it further.-->bitch<!--Originally cited. Please do not remove it further.-->, wife, mother, secretary or [[Girl Friday (idiom)|girl Friday]], career women, [[femme fatale|vamp]], etc.)."<ref>E. Graham McKinley, ''Beverly Hills, 90210: television, gender, and identity'' (1997), [https://books.google.com/books?id=S4tl1L_NG_cC&dq=%22female+stock+characters%22&pg=PA19 19].</ref> Ulrike Roesler and Jayandra Soni analyze "not only with female stock characters in the sense of typical roles in the dramas, but also with other female persons in the area of the theatrical stage..."<ref>Ulrike Roesler and Jayandra Soni, ''Aspects of the female in Indian culture: proceedings of the symposium in ...'' (2004), [https://books.google.com/books?id=r2waAQAAIAAJ&q=%22female+stock+characters%22 119].</ref>

Andrew Griffin, Helen Ostovich, and Holger Schott Syme explain further that "Female stock characters also permit a close level of audience identification; this is true most of all in ''[[The Troublesome Reign of King John|The Troublesome Reign]]'', where the "weeping woman" type is used to dramatic advantage. This stock character provides pathos as yet another counterpoint to the plays' comic business and royal pomp."<ref>Andrew Griffin, Helen Ostovich, and Holger Schott Syme, ''Locating the Queen's Men, 1583-1603: Material Practices and Conditions of ...'' (2009), [https://books.google.com/books?id=d8Z7uYN1OqkC&dq=%22female+stock+characters%22&pg=PA172 172].</ref>

Tara Brabazon discusses how the "school ma'am on the colonial frontier has been a stock character of literature and film in Australia and the United States. She is an ideal foil for the ill mannered, uncivilised hero. In American literature and film, the spinster from East – generally Boston – has some stock attributes." Polly Welts Kaufman shows that the schoolma'am's  "[[genteel poverty]], unbending morality, education, and independent ways make her character a useful [[foil (literature)|foil]] for the two other female stock characters in Western literature: the [[Whore|prostitute with the heart of gold]] and the long-suffering farmer's wife.'"<ref>Tara Brabazon, ''Ladies who lunge: celebrating difficult women'' (2002), [https://books.google.com/books?id=MdIjOrSa9ZUC&dq=%22female+stock+characters%22&pg=PA147 147].</ref>

Stock characters can be further identified as an ''[[alazon]]'', the "impostor and self-deceiving braggart" in a story, or an ''[[eiron]]'', a "self-derogatory and understating character".<ref>Meyer H. Abrams and Geoffrey Galt Harpham. ''A Glossary of Literary Terms'', 11th ed. (Stamford, CT: Cengage Learning, 2015), 377.</ref>
[[File:Hollywood Sign (Zuschnitt).jpg|thumb|Hollywood]]

===American film===
In American popular films, there are a wide range of stock characters, which are typically used as non-speaking [[extra (acting)|extra]]s in the background, [[bit part]]s with a single line, minor secondary/supporting roles, or major secondary/supporting roles.<ref>Loukides, Paul; Linda K. Fuller. ''Beyond the Stars: Stock characters in American popular film, Volume 1''. Popular Press, 1990. p. 4</ref> Stock characters in American films have changed over the decades. A 1930s or 1940s film's stock characters include newspaper vendors, ice  vendors, street sweepers, and cigarette girls; in contrast, a 1990s film has homeless "[[Homelessness|bag ladies]]", pimps, plainclothes police, business women, and Black and Hispanic stereotypes.<ref>Loukides, Paul; Linda K. Fuller. ''Beyond the Stars: Stock characters in American popular film, Volume 1''. Popular Press, 1990. p. 5</ref>

Stock characters in American popular culture, especially racial and ethnic stereotypes, often came to be seen as offensive in later decades and were replaced with new stereotypes. For example, the "[[Jim Crow (character)|lazy Black]]" and the "[[Yellow Peril|treacherous bespectacled Japanese]]" were replaced in the 1990s with the "[[Blaxploitation|street-smart Brother]]" and the "camera-happy Japanese tourist".<ref>Loukides, Paul; Linda K. Fuller. ''Beyond the Stars: Stock characters in American popular film, Volume 1''. Popular Press, 1990. p. 3</ref> Other groups more frequently represented as stock characters include women, Native Americans, Hispanics, Arabs, Gays/Lesbians, Jews, and Italians.<ref>Loukides, Paul; Linda K. Fuller. ''Beyond the Stars: Stock characters in American popular film, Volume 1''. Popular Press, 1990. p. 3</ref>
Other briefly popular stock characters include the 1950s "overweight Communist cell leader" and the 1970s "[[Black Panther Party|Black Panther]] revolutionary".<ref>Loukides, Paul; Linda K. Fuller. ''Beyond the Stars: Stock characters in American popular film, Volume 1''. Popular Press, 1990. p. 5</ref>

