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The development of western movies
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Westerns are the most important genre of the American film industry, a reflective tribute to the early days of the grand, wild American frontier. They are one of the oldest, most prevailing and versatile genres and one of the classically American genres in their mythic origins. The popularity of westerns has changed over time. Their most productive period was in the 1930s to the 1960s, and most lately in the 90s, there was a restoration of the genre.
This original American art form concentrates on the frontier west located North America. Westerns are usually arranged on the American frontier at some point in the last part of the 19th century subsequent to the Civil War, in a geographically western location with romantic, spanning frontier landscapes or rocky country ground. Nevertheless, Westerns may go on with the time of America's colonial era or ahead of the mid-20th century, or as far geographically as Mexico. Countless of western films utilized the Civil War, the Battle of the Alamo (1836) or the Mexican Revolution (1910) as a background.
The western film genre frequently presents the invasion of the wild and the submission of nature, for the sake of civilization, or the elimination of the territorial rights of the natives in the frontier. Detailed settings include lonesome remote forts, ranch houses, the secluded homestead, the saloon, the jail, the livery stable, the small-town street, or small frontier towns that constitute the boundaries of civilization. They may even include Native American land site or villages. Films such as Roy Rogers' Trigger, Gene Autry's Champion, William Boyd's (Hopalong Cassidy) Topper, the Lone Ranger's Silver and Tonto's Scout exemplify these icons.
Western films have also been identified a...
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Works Cited
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Pippin, Robert. Hollywood Westerns and American Myth: The Importance of Howard Hawks and John Ford for Political Philosophy. Yale University Press, 2010.
Braudy, Leo and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings, Fifth Edition. New York: Oxford UP, 1999.
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
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.
Many westerns contain some of the same elements. For instance, almost every western ever made involves a sheriff. He is usually the peace-keeper of a small town overrun by outlaws and cowboys, which he eventually chases out of town or kills. Another element of westerns is a gunslinger. A gunslinger is usually a young man who makes his living shooting other men in showdowns, a classic example is Billy the Kid. Railroads are also a recurring image in westerns. Since the railroad was the major mode of transportation in the old west, it is always present in westerns. Finally, westerns always have a villain. The villain, usually a man, dresses very slick and will stop at nothing in his quest for power. In addition, the villain usually has a gang to carry out his dastardly deeds. The gang is usually full of incompetent, but loyal thugs, who would love to destroy a small town just for the pleasure of wanton destruction. The elements of a western are very simple, but easily manipulated into a very interesting plot.
Lewis, J. (2008). American Film: A History. New York, NY. W.W. Norton and Co. Inc. (p. 405,406,502).
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.
When the average modern American thinks of the Old West, they often think of cattle drives, outlaws and lawmen, and John Wayne; things they see in western movies. Another staple in western movies is the range war, it is important for modern Americans to know which parts of the west were true and which were false. The range wars of the late 1800’s were important to rights and responsibilities because they changed the way many people lived in the west and midwest, finally stating the concept of private and public property.
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
Terms such as “Political Cowboys” and “Cowboy diplomacy” are often used in news reports, and to a lesser extent academia to describe the antics of particular politicians or approaches to policy in the United States and sometimes even at an international level. The Cowboy image is inherently linked to American society. It permeates every aspect of it including politics and is propagated through multiple media platforms, including: Hollywood productions, the music industry, and various forms of literature and print media. But what is this cowboy image? How is it employed in the political arena? And what can the use of these cultural images tell us about American politics? The use of the cowboy image is championed by a populace that is immensely
BIBLIOGRAPHY An Introduction to Film Studies Jill Nelmes (ed.) Routledge 1996 Anatomy of Film Bernard H. Dick St. Martins Press 1998 Key Concepts in Cinema Studies Susan Hayward Routledge 1996 Teach Yourself Film Studies Warren Buckland Hodder & Stoughton 1998 Interpreting the Moving Image Noel Carroll Cambridge University Press 1998 The Cinema Book Pam Cook (ed.) BFI 1985 FILMOGRAPHY All That Heaven Allows Dir. Douglas Sirk Universal 1955 Being There Dir. Hal Ashby 1979
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.
Westerns are split down into sub genres for example classical westerns like "The Great Train Robbery" but there are also other western genres like revisionist westerns. Revisionist westerns occurred after the early 1960's, American film-makers began to change many traditional elements of Westerns. One major change was the increasingly positive representation of Native Americans who had been treated as "savages" in earlier films. Another example is Spaghetti westerns, Spaghetti westerns first came during the 1960's and 1970's, The changes were a new European, larger-than-life visual style, a harsher, more violent depiction of frontier life, choreographed gunfights and wide-screen close-ups.
The story of the American West is still being told today even though most of historic events of the Wild West happened over more than a century ago. In movies, novels, television, and more ways stories of the old west are still being retold, reenacted, and replayed to relive the events of the once so wild and untamed land of the west that so many now fantasize about. After reading about the old west and watching early westerns it is amazing how much Hollywood still glorifies the history and myth of the old west. It may not be directly obvious to every one, but if you look closely there is always a hint of the Western mentality such as honor, justice, romance, drama, and violence. The most interesting thing about the Old West is the fact that history and myth have a very close relationship together in telling the story of the West.
Few Hollywood film makers have captured America’s Wild West history as depicted in the movies, Rio Bravo and El Dorado. Most Western movies had fairly simple but very similar plots, including personal conflicts, land rights, crimes and of course, failed romances that typically led to drinking more alcoholic beverages than could respectfully be consumed by any one person, as they attempted to drown their sorrows away. The 1958 Rio Bravo and 1967 El Dorado Western movies directed by Howard Hawks, and starring John Wayne have a similar theme and plot. They tell the story of a sheriff and three of his deputies, as they stand alone against adversity in the name of the law. Western movies like these two have forever left a memorable and lasting impressions in the memory of every viewer, with its gunfighters, action filled saloons and sardonic showdowns all in the name of masculinity, revenge and unlawful aggressive behavior. Featuring some of the most famous backdrops in the world ranging from the rustic Red Rock Mountains of Monument Valley in Utah, to the jagged snow capped Mountain tops of the Teton Range in Wyoming, gun-slinging cowboys out in search of mischief and most often at their own misfortune traveled far and wide, seeking one dangerous encounter after another, and unfortunately, ending in their own demise.
Gunning, Tom 2000, “The Cinema of Attraction: Early film, its spectator, and the avant-garde.” Film and theory: An anthology, Robert Stam & Toby Miller, Blackwell, pp 229-235.