The Wild West is idealized as a time period in which different people had specific roles such as cattle herders, miners, and sheriffs and villains. These people portrayed these roles with such enthusiasm that it seemed over exaggerated and many stories were therefore created. The movies that were created over the years have not always been as accurate as the history books have recorded. Even the history books have conflicting accounts as to what actually happened to the cowboys of the Wild West. Some of the greatest stories ever told and turned into movies were the stories about the gunman cowboys.
Many stories and movies have been made about lawmaker and lawbreaker cowboys. Some of the most famous names are Wyatt Earp and the Earp brothers,
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They would stake a claim, pan for gold, and were thought to never really make a lot of money from mining the gold. That is what the stories and movies have told us for years. What is written in the history books is something different all together. First, gold miners came from all around the world. Some were Americans, but many came from places like China, Mexico, Europe, and Australia. Each gold-minor had to stake a claim of land that could not be more than forty square feet, place a notice on it, and begin working on that gold-miner’s own claims immediately. They could have more than one claim as long as it was being worked on and all procedures were followed. Each claim notice had to be renewed every ten days. None of this has ever been portrayed in a story or movie. Many movies do, however, portray miners as mining gold wherever and even stealing other people’s gold. Many of the first prospectors made a lot of money, it was ten times in a day what they could get working a normal job. The original miners would pan for gold. Later, however, more complex methods were used to allow multiple miners to work together and search for larger amounts of gravel for gold. Whenever gold was discovered in a new place, miners would move in and make a mining camp and this is how some small towns were created. Many of the miners, both in reality and in …show more content…
Certain cattle would take the lead, others would select certain places in the line, and even when some cattle would stray from the herd the cowboys would have to keep then together so that they do not lose any cattle. Certain cowboys are appointed to ride beside the leaders as to control the herd, while others will ride alongside, and behind. Cowboys would get up early in the morning and "guide" the herd to the next stopping point for the night. The most difficult time for the herd is crossing a major river. Many of the herd can drown and it is the cowboy’s job to keep that from happening. There were usually around a dozen cowboys for a good size herd of 3000 cattle. For a herd of 1000 cattle they would stretch out from one to two miles. In movies the cowboys on a cattle drive are depicted as handsome, delicate men riding on their horse, but we are never shown the realities of the hard work and their true likeness. The true cowboys of the Wild West would have calluses on their hands, faces would be unshaved for days and sun beaten, and would not have as much charisma as portrayed in the movies. They did not get thanked or usually get the girl, they had a job and they did it effectively and fluently for their livelihood.
The interpretation of the Wild West can be very ambiguous. Some interpretations of the Wild West are as follows: wealthy; deadly; or rough and hard working. Even though Hollywood has portrayed these historical
...rnia. Wyatt Earp died on January 13, 1929, and his fame as a lawman has continued to grow since his death. Wyatt Earp literally shot his way into the hearts of Western America. He is familiar to the nation’s people, young and old. From Ellsworth, Kansas to Tombstone, Arizona, he cleaned the streets of desperadoes in town after town. He shot coolly, he shot straight, and he shot deadly, but only in self-defense. Like any other person whose reputation leaned on firepower, there were those who wanted to test, to see if their draw was a split second quicker or if they could find a weak spot. Wyatt put many of their doubts to rest. When the history of the western lawmen is placed in view, Earp’s name leads the parade of Hickok, Masterson, Garrett, Tilghman and all the rest.
In 1876 Wyatt Earp was hired as an assistant Marshall in Dodge City, Kansas, one of the worst places in America at the time. In Dodge City daylight muggings and nighttime shootings were an everyday thing. When Wyatt became a lawman there he was able to stop the crimes without killing anybody, he put them in jail. One of his techniques was called ?buffaloing? where he would knock a criminal on the head with his favorite weapon, the Colt 45.
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.
...to Americans: if their prospects in the East were poor, then they could perhaps start over in the West as a farmer, rancher, or even miner. The frontier was also romanticized not only for its various opportunities but also for its greatly diverse landscape, seen in the work of different art schools, like the “Rocky Mountain School” and Hudson River School, and the literature of the Transcendentalists or those celebrating the cowboy. However, for all of this economic possibility and artistic growth, there was political turmoil that arose with the question of slavery in the West as seen with the Compromise of 1850 and Kansas-Nebraska Act. As Frederick Jackson Turner wrote in his paper “The Significance of the Frontier in American History” to the American Historical Association, “the frontier has gone, and with its going has closed the first period of American history.”
