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Alicia Wang
Professor Lynda Haas
Writing 39B
21 May 2014
Bromance
From day one, students have been exposed to the idea of genre theory and the four stages
of genre development.Media scholars who study film and television often refer to g Genre theory
to define how texts work; they assert that all is the argument that all genres go through a period
of multiple stages, changing in each stage to remain appealing to the historical and cultural time
period in which they were created. These stages include the primitive (the first appearance of the
genre), classical (when the genre gains popularity and is in high demand), parodic (when the
genre is well known and used as a source of satire), and revisionist (when the genre is so well
known that writers must change the original conventions and bring something different to
maintain the audiences interest). In this essay,). . <<<using the ( ) the define each stage allows
you to cover this terrirtory much faster, which is good, because you should be getting to your
own point faster I will be focusing on the revisionist stage but reference the classical stage as
support. Leroy Lad Paenk, author of Read An Introduction to the Detective Story touches on the
history of the detective genre and the authors who have shown hints at the detective genre (7).
Paenk says, there must be classical precedents for the detective story (7). I will skip past the
primitive stage, but continue with the classical, and revisionist stage of the genre. Primitive is the
beginning stage of the genre. Classical stage is when the genre gains a reputation and at its
highest demand. Parodic is when the genre is so well known that it is used in satire. Revisionist
is when the genre has changed the original conventions of the genre during the classical stage
and brought something different to the old conventions. In the detective genre, Conan Doyles
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Sherlock Holmes was in therepresents the classical stage of development, while BBCs
television series Sherlock and Guy Ritchies film Sherlock Holmes are both in the revisionist
stage.
Despite the recent revisions to the classic conventions of the Holmes conventions, the
main goal of the stories remains the same. Literary scholar George N. Dove, author of The
Reader and the Detective Story, asserts that (literary detection) is fundamentally an intellectual
undertaking; it is recreational, intended primarily to relax; and it is a disciplined, delimited
literary form (2).
BBCs Sherlock. <<you dont need to keep repeating BBConce is enough, then just
the title of the series, or the episode>>>> created and written by Stephen Moffatt and Mark
Gatiss, is based on the original Sherlock and Watson storyConan Doyle stories, but the twist is
that thee setting is in 21
st
century London, and was created and written by Stephen Moffatt and
Mark Gatiss. Guy Ritchie directed an Americatwo n <<its actually a British movie, and Ritichie
is British. The only American in the movie is Downey>> movies based on version of the classic
conventions of Sherlock Holme called Sherlock Holmes, and s and called it Sherlock Holmes: A
Game of Shadows. I will focus on Sherlock Holmes: A Game of Shadows as I analyze the
relationship between Holmes and Watson. Even though the films and shows are in the revisionist
age, they still reflect some conventions of the original Holmes stories and the purpose of the
Holmes stories. The original Holmes stories were written to entertain, and now these movies and
shows entertain the twenty first century audience instead of the ninetieth century audience.
<<which one are you going to analyze? The first film or the second? In your intro you
should probably mention that Ritchie has made two films, but then only focus on one
Despite the genres development,recent revisions to the classic conventions of the
Holmes canon, the main goal of the mystery genrestories remains the same. Literary scholar
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George N. Dove, the author of The Reader and the Detective Story, saysasserts that , Four
qualities of the tale of literary detection set it apart, in the opinion of critics past and present,
from other popular fiction: the detective story is transitory, without long-range goals or purposes;
it is fundamentally an intellectual undertaking; it is recreational, intended primarily to relax; and
it is a disciplined, delimited literary form (2). Dove says the detective genre is made for
pleasure reading and to entertain the reader. <<<if the main point you want to take from Dove is
the pleasure aspect, then just quote that partyou dont need all the rest Dove later on talks
about the detective stories were created with a specific set of rules the writer could follow while
creating a way for the audience to relax and experience a mental game. How does this tie in to
the modern-day texts? Is Doves assertion still correct when applied to these texts?