Even in timeless occupations, the person in the job has changed, reflecting cultural and demographic changes.
<ref>Loukides, Paul; Linda K. Fuller. ''Beyond the Stars: Stock characters in American popular film, Volume 1''. Popular Press, 1990. p. 5</ref> In the 1990s, a hairdresser (previously French) was often depicted as a gay man, a gardener (previously White) as Asian or Hispanic, a bartender (previously White) as Black, and a maid (previously Black) as Hispanic.<ref>Loukides, Paul; Linda K. Fuller. ''Beyond the Stars: Stock characters in American popular film, Volume 1''. Popular Press, 1990. p. 5</ref>

===Television===
Due to the scheduling constraints on television production, in which episodes need to be quickly scripted and shot, television scriptwriters often depend heavily on stock characters borrowed from popular film.<ref>Molina-Guzmán, Isabel. ''Latinas and Latinos on TV: Colorblind Comedy in the Post-racial Network Era''. University of Arizona Press, Mar. 27, 2018 . p. 19.</ref> TV writers use these stock characters to quickly communicate to the audience.<ref>Molina-Guzmán, Isabel. ''Latinas and Latinos on TV: Colorblind Comedy in the Post-racial Network Era''. University of Arizona Press, Mar. 27, 2018 . p. 19.</ref> In the late 1990s, there was a trend for screenwriters to add a gay stock character, which replaced the 1980s era's "African-American workplace pal" stock character.<ref>Davis, Glyn; Gary Needham. ''Queer TV: Theories, Histories''. Routledge, Dec. 3, 2008. p. 31</ref> In the 1990s, a number of [[sitcom]]s introduced gay stock characters with the quality of the depictions being viewed as setting a new bar for onscreen [[LGBT]] depiction.<ref>Kessler, Kelly. "Politics of the Sitcom Formula: Friends, Mad About You and the Sapphic Second Banana". In ''The New Queer Aesthetic on Television: Essays on Recent Programming'' Ed. James R. Keller, Leslie Stratyner. McFarland, 2014.  p. 130.</ref>

One challenge with the use of stock characters in TV shows is that, as with films, these stock characters can incorporate [[racial stereotype]]s, and "prejudicial and demeaning images".<ref>Molina-Guzmán, Isabel. ''Latinas and Latinos on TV: Colorblind Comedy in the Post-racial Network Era''. University of Arizona Press, Mar. 27, 2018 . p. 19.</ref> One concern raised with these gay stock characters is they tend to be shown as just advice-giving "sidekicks" who are not truly integrated into the narrative; as well, the gay character's life is not depicted, apart from their advice-giving interactions with the main characters.<ref>Davis, Glyn; Gary Needham. ''Queer TV: Theories, Histories''. Routledge, Dec. 3, 2008. p. 31</ref> This also echoed the way that Black and Latino characters were used in 1980s and early 1990s shows: they were given a stock character role as a police chief, which in put them in a position of power, but then these characters were used as minor characters, with little narrative interaction with main characters.<ref>Davis, Glyn; Gary Needham. ''Queer TV: Theories, Histories''. Routledge, Dec. 3, 2008. p. 31</ref> In the 2000s, with changing views on depicting race, Latino/a characters are both [[typecast]] into stock characters and the writers play with viewer expectations by making a seemingly stock Latino/a character act or behave "against type".<ref>Molina-Guzmán, Isabel. ''Latinas and Latinos on TV: Colorblind Comedy in the Post-racial Network Era''. University of Arizona Press, Mar. 27, 2018 . p. 19.</ref>

Southern sheriff stock characters are depicted with a negative stereotype of being obese, poorly trained, uneducated, and racist, as was done with Sheriff Roscoe P. Coltrane from ''[[The Dukes of Hazzard]]''.<ref>Ely Jr., James W., Bradley G. Bond. ''The New Encyclopedia of Southern Culture: Volume 10: Law and Culture''. UNC Press Books, 2014. p. 60</ref>