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22-428: A gentleman thief , gentleman burglar , lady thief , or phantom thief is a stock character in fiction. A gentleman or lady thief is characterised by impeccable manners, charm, courtesy , and the avoidance of physical force or intimidation to steal, and often has inherited wealth. They steal not only to gain material wealth but also for the thrill of the act itself, which is often combined in fiction with correcting

44-549: A "self-derogatory and understating character". In American popular films, there are a wide range of stock characters, which are typically used as non-speaking extras in the background, bit parts with a single line, minor secondary/supporting roles, or major secondary/supporting roles. 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,

66-399: A 1990s film has homeless " bag ladies ", pimps, plainclothes police, business women, and Black and Hispanic stereotypes. 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 " lazy Black " and the " treacherous bespectacled Japanese " were replaced in

88-582: 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. 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, bitch, wife, mother, secretary or girl Friday , career women, vamp , etc.)." Ulrike Roesler and Jayandra Soni analyze "not only with female stock characters in

110-481: A moral wrong, selecting wealthy targets, or stealing only particularly rare or challenging objects. In fiction, the gentleman thief is typically superb at stealing while maintaining a gentleman's manners and a code of honour. For example, A. J. Raffles steals only from other gentlemen (and occasionally gives the object away to a good cause); Arsène Lupin steals from the rich who do not appreciate their art or treasures and redistributes it; Saint Tail steals back what

132-531: A time- and effort-saving shortcut for story creators, as authors can populate their tale with existing well-known character types. Another benefit is that stock characters help to move the story along more efficiently, by allowing the audience to already understand the character and their motivations. Furthermore, stock characters can be used to build an audience's expectations and, in some cases, they can also enhance narrative elements like suspense, irony, or plot twists if those expectations end up subverted. There

154-703: Is often confusion between stock characters, archetypes , stereotypes , and clichés . In part this confusion arises due to the overlap between these concepts. Nevertheless, these terms are not synonyms. 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". Some stereotypes, such as racial stereotype characters, may be offensive to readers or viewers. According to Dwight V. Swain ,

176-423: Is that, as with films, these stock characters can incorporate racial stereotypes , and "prejudicial and demeaning images". 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. This also echoed

198-405: The 1990s with the " street-smart Brother " and the "camera-happy Japanese tourist". Other groups more frequently represented as stock characters include women, Native Americans, Hispanics, Arabs, Gays/Lesbians, Jews, and Italians. Other briefly popular stock characters include the 1950s "overweight Communist cell leader" and the 1970s " Black Panther revolutionary". Even in timeless occupations,

220-633: The Shakespearean attribution. Candidates put forward for the author of The Troublesome Reign include Christopher Marlowe , Robert Greene , Thomas Lodge , and George Peele , among others, alone or in various collaborative combinations; no scholarly consensus has been achieved. The main historical sources for The Troublesome Reign are thought to be the Chronicles of Raphael Holinshed and Foxe's Book of Martyrs , and perhaps Richard Grafton's Chronicle at Large , which recapitulates much of

242-459: The audience. 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. In the 1990s, a number of sitcoms introduced gay stock characters with the quality of the depictions being viewed as setting a new bar for onscreen LGBT depiction. One challenge with the use of stock characters in TV shows

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264-472: The characteristics of stock characters in a story, whether it be a book , play , or film . The Troublesome Reign of King John The Troublesome Reign of John, King of England , commonly called The Troublesome Reign of King John (c. 1589) is an Elizabethan history play, probably by George Peele , that is generally accepted by scholars as the source and model that William Shakespeare employed for his own King John (c. 1596). The play

286-513: The following: Phantom thief ( Japanese : 怪盗 , Hepburn : kaitō ) is the term for the gentleman/lady thief in Japanese media such as anime , manga , and JRPGs . It draws inspiration from Arsène Lupin and elements in other crime fictions and detective fictions . Notable phantom thieves in Japanese popular culture include the following: Stock character There are several purposes to using stock characters. Stock characters are

308-574: The person in the job has changed, reflecting cultural and demographic changes. 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. 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. TV writers use these stock characters to quickly communicate to

330-488: The play as a result.) Q2 , 1611 , was published by John Helme (printed by Valentine Simmes ); the authorship was assigned to "W. Sh." In this edition the first quarto's artificial division into two parts was removed. Q3, 1622 , was published by Thomas Dewes (printed by Augustine Matthews ), as the work of "W. Shakespeare." Some 19th-century critics accepted the 1622 attribution to Shakespeare; among 20th-century commentators E. B. Everitt and Peter Ackroyd have defended

352-519: The plays' comic business and royal pomp." 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

374-461: The schoolma'am's " genteel poverty , unbending morality, education, and independent ways make her character a useful foil for the two other female stock characters in Western literature: the prostitute with the heart of gold and the long-suffering farmer's wife.'" Stock characters can be further identified as an alazon , the "impostor and self-deceiving braggart" in a story, or an eiron ,

396-530: The sense of typical roles in the dramas, but also with other female persons in the area of the theatrical stage..." 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 , where the "weeping woman" type is used to dramatic advantage. This stock character provides pathos as yet another counterpoint to

418-415: 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. In the 2000s, with changing views on depicting race, Latino/a characters are both typecast into stock characters and

440-490: The writers play with viewer expectations by making a seemingly stock Latino/a character act or behave "against type". 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 . In the United States , courts have determined that copyright protection cannot be extended to

462-524: Was printed three times in quarto in Shakespeare's era: Q1 , 1591 , was published by the stationer Sampson Clarke, with no attribution of authorship. The title page of Q1 states that the play was performed by Queen Elizabeth's Men . Although The Troublesome Reign is not an exceptionally long play, about 300 lines longer than Shakespeare's, the initial publication split the play into two parts. (The scholarly literature often refers to Parts 1 and 2 of

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484-460: Was stolen or taken dishonestly or rights the wrongs done to the innocent by implicating the real criminals; Sly Cooper and his gang steal from other thieves and criminals. Another example would be Kaito Kuroba who only steals to amuse the audience, to find the Pandora Gem and find the people who killed his father. Notable gentlemen thieves and lady thieves in Western popular culture include

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