In John Ford’s 1948 film, Fort Apache, the landscape of the mythic American West provides a fitting backdrop for the transposition of American ideals, values, and anxieties following the wake of WWII. As director, Ford aptly utilizes elements of the harsh desert landscape, ideals of the cavalry, and the inversion of conventional stereotypes to produce a reflective critique of American principles, issues and concerns. During the non-commissioned officer’s dance scene, Ford explores the significance of clinging to ritual and tradition in the face of an external threat, the Apaches, and an internal threat, oppressive leadership. Through the character of Colonel Thursday, Ford introduces an antagonistic force who divides the society of the fort and leads his regiment to unnecessary slaughter upon the basis of undemocratic convictions. Because the film examines the preservation of tradition and myth in …show more content…
More than sixty years after the film’s debut, it is important for Americans to consider at what cost national cohesion comes at when our nation has been built upon a foundation of false myths and repressed truths.
Fort Apache, where the United States cavalry is stationed, is a classic example of a closed world paradigm. Rather than a Western frontier abound with settlers, sheriffs and boomtowns, Fort Apache stands at the outer edge of civilization and overlooks a permanent otherworldly desert boundary, separating the society of the fort from a mysterious and threatening other. However, despite the harsh conditions, civilized life flourishes within the confines of the fort due to its inhabitants’
The book Outlaw Platoon written by Sean Parnell is a soldiers’ tale of his platoon in one of the most dangerous places on earth. This book is a non-fiction riveting work that tells the story of a platoon that spent sixteen months on an operating base in the Bermel Valley, the border of Pakistan. This mission the men were sent on was part of a mission called Operation Enduring Freedom. This book is extremely relevant to the war that we are still fighting in Afghanistan and the humanitarian work that continues. We still have men in this area fighting and losing their lives everyday. It is the focus of ongoing political debates and the purpose of our involvement there is an ongoing question in the minds of many Americans. In writing this book, Parnell makes it clear in his author’s notes that he indeed was not trying to pursue one political agenda over another. His goal as not to speak of all members of the platoon and expose their identities and the types of soldiers they were but instead to showcase some of the men’s bravery and abilities during the war. Parnell believed that he owed it to the men to write something that would show the world what these men go through during combat in an honest and raw account. Another purpose of Parnell’s in writing this book is an attempt at making sure these men are given a place in American war history.
The setting of the essay is Los Angeles in the 1800’s during the Wild West era, and the protagonist of the story is the brave Don Antonio. One example of LA’s Wild West portrayal is that LA has “soft, rolling, treeless hills and valleys, between which the Los Angeles River now takes its shilly-shallying course seaward, were forest slopes and meadows, with lakes great and small. This abundance of trees, with shining waters playing among them, added to the limitless bloom of the plains and the splendor of the snow-topped mountains, must have made the whole region indeed a paradise” (Jackson 2). In the 1800’s, LA is not the same developed city as today. LA is an undeveloped land with impressive scenery that provides Wild West imagery. One characteristic of the Wild West is the sheer commotion and imagery of this is provided on “the first breaking out of hostilities between California and the United States, Don Antonio took command of a company of Los Angeles volunteers to repel the intruders” (15). This sheer commotion is one of methods of Wild West imagery Jackson
The book opens "Nous sommes tours Sauvages," which translates to "We are all Savages." It's a fitting way to begin a book chronicling the story of Major Robert Rogers and his rangers journey, Native American slaughter, and return home. In White Devil: A True Story of War, Savagery, and Vengeance in Colonial America, author Stephen Brumwell depicts a well researched, unbiased image of: war, hardship, courage, savagery, vengeance, and survival. Brumwell wants to show his readers an image of the true nature of war and all the trimmings that goes along with it. There has never been a war where atrocities were not committed. Further more, there has never been a war where the atrocities were not committed by all sides, to one extent or another. This war was no different. This compelling read draws from a broad range of primary sources, including Rogers' Journals, contemporary newspaper accounts, the letters and remembrances of Rogers' surviving Rangers, and several generations of Abenaki oral history.
