How The Western Film Genre Has Developed Over The Past...

How the Western Film Genre Has Developed over the Past...
The Western film genre is typically set in a secluded village in the middle of the desert, normally in
the American West. The setting includes wooden buildings, tumble weed, cacti, trains, horses and
carriages. The storyline for western films is usually the same, namely, a hero travels to a remote
village, usually on a horse, and brings peace to the warring villagers. In a traditional Western film
the clothing for the hero is usually a white hat, (this is to show purity). The hero would also wear a
brightly coloured shirt , a pair of jeans and cowboy boots with spurs on the back of them. The hero
is also very clean and also normally tall and good looking. A traditional Western includes things like
white settlers living in a town ... Show more content on Helpwriting.net ...
The first film that showed early signs of a rise in the quality of technology was the Western "The
Great Train Robbery." When this film first came out the audience were so amazed at the fact that
they could watch something on a TV or at the cinema. Although this film was very good for the
1900s it still lacked some key features that make films much easier to understand such as dialogue,
sound and camera shots. The one feature of a film that developed the quickest over the period of
time was sound. Sound was introduced in October 1927 in the film "The Jazz singer", which had
three song numbers and a few lines of spoken dialogue. Apart from these few songs and words, the
rest of the movie was silent, but the audience still thought that it was amazing that words had been
spoken in the film, they used to call it "the movie that talked". The Western became one of the most
popular film genres between the 1930s and the 1950s because of theses advances in technology. The
development of smaller, lighter cameras freed the cameras from a tripod allowing more detailed
camera work. To show moving effects cameras could be put on platforms that were attached to
rubber wheels or steel rails like railroad tracks. The cameras could also be raised and lowered on
cranes. Another thing that made Westerns more popular was the introduction of full colour in the
1930s and widescreen in the 1950s,
... Get more on HelpWriting.net ...

Italians Perception Of The American West
Chloe Young
History 105 Final
12/12/16
Italians Perception of the American West
When people think of the American West they get this dangerous, rich, savage–like idea of what it
might be like. In reality the American West is very different in contrast to its perception. Europe and
more specifically Italy are a main source of this impractical view on the American West. Many
events throughout history have given Italy and the region of Europe this idea. The American west is
known for its media success in well–known places like Hollywood that use mass media productions
like movies, and television shows to demonstrate this idea that the American West is full of
"dangerous cowboys" and "fame and fortune." In the early–mid 20th century a genre of movie was
produced called "Spaghetti Western" or "Macaroni Western". These western films were an important
aspect to the views on the American West throughout history. The way that American Westerns,
American Authors and more broadly Hollywood itself, portrays the American West through its
media, and famous movies gives Italy the perception that the American West is an intimidating place
as well as one that people only dream of. In reality Hollywood was successful at significantly
altering what reality is actually like in the American West.
Hollywood has been well known for its famous movies that would be seen by millions all around
the world. Hollywood has had major implications on the European view of what life is actually like.
The

Analysis Of One Big Myth And One True Hero
The Western genre can be a variety of works, including texts and films, which are set in the
American Old West during the latter half of the nineteenth century. This genre primarily focuses on
the life of a cowboy with gunfights, a good guy and a bad guy, and the usually ending of riding off
into the sunset. The common misconception that is shown throughout the Western genre is that the
male characters are always the hero, whereas the female characters are impediments and less
valuable. This relates to Susan Lee Johnson's quote on how the Western genre always portrays One
Big Myth and One True Hero. She states that "Much is held in abeyance when {the} impulse to find
One Big Myth and to indentify its One True Hero is indulged." Johnson ... Show more content on
Helpwriting.net ...
Just like in Johnny Guitar, Reichardt uses the women to tell the story instead of the men. We see that
throughout the movie, the camera stays closer to the women when men talk rather than follow the
men. This is showing that women are the main focus and this story is going to be told through their
point of view. Since the movie has women at the center of it, Reichardt shows that some women are
fearless and resilient. Emily Tetherow, one of the main women, stands her ground against Stephan
Meek when he threatens to kill the Indian. She also fixes the Indian's shoe not because she was
being nice, but because she wanted him to owe her something. Emily may be brave and strong, but
she is definitely not an earth mother. She was conniving and wasn't afraid to pick up a gun and fight
for what she believed in. She would go against part of the group if it meant she would survive.
Meek's Cutoff is also not like a traditional Western in the sense that there are no gunfights, no good
guy versus the bad guy, and ultimately there is no action in the movie. However, Westerns are
usually set in desolate landscapes, like the desert or mountains, because they show the harshness of
the wilderness. Meek's Cutoff is set in this type of landscape and it certainly shows how harsh the
wilderness can be. Besides that aspect of a traditional Western, the movie incorporates its own
twists. Just like Johnny Guitar and Meek's Cutoff, Winona also goes against what is considered
traditional and revolutionizes the

American Masculinity In The Searchers
The movies I will discuss and analyze in this essay are Stagecoach (1939), The Searchers (1956) by
the director John Ford, and a post–modern version of a Western, Django Unchained (2012) by
Quentin Tarantino. The protagonist in both movies by John Ford are John Wayne, Jane Tompkins
says: " John Wayne, the actor whose name is synonymous with Western films, became the symbol of
American masculinity from World War II to Vietnam" (5). What does this "American masculinity"
stand for? This term actually appears to be an underlying factor of Western heroism in the American
society. Heroes in Western movies have many common characteristics.
The most prominent example among them are that heroes are male, they are, though, good looking
patriots who are entitled to protect their homeland and their "women". They are mostly alienated
from the society and their families since they have the "rugged individualism", they have the urge to
prove that they are able to make it on their own. They are hardly ever exhausted and can endure
even the most ... Show more content on Helpwriting.net ...
Her name was "Look". This woman is treated so abominably by the characters – ridiculed,
humiliated, and then killed off casually by the plot – that I couldn't believe my eyes. The movie
treated her as a joke, not as a person. I couldn't bear to take her serious; it would have been too
painful. I kept on looking." As Tompkins explains, the reality of what really happens to Indians or
African Americans is too hard, too real to bear. Tarantino, as a keen observer, recognizes this
important issue and turns those fundamental issues into a comic relief. It is debatable whether this is
the proper way of expressing reality and history however it helps the audience to accept what
happens in the

Good versus Evil in the Movie Unforgiven Directed by Clint...
The 1992 film Unforgiven, directed by and starring Clint Eastwood, has a central theme that is one
of good versus evil in which good overcomes evil by bringing justice to those who are evil. Munny
has changed from the vicious murderer he was in the past and now wishes to bring justice to evil
men who harmed the innocent prostitute Delilah and his friend Ned. The film is not quite the
traditional Western film by any means as Eastwood's character Will Munny has not always been a
moral man. Nevertheless, Will Munny through the use of violence sets out to balance out the battle
of good and evil by seeing that evil men get what is coming to them, even though Munny is no saint
himself. Munny knows that death is what he deserves for all of the ... Show more content on
Helpwriting.net ...
They feel that the man deserves much worse than a whipping, he deserves the biggest punishment
that exists, death. The women do not care who does the killing. They do not care if it is an honest or
noble man or a vicious killer with a terrible and violent past. The idea that extreme violence is the
answer to injustice is what makes Unforgiven still fit into the western genre of film. In the film,
good eventually wins out by any means necessary, including the use of violence. Will Munny thinks
he will not go back to his acting like his younger self, the vicious and violent killer, if he attempts to
bring justice. Munny even attempts to act humanely after killing a man who harmed Delilah by
telling making sure the dying man gets a final drink of water. However, he is quickly proven wrong
when his friend Ned is murdered. Munny and Ned see themselves as just doing the right thing by
trying to bring justice but when Munny is beaten and Ned is murdered, it is clear that violence is the
only answer for Little Bill and his men. Munny turns back to his gun slinging days and kills all the
men on Little Bill's side without remorse. It could be argued that Munny changes from good to evil
in an instant in order to stop more evil, but maybe Munny has always been a bad guy no matter how
hard he tries to hide it. Either way, Little Bill as well as his men "gets what is coming to them" as
justice is served through violence. Justice through violence