During Conan Doyles era, he incorporated the surrounding environment of Britain
during the 1900s into his stories, and reflected the audience and time period. Kirby Farrell,
author of Heroism, Culture, and Dread in The Sign of Four wrote, <<only use ellipses ()
when you take out something from the middle of a quotation wittingly or not, it (The Sign of the
Four) provides clues to the meanings of its (Britain) own addictive illusions (48). Farrells
essay was is about how Conan Doyles stories reflecting the audiences mindset and beliefs
based on the four addictions Britain and its people were going throughVictorian attitude about
and its addiction to the power involved with being a global Empire. During the revisionist stage,
BBCs Sherlock and Ritchies Sherlock Holmes have similar conventions but these conventions
are changed to fit the needs of todays audience.<<The logical thing for this sentence to be about
would be about how the modern day texts translate that Empire/addiction aspect--- if youre not
writing about htat, then take out that part These changes in the conventions are apparent in the
show and in the movie. <Unnecessary sentence For example,An important reoccurring
convention is the convention of the relationship between SherlockHolmess and Watsons
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relationship with each other. Literary scholar, Kirby Farrell, author of Heroism, Culture, and
Dread in The Sign of Four says, the two characters are facets of a single persona, the split-
man (4). Kirby notes on how the two characters need each other and one would not be able to
function without the other. has changed in the revisionist stage. In the original stories, Sherlock
Holmes and Watson haved a very close friendship but but in the BBC version of
Sherlocktelevision series, Sherlock, the two characters bond is so strong some would argue that
they are potentially gay.s are portrayed to have subtle hints at being gay for one another. In the
Jim Guy Ritchies version of the two characters, the strong friendship aspect is brought back
have a strong masculine bond. All three versions of Sherlock and Holmes are incredibly popular
and this specific convention has grown to be more explicit in the TV show Sherlock but not as
explicit in the Doyle stories or in the movie version of Sherlock and Watson. <<If your point and
analysis is going to be about the relationship, then you should be focusing on that from the start--
- quote instead the scholar who calls SH/JW the split man and their need for each other
delete everything that doesnt help you set up that point
In the Conan Doyle stories, the idea of any other sexuality for Watson and Holmes was
unimaginable. Conan Doyles stories were written for a 19
th
century audience. In the 21
st

century, people are more willing to accept and be open to the thought of Sherlock and Watson
being any type of sexuality. In the book, TV series, and movie, Watson becomesgets married to a
woman named Mary Margaret Morstonet; Despite being married, <<This is Mary Margaret
Morston (the same character as the one in Sign of the Four) however, in the TV series, Watson is
used as a gag joke about being gay.<<Watson marries Mary in the TV series as well Sherlock
Holmes on the other hand is socially awkward in all of the Sherlock Holmes texts; allowingthis
allowed the BBC writers to to be a bit more open with the possibilities of Sherlocks
sexualityemphasize the strength of Holmes and Watons relationship.<Nothe Sherlock writers
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are not hinting at SH and JW as being gaythey are not Holmes is awkward in social situations
but he insists on enjoying the company of his best friend John Watson. Holmes and Watsons
friendship to each other is so close that some authors point out that the two could be gay. In the
BBC television series, the writers are bolder as to hint at Sherlock and Watsons possibly gay
relationship since Sherlock holds Watson as the most important person in Sherlocks life. <<Its
not that they are gay, its that they are a bromancethey have a very close (but heterosexual)
bond. There is no suggestion that either of them is really gay
Lynnette Porter wrote edited Sherlock Holmes in the 21
st
Century: Essays on New
Adaptations, <<make sure you get the full title>> which is a book with series of essays
basedwhich is focusescsued on the revisionist conventions from BBCsin Sherlock and Guy
Ritchies Sherlock Holmes. Porter begins chapter one with, The BBCs Sherlock (2010-present)
makes no attempt to hide the potential homoeroticism <<< the key word here being
POTENTIAL (not actual) innate in the relationship between Holmes and Watson; gay references
constitute a running gag throughout the first and second seasons (13). Porter makes the point of
the TV shows constant hint at homosexuality based on the actors and characters lines and the
way the director films the scenes that hint at Sherlock and Watsons homosexuality.gag joke
about the two characters being homosexual, but Holmes is not gay and despite playing around
with the homoerotic relationship the two maintain, Holmes and Watson are both hetrosexual.
<<at their POTENTIAL--- its a joke about how they might seem homosexual, but they are not.
