Rose-Tinted Narrative: Difference between revisions

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{{trope}}
{{quote|''"Rose -tint my world., Keep me safe from my trouble and pain."''|Frank -N. Furter|''[[The Rocky Horror Show]]''}}
 
The Romantic movement of the 19th century was a style of art that stirred the emotions, like sadness, joy and nostalgia. Later, some people used that style to put things they favor in an idealized manner, even if such things were already seen as positive.
 
The subjects of these works could be people, places, events, ideologies or other things. Although these are only occasionally accurate to the facts, they can still make for great stories. If taken too far, on the other hand, they can make their subjects into [[Mary Sue|Mary Sues]]s or [[Mary Suetopia|Mary Suetopias]]s.
 
Note that this isn't about just trying to make something look good, or make it look exciting. It's about stirring the emotions, not just pumping the adrenaline.
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Contrast [[Demonization]].
{{examples}}
 
{{examples}}
== Anime and Manga ==
* ''[[Space Battleship Yamato]]'' does this for [[Imperial Japan]], with the interesting workaround that it takes place in [[The Future]] where the protagonists must fight against hostile aliens, because no decent person could ever do a rose-tinted narative about the ''actual'' [[Moral Event Horizon|WWII-era Japan]]. Co-creator [[Leiji Matsumoto]] is admittedly heavily influenced by the 19th century Romantic writers & artists.
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* ''[[Braveheart]]'', portraying William Wallace and the Scots as strong [[Closer to Earth|earthly]] [[Noble Savage|noble]] types, and the English as [[Complete Monster|complete monsters]] who all have perms.
* ''[[The Godfather]]'' has often been accused of romanticizing the Mafia (not the violent parts, but other parts of the movies).
** ''[[Goodfellas]]'' and ''[[Casino]]'' could be [[Deconstruction|deconstructionsdeconstruction]]s of this kind of portrayal.
** For that matter, ''Godfather Part II'' was a pretty thorough [[Deconstruction]] of the notion of Mafioso-as-hero. {{spoiler|Vito never chose to be a gangster, but was forced into it and never wanted his sons to follow him. Michael's criminal actions cost him his family. At the end of the first movie it's possible to see Michael Corleone as a hero: by the end of the second he's merely a ''[[Incredibly Lame Pun|coglione]]''.}}
* ''~[[300~]]''. Notably, the way in which the Spartans were [[Historical Hero Upgrade|beatified]] as ultimate badasses and the Persians were [[Historical Villain Upgrade|vilified]] as subhuman monsters had some [[Unfortunate Implications|deeply racist undertones]], given the current tension between the West and the Middle East.
** [[Word of God|Word of]] [[Frank Miller|God]] is that a lot of that is in-universe propaganda, due to the [[Unreliable Narrator]].
** There's also the pederasty and slavery : the latter is not mentioned at all, and the Spartans ''mock'' the Athenians for their practice of pederasty, which existed in Sparta at the time as well.
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