The movie Unforgiven the director under auteur theory Clint Eastwood directed over 30 motion pictures in many had a grumpy old man like Trouble with the Curve, Gran Torino, Space Cowboys, Cobb and even in Unforgiven. The director style of Clint Eastwood is somewhat predictable the audience knows what to expect from Clint Eastwood the movies may change the attitude is much the same under the author theory you know what to expect out of the director chair of Eastwood. Which gives Eastwood’s movies a distinguishable personality under the author theory (Goodykoontz, B., & Jacobs, C. 2014). However, in many of the films That Client Eastwood made he also stared in as the main actor the same as Eastwood's movies. Eastwood is a personality actor as …show more content…
Writer David Webb Peoples which of course wrote the movie in book form or screenplay before Eastwood could have brought the movie to life in cinema form. Cinematography by Jack N. Green according to IMDb staff. 1992 and Khan, M. 2014 was and is Eastwood's preferred cinematographer Jack Green had worked with Eastwood on Pale Rider as a cameraman and Green was later to be known as cinematographer who shadowed the lead of cinematographer Bruce Surtees which was nicknamed the Prince of darkness because he was famous for lowlight lighting with that said Green in the movie Unforgiven continued the trend of low-level lighting effect (Khan, M. 2014). However, without the actors, the director and the cinematographer would not have a …show more content…
However, this film as great as it did not have much of a personal effect or social effect other than bringing a forgotten era of the westerns back to life. The effect it could have on society may be to hunger for knowledge of the time period which in effect causing people to watch more westerns or even how great the battle can be inside one’s self for instance whether to instill vengeance on some that wronged another or to leave it to them to the justice system they may live in or in camas hands. However, because of Clint Eastwood's legacy, there is many items or memorabilia from the film available to those collectors of
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
My analysis begins, as it will end, where most cowboy movies begin and end, with the landscape.Western heroes are essentially synedoches for that landscape, and are identifiable by three primary traits: first, they represent one side of an opposition between the supposed purity of the frontier and the degeneracy of the city, and so are separated even alienated from civilization; second, they insist on conducting themselves according to a personal code, to which they stubbornly cling despite all opposition or hardship to themselves or others; and third, they seek to shape their psyches and even their bodies in imitation of the leanness, sparseness, hardness, infinite calm and merciless majesty of the western landscape in which their narratives unfold.All of these three traits are present in the figures of Rob Roy and William Wallace--especially their insistence on conducting themselves according to a purely personal definition of honor--which would seem to suggest that the films built around them and their exploits could be read as transplanted westerns.However, the transplantation is the problem for, while the protagonists of these films want to be figures from a classic western, the landscape with which they are surrounded is so demonstrably not western that it forces their narratives into shapes which in fact resist and finally contradict key heroic tropes of the classic western.
The Power of an Author Authors have the ability justify the worst actions. Authors have a way of romanticizing certain situations in order to convey a specific message. A good author has power to influence the reader into believing whatever it is the author wants. When it comes to the story of Hannah Dustan, authors such as John Greenleaf Whittier have romanticized her captivity story along with the actions she took throughout her journey. Introducing a character that will be seen in the story is one of the most vital parts when creating a piece of literature.
I believe that the film does indeed conform to a certain type of narrative structure expected by other films of this style. This film, through and through, is a Western, even starring one of biggest names in Hollywood Westerns, John Wayne. We’re thrown into a world of sturdy, rugged men riding around on horses, decked out in cowboy hats and belt buckles. Wayne portrays the archetypal man, honorable, reliable and
Arguably the most popular — and certainly the busiest — movie leading man in Hollywood history, John Wayne entered the film business while working as a laborer on the Fox Studios lot during summer vacations from university, which he attended on a football scholarship. He met and was befriended by John Ford, a young director who was beginning to make a name for himself in action films, comedies, and dramas. Wayne was cast in small roles in Ford's late-'20s films, occasionally under the name Duke Morrison. It was Ford who recommended Wayne to director Raoul Walsh for the male lead in the 1930 epic Western The Big Trail, it was a failure at the box office, but the movie showed Wayne's potential as a leading actor. During the next nine years, be busied himself in a multitude of B-Westerns and serials — most notably Shadow of the Eagle in between occasional bit parts in larger features such as Warner Bros.' Baby Face. But it was in action roles that Wayne excelled, exuding a warm and imposing manliness onscreen to which both men and women could respond.
