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.
Differences between cultures are not something new. Many of us can still see it in our daily lives. Four hundred years ago two very distinctly different cultures clashed in what we call the American Southwest. The Spanish presence brought new ideas, new culture, and new way of life to the new found Americas much to the demise of the already settled native tribes. Already having controlled much of Mexico and South America, problems were rising in the outskirts of New Spain. Secular and religious authorities were in conflict and the ever growing animosity of its aboriginal tribe made it difficult to maintain Spanish control. Though, for four generations the Spaniards had begun to feel successful in their endeavors of New Mexico. In early August, the sedentary and nomadic tribes banned together and overthrow the Spanish authority. There are many angles needed to be addressed in order to see why this happened. Historians and anthropologists have been trying to go beyond the bias history to uncover what happen. In the book “What Caused the Pueblo Revolt of 1680”, historians try to answer this question, some theories hold more pull then others in terms of what and why. Through reading this anthology I believe the revolt happened for cultural and religious reasons because the Spaniards were threatening the indigenous people’s very way of life through violence, exploitation of land/resources (food), and demoralization of their old ways and practices.
In most of Ford’s western films, they are about principles, patriotism, and the interrelationships his characters have as they have to deal with while living in the outskirts of civilization during the great American Frontier movement of the 1800s. Ford was able to transport his filmgoing audiences into another realm and time period by picturesque images, staging actors in static poses, noble tough characters with morals, and designing worlds dominated by the western lifestyle. Truly a great film and by a director who knew how to translate a time in American history like no
...e of the meanings to be determined by the reader, but clearly conveys the meaning behind others. Such variety provides something or someone for any reader to relate to. Symbolism, hidden or obvious, serves to connect the reader with the characters of “The Things They Carried” and follow their development with interest and ease. In many cases, symbols answer the question which the entire story is based upon, why the men carry the things they do.
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.
"The Things They Carried," is a fiction story-telling book about the Vietnam War by Tim O'Brien that describes the physical and emotional burdens the men carry not only during their time in Vietnam but also years after leaving the warfront. The book is a series of stories told with O'Brien as the main narrator. O'Brien tells of the journey he takes alongside his unit, revealing his fight for courage and decision to commit to the serving in the war. It is a groundbreaking meditation on war, memory, imagination and the redemptive power of storytelling.
John Ford directed many well-known western films that brought back the vibrancy of that era. One of which is, The Man Who Shot Liberty Valance. Back in 1962, when the film was made, many dismissed it as a petty, disappointing work. Much of the criticism leveled against The Man Who Shot Liberty Valance focused on its look. The majority of films were done in color that gave it a bright, upbeat tone that the public loved. The “look” present in Liberty Valance was black and white, which went against the normal film characteristic of its time. This was an artistic choice made by Ford, because it is known that the film had a extensive budget, which would of made it easy to make in color. One can inference that Ford's intention was to suggest a sense of reminiscence. To some extent, this movie is about the passing of the old ways. The West is changing. The frontier is deteriorating. The present is dissolving not into history, but into legend, which removes facts and puts in what we want to know.
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 :
...sening up in this country, although not quite to the extreme as in Natural Born Killers. Despite the controversy caused by the assumed message that "killing is cool," there is important ideology embedded within the film. There is sanity within the insane. The film, in a sense, displays the consequences caused by the suppression of the inner, free soul. We've all seen instances of people "cracking" under the pressures of modern society. I'm not suggesting that we live like wild animals, but I do think that Natural Born Killers is an excellent movie which made a natural attempt to kill standard ideology.
In the 1930's Native Americans and women were viewed as inferior races. The films produced during the early part of the 20th century, particularly those starring John Wayne reflected these societal attitudes. The portrayal of minorities in Stagecoach and Fort Apache clearly reflect the views of society at that time. The depiction of the West is similar to that which is found in old history textbooks, em...
Film scholars around the world agree that all genres of film are part of the “genre cycle”. This cycle contains four different stages that a specific genre goes through. These stages are: primitive, classic, revisionist, and parody. Each stage that the genre goes through brings something different to that genre’s meaning and what the audience expects. I believe that looking at the horror genre will be the most beneficial since it has clearly gone through each stage.
While the far-away North American tribes were having their land taken away, and being harassed by white American expansionists, they also faced another threat: Spanish occupation. During the early-1500’s, many Spanish explorers and conquistadors, such as Cabeza de Vaca, wished to find gold and riches and, in the process, they harassed, oppressed, tortured, and spread deadly diseases to the Native tribes. They often used the excuse of racial class-separation, known as “castas,” to justify their rotten, atrocious crimes. Throughout the 1600’s and 1700’s, the focus of the Spanish explorers experienced a shift from conquistadors wishing to acquire gold and wealth to Catholic missionaries wishing to religiously convert the Native tribes and, as a result, they built up many churches on the land. As one might guess, the
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.
The Things They Carried is a collection of stories about the Vietnam War, but in reality, the book centers around the relationships the men make, their connections to the world they left behind and the connections that they formed to Vietnam. The stories are not war stories, but stories about love, respect and the bonds made between men when they spend day after day fighting just to stay alive.
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.
The reclusive film director Terrence Malick has to date, only directed a small number of films. His twenty year hiatus between directing Days of Heaven (1978) and The Thin Red Line (1998), may provide the explanation for such a sparse back catalogue. Malick’s refusal to talk with the media, has led to hearsay, as to how he occupied his time during the hiatus. Malick’s directing debut Badlands (1973) is a collection of concepts, all carefully moulded together to create one iconic piece of film. This process draws in and also alienates the audience. Malick’s style is positively noted by critics to be influenced by European philosophy. This is clearly due to Malick’s study of philosophy at Harvard and Magdalen College Oxford. There is no given explanation to the mindless violence featured within the film, mainly due to the films resistance to the straight forward approach. The familiar and the unknown are carefully merged together. The only way of gaining an understanding into the hidden meanings within Badlands is by breaking down the film, by looking at the characters, the use of sound, the visual setting and the films genre. The illusionary effect of Malick’s style means that all is not as it seems.