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Cultural stereotyping in tv/movies
Film influence on pop culture
Cultural stereotyping in tv/movies
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John Ford’s acclaimed film The Man Who Shot Liberty Valance (1962) is well-known among cinema buffs and historians to have emerged out of a brutal, often contentious process. Tension between the lead actors, as well as tension between the actors and the director, spawned some of the best behind the scenes stories of on-set rivalry and outright pettiness that still circulate in an industry that is primarily built on controversy and rumor. The film itself must be regarded as a masterpiece. This assessment is due in part to the brilliant performances by the cast and also in part to an elegant, carefully crafted script. That said; one of the main reasons that the film distinguishes itself above many of ford’s other brilliant films is due to the vision that infuses the film from its opening scene through the final credits. This vision is one that imagines the cultural transition of America from an unsettled land to a modern state. What is lost in the transition is the spirit of the true outlaw, which stands as a symbol of individualism.
Individualism is a crucial observation because it sheds light on the theme of the film, which is that of the American identity. What Ford articulates in the film is a vision of the American character that is rooted in the heritage of the Old West and in the doctrines of freedom and liberty that underlie the founding of America as a nation. In many ways, the film traces a cynical evolution from the earliest days of the frontier, symbolizing self-reliance and individuality, and the modern era of media and social conformity. The reason that the film is as effective as a work of drama is that it connects the flow of history to such over-arching concerns as the role of society in shaping the fate and lif...
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... it. As a hero, Doniphon represents the common man’s ability to respond to a social threat, by administering much needed justice. Stoddard represents social conformity that is taken to such an extent that the person is no longer honest and is, also, through dishonesty and incompetence, a threat to the cohesion and integrity of society. All of these factors present the film as a microcosm of American culture, with the uncelebrated Doniphon as Ford’s expression of where liberty actually resides. We, as Americans, must walk a thin line between social conformity and blandness, between a frontier vigilantism and justice, and between barbarism and civilization. Yes, these are big themes, but The Man Who Shot Liberty Valance is a big film with big stars and a big director. In this case, all of that fire not only lives up to expectations, but exceeds them in many ways.
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.
In today's day and age, it's rare to see famous historical events and societal disasters not be picked apart by film directors and then transformed into a box office hit. What these films do is put a visual perspective on these events, sometimes leaving viewers speculating if whatever was depicted is in fact entirely true. I have never felt that feeling more than after I finished watching Oliver Stone’s JFK.
Kesey’s novel proclaims a classic struggle between good and evil, or the hero and the villain. This contemporary classic was brought to life through the film version in 1975 and is considered “one of the greatest American films of all time” (Dirks 1). It was the first film to receive all the major Oscar awards. These included Best Picture, Best Director, Best Actor, Best Actress, and Best Screenplay. The same name as the novel was chosen so that it would appeal to contemporary audiences, which proved to be a big hit at the box office.
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
...uggles between the savagery and civility, he and Liberty Valance (Lee Marvin), are men threatening, as well as standing, in the way of the progress and later the stability of the soon to be established “recognized territory.” There are two very different characteristics of these men though, Tom is full aware what is happing to in the New West and eventually succumbs. Meanwhile Liberty knows this is happing too, but he will do, as he must to keep the frontier open, for purely selfish reasons. This is the swan song of the boots, the gun belt and the spurs, the inevitable end of freedom that was once known since its inception at the establishment of the United States of America, but the Western was and still is today, a vast frontier of compelling stories, classic American narratives and themes that will continue to capture the imagination of all freedom loving people.
Individualism is a school of ethic that can be defined by various perspectives of intelligent mindsets. Nathaniel Brenden (1994) defined individualism as two different concepts: 1) ethical-psychological and 2) ethical-political. Under ethical-psychological concept, he stated that a human being should be able to judge independently and think, while respecting the jurisdiction of his or her mind. In addition, Brenden stated that individuals should uphold its command of individual rights under ethical-political concept (Brenden, 1994). On the other hand, Ayn Rand (1964), the inventor of Objectivism and the strong individualist, defined individualism as follows:
...s at that time who have come of age. Perhaps no film in recent history has captured more attention and generated more controversial debate. This film resonates the feeling and question that common people had about the JFK assassination in the 60s. As a result, the debate about the validity of JFK extended much further into the war-torn cultural landscape of America in the 1990s than most observers noted. The JFK was a telling incident demonstrating the larger cultural conflict over values and meaning in America and the competition to define national identity. The whole affair demonstrated how effective a motion picture can be as a transmitter of knowledge, history, and culture. As a result, the debate about the validity of JFK extended much further into the war-torn cultural landscape of America in the 1990s than most observers have noted.
In her book, Limerick describes the “idea of innocence” that permeated the American West (36). According to the author, the underlying motive for every action was pure (even when it really was not). According to Western American folklore, early settlers did intend to victimize Indians and trespass on their land, but instead came to America to pursue new opportunities and improve their lives (Limerick 36). The same ideological theory may be applied to the motivations of the sensationalized outlaws from the time. For example, in her book Limerick details the life of John Wesley Hardin, an outlaw, who began his violent life of crime at the age of fifteen (36). According to the story, Hardin shot and killed a black man (Limerick 36). However, idolized as the son of a preacher, Hardin hid his crimes behind the veils of “bravery” and “honor” (Limerick 36). He claimed that he actually shot the man --...
The Assassination of Jesse James by the Coward Robert Ford is a western film. The film has both positive and negative components that make it an uneasy viewing, due to immoral behaviours and sense of unhinged characteristics. The director Andrew Dominik has great control in creating beautiful pictures throughout the film. Dominik gives the best understanding of Jesse James possible so that we, as viewers, are able to become better acquainted (more familiar) with Jesse’s character.
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.
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.
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.
The two films that are analyzed for similarities and differences to convey significant ideas for the integrity of their own story line: they are Butch Cassidy and the Sundance Kid, directed by George Roy Hill and released in 1969, and Thelma & Louise, directed by Ridley Scott and released in 1991. In these two films, we watch them search for freedom within ourselves and freedom from societal norms. Along the way this creates entanglement with the law and causing a constant chase throughout both films. What keeps these characters from backing down is their free-spirited, brave, and most important a firm grip on their own fate. This mentality keeps the characters on their toes from what’s holding them back, however their own actions, history