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Sam Peckinpah film The Wild Bunch, is a Western Action film that has the potential to leave the audience with a controversially opinion about the violence displayed during the height of the Mexican Revolution with an outlaw gang called The Wild Bunch. The film is about a band of train and bank robbers looking to get away with one last heist and the lawman and his posse of bounty hunters who intend to capture or kill The Wild Bunch. The film The Wild Bunch graphically displays how audiences view western movies and in particular, the horrors of gunfights, crude and ruthless men and gun violence that had been previously left out of western genre movies all of which are established through cinematography, lighting and set design.
Western films are often related to cowboys, horses, railroads, rifles, saloon girls, outlaws, robbers, sheriff, and blue skies with rolling hills. Goodykoontz and Jacobs (2014) noted, “Typical westerns deal with maintaining law and order on the frontier, and their conflict derives from easily defined opposites of good vs. evil” (p. 81). However, Peckinpah chose to bring war and violence to a new level in the action packed western which is graphically displayed in the opening scene “Bank Shootout” (Movieclips, 2014). In this scene, a
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This film also stretched the boundaries of most typical western films by the explicit depiction of violence through bloody, brutality, horrific scenes of violence relating to the Vietnam War. When watching this film, one can see the theme of violence and war portrayed throughout it. With the multiple shots and speeding up and slowing down the film to capture the horrible violence and bloodshed. The Wild Bunch elevated Western films to a whole new level because of its graphic violence and portrayal of men attempting to survive by any
My analysis begins, as it will end, where most cowboy movies begin and end, with the landscape.Western heroes are essentially synedoches for that landscape, and are identifiable by three primary traits: first, they represent one side of an opposition between the supposed purity of the frontier and the degeneracy of the city, and so are separated even alienated from civilization; second, they insist on conducting themselves according to a personal code, to which they stubbornly cling despite all opposition or hardship to themselves or others; and third, they seek to shape their psyches and even their bodies in imitation of the leanness, sparseness, hardness, infinite calm and merciless majesty of the western landscape in which their narratives unfold.All of these three traits are present in the figures of Rob Roy and William Wallace--especially their insistence on conducting themselves according to a purely personal definition of honor--which would seem to suggest that the films built around them and their exploits could be read as transplanted westerns.However, the transplantation is the problem for, while the protagonists of these films want to be figures from a classic western, the landscape with which they are surrounded is so demonstrably not western that it forces their narratives into shapes which in fact resist and finally contradict key heroic tropes of the classic western.
Blazing Saddles, a Mel Brooks film, is a perfect example of satire. The main object of the movie is to make fun of the western genre of films. Mel Brooks is notorious for his satires of many different films and film genres, and Blazing Saddles follows true to form. Many of the film’s ideas and problems are common in most westerns, although Mel Brooks has added a twist. In addition, the movie pokes fun at a more modern theme, racism.
Most westerns have a heroic cowboy that fights against corrupt officials to save a small helpless town or a person in need of help. They also have women who are attracted to the cowboy, and Indians who the cowboy usually fights. The cowboy is moral and fights for good because he is free from civilization its deceit and the wilderness (Wright, 2001, pp. 18-58; Belton, 2009, pp. 248-249). Most cowboys who emerge in western films are honest and forthright.
The Taming of the West: Age of the Gunfighter: Men and Weapons of the Frontier 1840-1900.
Somewhere out in the Old West wind kicks up dust off a lone road through a lawless town, a road once dominated by men with gun belts attached at the hip, boots upon their feet and spurs that clanged as they traversed the dusty road. The gunslinger hero, a man with a violent past and present, a man who eventually would succumb to the progress of the frontier, he is the embodiment of the values of freedom and the land the he defends with his gun. Inseparable is the iconography of the West in the imagination of Americans, the figure of the gunslinger is part of this iconography, his law was through the gun and his boots with spurs signaled his arrival, commanding order by way of violent intentions. The Western also had other iconic figures that populated the Old West, the lawman, in contrast to the gunslinger, had a different weapon to yield, the law. In the frontier, his belief in law and order as well as knowledge and education, brought civility to the untamed frontier. The Western was and still is the “essential American film genre, the cornerstone of American identity.” (Holtz p. 111) There is a strong link between America’s past and the Western film genre, documenting and reflecting the nations changes through conflict in the construction of an expanding nation. Taking the genres classical conventions, such as the gunslinger, and interpret them into the ideology of America. Thus The Western’s classical gunslinger, the personification of America’s violent past to protect the freedoms of a nation, the Modernist takes the familiar convention and buries him to signify that societies attitude has change towards the use of diplomacy, by way of outmoding the gunslinger in favor of the lawman, taming the frontier with civility.