This is an important distnction so that you dont sound like you are misreading the texts An
example is the fact that when Moriarty is first introduced, Sherlock deduces that Moriarty is gay
based on how he is dressed but also the fact that Moriarty was wearing a well known brand of
underwear for gay men. If we think about this critically, Sherlock has knowledge of underwear
for gay men, but Sherlock does not know about the solar system. We can then infer Sherlock
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finds knowledge about underwear for gay men more important than knowledge on the solar
system. Because he only cares about knowledge that would be useful to solve a case; this does
not seem like a good first scene for you to analyze if you want to write about the bromanceyou
need a scene with SH and JW, not Moriarty
Another example, in Season 1 Episode 2, Sherlock Holmes and Watson are trying to find
the murderer at a Chinese circus. Sherlock Holmes said he and Watson would go out that night
but Watson says he cant go because he has a date. Sherlock asks what a date is and Watson
replies its when two people who like each other go out. Sherlock Holmes comments and says
thats is what he suggested but Watson counters with no at least I hope nota simple no. The
dialogue between the two is a gag for comedic purposes but it also displays how Holmes needs
Watson to be with him wherever and whenever Holmes has a case. but in the next scene after
Watson receives the circus tickets and takes his date, Sarah, to the circus, Sherlock interrupts the
date. Yesnot because SH is homosexual, but because he doesnt want Watsons attention
anywhere else but on him. Again, not because he is homosexual, but because he requires
Watson to function. The joke is that Conan Doyle wrote these two to have such a close need for
each other that one could easily mistake them for a gay couple---but CD is not suggesting this,
and neither are the new versions. Its a very nuanced distinction
The scene focuses on Sherlock Holmes and Watson and how Sherlock Holmes tells
Watson it is more important for the two to investigate the area rather than Watson to have his
date. Sherlock does not think Watsons date is of any importance <<<rightbut not because he
is gay---because he only prizes intellect and cases and science---he has no time for emotional
attachments (the irony is that he is emotionally tied to Watson and doesnt know it) and in fact
Sherlock Holmes asks why Watson cannot just leave Sarah to go on and help him in the scene.
Sherlock Holmes and Watson are talking on a staircase, which shows Sherlock Holmes as above
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Watson because Sherlock Holmes is on a higher step than Watson. The character placement in
this scene makes Sherlock Holmes seem bigger in the frame than Watson. Sherlocks Holmess
appearance size compared to Watson exhibits to the audience how Sherlock Holmes deems the
relationship he has with Watson. The audience gets the feeling that Watson just follows Sherlock
around and Sherlock is the lead in the relationship between the two also because Sherlock has
just barged into Watsons date, preventing Watson from possibly gaining a heterosexual
relationship. <you can make this point in one sentencerevise for wordiness and repeititon As
the audience see Watson dragged behind Holmes, we get a sense of Holmes self implied
importance and leadership in the companionship. The audience sees Holmes as bigger in this
frame showing an our hero as the one we should be focusing on instead of Watson. The scene is
also set from a high angle, which looks down on the characters but looks down even more on
Watson than on Sherlock. The idea of this high angle causes Sherlock Holmes to look less
vulnerable than Watson who in this frame we are hinted at that Sherlock Holmes is the lead in
the relationship between the two. The camera angle reminds the audience that Watson is dragged
by Holmes to investigate a crime when Watson would rather spend time with Sarah, his
date..<<remember that its not just the camera angle, but the context of the scene as well that
should be used to interpret meaning in the angle Sherlocks face has more shadow than light in
the scene suggesting a mysterious aura for Sherlocks sexuality. Johns face; however, is filled
with light so we can easily see his face and his expressions hinting at the assumption of knowing
Watsons sexuality but not Sherlocks. During the frame, the moment Watson says he wants to
get with Sarah, the audience hears a comedic drum beat as if the conclusion where Watson is in a
relationship is humorous. Watsons face becomes more brightly lit compared to before showing a
comedic lighting instead of suspense. There is no music in the background but the comedic
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drumbeat could symbolize the gag of Watson having a close relationship with anyone other than
Sherlock.
In Guy Ritchies Sherlock Holmes: A Game of Shadows, Lynnette Porter wrote
referenced Guy Ritchies Sherlock Holmes: A Game of Shadows, and mentioned <<she wrote
about it in the film? Thats how this sentence says it about the masculine bromance
relationship between Sherlock and Watson. Porter says, The concept of the bromance
understandably resonates with Sherlock Holmes and can even be determined as drawing from the
influence of Conan Doyles own Holmes and Watson, the original odd couple alternately
fighting for justice and Empire while together living outside the confines of ordinary existence
(38). <<<yesthey are not ordinary at all, even by Victorian standards but in Victorian times,
no one would ever think to call them gay (it was not discussed publicly)---thats why the modern
day texts make jokes about it Porter reflects on the movie and how the concept of bromance as a
convention of the original Sherlock Holmes resonates in the movie.
