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stereotypical western films
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John Wayne as the American Cowboy
When I think of an American cowboy in my mind I see a picture of John Wayne mounted high on his horse in a desert setting riding out into the sunset. His name is synonymous with the western film genre. John Wayne’s characters are known world-wide as American symbols that embody the true characteristics of how Americans ought to be. His characters were always so tough, courageous, and upstanding. For this and other reasons I consider the actor, John Wayne, to have had a tremendously positive impact on our and other societies around the world. To fully appreciate Wayne’s impact, it is important to closely examine where he came from and to consider the factors of his upbringing that influenced his development.
John Wayne was born Marion Michael Morrison in Winterset, Iowa on May 26, 1907. At the age of six, his father Clyde Morrison became ill and decided to move the family to southern California. The family lived for a short stint of time on a eighty acre farm, there Marion learned how to handle horses and often played cowboy. They then moved to the city of Glendale, California where Clyde opened a drugstore. In Glendale, Marion was exposed to film making for the first time. He saw outdoor scenes being shot at the Triangle Studios. As if to consequently further influence him, his family’s drugstore happened to be in the same building as a silent film theater. Marion saw movies at the theater four to five times a week for free. It was also at Glendale that Marion was given his infamous nickname of “Duke.” Despite the royal and noble connotations of the name Duke, Marion received it from his Airedale terrier also named Duke.
Marion was an “A” student, president of the Latin society...
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...harine Hepburn. The film was Hepburn’s first western.
John “The Duke” Wayne died of lung cancer on June 11, 1979 at the age of 72. In a career of over 50 years, he left us with more that 200 films. His films taught us what it truly means to be American: to speak out for what you believe in, to be bold and courageous, to be patriotic, to fight to preserve freedom and liberty, and to love your country. There is no question that John Wayne was a positive influence on society, as his message transcended social and political borders. He has become a household name, and to many an example of a rare breed of true Americans. When many people around the world think of a American, they too see a picture of John Wayne mounted high on his horse in a desert setting riding out into the sunset.
The day he died, a Tokyo newspaper ran the headline, “Mr. America passes on.”
John Wayne Gacy was born on March 17, 1942. He grew up in a working class neighborhood of Chicago. He was close to his mother, Mayrum, and sister, Karen. His father was a violent alcoholic, who beat Gacy frequently during his violent outbursts. Gacy loved his father despite his violent temper and homophobic nature. Throughout his childhood, Gacy strove to make his stern father proud of him, but seldom received his approval. This friction between father and son was constant throughout his childhood and adolescence.
McCarthy’s plot is built around a teenage boy, John Grady, who has great passion for a cowboy life. At the age of seventeen he begins to depict himself as a unique individual who is ambitious to fulfill his dream life – the life of free will, under the sun and starlit nights. Unfortunately, his ambition is at odds with the societal etiquettes. He initiates his adventurous life in his homeland when he futilely endeavors to seize his grandfather’s legacy - the ranch. John Grady fails to appreciate a naked truth that, society plays a big role in his life than he could have possibly imagined. His own mother is the first one to strive to dictate his life. “Anyway you’re sixteen years old, you can’t run the ranch…you are being ridiculers. You have to go to school” she said, wiping out any hopes of him owning the ranch (p.15). Undoubtedly Grady is being restrained to explore his dreams, as the world around him intuitively assumes that he ought to tag along the c...
Few events in history have impacted a culture as much as the introduction of the horse into plains Indian culture. The positive impact of the horse on North America's indigenous people has been romanticized forever in popular culture. The portrait of plains Indian horse created by the likes of John Wayne and Clint Eastwood is far from complete. While the horse did make nearly every aspect of Native American life more efficient, the spread of horses also contributed to the violence in the southwestern region of the United States in three ways. The trade of horses among the plains Indians created competition for resources, encouraged and contributed to raiding, and allowed the domination of the region by the Apache Indians.
Bernstein, Matthew. “The Classical Hollywood Western Par Excellence.” Film Analysis: A Norton Reader. Eds. Jeffrey Geiger and R.L. Rutsky. New York: W.W. Norton & Company, 2nd edition, 2013. 298-318.
Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the films Pulp Fiction, Taxi Driver, Watership Down, and Trainspotting are all versions of The Hero’s Journey, consequently demonstrating just how prevalent these archetypes have become in modern cinema. And that mythology and storytelling are important parts of each culture because they prevent the darkness in our hearts from spreading.
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.
John Wayne Gacy was born in Chicago, Illinois on March 17 1942. Gacy had an uneventful childhood up until the age of eleven. While out playing he had been struck on the head by a swing. Subsequently he suffered fainting fits for many years.
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
Robert Johnson I went down to the crossroads fell down on my knees. Robert Johnson went to the crossroads and his life was never the same again. The purpose of this essay is to tell you about the life of Robert Johnson. He is the root of much of the music of today. If he didn't influence the musicians of today directly, he influenced the bands that influenced today's music.
The Duke takes his place in history. John Wayne, one of America’s greatest actors and directors of all time. His fame and superstardom led to many problems in his career. His image as an icon of American individualism and the frontier spirit has overshadowed his career to such an extent that it is almost impossible for the fans and writers to separate Wayne the legend from Wayne the actor and Wayne the man.
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.
"Relocating the Cowboy: American Privilege in "All the Pretty Horses"" Pepperdine University: Global Tides Seaver Journal of Arts and Sciences. Maia Y. Rodriguez, 2014. Web. 2 May 2016. . The Western typically illustrates the journey of a man, usually a horse riding cowboy, into the Western frontier where he must conquer nature "in the name of civilization or [confiscate] the territorial rights of the original inhabitants... Native Americans" (Newman 150). What this brand of mythology promotes is precisely the values of American culture: rugged individualism, achievement and success, activtity and work, democracy and enterprise, and--most importantly--
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.
Have you ever had one of those days that were so bad that you desperately needed a night at the ice cream or candy store? The 1970’s was that really bad day, while the night of self- indulgence was the 1980’s. Americans love to escape from our daily stress, and of all the products that allow us to do so, none is more popular than the movies. Movies are key cultural artifacts that offer a view of American culture and social history. They not only offer a snapshot of hair styles and fashions of the times but they also provide a host of insights into Americans’ ever-changing ideals. Like any cultural artifact, the movies can be approached in a number of ways. Cultural historians have treated movies as a document that records the look and mood of the time that promotes a particular political or moral value or highlights individual or social anxieties and tensions. These cultural documents present a particular image of gender, ethnicity, romance, and violence. Out of the political and economic unrest of the 1970’s that saw the mood and esteem of the country, as reflected in the artistry and messages in the movies, sink to a new low, came a new sense of pride in who we are, not seen since the post-World War II economic boom of the 1950’s. Of this need to change, Oscar Award winner Paul Newman stated,