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. John Ford’s classic American Western film, Stagecoach (1939) shows many examples of political life and social behavior during it’s time. The plot is about nine travelers onboard a stagecoach from Tonto, Arizona to Lordsburg, New Mexico Territory. In the beginning, the passengers of the Stagecoach are unfamiliar with each other. However, their relationships grow as they get to know each other during their journey. Each character claims a different social position. The image created for the outlaw hero is the “natural man.” They are adventurous but also wanderers, and loners. Outlaw heroes are more likely to commit a crime, use weapons and carry guns. The outlaw hero represents self-determination and freedom from conflicts. On the other hand, the official hero is portrayed to be “the civilized” man. He often follows the norms of society, and has typical roles such as a lawyer, teacher, and family man. Because of the outlaw hero’s definitive elements, society more so identifies with this myth. Ray said, “…the scarcity of mature heroes in American... ... middle of paper ... ... on, Walt learns about the Hmong culture, and eventually he establishes a grumpy fatherly connection with Thao. Walt develops a relationship with the Vang Lor family and stops the Hmong gang from raping Thao’s sister. Although, Walt is dying from lung cancer, the gang kills him. Walt leaves behind all his inheritance to the Vang Lor family, and most importantly, Thao inherited the prized 1972 Gran Torino. Works Cited Eastwood, C. (Producer), & Eastwood, C. (Director). (2008) Gran Torino [Motion picture]. United States of America: Warner Brothers Productions. Ford, J. (Producer), & Wagner, D. (Director). (1939) Stagecoach [Motion picture]. United States of America: Criterion. Retrieved from http://www.hulu.com/watch/249577 Ray, R. (1985). The thematic paradigm. A certain tendency of the Hollywood cinema. Princeton, NJ: Princeton University Press.
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 function of the outlaw hero in this dominant mythology is to serve as the opposition of natural man versus civilized man, or in other words to have the outlaw hero pitted against the official hero somehow. Some the ideas or beliefs that constitute said American mythology were aging, society, women, politics and law.
In conclusion, a hero may not measure up to what the public accepts as true, but the nation grants them credit for the country’s success. If the world lacked baristas and other “small” employments, “the right stuff’s” significance would cease to exist. A hero’s accomplishments often overshadow the genuine individual behind the deeds. The Right Stuff by Tom Wolfe illustrates how humans have the tendency to place heroes in a position of high honor and respect, when perhaps these idols do not hold entitlement to the privileges they
Walt is an arrogant racist Korean War veteran with his prized possession, a Gran Torino.In the beginning in his wife’s funeralit can be seen that the relationship between him and his children was weak.They later wanted to send him to an old age home, which he thought was ridiculous. He hates the fact that the neighborhood was filled with Hmong people. The state worsens when Thao (Bee Wong) his young Hmong neighbor falls into the wrong company of his cousin and tries to purloin the Torino. But things start to change whenWalt mistakenly saves Thao’s lifewhile the gang was forcefully taking him away to do unacceptable things that he had rejected to,after realizing that stealingWalt’s car was just wrong.Walt wanted them off his lawn andhad no intensions of saving anyone’s life.Sue (Ahney Her), Thaos sister, is a wise young girl and tries to converse with him but the guilt of the Korean Warpulls him aback. It gets better when he progressively overcomes this guilt by giving Sue a chance to introduce...