The Taming of the West: Age of the Gunfighter: Men and Weapons of the Frontier 1840-1900.
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.
The image of the cowboy as Jennifer Moskowitz notes in her article “The Cultural Myth of the Cowboy, or, How the West was Won” is “uniquely
As Ethan rides towards his brother’s homestead, he is greeted by awestruck stares. He rides with the brutal desert behind him, sun glaring at his eyes while his brother’s family is framed in shadow of their own home. A hopeful tune plays in the background as he approaches. In this opening scene of The Searchers John Ford establishes Ethan—played by none other than John Wayne—as the rugged individualist, the one who tames the wilderness. This cowboy is integral to the “Myth of the United States,” he is the one who tames the savage wilderness its residents (Durham). However as the film unfolds, Ford explores Ethan’s tortured psyche, his motivations, his neuroticism, even the Indians and their motivations in order to deconstruct deconstructing the myth in order to show that the cowboy is a relic of the Old West.
Western films are the major defining genre of the American film industry, a eulogy to the early days of the expansive American frontier. They are one of the oldest, most enduring and flexible genres and one of the most characteristically American genres in their mythic origins - they focus on the West - in North America. Western films have also been called the horse opera, the oater (quickly-made, short western films which became as common place as oats for horses), or the cowboy picture. The western film genre has portrayed much about America's past, glorifying the past-fading values and aspirations of the mythical by-gone age of the West. Over time, westerns have been re-defined, re-invented and expanded, dismissed, re-discovered, and spoofed. But, most western movies ideas derived from characteristics known to the Native Americans and Mexicans way before the American culture knew about it. What you probably know as a good old western American movie originated from a culture knows as vaqueros (cowboys for Spanish). They are many misrepresentations of cultures and races shown throughout movies from as early as 1920's with silent films. Although one could argue that silent film era was more politically correct then now a day films, the movie industry should not have the right of misrepresenting cultures of Mexicans, Indians and there life styles in films known as western films.
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.
The West has always held the promise of opportunity for countless Americans. While many African Americans struggled to find the equality promised to them after the Civil War, in the West black cowboys appeared to have created some small measure of it on the range. Despite this, their absence from early historical volumes has shown that tolerance on the range did not translate into just treatment in society for them or their families.
The image created for the outlaw hero is the “natural man.” They are adventurous but also wanderers, and loners. Outlaw heroes are more likely to commit a crime, use weapons and carry guns. The outlaw hero represents self-determination and freedom from conflicts. On the other hand, the official hero is portrayed to be “the civilized” man. He often follows the norms of society, and has typical roles such as a lawyer, teacher, and family man.
...nd a man of reserve against violence. Also as a man who will stand for the good of the community, protecting those who need protecting as the Vigilante of the western frontier. The Virginian was a true cowboy hero because he was a vigilante who followed his own moral code. The cowboy’s moral code was not dictated by the laws of society because he was an independent who was working to escape civilization. The Virginian was the first of the western heroes who gave the world someone to look unto as an example. He showed a very strong moral code which had a special responsibility to the protection and respect of women such as Molly. He also had a great many skills which gave him the realistic air that made the hero’s of the west so popular in the early 1900’s as the western frontier came to a close.
The American “classic” western formula, according to Peter Bondanella in his essay A Fistful of Pasta: Sergio Leone and the Spaghetti Western, employed “a combination of narrative possibilities generated by three central roles: the townspeople (agents of civilization); savages or outlaws, who threaten the first group; and heroes, men who share certain characteristics of the second group, but who act ultimately on behalf of the representatives of civilization” (Bondanella, 255).
A typical Western would usually be set in the late 19th century in the mid-west of America in a remote town. The town is usually small, lonely and unwelcoming. Typically a western set looks like it is in the middle of a desert with sand, cacti and tumbleweed which gives a desert look, there are usually never any lakes or rivers around these features make the place look really hot and deserted. The buildings are generally timber board houses with swinging doors and outside the buildings are places to keep their horses, there is also always a General Store and a Saloon. Horses and carriages and cattle are used to give a western feel. The cowboys are typically dressed in western style clothing for example they wear simple shirts and jeans they may also wear ponchos, waist coats, hats, boots with spurs, guns and a belt to hold the gun and bullets, Hero's tend to wear lighter clothing and the villain’s tend to wear darker clothing.