---. “A Drug Called Tradition.” The Lone Ranger and Tonto Fistfight in Heaven. New York: Grove Press, 2005. 12 - 23.
Tindall, George, and David Shi. America: A Narrative History. Ed. 9, Vol. 1. New York: WW. Norton & Company, 2013. 185,193. Print.
Tapper, J. (2012). The Outpost: An Untold Story of American Valor. New York: Little, Brown. Retrieved November 05, 2010, from books.google.co.ke/books?isbn=0316215856
The West: From Lewis and Clark and Wounded Knee: The Turbulent Story of the Settling of Frontier America.
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.
“When the legend becomes fact, print the legend,” this single quote by the newspaper editor Maxwell Scott (Carlton Young), utters throughout the whole film on what Ford is trying to get across. The whole film tells of a lively era that is so deep in the roots of American history, but we seem to lose sight of that in the here and now. The standard critical approach to Liberty Valance has been to emphasize the contrasts between its two worlds, the old and the new, and to characterize it as celebrating the mythic western frontier and remember its passing by the industrialized times it had to give in to. John Ford brought back that view in his westerns, and although it was the last film with the duo of Ford and Wayne, it can now be referred to as a classical tale of fact and legend.
A nation formed from the blood of an entire culture. The Revisionist Western Film, Geronimo: An American Legend, (1993) directed by Walter Hill, sheds light on the events that transpired as the Whites migrated and expanded towards the West. The theme of this movie revolves around the oppression and injustices committed on the “inferior” Apache race by the “superior” Whites, and the conflicts that ensued from it. In the face of oppression and injustice, one will go to great lengths to protect and preserve one’s liberty, and likewise, it can also alter the conviction of an outsider.
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.
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.
Louise Erdrich’s short story “American horse” is a literary piece written by an author whose works emphasize the American experience for a multitude of different people from a plethora of various ethnic backgrounds. While Erdrich utilizes a full arsenal of literary elements to better convey this particular story to the reader, perhaps the two most prominent are theme and point of view. At first glance this story seems to portray the struggle of a mother who has her son ripped from her arms by government authorities; however, if the reader simply steps back to analyze the larger picture, the theme becomes clear. It is important to understand the backgrounds of both the protagonist and antagonists when analyzing theme of this short story. Albetrine, who is the short story’s protagonist, is a Native American woman who characterizes her son Buddy as “the best thing that has ever happened to me”. The antagonist, are westerners who work on behalf of the United States Government. Given this dynamic, the stage is set for a clash between the two forces. The struggle between these two can be viewed as a microcosm for what has occurred throughout history between Native Americans and Caucasians. With all this in mind, the reader can see that the theme of this piece is the battle of Native Americans to maintain their culture and way of life as their homeland is invaded by Caucasians. In addition to the theme, Erdrich’s usage of the third person limited point of view helps the reader understand the short story from several different perspectives while allowing the story to maintain the ambiguity and mysteriousness that was felt by many Natives Americans as they endured similar struggles. These two literary elements help set an underlying atmos...
This book is written from a perspective foreign to most Americans. Historically, American students are taught from a single perspective, that being the American perspective. This approach to history (the single perspective) dehumanizes the enemy and glorifies the Americans. We tend to forget that those on the opposing side are also human.
Alexie Sherman’s, “The Lone Ranger and Tonto Fistfight in Heaven” displays the complications and occasional distress in the relationship between Native-American people and the United States. Despite being aboriginal inhabitants of America, even in present day United States there is still tension between the rest of the country, specifically mainstream white America, and the Native-American population. Several issues regarding the treatment of Native-Americans are major problems presently. Throughout the narrative, several important symbols are mentioned. The title itself represents the struggles between mainstream America and Native-Americans. The theme of racism, violence, and prejudice is apparent throughout the story. Although the author