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Religious Symbolism in American Cinema
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American Film Hero in The Pale Rider
The film is one of the major channels for communication social issues and matters regarding numerous aspects of living. Subjectively, directors pick up pertinent matters such as spirituality, war, relationship and others, create scripts and transform them into motion pictures, which the audience can watch and learn about the issues in an entertaining way. Clint Eastwood is one of the well know directors in Hollywood, whose films have turned to be classical productions that reflect different aspects of humanity and life. In his classic film “The Pale Rider,” Eastwood picked a biblical story about an equestrian, which is told in the books of Revelations. Using the protagonist, Eastwood fused the story into
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This is the kind of life that an uprightly religious and divine man would lead, were it not for the circumstances that he faced. However, unlike other American productions, the Pale Rider presents a complex and nuanced relationship between the men of God and God himself. The main element of this complexity is the presence and use of violence to protect the innocent. The redemptive violence in the film shows that indeed the American outlaw prophet may be a man of God sent to rescue the people, albeit using unorthodox means. Moreover, The Preacher, despite his seemingly unavoidable stance on evil, does defend the actions of people while protecting their property and themselves. Inspired by his divine principles, he tells the people “A man alone is easy prey, but by uniting you will defeat LaHoods of the world” (Eastwood 1985). This is what inspires love from the villagers, including from Megan, who declares her love for The Preacher when he leaves the town. This, therefore, shows that The Preacher is a perfect example of the American outlaw prophet, who despite having a strong religious background, does not represent what believers expect of a man of …show more content…
However, what is not clear is his stance on sin and holiness. While he strongly bases his thinking and actions on the teaching of Christianity, some of his actions warrant the questioning of his divinity. Despite being an answered prayer, he commits adultery and kills. However, he manages to inspire hope by saving the people from their oppressors and making their lives better. This is an excellent characterization of the American outlaw prophet, who comes in with faith and leaves everything much better, despite the questioning of his
Watching a film, one can easily recognize plot, theme, characterization, etc., but not many realize what basic principle lies behind nearly every story conceived: the hero’s journey. This concept allows for a comprehensive, logical flow throughout a movie. Once the hero’s journey is thoroughly understood, anyone can pick out the elements in nearly every piece. The hero’s journey follows a simple outline. First the hero in question must have a disadvantaged childhood. Next the hero will find a mentor who wisely lays out his/her prophecy. Third the hero will go on a journey, either literal or figurative, to find him/herself. On this journey the hero will be discouraged and nearly quit his/her quest. Finally, the hero will fulfill the prophecy and find his/herself, realizing his/her full potential. This rubric may be easy to spot in epic action films, but if upon close inspection is found in a wide array of genres, some of which are fully surprising.
He made use of his time in prison by reading and studying. He also hears about Islam and decides to convert. Once he is released from prison, he starts recruiting people to become a member of the Muslim temple and convert. He also continues to build and create more temples. He eventually marries Betty. After a series of events he becomes isolated from the Nation of Islam and starts his own organization with it being more inclusive than the Nation of Islam. He also begins to reshape his public image and it allows him to speak with the white press effectively. He travels to multiple countries and has a new outlook.
By adapting the standard Hollywood ‘road’ movie narrative (east to west), incorporating modern music as non-diegetic sound and utilizing shocking scenes – both socially and in terms of ignoring every written and unwritten filming law - Dennis Hopper’s Easy Rider stands as a testament to the changes going on in the US during the late 1960s and creates a certain distance to the previous way of seeing America.
...uggles between the savagery and civility, he and Liberty Valance (Lee Marvin), are men threatening, as well as standing, in the way of the progress and later the stability of the soon to be established “recognized territory.” There are two very different characteristics of these men though, Tom is full aware what is happing to in the New West and eventually succumbs. Meanwhile Liberty knows this is happing too, but he will do, as he must to keep the frontier open, for purely selfish reasons. This is the swan song of the boots, the gun belt and the spurs, the inevitable end of freedom that was once known since its inception at the establishment of the United States of America, but the Western was and still is today, a vast frontier of compelling stories, classic American narratives and themes that will continue to capture the imagination of all freedom loving people.