The Westerns Of The 1930's
Western began in the late eighteen hundreds when a movie was about 10 minutes long. They started
getting popular in Hollywood from the early 20th century to the 1960s. John Ford landmark western
adventure Stagecoach became one of the biggest hits in 1939. Many of the most acclaimed westerns
were released during the 1952–1956. Westerns themes have evolved overtime beginning in the silent
era, the western captured movie–goers' imaginations. Quick drawing, white hat good guys battled
the mustachioed black hats. When sound came into play, men like Mix became obsolete. Westerns
of the 1930s continued on in much the same vein as the decade before. It was during the 1950s that
the genre found its rhythm, as hard charging, hard living cowboys

Masculinity In Brokeback Mountain And Blood Meridian
Ang Lee's Brokeback Mountain and Cormac McCarthy's Blood Meridian both challenge the
traditional societal views of masculinity in the Western genre. Brokeback Mountain depicts two
cowboys involved in a homosexual relationship, focusing on coupling the opposing themes of
homosexuality and masculinity. On the other hand, Blood Meridian introduces the reader to the Kid,
who courageously establishes his own masculinity outside of the Judge's hypermasculine and
traditional Western philosophy.
Brokeback Mountain and Blood Meridian are both classified as Westerns. The Western is a beloved
American genre that features the quintessential cowboy hero. He is fearless, independent and
incredibly masculine. The iconic cowboy costume used in film and ... Show more content on
Helpwriting.net ...
The constant struggle between the two characters to be together is heartbreaking and Jack's death is
purposely shown as a murder in order to create an emotional response from the audience. Roughton
(2014, p. 89) highlights that Jack's death being foreshadowed by Ennis witnessing the result of a
bashing of a gay man as a child, links violence and punishment to homosexuality and sinning.
Arguably, the biggest contester to homosexuality is the potential for sin. However, by introducing
the audience to two characters whom they grow attached to and want to see happy, then
demonstrating the consequences of their love in our current society, sparks a reaction from the
audience that causes them to question why these traditional masculine values exist in our society.
Hence, although Brokeback Mountain combines masculine icons with homosexuality to question
traditional masculinity associated with the Western, it also demonstrates the consequences of
challenging such values in our current society in order to highlight to the audience how devastating
masculinity and its expectations can

Unforgiven: A Western Film
Unforgiven is a western movie but can also be considered as a dark and haunting film which people
considered Clint Eastwood's finest hour. This movie was set in the 1880s. After two cowboys scar a
prostitute a reward is offered by her fellow whores for the death of the two men. Soon Munny is on
the hunt and is later joined by Ned and the young, blind 'Schofield Kid'. The stage is set for what is
perhaps the most gritty, realistic and best of Eastwood's westerns. This movie is one of the best
western genre films, because of the scenes and the characters that are portrayed in the film.
We are seeing character who are both capable of the kindest, and at the same time vilest, of deeds.
The characters of the western movie are in favor of gritty, ... Show more content on Helpwriting.net
...
So, while in typical Westerns the bad guys are Bad and the good guys are Good, in Unforgiven we
saw that we have Will Munny. And Will Munny is by no means a "good guy." We understand why
he has to kill Little Bill, but we're never asked to identify with him. He's a morally compromised
loner, and sometimes could be completely insane and lose it.
The difference between Unforgiven and other western movies like The Searchers is that, The
Searchers is a classical western movie that portrays the good guys vs bad guys, while the movie
Unforgiven is a movie that tells us that no one is always good. In Unforgiven the bad guy could also
be the good guy at times and the good guy can be the bad guy at times.
The film that struck me the most was Unforgiven because it seemed like it was a different western
movie then all the others, yes there was killings at times, but there was not a lot of shoot outs like
you see in typical western movies. The movie also had ways of looking at a western the complete
opposite way, which is that there is no good guy vs bad guy in the movie. This is because everyone
has a bad side to them in this movie. In most western movies the sheriffs are the hero's because they
protect the town, but in Unforgiven you can see that the law enforcement is being cowards at points
and seen like they don't want to help until one of their own are injured or

American Characters In American Culture
American culture is relatively young but in its short history, it has achieved a great level of depth in
the formation of its' social consciousness. Within this consciousness is contained knowledge of a
variety of recognizable symbols, familiar stories, and famous characters. And perhaps no character
is more recognizable to Americans than the cowboy; the cowboy may not be a specific individual
from history or a tall tale but yet when one hears "cowboy" one can automatically assign specific
traits to them. These traits go beyond a general aesthetic; the cowboy has a specific personality,
code, set of ethics, and governing philosophy. These are largely ahistorical products of our popular
culture but apocryphal nature aside, the perception of the cowboy as a rugged hero has proved to be
resilient in its' ubiquitous recognition. As an illustration of the impact the genre has had on
American culture, critic Andre Bazin (1971) described the Western as "our Odyssey" following
America's own Trojan War––the Civil War. The Western, according to Bazin, is America's
mythology. Making a point in the same vein as Bazin's, Douglas Brode in Dream West (2013) likens
the cowboy to knights, samurai, and even to the Jedi; that is to say he classifies the cowboy as a
mythic figure The Jedi, being fictional characters in film, are pure mythology whereas the others are
ostensibly historical. And obviously it is true that the cowboys, knights, and samurai all existed at
one point in time, but

Western Techniques In The Searchers
Foreword: It should be noted that while this written piece compares and contrasts The Searchers to
the concept of 'the stereotypical Western film', the film would most certainly have shaped the mould
for what the stereotypical western was to become. Being one of the largest early Western films to
release, the film's once relatively unique storyline and thematic content have become subject to
being replicated in more recent Western films. Therefore, when comparing the film to the now
conventional Western, it should serve moreso as a critique of the unoriginality of those that
contributed to the genre following The Searchers release.
Introduction
For what is arguably the most successful film to emerge from his long spanning career, film director
John Ford's The Searchers has certainly earned its place as 'one of the greatest western films of all
time'. However, while the film is certainly a staple among other classic 1950s productions, the genre
of Western film does not carry nearly as much weight as it once did over half a century ago. In
recent decades, the genre has grown stale among audiences due to more recent additions, composing
of tedious storylines, repetitive run–of–the–mill characters, and as a whole becoming incongruous
with the evolved social climate which pursues racial equality in the United States. Being grouped
with this genre, The Searchers is often overlooked by ... Show more content on Helpwriting.net ...
Set in 1868 – three years after Civil War ended, the film introduced a complex narrative entailing
mystery, tragedy, adventure, conflict, action and romance. The film's inclusion of numerous themes
catered to audiences of all types and allowed for a more accessible story, leading to its successful
performance in the box office both domestically and internationally. However, the themes and
events of the story are not all that unheard of within the broader spectrum of Western

