More handpicked essays just for you.
The jungle upton sinclair review essay
Brief analysis of the jungle by upton sinclair
The jungle upton sinclair review essay
Don’t take our word for it - see why 10 million students trust us with their essay needs.
There Will be Blood (2007) is an entertaining movie that delineates in various forms that will be discussed from other western genres. It is a story that is formed from a novel by Upton Sinclair’s book, Oil! (1927) (Belton, 2009, p.401). Many westerns were based on dime novels that were written in the mid and late 1800s (Belton, 2009, p.246). American society was going through a transitional period from an agrarian society to an industrial society in the 1800s and early 1900s (Wright 2001; Desk Encyclopedia, 1989, pp. 27-28, 630-631). The change in revolutions could explain the difference in most western genres and the movie There Will be Blood. In fact, one important different aspect is the contrasts between There Will be Blood and other westerns is that most westerns are based on novels that were written earlier than Upton Sinclair’s OIL!. The United States had become more industrial and had started to change their morals, interactions, rationality, autonomy, and self-interests. These differences will compared by showing how There Will be Blood uses an anti-hero, industrialism, deceit, greed, and what is to be considered a more eastern way of life.
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.
There Will be Blood portrays a different character than the usual cowboy that emerges from the west. It is set in the same geog...
... middle of paper ...
...ho his attitude and treatment of others. Both of Plainview’s closest relationships deteriorate because of his demeanor, inevitable hatred for people, distrust, and competitive nature. All of these differences between the average western and There Will be Blood could be because of the time difference and how society viewed the industrial revolution.
References
(1989). The New American Desk Encyclopedia. New York, New York: New American Library.
Belton, John. (2009). American Cinema/American Culture. New York, New York: Mcgraw/Hill Publications.
Rudin, Scott & Schlosser, Eric & Williams, David (Producers), & Anderson, Paul. Thomas. (Director). (2007). There Will be Blood [Motion Picture] Marin County, California: Paramount Vantage & Miramax Films
Wright, Will. (2001). The Wild West: The Mythical Cowboy & Social Theory. New Delhi, London: Sage Publications.
"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.
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.
As history cascades through an hourglass, the changing, developmental hands of time are shrouded throughout American history. This ever-changing hourglass of time is reflected in the process of maturation undertaken by western America in the late nineteenth century. Change, as defined by Oxford’s Dictionary, is “To make or become different through alteration or modification.” The notion of change is essential when attempting to unwind the economic make-up of Kansas in the 1880’s and 1890’s. Popular culture often reveres the American cowboy, which has led him to become the predominate figure in America’s “westering” experience (Savage, p3). However, by 1880 the cowboy had become a mythical figure rather than a presence in western life. The era of the cowboy roaming the Great Plains had past and farmers now sought to become the culturally dominant figure and force in the American West. Unlike the cowboys, farmers were able to evolved, organizing and establishing the Populist Party. The farmers’ newly formed political organization provided them with a voice, which mandated western reform. Furthermore, the populist ideas spread quickly and dominated western thought in the 1880’s and 1890’s. The period of the 1880’s and 1890’s marked the end of the American cowboy and gave farmers a political stronghold that would forever impact the modernization of the West.
The Taming of the West: Age of the Gunfighter: Men and Weapons of the Frontier 1840-1900.
...Thesis in 1893, the process of the Frontier is still a predominant force in American culture. The Frontier Thesis is less about settling the West than it is about Americans adapting to their environment in order to capitalize on resources. Because of this, the new Frontier lies in cyberspace. In cyberspace, Americans are changing their skills and personality traits in order to capitalize and utilize available resources for personal benefit. This process not only defined how the Frontier became civilized, but it also explained the development of the characteristics of the ideal American. In a response to their savage environment, settlers developed certain characteristics that are distinctly American. Because of this, the process of the West can be seen as a social evolution which helped to advance traits that are uniquely American – even in contemporary America.