The image of the cowboy as Jennifer Moskowitz notes in her article “The Cultural Myth of the Cowboy, or, How the West was Won” is “uniquely
The story is an Eastern take on the Hollywood western with a dash of satire,
It is my belief that while exhibiting many of the traits itemized by Warshow, John Ford's Stagecoach (1939) also exhibits variations in characterization, symbolism and even moral focus which project it dangerously close to what Warshow would view as a "social" film. It would be nearly impossible to declare Stagecoach a non-western by either Warshow's own generic criteria or the expectations of the genre viewer, yet the film clearly conveys the more individuated social concerns of its director. While Warshow claims that this perversion of the norm threatens to make the genre uninteresting, I believe the contrary to be true. Subverting the expectations of the genre, while still functioning within the language of the "western" is what makes Stagecoach a powerful film, and legitimizes the notion of genre itself.
This vicious group gets its respite from the Mexican government by hunting for scalps in return for bounties in Chihuahua and the overlying regions. As their horrors increase day by day, and as death keeps visiting them in the vast Wild West, the gang’s thirst for gore goes into overdrive and they turn against the same people they were t protect. Under the philosophical guidance of Judge Holden a vicious, sly pedophile and murderer, the gang reaches a point of no return in their belief that their work is
The passage taken from the book, “Beyond Formula: American Film Genres” by Stanley Solomon, focuses specifically on Western films. Solomon suggests that, “the Western is primarily a genre of location,” (56) which not only suggests the plot of the movie but the characters portrayed in the film as well. If the location is based in a harsh or rugged environment, the viewers automatically assume that the characters in the film will be just as rugged or even unlawful. If location of the film takes place in a small country town the viewer knows that this usually means that that the town is under-populated and industrially inept. The viewer also knows that some sort of trial will present itself to the towns people, typically a group of out-laws, and the citizens of the town will have to muster up what courage they have and stand up to their rivals. In this case the towns people usually are unable to overcome their opponents causing them to rally around a strong spirited leader to lead them to victory.
They brought real Natives to play the Natives on the big screen and eventually movies were created by Natives themselves. Around the same time was the Hippie movement; many people wanted to be like the Natives they saw in the films even though it was not an accurate depiction of the Natives. They liked the 'positive stereotypes' of the Natives in the movies, the family unity and their strength as warriors. In the 1960's the American Indian Movement (AIM) also began and in 1973 The genocide at Wounded Knee occurred. Jim Jarmusch says “That is a genocide that occurred and the [American] culture wanted to perpetrate the idea that [the natives] these people are now mythological, you know, they don’t even really exist, they’re like dinosaurs.” This shows just how much Americans wanted to belittle the Natives, and despite succeeding for a number of years, the New Age of Cinema commenced and movies like Smoke Signals began what some would look at as a Renaissance. The Renaissance explained in Reel Injun discusses the rebirth of the Native American in the Hollywood films, and how the negative stereotypes went away with time. Reel Injun also makes a point to explain how it impacted not only the films but Americans who watched them, and ultimately America as a
Westerns are split down into sub genres for example classical westerns like "The Great Train Robbery" but there are also other western genres like revisionist westerns. Revisionist westerns occurred after the early 1960's, American film-makers began to change many traditional elements of Westerns. One major change was the increasingly positive representation of Native Americans who had been treated as "savages" in earlier films. Another example is Spaghetti westerns, Spaghetti westerns first came during the 1960's and 1970's, The changes were a new European, larger-than-life visual style, a harsher, more violent depiction of frontier life, choreographed gunfights and wide-screen close-ups.
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.
In the article “The Thematic Paradigm” exerted from his book, A Certain Tendency of the Hollywood Cinema, Robert Ray provides a description of the two types of heroes depicted in American film: the outlaw hero and the official hero. Although the outlaw hero is more risky and lonely, he cherishes liberty and sovereignty. The official hero on the other hand, generally poses the role of an average ordinary person, claiming an image of a “civilized person.” While the outlaw hero creates an image of a rough-cut person likely to commit a crime, the official hero has a legend perception. In this essay, I will reflect on Ray’s work, along with demonstrating where I observe ideologies and themes.
The Wild West is known for its cowboys and gunslingers. In the Wild West the pistol