Essay on Western Movies Since 1960
A NOT–SO–ACCURATE prophet once wrote, "As recently as 1972, there were a tremendous
number of quality Westerns being made . . . and since there seems to be a ten–year cycle in Western
movie making, I'd say we'll see more in about 1982." 1 In 1982 only two Westerns were
released, and neither was exactly a major success. Barbarosa, starring Willie Nelson, drew some
respectable reviews–and some very damaging ones–but nobody went to see the film. The Ballad of
Gregorio Cortez appeared first on PBS television, then later went into general release. Today the
Western seems to be deader than the California Med–fly. Critics and aficionados of the form can
only hear, as with Arnold's sea of faith, its long receding roar.
Everything ... Show more content on Helpwriting.net ...
? Obviously it couldn't. For all subsequent generations, then, the Western has to be rediscovered,
like some store of ancient literature one studies in school.
Reviewing the last twenty–five years of the Western, 1960–1985, is salutary for both aficionados
and novices. The sixties began with a great film done in the sparest, most austere classical manner,
Budd Boetticher's Comanche Station (1960). The last of the Renown cycle of seven films that
Boetticher made with Randolph Scott, Comanche Station reduces the elements of the journey
Western to create one of its purest expressions ever. Scott is an aging knight, a man "always
alone in Comanche country," who, reminiscent of John Wayne's searcher, hunts endlessly for
his wife, taken ten years previously by the Comanches. He buys a woman out of captivity–not his
wife, of course, whom he will never find–and escorts her back to her husband. The journey pits him
against a charming, evil adversary (Claude Akins), and the trip becomes the occasion for a moral
dialectic of the kind for which the Western seems the perfect vehicle. In the end the villain adopts
Scott's code, dying honorably, and Scott delivers the wife to her husband. He turns out to be a blind
man, a fact that surprises and pleases because all through the film we have worried, along with
Scott, about what kind of man would leave such a woman to another's care. It is a great film, and
anybody wanting to know what the old–time Western was

What Are The Stereotypes In Unforgiven
Unforgiven, a film directed by Clint Eastwood in 1992 utilizing a screenplay written by David Webb
Peoples1 tries to deconstruct the typical portrayal of Old Hollywood's American frontier in regard to
romanticizing violence thereby freeing the typical genre from its old, preconceived stereotypes. The
main film stars three well–known actors: Clint Eastwood (as William Munny), Morgan Freeman (as
Ned Logan), and Gene Hackman (as Little Bill Daggett). Eastwood dedicated this film to three film
directors, which included John Ford, Sergio Leone, and Don Siegel. Significantly, the first of these
directors, John Ford, is well–known for his visual narrative and characterization of Americana
which helped construct a mythological portrayal of the Old

A Western Hero in Shane Essay
A Western Hero in Shane
The western genre plays an important part in the mythologising of American history. The way the
western genre and particularly the western hero are put across in such films as Shane, are most
likely not how real life in the 1880s was. In Shane the hero arrived on horseback, he was confident,
handsome and managed to charm the female character, Marion, almost immediately.
Typically, throughout the film the mysterious gunslinger was wearing a cowboy hat and a holster
around his waist. His clean–cut, masculine looks give an initial impression that Shane was to be the
protagonist of the story. In reality, 1880s men were likely to be sexist or cruel, however this is not ...
Show more content on Helpwriting.net ...
The next shot is from long distance showing him riding across the plain. The distance of which the
shot is taken suggests his isolation and also gives the impression that he has been travelling for a
long time, and equally, has a long way yet to go.
Also a distant shot, we see the figure riding along side the lake facing the family's house. In the
foreground is a Deer whose antlers frame the figure perfectly. The shot looks almost picturesque as
Joey watches Shane through the Deer's antlers.
Shane arrives at the family's log cabin, still on horseback; he talks with the family. The shot is a
close up of Shane, however the difference in levels appears to give Shane authority over them,
which is how he is perceived throughout the film. He smiles at Joey and compliments him on his
attentiveness, "You were watching me down the trail quite a spell, weren't ya?...Y'knowâ€¦I like a
man who watches things going on around, means he'll make his mark someday." This is the moment
we first recognise that Shane has an able way with children and from here he builds a good
friendship with Joey.
Similar to the last, the next is a low angle shot looking up at Shane, giving him the higher status in
this scene. This time attention is drawn to the clouds behind, which makes him appear almost

No Country For Old Men
If told that Joel and Ethan Coen's film No Country for Old Men is a Western, a viewer may develop
some preconceived notions on what the narrative will include: ten–gallon hats, shiny law–enforcer
badges, and a clock struck at high noon. While the former two may technically be included in the
film, said viewer will likely be shocked at how far off their assumptions were. The Coen Brothers
used some aspects of the traditional Western when making this film, but turned the rest of the genre
on its head. No Country for Old Men exists in contrast of traditional Western narratives, where the
unavoidable, fatalistic forces of the universe overshadow the .44 magnum of justice.
Key Scene: 1:47:50– 1:53:58
Context
This scene begins following Carla Jean's mother's burial. She arrives home to find an open window
with the curtains billowing, telling her that Chigurh is there. She enters the bedroom, where we find
Chigurh waiting for her. Carla Jean is offered a coin toss for her life, but she refuses and calls him
crazy. We see Chigurh leave the house and check his feet, implying that he's killed Carla Jean. As
Chigurh drives away from the crime, he is blindsided by another car, severely injuring him. He pays
a teenager for his shirt to sling his broken arm, and pays him with a hundred–dollar bill, showing
that Chigurh has the two million dollars. The scene ends with Chigurh limping off into the horizon.
Fate
The overwhelming theme of NCFOM is fate. It's inescapable, and will catch up

Blazing Saddles Movie Analysis
The Hilarious Blazing Saddles On February 4, 1974, a director by the name of Mel Brooks produce
a very entertaining Western film "Blazing Saddles", starring Cleavon Little and Gene Wilder. The
movie took place in a town from the Old West scenery in a town called Rock Ridge. In the town a
man by the Hedley Lamarr a shady land speculator need to have a railroad that runs through the
town of Rock Ridge, but to have the railroad run through the town he need to figure out a way to get
the, residents out of the town. Lamarr had his men to go into the town of Rock Ridge and kill their
sheriff, so that he could appoint a black man by the name of Black Bart to run the town. Rock Ridge
was a very peaceful town and they felt that they did not need any more law and order in their town.
Hedley Lamarr thought by sending Black Bart into town as the new sheriff would run the residents
in town out of the town so that he could have the railroad built. Lamarr thinking this would revolt
the town people and they would just leave, but his plan did not work. ... Show more content on
Helpwriting.net ...
When Bart enter the town, the people tried to kill him, so Bart threaten to kill himself and ran off
into the sheriff department. When he got into the station he met the drunken sharpshooter by the
name of the Waco Kid played by (Gene Wilder), and he got to know him and appointed Waco Kid to
be his deputy. Black Bart and Deputy Jim worked together to win over the unrepentantly racist
town. Bart wanted the town to accept him so that they could stop Lamarr plans to destroy the town.
Lamarr found out that his plans felled, so he had a meeting to put together a gang of the most
dangerous men to run the people out of

