Jim Jarmusch’s Unique Western Film, Deadman
In Jim Jarmusch’s Dead Man, he pays homage to the classic style of western films while taking his own eccentric take that puts the film in a league of its own. With a combination of elements related to the western genre and a genre Jarmusch creates all on his own, the viewer can begin to explore and appreciate the unique film, Dead Man.
Although the scenery of isolated towns, mystic rivers, and endless forests is consistent with the western genre, the philosophical tone of the movie is not. The philosophy of a true western film deals a character fighting with guns to maintain honor (and of course order and justice). He kills because he has to and that is the end of it. In Dead Man, William Blake appears to be doing the same thing. He begins to use his gun for survival, but it is different. The gun actually stands for something in the film. Blake becomes a poet by the use of his gun, which mirrors the legendary American poet whose name he shares. The guns show how disgusting it is in American society to kill and Jarmusch doesn’t glamorize it in the way that Hollywood blockbusters about violence do.
Further exploring the similarities on the surface, a true western always has the same type of characters and props. Blake is shown in the same outfit throughout the film much like the one outfit that a westerner wears. Blake encounters a whore in the town who is not opposed to the usage of guns, which also goes along with a whore’s values in a true western film. The town of Machine is desolate, dirty, and ruled by guns. In western movies there is always a dirty town with the same characteristics. All of those similarities are not used in the same way, however; they are used as tools to give this surface western a deeper meaning that no true western film ever explored. The themes are pessimistic as they deal with death and afterlife, rather than hope and rebirth. The killings in the movie mock the way people are killed in westerns. Blake doesn’t kill to protect his honor; he kills to survive and in turn mocks the system.
Another thing that Jarmusch is mocking by using the western genre as a medium is the treatment of Native Americans. Nobody talks about how he was rejected by whites, and then rejected by his own people by growing up in the white society.
The Things They Carried is a collection of stories about the Vietnam War that the author, Tim O'Brien, uses to convey his experiences and feelings about the war. The book is filled with stories about the men of Alpha Company and their lives in Vietnam and afterwards back in the United States. O'Brien captures the reader with graphic descriptions of the war that make one feel as if they were in Vietnam. The characters are unique and the reader feels sadness and compassion for them by the end of the novel. To O'Brien the novel is not only a compilation of stories, but also a release of the fears, sadness, and anger that he has felt because of the Vietnam War.
Charles Wilson Hackett, Revolt of the Pueblo Indians of New Mexico and Otermin’s Attempted Reconquest, 1680–1682 (Albuquerque: University of New Mexico, 1942), Volume 2: 245–49.
Andrew L. Knaut. “The Pueblo Revolt of 1680: Conquest and Resistance in Seventeenth-century New Mexico”. (1995). Pg. 240-248
O'Brien, T. (1990). The things they carried. The things they carried. Tim O’Brien, Author. Retrieved from http://www.illyria.com/tobsites.html
Director Jim Jarmusch’s film Deadman displays many of the accepted conventions for Western genre films, but manipulated in such a way as to create a revisionist, rather than a classical, western. The most obvious example of this manipulation are the characterizations of the hero, William Blake, and his Native American partner, Nobody. Blake is an awkward easterner who travels westward unaware of the different rules governing western life, instead of the rugged, knowledgeable outdoorsman who “does what he has to do” to defend justice and honor. Nobody’s character is unusually independent, educated, and kind towards Blake, instead of the traditional Western genre’s violent, unintelligent Indian.
Hackett, Charles W. Declarations of Josephe and Pedro Naranjo. Revolt of the Pueblo Indians of New Mexico and Otermin's Attempted Reconquest 1680-82. University of New Mexico Press, 1942.
In chapter six of her book Making the White Man 's Indian: Native Americans and Hollywood Movies, Ange Aliess explores the topic of how Western have begun to change recently. The changes that she references in the film Dances With Wolves are also present in the film Winter in the Blood as well as in the 1491s shorts, even though the 1491s are a comedy group and not a Western genre. Aleiss describes the ways in which Native Americans reacted to Native portrayals in the film Dances With Wolves, and they tended to see the film’s better sides in contrast with critics. In Winter in the Blood, there are many stereotypes that are explored in ways that make the characters seem more real and less stereotypical as the backstories are revealed, despite
In his novel, Thomas King plays on stereotypes and expectations that occur in our society on the portrayal of Native Americans. He show us the bias image that we have of them by describing what is an indian from a colonizers point of view, how the genre of western movies has an effect on our perception in society. In the novel, Nasty Bumppo, who represents modern society, explains that :
In August of the year 1680, around present day New Mexico, the Pueblo Indians had begun an uprising against Spanish colonists which resulted in the death of over 400 Spanish. The remaining 2,000 settlers were driven out of the area. The reason for this war was due to the constant oppression and violent treatment of Pueblo by Spanish colonists. For nearly 100 years, starting in 1540, the Pueblo Indians were subjected to successive waves of soldiers, missionaries, and settlers. There was much conflict between the Pueblo and the Spanish due to differences in religion and culture. The most important cause of the Pueblo Revolt was because the Spanish attempted to destroy their religion, banning traditional dances and religious icons. Today we will cover the Pueblo Revolt and why it is an important chapter in American history. (Wikipedia.org)
A more modern outlook on the film recognizes the film's flaws but gives it, it’s credit as the last fully realized work of one of the most important directors in American cinema history. Ford understood that an audience's recollections of older, less complex Westerns would add a layer of expressiveness to the viewing experience. The black-and-white structure helps him achieve this. Ford’s decision to shoot the film in black and white in 1962 produced a dark, anachronistic look, while the unconcealed soundstage effects of the film’s opening scene reinforced Ford’s vision of a wilderness, interiored Western frontier. Just as Ford intended, many of the flashback scenes are masked in darkness, whereas the frame tale is immersed in light. This con...
carefully about how the house continues on in ignorance, sympathy can be felt towards it; along
Some tangible things they carried with them were remind them of home and provide them with some luck, while others helped keep them alive during the war time. The intangible things the men carried helped the men be carried through the war and survive. Each man carried something different both mentally and physically. Tim O’Brien saw and experienced these men and what they had to go through during this time of war. The chapter “The Things They Carried” shapes each character into who he was during the war and shows us the reality of the Vietnam
The novel, “The Things They Carried”, is about the experiences of Tim O’Brian and his fellow platoon members during their time fighting in the Vietnam War. They face much adversity that can only be encountered in the horrors of fighting a war. The men experience death of friends, civilians, enemies and at points loss of their rationale. In turn, the soldiers use a spectrum of methods to cope with the hardships of war, dark humor, daydreaming, and violent actions all allow an escape from the horrors of Vietnam that they experience most days.
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.
George Romero's reinvention of the zombie in night of the Living Dead (1968) is clearly a critique of elements of the American society, and the film as a whole is easily twisted into a warped view on the 'American Dream'. Themes throughout Romero’s film, dealing with controversial topics during the time that the film was made, are still, to this day debated by critics and film historians. Themes of racism and war are defined within the movie, hidden underneath the idea of carnal, cannibalistic zombies and over the top heroes who, eventually, succumb to the reanimated; despite their every effort. These themes are colored over and painted to hide beneath subtle references to the typical American Dream during this time, and Romero does quite the good job at it too. This dream, whilst continuously changing in the everyday lives of modern Americans, can be loosely defined as a national ethos of the United States, or a set of ideals dealing with freedom and the opportunity for success - an upward social status that can be achieved through hard work and effort.