Integrity is the basing of one's actions on an internally consistent framework of principles. Meaning, one who has integrity bases their actions on a moral code of honor, character, strength, and courage. These principles guide a character’s motive and cause, putting public image aside to lead a life chivalry and conviction. One example this is Willie Bodega of Bodega Dreams by Ernesto Quiñonez. Although Willie’s means are shady, he strives for the betterment of Spanish Harlem through the improvement of abandoned and damaged apartments. Next, there is John Proctor of The Crucible by Arthur Miller. Proctor refuses to provide a false confession is a true religious and personal stand. By refusing to give up his personal integrity Proctor proclaims his conviction that such integrity will bring him to heaven. Lastly, there is Holden Caulfield of Catcher in the Rye by J.D. Salinger. However, Holden displays the intrinsic converse of integrity by embodying a hypocrite. Willie Bodega and John Proctor embody the principles of integrity and let it shine through their actions. However, Holden Caulfield shows his deceit and impiety through his consistent dishonesty and hypocrisy.
First, one of the most interesting aspects of how the ‘Wild West’ convinced the audience of its historical accuracy was by blending facts and fiction. The show’s claim to accurately be portraying life in the West was reinforced by the fact that the historical battles reenacted had taken place. Although the different battles and scenes obviously were portrayed from an Anglo-American perspective and had “little regard for chronological accuracy” (Altherr, 83), the show’s claim to authenticity and accuracy were rarely challenged, they were rather “received with some seriousness as exercises in public education” (Slotkin, Gunfighter 86). The ‘Wild West’ was considered to be a “living history lesson” (McVeigh, 32) and a serious attempt of telling the history of the West, people accepted the show’s version of the West as ‘history’. Because the version of the West ‘reenacted’ by the ‘Wild West’ corresponded to what “many Americans wanted the West to be” (K. White, 44), questions of accuracy and authenticity might not have been very important to the audience because this version confirmed what they believed in. As the majority of the audience left the arena believing they had experienced the ‘real’ and ‘historic’ West, the ‘Wild West’ successfully “created vivid personal
The novel Erasure by Percival Everett explores the development of writer Monk Ellison as well as the frame tale Monk sells. After writing My Pafology, Monk continues to struggle with his sister’s death, his mother’s deteriorating health, and the growing sense that he has “sold out”. Monk writes about story ideas, his feelings on art form, and flashbacks to when his father was alive or when he was an adolescent. Through these vignettes of Monk’s thoughts, separated by three ominous X’s, we find not only the extreme intelligence that he has, but also the sadness and isolation his “uniqueness” has brought him. Specifically, he ruins his relationship with Marilyn by criticizing how the book We’s Lives in da Ghetto was on her nightstand, the book
One could easily dismiss movies as superficial, unnecessarily violent spectacles, although such a viewpoint is distressingly pessimistic and myopic. In a given year, several films are released which have long-lasting effects on large numbers of individuals. These pictures speak
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.
When talking about Billy Wilder as a director a popular, controversial topic is whether or not he is considered an auteur. There have been many critics who have attempted to prove that Wilder is not an auteur but many have fallen short on providing a strong and convincing argument. Billy Wilder is an auteur for many reasons; the most obvious reason though is by comparing his four most famous movies. Wilder was very involved in the process of making the film and was often the writer, producer and director of the film. By being so involved he was able to make scenes his own, especially since Wilder wanted every detail of the scene written out in the script. He also has similar themes of cynicism towards different elements of human nature but would lighten the mood of the film by adding a comedic element to the scene. Wilder also enjoyed pushing the boundaries of screenwriting and to be able to get an approval from the Production Code Administration, he had to add comedy to the script. Another reason that proves Wilder as an auteur is through his work with famous actors and actress. Wilder had a knack for dealing with difficult actors and was often able to make them who he wanted. Finally Billy Wilder stuck to very traditional uses of camera angles and movements that set him aside from other directors. Billy Wilder was not only an influential director but also an auteur through his involvement in writing, directing, and producing the film, the cynicism mixed with comedy shown through the characters, and his traditional use of camera movement and angles compared to other directors during the 1950’s.
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.
Bernstein, Matthew. “The Classical Hollywood Western Par Excellence.” Film Analysis: A Norton Reader. Eds. Jeffrey Geiger and R.L. Rutsky. New York: W.W. Norton & Company, 2nd edition, 2013. 298-318.
plans; it is a world run by Pierce Inverarity, a character who is dead when
Through materialism, Kane became a self-invested individual. The highly acclaimed Citizen Kane creates drama and suspense for the viewer. Orson Welles designed this film to enhance the viewer’s opinion about light and darkness, staging, proxemics, personal theme development, and materialism. Creating one of the most astounding films in the cinematography world, Welles conveys many stylistic features as well as fundamentals of cinematography. It is an amazing film and will have an everlasting impact on the world of film.