The Contradictory Treatment Of Violence
Mintian Zhou
Jacob Burg
University Writing Seminar: The Western: Cowpunchers, Gunslingers, and Beyond
Unforgiven: The Contradictory Treatment of Violence
Violence has always been a crucial factor in many genres of cinemas and film productions. The
Western genre and the film in the genre is a fascinating approach to analyze the treatment of
violence. Violence in the Western genre has changed multiple times into completely different but
interesting view points over the course of history. The traditional western treatment of violence is
related to the myth of purgative violence, or the idea of "regeneration through violence" suggested
by Richard Slotkin. In the traditional Western treatment of violence, violence is considered honored
and purified because the conduction of violence eliminates and eradicates the otherness in the
society and restore stability as a direct result of violence. Moving to 1960s, the trend of Western
genre shifted from classical western to the theme of revisionist western. Revisionist western, unlike
classical western, strongly criticizes violence. Revisionist western focuses on the lawlessness of the
American west, depicts the randomness and irrationality of violence, and destroys the romanticism
of violence by replacing it with a more realistic and authentic approach to the real execution and
consequence of violence in the west.
Unforgiven directed by Clint Eastwood is a popular American Western movie filmed in 1992.
However, the film meets huge

Historical Perspective Of Django Unchained And Butch...
Ricardo Godinez
Professor Dew
History of Film
November 21, 2017
Wild, Wild West
Intro
Historical Perspective Both films were made for different reasons and made different impacts during
their time of release. For Django Unchained, the film showed the horror of slavery before the civil
war. Showing slaves being eaten by dogs to slaves fighting to the death, makes an unconventional
film for its time and raised a lot of controversy considering the movies historical accuracy. The
horror of slavery is in the dehumanization that slave owners create and the effects placed upon the
slave of having to do whatever is necessary to survive, including killing. The memory of slavery is
revisited and reminds the United States of its shame during the time of the film. Butch Cassidy and
the Sundance Kid is a revisionist western that pays homage to old western movies. Since Westerns
were outdated in the late 60's, this revised western film is created with New Hollywood elements
including an unhappy ending and film using rock/pop soundtracks to attract the youth.
Theme
Both Django Unchained and Butch Cassidy and the Sundance Kid share a common theme of
freedom. In Django Unchained, there are multiple layers of freedom shown that a man and woman
is able to obtain in life. Django is released from chains of oppression, then is given the right to
choose his costume. After his task with Dr. Schultz, he is given his freedom. Dr. Schultz has a
greater understanding of freedom since he has never

The Searchers Essay
Development and adaptation of the western genre has occurred throughout the twentieth century in
relation to the shift in context, this is still relevant. Stereotypes of a western genre and the context
are determined by the time in which the film is being produced. The time in which they were
produced determine how social construction, gender ideas, values and attitudes, the setting and
SWAT codes are demonstrated. I have chosen to present this speech by looking at the film studied in
class, and a film of my choice and how the difference in context has changed in the tie of these two
films.
Changes and developments in the context can be recognized and analyzed when looking at an
example from the 20th century and one from the 21st ... Show more content on Helpwriting.net ...
This is similar to the opening scene of The Searchers because, both scenes are isolated, in both
movies the characters are alone or civilization is too far, they lie in the quite part of things. They
both open with a suspenseful mood. Conflict is present in the both of the films, heroes and villains
present.
Moving onto gender roles and ideas, these characteristics in genders are needed in any sort of story
to suit the values and attitudes of the people of that time. Gender stereotypes are a major piece to the
puzzle of a film. Women are generally seen as less dominant, pushovers, the cares of everyone and
that they have no independence. Whist men are seen as the more dominant, masculine, heroes, brave
and courageous. This is across all genres of movies, the girl is the damsel in distress and the boy
ends up saving her at the end of it.
These stereotypes were strongly enforced when in The Searchers the Reverend comes to the family's
house to announce that the father is setting off with him to battle the Indians. The men are looked
after, they have their coats taken off them and they are served food and drink, whereas the woman re
running around after them ensure they're satisfied, when the men set off the women collect for them
there hat and give them to the men leaving. This is a perfect example of the typical housewife
stereotype in a western film. The women were always the carers and the men were the bread
winners, this scene demonstrates the

The Southwest Is A Region Of The United States
The southwest is a region of the United States that makes our country unique. Without the
southwest, we would undoubtedly lack the spirit, hope, beauty, and truth that this vast region brings
to the rest of the United States as a whole. The southwest represents many things, such as
journeying, racism, violence, the clashing and cooperation of cultures, and spirituality, as well as
primitivism and pastoralism. All of these elements that the Southwest is comprised of is perhaps the
reason why the rest of the country feels so captivated by it; why the southwest is considered a place
to "find yourself" or to "regenerate"; and why literature and film regarding the Southwest has been
and continues to be of the most popular genres. The western film was one of the most popular
during the first half of the twentieth century. Audiences far and wide were mesmerized by actors
such as John Wayne and Roy Rogers, and their roles as heroes who fought to tame the American
frontier. This very concept, 'taming the frontier', gives way to a larger theme that was prevalent in
many western films and literature of the southwest: ubi sunt, or rather "where are those who came
before us?". Director Sam Peckinpah's The Ballad of Cable Hogue portrays this idea better than any
other western film; the concept of ubi sunt is undeniably the film's overarching theme, clearly seen
through its components.
By conquering the frontier, characters in western films portray how they, as well as society at this

Clint Eastwood's Unforgiven: Traditional Western Film
Clint Eastwood's, Unforgiven, represents a "new" type of Western that defies the formula previously
used to create traditional Western films. Unlike Shane, a film with a clear–cut threat to the
community, endangering all homesteaders, a lack of defense, creating an unfair advantage to the
threat imposed, and a true hero, one who saves the day and must willingly return to where he came
from, Unforgiven is a Western that is told through a different formula. Eastwood tackles this
revisionist piece and lacks the three basic components to any classic Western film – a threat, lack of
defense, and a hero.
Scaheffer's Shane had the perfect plot to incorporate a threat from the frontier that antagonizes a
community, which is the first step in creating a work using the guidelines of the Western formula. ...
Show more content on Helpwriting.net ...
Unforgiven strays from the Western formula by including personal threats to certain people, rather
than providing a threat to a community of people. In Unforgiven, Delilah Fitzgerald is brutally
beaten by a pair of cowboys, leaving scars all over her formerly beautiful face. Having never faced a
threat this dangerous in all their years of working at the brothel, Delilah and her fellow workers seek
revenge. Eastwood does not incorporate one threat into his film, but he builds one threat off the
other to create a more interesting story. After William Munny was sought out to kill the cowboys for
disfiguring Delilah, he loses a fellow retired gunfighter and accomplice in the process, Ned Logan.
Not only was Delilah threatened by the cowboys for abusing her, but William Munny was also
threatened by Sherriff Little Bill Dagget for killing his best friend. Although there are threats in
Unforgiven, they do not represent the typical threats to communities as do the ones in traditional
novels and films created based off the Western