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
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
For many Americans, the image of the cowboy evokes pleasant nostalgia of a time gone by, when cowboys roamed free. The Cowboy is, to many Americans, the ideal American, who was quick to the draw, well skilled in his profession, and yet minded his own business. Regardless of whether the mental picture that the word cowboy evokes is a correct or incorrect view of the vocation, one seldom views cowboys as being black. The first cowboy I met was from Texas and was black. After he told me that he was a cowboy, I told him that he had to be kidding. Unfortunately, I was not totally to blame for my inability to recognize that color has nothing to do with the cowboy profession; most if not all popular famous images of cowboys are white. In general, even today, blacks are excluded from the popular depiction of famous Westerners. Black cowboys were unheard of for almost a century after they made their mark on the cattle herding trade, not because they were insignificant, but because history fell victim to prejudice, and forgot peoples of color in popular depictions of the West and Western history.
Over the years, the idea of the western frontier of American history has been unjustly and falsely romanticized by the movie, novel, and television industries. People now believe the west to have been populated by gun-slinging cowboys wearing ten gallon hats who rode off on capricious, idealistic adventures. Not only is this perception of the west far from the truth, but no mention of the atrocities of Indian massacre, avarice, and ill-advised, often deceptive, government programs is even present in the average citizen’s understanding of the frontier. This misunderstanding of the west is epitomized by the statement, “Frederick Jackson Turner’s frontier thesis was as real as the myth of the west. The development of the west was, in fact, A Century of Dishonor.” The frontier thesis, which Turner proposed in 1893 at the World’s Columbian Exposition, viewed the frontier as the sole preserver of the American psyche of democracy and republicanism by compelling Americans to conquer and to settle new areas. This thesis gives a somewhat quixotic explanation of expansion, as opposed to Helen Hunt Jackson’s book, A Century of Dishonor, which truly portrays the settlement of the west as a pattern of cruelty and conceit. Thus, the frontier thesis, offered first in The Significance of the Frontier in American History, is, in fact, false, like the myth of the west. Many historians, however, have attempted to debunk the mythology of the west. Specifically, these historians have refuted the common beliefs that cattle ranging was accepted as legal by the government, that the said business was profitable, that cattle herders were completely independent from any outside influence, and that anyone could become a cattle herder.
There Will Be Blood is a must see film. Based on Upton Sinclair’s 1927 novel Oil, this 2007 film, directed and written by Paul Thomas Anderson, tells the story of a greedy and brutal oilman by the name of Daniel Plainview (portrayed by Daniel Day-Lewis) and his battle against the “Third Revelation”, Eli Sunday (portrayed by Paul Dano).
The West has always held the promise of opportunity for countless Americans. While many African Americans struggled to find the equality promised to them after the Civil War, in the West black cowboys appeared to have created some small measure of it on the range. Despite this, their absence from early historical volumes has shown that tolerance on the range did not translate into just treatment in society for them or their families.
A typical Western would usually be set in the late 19th century in the mid-west of America in a remote town. The town is usually small, lonely and unwelcoming. Typically a western set looks like it is in the middle of a desert with sand, cacti and tumbleweed which gives a desert look, there are usually never any lakes or rivers around these features make the place look really hot and deserted. The buildings are generally timber board houses with swinging doors and outside the buildings are places to keep their horses, there is also always a General Store and a Saloon. Horses and carriages and cattle are used to give a western feel. The cowboys are typically dressed in western style clothing for example they wear simple shirts and jeans they may also wear ponchos, waist coats, hats, boots with spurs, guns and a belt to hold the gun and bullets, Hero's tend to wear lighter clothing and the villain’s tend to wear darker clothing.
The cowboys of the frontier have long captured the imagination of the American public. Americans, faced with the reality of an increasingly industrialized society, love the image of a man living out in the wilderness fending for himself against the dangers of the unknown. By the end of the 19th century there were few renegade Indians left in the country and the vast expanse of open land to the west of the Mississippi was rapidly filling with settlers.
Maryanne Kearny, Joann Crandall, and Edward N. Kearny write about the impact of the American frontier in their book the American Ways. They mention the core role of the frontier heritage in shaping the American values, and how the majority of the contemporary people tend to reveal the character of life on the frontier. Furthermore, the authors explain how the movies and the TV shows represent the cowboy as a hero, and they left behind the fact about the frontier behavior with the American Indians. Finally, the writers represent the basic values of frontier society, such as, self-reliance, inventiveness, and equality of opportunity. However, the most significant issues from the book that I would like