Aware of the more mainstream representational role of the crucifix, Rust chooses to push back against it in order to adapt it for his own purposes. Though instead of adopting what Colleen McDannell calls the “intentions of a clerical elite” or the “idiosyncratic whims of the masses,” 5 Rust colors the image with his own meaning and ideological flavor. It’s clear that Rust is aware of the typical reading of the crucifix his understanding of the “moment in the garden” leaves little doubt about this fact. The crucifix, then, only becomes meaningful and useful to Rust through a process of decoding the same occurs for Marty as well, no matter how taken-for-granted his decoding – as a “Christian” reading – may appear in this context. But, certain conventions do change over time, so meanings also inevitably change, which is why meaning is never fixed once and for all. It is the result of a signifying practice – a practice that produces meaning, that makes things mean.” 4 Since meaning is not simply given, an interpretative act must occur in order for it to be taken. 3 As Hall states, “The main point is that meaning does not inhere in things, in the world. One of the implications of this relativity is that meaning “can never be finally fixed” since social, cultural, and linguistic conventions largely determine what is “meaningful,” meaning cannot be considered inherent. According to Stuart Hall, codes are what stabilize and fix meaning, telling us “which concepts are being referred to when we hear or read which signs.” 2 Such meaning has much to do with social and cultural conventions relative to time, place, and those who are actually doing the hearing or reading. Cultural theorists use the term “code” to distinguish such conceptual maps used for interpreting images and finding meaning in them. Understanding how Rust’s perception of the crucifix fits into this scenario is an important aspect of this analysis, and the conceptual maps that underlie interpretative processes play a large role in how images of this sort are actually seen and appreciated. Drawing on concepts and theory in semiotics, and specifically Roland Barthes’ semiological levels and notion of “myth,” Rust’s interpretation of the crucifix can be understood as equally indicating a sacrificial reading and ideological position that runs parallel to the perspective and worldview characterizing a more traditional Christian reading of the image. But, a closer look at how Rust’s peculiar interpretation of the image aligns with his actions and voiced beliefs throughout the season demonstrates that the crucifix actually functions in a very similar way for him as it does for those reading the typical sort of Christian meaning into it, albeit without the latter’s theological constraints.
“I contemplate the moment in the garden…the idea of allowing your own crucifixion.” 1 For Rust, who is expressively not Christian, the image of cross and corpus appears to initially serve a much different purpose than what his partner assumes at first glance (that it represents Rust’s belief in a certain savior). “It’s a form of meditation,” Rust states. “Well, what do you got that cross for in your apartment?” Marty confusingly responds. After leaving the scene of the crime in the first episode ( “The Long Bright Dark”), Marty recalls the crucifix he noticed earlier in Rust’s apartment, clearly uneasy about what they just saw, and likely seeking the comfort of one he assumes shares his beliefs: “You’re Christian, yeah?” “No,” Rust forcefully replies. Most of the season takes place during 1995, following an elaborate and strange murder: a nude victim posed against a large tree, kneeling, with antlers secured to her head, surrounded by various, eerie objects made out of twigs and twine.
Rust cohle series#
The first season of HBO’s noir anthology series True Detective begins with an intriguing discussion between Louisiana homicide detectives Rust Cohle and Marty Hart about an item hanging on the wall in Rust’s apartment: a crucifix.
Rust Cohle’s peculiar interpretation of the crucifix in the first season of HBO’s True Detective can be better understood through the interpretive lens of semiotics and an application of Roland Barthes’ notion of “myth.” Such an analysis actually frames Rust’s interpretation as one parallel to the typical sort of sacrificial and representative reading the image usually invites.