Genre Films' Predictability and Formulaicity Essay
Genre Films' Predictability and Formulaicity
This essay shall discuss whether 'Genre films are predictable and formulaic', looking at the Western
genre, and using the example films of, 'The Searchers' and 'Unforgiven'. Genre is a fundamental
means by which we communicate especially in storytelling. If looking at genre in terms of Thomas
Shatz, he puts forward the theory of similarity and overlap. He adopts a thematic and ideological
approach, which identifies only two genres; the genre of order and the genre of integration. In this
case the Western would be categorised into the genre of order. This essay shall also look at how
genre films change over time, due to changes in society, as characters ... Show more content on
Helpwriting.net ...
Within each of the films, the revenge narratives are both set around the female, as in 'The searchers',
Ethan and Martin aim to save the young girl Debbie, and in 'Unforgiven', Will, Ned and the
Schofield Kid aim to get revenge for the female prostitutes, this therefore shows how genre could be
seen to predictable and formulaic as these two western films show how they both follow similar
structures and narratives.
The theorists Propp and Todorov have focused on the similarity in narrative across different genres.
They suggest that genres that are different from one another in terms of visual, verbal and musical
signifiers operate according to the same narrative structures. Propp puts forward the story functions
of hero, villain and donor etc, and Todorov puts forward the equilibrium narrative theory. These two
theorists therefore show, how genre could be seen to be predictable and formulaic, as both of their
theories can be applies to 'The Searchers' and 'Unforgiven', and they also believe they can be applied
to many other genres and films.
The characters within 'The Searchers' fit into Propps story function as it is shown that, Ethan is the
main hero within the film, Martin is the main helper throughout the film and Debbie is seen as the
princess who needs to be saved. The same story function can

Clint Eastwood In The 1900's
Violent 1900's
Clint Eastwood, one of the most famous actor and directors of all time born on May
31, 1930. He has been known for a long time in Hollywood and around the world. He has been
especially known for "For a few Dollars More" and "The Good, the Bad, and the Ugly" which
are all played by him. Bounty Hunting was one of the roles that was most played by him in
all the movies that were either directed by him or was the protagonist himself. All the Clint
Eastwood movies show revenge taken and is usually known as "The Man with No Name" in his
movies. Comedy and action were the two genre types in all of his movies.
"Unforgiven" came released in 1992 directed by Clint Eastwood and written by David Webb
Peoples in 1984. Unforgiven ... Show more content on Helpwriting.net ...
It all starts when one of the prostitutes'
is beaten up by two cowboys which were let go off by demanding ponies, but the "group of
prostitutes put a bounty on the two cowboys by gathering money" (Unforgiven). That's where
the kid and William Munny (Clint Eastwood). Munny had stopped the killing of people after his
wife dies. He himself did not kill because he said "I killed when I was drunk" (Clint Eastwood)
meaning that he was almost all the time drunk when he encountered people. In this movie he
cared about the people that he killed since he wasn't drunk and knew what he was doing. In the
last part of the movie when Ned gets killed by Little Bill is the only time when William Munny

takes a drink and then kills each and every person in the bar who he thought was responsible for
Violence during the 1900's was just off the top of the roof. If something was not solved by the
court or any law enforcement then violence was the best shot. Almost all of Clint Eastwood's
movies have been full of violent nature. "Blade Runner" and "12 Monkeys" are two other action
movies that have violence in it but are as well as funny. Ned (Morgan Freeman) is a big part

My Darling Clementine : A Film That Follows The Classic...
My Darling Clementine (1946) is a film that follows the classic semantics and syntactics of an
original western film through the common traits, attitudes, characters, shots and locations that
attribute to the building blocks of the Western genre. My Darling Clementine also includes syntactic
elements that incorporate the genres fundamental grammar and the structure into which building
blocks are placed. This can be compared and contrasted with the film Unforgiven which represents
the revisionist western. The revisionist western includes a less idealistic and more morally
ambiguous structure of film. Alcohol, the characteristics and the role of women, and the appearance
and features of men can all be compared and contrasted throughout the two films. While My Darling
Clementine fits into the classical semantics and syntax of the Western genre, Unforgiven explores
the role of women, men and alcohol in a new way in which reversal of the traditional subject.
Alcohol:
My Darling Clementine:
In the film, My Darling Clementine, alcohol is seen mainly throughout the saloon. The saloon is a
typical iconography of the scenes seen throughout the typical/classic Western film. The saloon is
seen as a meeting place for men as well as a place for duel between opposing sides. The idea of the
saloon as a meeting place to consume and mingle with alcohol can be seen as a ritual approach to
the Western genre. This means that the functions of the saloon are seen as a shared myth, in which

The Searchers Conflict
John Ford's The Searchers plays with the western genre primarily through its straddling of the line
between the classical and contemporary western through John Wayne's duality of the hero and anti
hero among additional more complex plot elements. The film opens with the typical opening of the
frontier hero mode common in classic western with John Wayne's character appearing out of nature
to join the other charters in the story shortly before the conflict of the film is introduced. The
conflict of The Searchers is a another common element of classical classical westerns being a
confl;ict of white culture vs native culture as the natives come to attack those who are living on their
land followed by the retaliation of said settlers in a search

Representations of Native Americans in Dances with Wolves...
"Film is more than the instrument of a representation; it is also the object of representation. It is not
a reflection or a refraction of the 'real'; instead, it is like a photograph of the mirrored reflection of a
painted image." (Kilpatrick) Although films have found a place in society for about a century, the
labels they possess, such as stereotypes which Natives American are recognized for, have their roots
from many centuries ago (Kilpatrick). The Searchers, a movie directed by John Ford and starred by
John Wayne, tells the story of a veteran of the American Civil War and how after his return home he
would go after the maligned Indians who killed his family and kidnapped his younger niece. After
struggling for five years to recover ... Show more content on Helpwriting.net ...
These harmful images of how the Indian Americans were depicted, were subliminally created by
him in many of his previous films where they were repeatedly stereotyped under the maligned
appearance of bloodthirsty savages and hardly ever illustrated by their alter ego the noble savages.
These descriptions and especially the denigrated bloodthirsty savage illustrations of the Indians
remain seen as purely animals into the eyes of non–native populations, which caused racial
discrimination against them at that epoch. Therefore, John Ford tried to redeem himself by making
the film The Searchers, where he tried to expose the nefarious causes of resentment and racism that
at that time the general population had for the Indians. This way of apology is likely to be strong
supported by the image of the film's hero. The depiction of the hero stresses the despicable habits of
the westerners such as the tendency of the prejudices towards others. As shown by the arrival of the
John Wayne character to his brother's house and how he looked at Martin who is half–blood Indian.
Similarly, Dances with Wolves represented an explicit apology to the indigenous people. However,
although it was made by a white person point of view, it emphasizes Indians' points of view. This is
implicitly represented as the hero who is a white soldier from the American Civil War transformed
himself into a real Indian of the Lakota Sioux tribe. Although both films symbolize intentions of
apology to the

The Searchers: The Western Hero
The birth of the Western film comes from the unknown, lone hero whom defeats the villains on the
frontier. In the case of the classical plot, the hero comes into society and ultimately fights for society
against the villains using their own moral code usually ensuing violence and death. In the film,
Shane, the Western hero, Shane, is just this hero whom cares about the good of society and stands up
to the villains. Shane inevitably leaves upon defeating the villains showing that good triumphs evil,
but because of his unethical moral code of killing others he must leave society. Whereas, the
Western hero in the vengeance plot, a subset of the classical plot, must first leave society to fight
evil in what they believe is in the interest of society's values. ... Show more content on
Helpwriting.net ...
These two Western heroes in the same genre have different character's persona and actions. Shane is
amiable towards society and the audience alike with his sense of caring for the frontier's needs,
whereas Ethan comes across as self–righteous and easily irritable. Shane's portrayal of caring even
is seen when he teaches Joey, whom idolizes him, the ropes of shooting. Ethan also experiences
idolization by a young man, Marty, but instead of reciprocating and taking in this appreciation Ethan
demoralizes him since he is part Indian. The fact that Ethan is derogatory to Marty is representative
of the historical context of the end of the Civil War and the angst that came with it is still fresh and
the hurt of fighting between groups is evident between the Indians and