The film Children of Men tells the tell of a woman named Kee who becomes pregnant in a world where no woman has been fertile in over eighteen years. The world is in a dystopia state because of war, decease, and famine. A man by the name of Theon Faron helps Kee and her baby, whose name is Dylan, to safety. There are many different elements that make up this film 's true essence. From its theme to the genre all these components give the film its integrity, including religion which plays an underlying role throughout. These pieces that construct this great film can be evaluated more deeply. This paper will further analysis the theme, and genre in the film Children of Men.
[1] The silent film, With Daniel Boone Thru the Wilderness, was produced in 1926: a time of prosperity, an era without the skepticism of the modern American mind. People were not yet questioning the stories and histories they had been taught as children. The entertaining story told in this Robert North Bradbury film is loosely based on the life of an American hero. However, the presence of several insidiously inaccurate historical representations demonstrates how an entertaining film might not be as innocent as it initially seems. This film fails to question certain key issues concerning the Daniel Boone legend. In fact, it does quite the opposite. The creators of this film wholeheartedly bought into the many warped myths and distorted “facts” surrounding the story of Daniel Boone. Amazingly, the ethnocentric (read racist and colonial) ideals found in 19th century whites apparently still existed in 1926, and, to a certain extent, still do today. This essay will explore the factors that contributed to the twisted representations found in With Daniel Boone Thru the Wilderness. Hopefully, the work of this essay and many others like it will help the next generation of Americans (and filmmakers) to avoid the same injustices and societal pitfalls that have plagued mankind for ages.
In the 1930's Native Americans and women were viewed as inferior races. The films produced during the early part of the 20th century, particularly those starring John Wayne reflected these societal attitudes. The portrayal of minorities in Stagecoach and Fort Apache clearly reflect the views of society at that time. The depiction of the West is similar to that which is found in old history textbooks, em...
The American film industry’s early attempts at the narrative Western were limited and in the early years were produced mainly in the east. During this early time in the film industry the...
The realm of fantasy does not only exist in stories, myths, or legends but also finds its places in the film industry. Film just like stories can capture an audience. By the use of metaphors, film gives us a visual experience that not only expands our horizons but also creates dimension. In Terry Gillian’s 1981 film, Time Bandits, we see the metaphorical value of his film as they share with their audience the themes of biblical good verses evil along with a secondary theme of man and nature verses technology.
One of the most successful directors of this genre was John Ford. He once introduced himself saying, ‘I am John Ford, and I make Westerns’. The somewhat minimizing nature of this rem...
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
He shows his true character in a conversation with Sayid when sayid and the clarinet were being held captive. He says to Sayid “I know it's not right, … What choice do I have? ...this time we live in, you know how it forces a person to do things.”(pg.292). He shows a whole other aspect of The Prophet and how you don't necessarily need to even believe his teachings to be forced to action be them. Even though he knows that his actions are wrong and the things he does sicken him, he has no choice but to follow along and keep doing them. The Prophet has attracted a group of followers and they have adopted his beliefs and so are able to justify anything no matter how cruel. This means that even for people who don't want to do the things The Prophet asks they have no choice, able to justify any action his followers could judge that said person had become a traitor and for “the good of the people” had to be killed. The way that other people have chosen to cope with the new world has forced the boy to adopt the same way of life. Even if he doesn't believe in what he is doing his actions are still the same as someone who does so in a way he is still the same as all The Prophet s other followers. He has been coerced into this life rather than choosing it, but his
In “The Thematic Paradigm,” Robert Ray explains how there are two vastly different heroes: the outlaw hero and the official hero. The official hero has common values and traditional beliefs. The outlaw hero has a clear view of right and wrong but unlike the official hero, works above the law. Ray explains how the role of an outlaw hero has many traits. The morals of these heroes can be compared clearly. Films that contain official heroes and outlaw heroes are effective because they promise viewer’s strength, power, intelligence, and authority whether you are above the law or below it.
A set of practices concerning the narrative structure compose the classical Hollywood Paradigm. These conventions create a plot centering around a character who undergoes a journey in an attempt to achieve some type of goal (). By giving the central character more time on screen, the film helps the audience to not only understand the character’s motivation but also empathize with his/her emotional state. Additionally, some antagonistic force creates conflict with the main character, preventing immediate success(). Finally, after confronting the antagonist, the main character achieves his or her goal along with growing emotionally(). This proven structure creates a linear and relatively easily followed series of events encompassing the leading character and a goal.
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.