The use of setting and location in Grand Torino plays a key role in the development of Walt and Thao’s friendship. Due to the age difference and dissimilar lifestyles, normally these two characters would never come into contact. Walt (Walter Kowalski), is an elderly white male who takes much pride in his American culture and is under the emotional burden of his wife’s recent passing. Thao is a young Hmong boy who is very quiet in nature their encounter only occurs because they are both living in a multicultural neighbourhood that is riddled with crime and gang culture. The local Hmong gang is attempting to recruit Thao by kidnapping him but in the process they step onto Walt’s lawn. This in turn provokes Walt to interrupt the kidnapping with
When one thinks of the United States of America, they probably consider our history, our culture, our media, our impressive cities and the extremely wide variety of beautiful wildernesses that we are lucky enough to still enjoy. We are lucky enough to have a melting pot of cultures in this country, and many different kinds of people. However, when thinking of an original, all-American figure, cowboys come to mind for many people. Our history and the settlement of the U.S. was unlike any other country, and the development of the country in the more western states came with the unique and fascinating time period referred to now as “The Old West”. The Old West was a crucial time in American history, and though it was a simpler time it also came with its share of excitement. Some of the most memorable details about the Old West were the characters that came with it, and some extremely interesting ones were the least conforming- the outlaws. Jesse Woodson James was one of the most notorious outlaws in American history. His name would go down in history as one belonging to a tough as nails and fearless bank robber who led a group of outlaws across the mid-west robbing banks and trains, and even murdering people. When we look at the big picture of what the U.S. has become today, The Old West certainly has had a large impact on our culture, and Jesse James certainly had a large impact on the Old West. Though most would argue that he was not a decent or moral person, one cannot argue that he was still a very interesting and unique icon of the west. So how did Jesse Woodson James change and leave his mark on the United St...
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 Thematic Paradigm", Robert Ray explains how there are two distinctly different heroes, the outlaw hero and the official hero. The official hero embraces common values and traditional beliefs, while the outlaw has a clear sense of right and wrong but operates above the law (Ray). Ray explains how the role of an outlaw hero has many traits. "The attractiveness of the outlaw hero's childishness and propensity to whims, tantrums, and emotional decisions derived from America's cult of childhood", states Ray. (309) Ray also says, "To the outlaw hero's inconsistence on private standards of right and wrong, the official hero offered the admonition, you cannot take the law into your own hands." (312) The values of these two traditional heroes contrasts clearly. Society favors the outlaw hero because we identify with that character more. We see ourselves more so in the outlaw hero than in the official hero. The outlaw hero has the "childlike" qualities that most of us wish we had as adults. To civilians it may seem that the outlaw hero lives more of a fantasy life that we all wish to have.
When I first started this research paper I didn’t know who Billy the kid was and why he was one of the top 100 notorious criminals. After my research I discovered why Billy the kid was a well known outlaw in American old west and how much he did in the little time he had. Not much is known about his early life and what is known is not very accurate. The amount of myths around Billy the kid really starts to blur what actually happen. That’s what makes Billy the kid a legend.
In “The Thematic Paradigm,” University of Florida professor of film studies, Robert Ray, defines two types of heroes pervading American films, the outlaw hero and the official hero. Often the two types are merged in a reconciliatory pattern, he argues. In fact, this
Western movies such as Rio Bravo and El Dorado illustrate America’s rugged and picturesque scenery explaining life as it was in the wide open country, at a time when few laws were in place to safeguard the public. These two films tell the story of four men who arrest and
The difference in the crop of heroes America has and those that some individuals would like to see is nothing but time. Present day heroes comprised of various ages, are heroic in a society where the thought pattern is divergent and every actor in the mesh tries his best to get himself a niche that would make the others know that the former also exists in the play. Either directly or indirectly, individuals seek to be the center of attraction.
...nd a man of reserve against violence. Also as a man who will stand for the good of the community, protecting those who need protecting as the Vigilante of the western frontier. The Virginian was a true cowboy hero because he was a vigilante who followed his own moral code. The cowboy’s moral code was not dictated by the laws of society because he was an independent who was working to escape civilization. The Virginian was the first of the western heroes who gave the world someone to look unto as an example. He showed a very strong moral code which had a special responsibility to the protection and respect of women such as Molly. He also had a great many skills which gave him the realistic air that made the hero’s of the west so popular in the early 1900’s as the western frontier came to a close.
The modern hero seeks survival. Unlike the medieval hero, the modern hero does not have a code of ethics but instead have a code of behavior. The modern hero has internal and external struggles. His internal struggles are with addiction to liquor, money, and drugs. The hero’s external struggles are with corruption within the government and formal organizations (Norman).