Western Vs. Noir : An Exploration Of Genre In True Grit
Austin Briggs
Degener
WR100
29 October 2017
Western vs. Noir: An Exploration of Genre in True Grit
Even though the novel had already been adapted into a film once, in 2010, the Coen brothers
decided to take a swing at their own version of Charles Portis' classic western, True Grit.
Comparatively to the book and even Henry Hathaway's 1969 film adaptation, however, the Coens
have crafted the story into their own. Mattie's bildungsroman is more uncompromising and realistic,
the relationships Mattie forms with Cogburn and LeBeouf become more complex, and the almost
separated ending paints a different picture regarding this film's genre. The film no longer follows the
traditional recipe of what a classic western is but instead blends the praxes ... Show more content on
Helpwriting.net ...
Not only is Cogburn describing how the whole hunt for Cheney is hopeless, but he also describes
Mattie as a harpy. Originating from Greek mythology, harpies are mythological beasts resembling a
bird with a woman's head. These creatures were attributed to stealing food and carrying off victims
when such things would go missing (Room). Cogburn's use of this mythology to describe Mattie
explains the femme fatale characteristics of her carrying off Cogburn onto her dangerous adventure.
This description helps explore how Mattie is embodying a femme fatale like character by seducing
Cogburn into this dangerous and hopeless "wild goose chase."
Mattie displays another characteristic of a femme fatale in the sense that she becomes a woman
where both males in the story are frequently fighting for her recognition. Instances such as LeBeouf
claiming that while he was "watching [Mattie], [he] gave some thought to stealing a kiss" (Coen).
The femme fatale is not often won over by love or lust of any characters. Mattie, even when
presented by these two beaus, stays very independent. This is reinforced by Portis' novel where
Mattie proclaims that she never really worried about marriage. "I never had the time to get married
but it is nobody's business if I am married or not married...A woman with brains and a frank tongue
and one sleeve pinned up and an invalid mother to care for is at

The Negative Stereotypes In The Last Of The Mohicans
Hollywood movies have shaped perceptions of North American culture through the storytelling of
facts, fiction, history and myths. For a time there was no other genre that has become more
important to Hollywood in a culture–driven industry fueled by formulas. As a film genre nothing
was so adaptable towards American sensibilities as the Western. Set in the nineteenth century where
a large section of the United States was still undiscovered; it is known as the Wild West. The central
plot of a western film is the classic goal of maintaining law and order on the frontier in an action,
adventure story. Directors would maintain this melodramatic formula by using archetypal characters
that the audience readily recognizes from frequent appearances. ... Show more content on
Helpwriting.net ...
A brief summary is about three trappers, whom are associated with the Mohican tribe, are protecting
a British Colonel's daughters in the midst of the French and Indian War or the Seven's Year War. The
movie was one of the few films to depict that Native Americans can be noble, yet it focuses too
much attention on the savageness of Native Americans who cut out hearts and burn people alive.
Although not all Native Americans were good; it upped the violence committed by the negative
stereotype to heighten the romance and entertainment. Another point to notice was the perceptive
used to narrate the film. The English and French militaries played an important factor that gives the
audience assess to a foreigners' perspective while trying to possess the new land. Although the name
of the film is based on the last chief of the Mohicans, Chingachgook and his son Uncas, the central
perspective of the film is about Hawkeye, an English–born scout, who living as a native and
mediator throughout the action. In the hunting scene from the opening of the film, the viewer's gaze
follows Hawkeye's actions as he chases the animal – to running, stripping of his shirt to killing the
deer. The point of view carries a significant approach for a film that strengthens the overall
storytelling aspect, and using the mediator who was not a Mohican, the film loses the real history it
could have told to the audience from the eyes of an actual American Indian. The film evocatively set
in Hawkeye's point of view watching the battles as an outsider looking in. It also notices the
struggles and forces that were against Hawkeye, while the survivors of the Mohican tribe play
backseat to him. The use of the savage Indian takes on many roles in earlier films before directors
tried to represent Native Americans as similar to equal as

Essay on Heroes in Western Film
Heroes in Western Film
In the genre of western films, the hero plays a key role. Humanity portrays civilization overcoming
the hostile country (Miller 66). In many films the American civil war is over, and people have turned
their attention to more constructive pursuits. Battling nature to progress America's future, rather than
each other. In between this wild country, fraught with danger and corruption lies the role of the hero.
A hero is an individual with exceptional skills and through his abilities is able to rid a stricken town
of the corrupt elements within. In many cases however, the hero's skills are not enough. His
relationship with the community can define how successful his help can be.
In the films Shane and Dodge City we ... Show more content on Helpwriting.net ...
It is for this reason he is incensed to defend the community from Ryker (Emile Meyer). He has
become personally involved with creating a community that he wishes to continue to see flourish;
even if his choice dictates that he has to leave in order to succeed.
Wade Hatton, (Errol Flynn) in Dodge City, is a much more extroverted hero than Shane, and has
greater plans to reform the town than merely just driving out the criminal element. Hatton's entry to
the film is also much more grand. He is a "soldier of fortune transplanted to the American frontier."
(Abel 18). This alone creates the illusion of Hatton being a much more romantic hero and having
greater plans than merely just wanting to build a community. He wishes to clean out the wickedness
and lawlessness that Dodge City has become. To do this, he introduces sweeping reforms that not
only remove the criminal element, but also set a moral tone for the community. This establishes him
as a community leader who is willing to do whatever is necessary to curb the violence and death that
has stricken the town. He even arrests his friend Rusty (Alan Hart) for carrying a gun to prove that
no one is above the law.
People respect Hatton for who he is and what he has done for the community, not necessarily for
who he is as a person. This fact sets him apart from Shane. Hatton's actions are dictated by his own
morals and beliefs, (the desire to make the community 'safe for women and children')

Super Meat Boy Research Paper
Super Meat Boy Meets Ninja Gaiden Meets Portal
If you're already familiar with the N+ series, then rest assured, it's more of the same perfected
gameplay you love to hate. If you're new to the series, then welcome to hell. But it's the kind of hell
that feels like heaven when you finally conquer a level that just whooped you 30 times in a row.
This is not going to end well.This is not going to end well.
The gameplay in N++ is deceptively simple. The goal is to press a switch with your ninja and make
your way through the opened door. You have a limited amount of time and collecting gold along the
way increases that time. Hazardous objects and enemies provide instant kills, and everything is
presented on a single static screen. The difficulty ... Show more content on Helpwriting.net ...
The game starts with a staggering 2,360 levels with more to be added after launch. Be fair warned,
however, as the $19.99 price will increase with added content so it might be best to snag a copy
now. The other side of this game's depth comes from the level editor. User–created levels have
already been shared online and they range from tortuous to artsy. They're nicely organized into
different categories like: Best, Newest, Hardest, Made by Friends, etc. The community aspect of the
game is beautifully realized and you can have hours of fun sharing and competing with strangers
and/or friends.
This is definitely a game you could blast through while listening to your favorite album or podcast,
but the included soundtrack is very fitting and stimulating, if a little limited. Tracks ooze mystery to
match your own discovery of each level's puzzle, and the pumping beats push you past the brink of
defeat. In a nice twist, the shoulder buttons allow you to instantly change the track and visual theme
at any time. More color schemes and tweaks are waiting to be unlocked, providing even more reason
to keep going.
N++'s retro look belies it's depth and polish. You'll constantly be surprised and pleased by the little
details and easter eggs placed throughout. Everything and more is where it should be, especially
when it comes to stats. A detailed breakdown of every second spent in the game and even how many
thousands of times you pressed the jump button are meticulously tracked and displayed.