In Guy Ritchies interpretation of Sherlock Holmes, Watson and Mary are attacked on the
train by a group of killers sent by Moriarty. In this scene we observe the lengths the two will go
through in order to rescue each other. The scene is filled with danger and suspense and indicates
the willingness to risk ones life for the other. Sherlock Holmes comes to the rescue by
disguiseding as a woman <<this is something the CD Holmes would never dodress as a lowly
woman>>> passenger on the train, sneaks on the train to save Watson.. Usually, men would not
dress in a dress and apply make up in order to pass off a disguise on a train. Even men today
would not wear a dress unless necessary, but Holmes is willing to wear one in order to safe his
best friends life. This scene shows an extreme amount of masculine bromancehighlights their
friendship because Holmes and Watson support each other during the fight and trust each others
skill and resourcefulness. Sherlock and Watson shoot down a large number of men.Bromance is
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about shooting? Sherlock and Watson go through a series of gunshots and climb the side of a
moving train to avoid enemy fire. The entireIt starts with dramatic time this happens, the music
is very dramatic and the camera moves quickly. The music adds suspense by quickening the pace
but the context of the scene also adds suspense. After avoiding gunshots, Holmes starts to scale
the side of the moving train and Watson without any protests, trusts Holmes and follows him on
the side of the train. but the act of scaling the train brings out the masculinity of both characters
but Watsons willingness to follow his very good friend on an adventure that involves
dangerously climbing a moving train. The camera then goes to high angle with an omniscient
point of view. In omniscient point of view we see a group of characters and understand the
feelings and emotions of both characters. This point of view and camera angle allows the viewer
to see all the emotion on both characters so we see Watsons willingness to go into dangerous
situations with Sherlock but also Sherlocks willingness to not only disguise as a lady but to risk
his life to save his best friend. Throughout most of the scene we see the two understand Watsons
faith and trust in Holmes even during extremely dangerous situations. After Watson and
Sherlock arrive in another compartment Holmes lies down on the floor. The camera angle is
from above so we see both characters lying next to each other. The lightning in this scene shows
Watson and Holmess face with equal amount of light and shadow adding a dangerous feel to the
scene. We see the characters on eye level. When we have two characters in eye level we
understand that they are both equal to each other. The bromance convention is still in place from
the Conan Doyle stories and Sherlock The bromance requires two characters in equal standing
with one another.but in this movie, we see bromance between two equally exceptional men. In
the movie, Watson is also a lot more masculine, strong, and witty than in the books or in the TV
series. The equal relationship in masculinity between the two emphasizes Watson as the perfect
English gentleman but also shows what Watson lacks in intelligence, he makes up with strength
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and skill in combat.who is intelligent and efficient in combat. The two are see more as equals
than anything else in the movie so we come to understand their relationship as brothers than as
lovers. This scene selection is a little confusing to me because it seems the focus of this scene is
the fight and the chase, not the bromance
As we compared the revisionist era of HolmesSherlock and Watson and the original
Conan Doyles Sherlock Holmes and Watson relationship, we cannot argue the two characters
are very close. In Both Conan Doyles Sherlock stories and Guy Ritchies Sherlockfilms, both
texts were are set in Victorian times and both portrayed the relationship as a bromance than an
actual romance. In the BBC television series, the setting is in modern day London and the subtle
hints at a homosexual relationship is more prominent. The setting made a difference for how the
writers interpreted the partnership between the two main characters. It is likely the reason for the
difference between the movies, TV series, and the books is because the audience is catered
toward a certain expectation of how the two would be portrayed.







Good start, Aliciabut there are nuances to the ironies and jokes being made about the
bromance that you are missing--- revise to clarify these, and consider a different scene for
the second point

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Works Cited

Conan Doyle, Arthur. The Sign of the Four. Seattle: Amazon Digital Services, 2013.
Kindle eBook. Online.
Dove, George N. The Reader and the Detective Story. Bowling Green, OH: Bowling
Green State University Popular Press, 1997. Print.
Farrell, Kirby. Heroism, Culture, and Dread in The Sign of Four. Studies in the Novel 16:1
(1984): 32-51. JSTOR. Web. 01/15/2014.
Gatiss, Mark, Steven Moffat, and Stephen Thompson. "Sherlock: The Blind
Banker." Sherlock. BBC Wales. 1 Aug. 2010. Television.
Panek, Leroy. An Introduction to the Detective Story. Bowling Green, OH: Bowling Green
State University Popular Press, 1987. Print.
Keep, Christopher and Don Randall. Addiction, Empire, and Narrative in Arthur
Conan Doyles The Sign of Four. NOVEL: A Forum on Fiction 32:2 (1999):
207-221. JSTOR. Web. 01/15/2014.
Porter, Lynnette R. "The Noble Bachelor and the Crooked Man." Sherlock Holmes for
the 21st Century: Essays on New Adaptations. Jefferson, NC: McFarland, 2012.
N. pag. Print.
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Porter, Lynnette R. ""Bromance Is so Passe"" Sherlock Holmes for the 21st Century:
Essays on New Adaptations. Jefferson, NC: McFarland, 2012. N. pag. Print.
Sherlock Holmes: A Game of Shadows. Dir. Kieran Mulroney and Michele Mulroney.
Perf. Robert Downey Jr., Jude Law, Jared Harris, Rachel McAdams. 2011.