John Wayne As An Example Of A Revisionist Western Film
The Western genre been highly prevalent in Hollywood films for decades. Beginning with The Great
Train Robbery in 1903, Western films have gained international many parts of Europe and Mexico
in addition to the United States. One classic example of a Western feature (full length) film is True
Grit (1969), which stars John Wayne as the strong, memorable protagonist, Rooster Cogburn.
Although the film follows many filmic conventions regarding the formula of the Western genre, it
also defies certain conventions, thus serving as an example of a revisionist Western. These qualities
also carry over into the recent remake, True Grit (2010), which contains the same plot as the original
while making use of modern cinematic techniques in order to make the film more exciting, dramatic
and accessible for a modern audience. Prior to the release of True Grit (1969), John Wayne had
played starring roles in countless other Western films, including Stagecoach (1939) and The
Searchers (1956). By the 1960s, John Wayne gained vast recognition among many audiences as the
definitive celluloid icon of the American Western. John Wayne?s popularity within Hollywood grew
largely during the 1950s, during the rise of revisionist western films. In addition, the film?s setting
is consistent with previous films in the genre. A small portion of the plot is set in a small town in
Arkansas, while the bulk is set in the sporadically populated, mountainous Indian Territory. There
are several scenes in which

Essay about The Western Formula
A seemingly traditional approach towards the Western frontier is the reason for John Cawelti's
assessment from The Six–Gun Mystique. His description of the Western formula being 'far easier to
define than that of the detective story'; may clearly be a paradigm for many authors, but not
particularly for Stephen Crane. The standards Cawelti has set forth for a successful Western is quite
minimal by thought, but at the same time relevant. Crane signifies a different perspective to these
standards. Crane's thoughts for the use of the Western formula are just approaches towards the west,
from the introductory setting to the coarse grin one cowboy would make towards another. These do
not in fact relate to Cawelti's Western formula. Crane's ... Show more content on Helpwriting.net ...
Stephen Crane shapes 'The Bride Comes to Yellow Sky,'; entirely around the bride and how she will
enter a new life in the small town of Yellow Sky. The only instance of a possible Western formula is
as a cowboy by the name of Scratchy Wilson points a gun at Jack Potter, the husband and town
marshal. However, when Scratchy realizes that Potter had gotten married, he put down his gun and
walked away. 'He moved a pace backward, and his arm, with the revolver, dropped to his side';
(Crane 311). This contradicts the black and white situation Cawelti would expect. The fight between
good and evil had risen and it must be taken care of through violence, perhaps a draw. This did not
happen though, and that is why Crane's perspective towards a Western is quite far from the formula.
Apparently, the moral and ethical code that Crane acknowledges in his stories is his main concern.
'The story can climax, and desire be sated, only if the moral applause meter reads way of the scale in
the hero's favor'; (Tompkins 236). Crane describes Scratchy Wilson as a man when sober cannot hurt
a fly, but while intoxicated will hurt anything. The black and white issue turns gray by giving the
villain a heart.
Throughout the entire story, the ideas of violence arise, but the actions upon them do not. This is a
very bad path Crane chose if he was looking to depict a formula western. If this story was to follow
the standards

Film Techniques In Lemonade Parre
Lemonade Joe, a film made by director Jiri Brdecka in 1964, is a wacky, Czechoslovak musical
comedy. It serves as a satire of the typical western movie – a major defining genre of the American
film industry. From the 1930's through the 1960's, western movies were at the height of their
popularity. Set in the American frontier, they represent a rugged, action–packed lifestyle, where
good always triumphs over evil. To this day, although not as inherently popular, the western has
been done time and time again, with different takes on the same genre. Lemonade Joe is a film
which re–discovers and successfully spoofs elements of the classic western film.
The story follows the adventures of a gun–slinging cowboy known as Lemonade Joe, who drinks
nothing but Kolaloka lemonade, and subsequently spends the entire film promoting it. After
showcasing his superior sober shooting skills in a bar fight at the local saloon, Joe convinces the
whiskey–drinking inhabitants of Stetson City to make the permanent switch to Kolaloka. ... Show
more content on Helpwriting.net ...
Lemonade Joe also employs the use of other cinematic elements, commonly seen in American
Westerns. It is shot in monochromatic tones, which change with the times and feelings throughout
the film. Only three colors, yellow, red, and blue, are used throughout the film. The use of different
color tints interchange depending on the mood of the scene. The red tints symbolize violence and
lust, and are used more so during the dramatic action scenes, or in the scenes with Tornado Lou. The
yellow colors on the other hand evoke a natural feel, and are used in shots to convey the temperature
of the hot outdoor landscape, or the rustic feeling of being inside of the saloon. The blue tinting is
used to establish a calm, neutral setting, such of that as when the town begins to drink Kolaloka at
the saloon instead of alcohol. These color effects give a similar feel to that of the tinted silent films
of the

Cowboys And Comedy: A Comparative Analysis
In his article "Cowboys and Comedy", Mathew R. Turner suggests that western comedy films both
reinforce and subvert the conventions of their more serious classical counterparts in an attempt to
"breathe new life into the genre". While the author recognises that comedy "relies, to a certain
extent, on the reversal of expectations", he argues that the subgenre of western comedies actually
has its own complex set of principles which can be observed throughout films belonging to the
subgenre. To illustrate this Turner compares five western comedies ranging in timeframe from Go
West (Edward Buzzell, 1940) to Shanghai Noon (Tom Dey, 2000).
Although Turner's essay does not include any reference to Little Big Man (Arthur Penn, 1970) or
¡Three Amigos! (John Landis, 1986), both of ... Show more content on Helpwriting.net ...
This is most evident in ¡Three Amigos!, a comical remake of John Sturges' The Magnificent Seven
(1960) which mimics the setting, character types and even parts of the dialogue of the earlier film.
While Little Big Man is contrastingly not an overt pastiche of one film in particular, audiences with
a prior knowledge of the western movies will likely be able to detect allusions to Stagecoach (John
Ford, 1939) Broken Arrow (Delmer Daves, 1950) and The Searchers (John Ford, 1956) among
others. Additionally, the film satirises the broader clichés of the genre without necessarily referring
back to specific movies in which these appear. For example, the character of Louise Pendrake (Faye
Dunaway) parodies the apparent limited role of women within the Old West through her
simultaneous appearance as both a conservative Christian schoolmarm and a flirtatious prostitute.
Likewise, the transformation of the film's protagonist Jack Crabb (Dustin Hoffman) into "the Soda
Pop Kid" refers back to the gunslinger stock character that frequently appears in straighter

Violence In The Western Unforgiven: Clint Eastwood
In the western Unforgiven staring Clint Eastwood we embark the journey of a legendary gunslinger
coming out of retirement in order to provide for the one's he loves and holds dears to his heart, his
kids. Throughout the film the idea of killing and the justification of doing so is continuously
questioned in the minds of each of our three gunslingers. As in all westerns the use of violence is
displayed to solve and extinguish any conflicts that arise. Violence is incorporated within this film in
order to powerfully portray and strengthen the way in which we depict and understand the morals of
each of the key characters. We start with the Schofield Kid, after all if it wasn't for him Will Munny
would have never even thought or questioned the idea of coming out of retirement. At first glance
the Schofield Kid is portrayed as a Gunslinger roaming the west looking for is next kill to chalk up.
The Schofield Kid approaches Munny during a time of need. Munny owns a farm, which is barley
able to keep him and his family financially, stable making the idea of killing two people tempting.
The last person to also embark on this hunt is Ned Logan. As the ... Show more content on
Helpwriting.net ...
It is clear in this scene that Logan is no longer the heartless gunslinger he once was. His moral
perspective has completely changed since his killing days. This can be credited to the love he has
found with his wife and this is shown when we meet her earlier on in the film. One can say that in
order to make room for the good in his life he had to get ride of all the bad. Another signal to the
audience that Logan is a changed person is the fact that he can control his liquor. This self–control
embodies him with the moral ability to refuse to kill. Logan is not the killer he once was and we see
this in his moral decision–making though Little Bill kills him off later in the

John Wayne's Blood Moon
The UK is not a place one thinks of producing westerns. In fact there have only ever been two made
entirely on the island that once ruled the world. Blood Moon is one of those, not sure what the other
was–sign of poor journalism. On the other hand, wearwolves is something we do associate the
English with–––Wearwolves of London anyone's?––– This is where Blood Moon falls, a genre
mashup for John Wayne/John Landis fan in all of us.
Like many westerns, the flick starts out with a stranger (veteran British TV and film actor Shaun
Dooley), hazy on the law but baptized in justice from a town you've never heard of, in need of
transportation. Don't tell PETA, but he had to shoot his trusty steed after she broke her leg. By
chance, a stage is passing

Misfits In Mark Peter Hughes 'Lemonade Mouth'
This summer, I read Mark Peter Hughes' Lemonade Mouth; which is about a group of high school
misfits who form a band. Although they are challenged, they always stand up for themselves. Same
thing goes for the characters from the Korean drama, Dream High 2. In both sources, the group of
misfits are brought together by the power of music, despite their differences. Lemonade Mouth
consists of 5 members: Stella, Wen, Olivia, Charlie and Mo. All of them speak their minds freely
and always stand up for what they believe is right. Even though some of their actions brought them
harsh consequences, they didn't stop, and went full out till the end. They use their music to express
themselves, and have gone as far as protesting (which got them ... Show more content on
Helpwriting.net ...
The person who interfered most with Lemonade Mouth's activities would be the school's vice
principal, Mr. Brenigan; and the one who interfered most with Kirin Art school's outcast group
would be Director Lee. As you'd expect, the groups of outcasts and misfits didn't just sit tight with
their mouths shut. One time, Lemonade Mouth's song inspired the students at Opequonsett High to
fight to get back their lemonade machine, which had been taken away without even giving the
students a notice. An example of students fighting back is that they made signs which read "WHEN
LEMONADE MOUTH SPEAKS, THE WORLD LISTENS!"(pg326, Hughes) An incident that
happened at Kirin Art School was that the director was trying to kick out all the "untalented" from
their dorms so that the idols could use them instead. The students thought the rules and demands
were a bit harsh,so their reaction was to dress up as natives and go up to the director to insist that
what he was doing was unfair and something had to be changed about that. The director was taken
by surprise, and when he finally realized what was going on, he said, "So you guys are saying you
are the natives? And I'm the bad guy?"(episode 3, Heo Sung–Hye and Jang

Summary: The Man Who Shot Liberty Valance
In John Ford's 1962 western, "The Man Who Shot Liberty Valance," the audience experiences a
narrative with a flashback retell for most of the film. Ford uses diegesis storytelling to portray
details about the taming of the western frontier and the experiences of his characters in the
modernization of the frontier through narrative.
This film uses a social ideology that it is time for the taming of the western frontier, with law and
order. The audience learns through a flashback sequence that one of the main characters, Ranse
Stoddard, has come west to open a law practice in a "lawless" town. This character travels by a
stagecoach. Before arriving in town the stage coach was robbed by the villainous Liberty Valance.
After being beaten and left for dead, our other main character, Tom Doniphon arrives to save the
day. From that day forward Ranse Stoddard vows to put Liberty Valance behind bars. Tom
Doniphon assures Stoddard he will need a gun to settle this fight. These two characters represent the
new kinder west and the current violence ridden west respectively. The opening and closing scenes
are not ... Show more content on Helpwriting.net ...
Tom Doniphon nominated Ranse Stoddard for political office because he was, "the man who shot
Liberty Valance." He did not want a nomination on the premise of killing a man and walks out.
Meeting in the hallway Doniphon explained Stoddard had never shot Liberty. Again Ford uses a
flashback within a flashback to show Doniphon's angle of the shootout. Doniphon had a shotgun and
shot Valance at the same time Stoddard attempted to shoot his gun. After finding out that he had not
killed a man he stormed back in and accepted the nomination. The lie that created Ranse Stoddard
and created the demise of Tom Doniphon. Ford uses cause and effect to create this part of the story.
One cause created two different effects for the two

Genre Theory and John Ford's Stagecoach Essay
Genre Theory and John Ford's Stagecoach
The analytic theory posited by Robert Warshow in his essay "The Westerner", itemizes the elements
necessary for a film to belong to the genre of the "western". Most contentiously, he mandates that
the narrative focus upon the individual hero's plight to assert his identity, and diminishes the
importance of secondary characters and issues, or any tendency toward "social drama." (431) He
states that it is subtle variations that make successive instances of a genre film interesting, yet limits
this variety to "minor variations in the characteristics of the actors who play the hero's role." (430)
It is my belief that while exhibiting many of the traits itemized by Warshow, John Ford's ... Show
more content on Helpwriting.net ...
Other elements expected by the "western" viewer include the importance of the vast landscape in
relation to the men upon it; the figures of the morally ambiguous marshall, the cultured Eastern lady,
the understanding yet fallen prostitute and the "bad guy"; and the conflict between nature and
civilization, usually represented by Apaches and white settlers respectively. Lastly, the most general
and material characteristic of a "western" is its setting on the American western frontier in the late
1900's. Each of these motives is evident in Ford's Stagecoach ; however, there are several
conventions of the "western" which the director intentionally manipulates, which exceed altering the
traits of the actor who plays the lead role.
The first convention varied by Ford is the hero's expected relationships with two different types of
women. The generic first lady is the refined Eastern "schoolmarm" character. She represents the
paradigm of civilized virtue, and as such fails to understand the cowboy's need for revenge, to do
"what he has to do." (457) In contrast, we usually encounter the highly–sexualized saloon girl or
prostitute, whose shares with the hero marginalization by the fledgling "civilization" of the frontier.
This second woman understands the cowboy's code in a way that the cultured woman cannot. In the
conventional "western", the hero often ends up with the "lady", but his choice is excused by the
"convenient" accidental death of the saloon girl, usually due

How The Western Film Genre Has Developed Over The Past...

Recommended

Recommended

More Related Content

More from Nicole Fields

More from Nicole Fields (20)

Recently uploaded

Recently uploaded (20)

How The Western Film Genre Has Developed Over The Past...