The films The Searchers and Avatar both make use of the master narratives of regulating social order and disorder. One is used as a way to reinforce this narrative, while the latter is shaped more towards critiquing the overall of ideal of the American social order. The struggle presented by an external threats in both films give the opportunity of interpreting and contrasting the master narrative and the effects that can come from imbalances in social orders. The Searchers, is one of the most popular representatives of the classic western genre film. Directed by John Ford in 1956, the film embodies all the definitive characteristics of a Western from the time period in which it was made. Ethan, played by John Wayne, is an ex-Confederate Army soldier who returns home to his brother in Texas three years after the war’s completion. From the start, there is an air of mystery surrounding Ethan and his whereabouts during the last couple years. He has continued to wear his uniform and reveals to have made a fair amount of money while gone, contributing to his appearance of a rough, suspicious cowboy. The obscurity that these factors create around Ethan is important because they allow for the essential seed of wonderment to be planted in the minds of the audience. The audience will then be able to sympathize with Ethan and allow for the creation of the film’s hero. Any generic film hero is a model of their community and culture. They help to clearly define and outline the community’s values and cultural conflicts by embodying prime characteristics in their persona. The western hero, like Ethan in The Searchers, is always a figure for civilization amongst the savagery of the wild west. By portraying the roles of a civilization, the hero ... ... middle of paper ... ...he environment in which they are set, while still representing the on-going struggle for physical and idealogical control. Both deal with the opposing parties presented in the films, the Na’vi and indians, as they pose as threats to the desired balance in social order. Eventually, these threats are resolved and dealt with in different ways, but nevertheless achieve the goal of restoring balance and tranquility once again to the society. Films like The Searchers and Avatar, continue to address cultural issues and the results of disparity between groups. However, by continually demonstrating that through embracing certain perspectives and principles these differences can be resolved into positive outcomes, these films project the audience’s and filmmakers’ actual desire to conform any outside threats that could endanger the established conventions of everyday life.
There are countless similarities as well as differences between chapter 12 of “Creating America: A History of the United States” by McDougal Littell and the movie “Avatar”. Among the topics of “Avatar” and chapter 12 that share similarities and differences is why the whites wanted the Native American’s land, and why the humans wanted the land of the Na’vi people. Also, how the Natives tried to adjust. Furthermore, how the natives resisted. These are just a few examples of many that show both how different and at the same time how similar “Avatar” is to chapter 12.
...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.
The enduring cultural expressions of the frontier were adapted into unique narrative traditions known as the “Western”. The Western genre portrays a story of conquest, competing visions of the land, and the quintessential American frontier hero who is usually a gunfighter or a cowboy. These Western archetypes can be observed in, The Outlaw Josey Wales, a film that employs revenge motifs that lead into and extended chase across the West and touches on the social and cultural issues of the American frontier.
As a result, both films represent Native Americans from the point of view of non-Native directors. Despite the fact that they made use of the fabricated stereotypes in their illustrations of the indigenous people, their portrayal was revolutionary in its own times. Each of the films adds in their own way a new approach to the representation of indigenous people, their stories unfolding in a different way. These differences make one look at the indigenous not only as one dimensional beings but as multifaceted beings, as Dunbar says, “they are just like us.” This is finally a sense of fairness and respect by the non-native populations to the Native Indians.
Before delving into Sergio`s Spaghetti westerns it is fundamental that we clearly distinguish classic westerns characteristics opposed to Leone`s westerns. One of the main differences is the theme and the distinct division between good and bad characters. This division brings out the concept of heroes which are often cowboys, marshals or skilled gunfighters with a set of well-defined morals. The most noticeable of these westerns frequently featured John Wayne as the fearless cowboy who unmistakably saves the day. These aspects state that “Leone may admire Hollywood westerns, but he does not believe in the dreams they embody” and I will analyse these aspects in the following paragraphs beginning with the morally corrupt characters.
Gina Marchetti, in her essay "Action-Adventure as Ideology," argues that action- adventure films implicitly convey complex cultural messages regarding American values and the "white American status quo." She continues to say that all action-adventure movies have the same basic structure, including plot, theme, characterization, and iconography. As ideology, this film genre tacitly expresses social norms, values, and morals of its time. Marchetti's essay, written in 1989, applies to films such as Raiders of the Lost Ark and Rambo: First Blood II. However, action-adventure films today seem to be straying farther away from her generalizations about structure, reflecting new and different cultural norms in America. This changing ideology is depicted best in Oliver Stone's Natural Born Killers (1994), which defies nearly every concept Marchetti proposes about action-adventure films; and it sets the stage for a whole new viewpoint of action in the '90's.
... native that falls for the so called “savages” or the native people of the land. In The Searchers, the young girl that is taken as a captive basically falls for the Native Americans and calls them her people. Ethan does not like how that happens and almost shoots Debbie. In Avatar the Na’vi woman falls for Jake Sulley and Jake falls for her. The general of the mission finds out and tries to destroy all the Na’vi people and their land. So, both of these movies have the same concept.
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.
The Family Medical Leave Act of 1993 (FMLA) was established to provide employees with ability to take a leave from work for personal or family health issues. The Act lays out specific circumstance in which an employee may take up to 12 weeks of unpaid leave within a 12 month period. Under the law, employees may request a leave for personal health issues, to care for a child, spouse or parent with serious health issues, birth or care of a child during the first year or for newly placed adoptions within one year. Employees are covered under FMLA if the employer has 50 or more employees and the employee has worked for the employer for at least 12 months. The employee must submit a written request for FMLA and provide documentation supporting their request. Once approved, the employee may take up to 12 weeks of unpaid leave. Upon return the employee is guaranteed a job, if the employer had to fill their position out of business necessity, the employer must provide the employee with a position with equal responsibility and pay.
Interprofessional Practice (IPP) is the ability to provide a comprehensive health care service to all patients. Healthcare providers achieve this joining together and working collaboratively to deliver quality care across a range of healthcare settings. An interprofessional setting may offer several benefits to patients, including improved access to healthcare, less conflict and tension amongst caregivers, improved use of clinical resources, better retention of staff, better results for patients in particular those with chronic diseases. (http://www.ontarioshores.ca/about_us/our_approach/interprofessional/). This paper will discuss the benefits of an interprofessional practice to the patient.
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 this movie, one may observe the different attitudes that Americans had towards Indians. The Indians were those unconquered people to the west and the almighty brave, Mountain Man went there, “forgetting all the troubles he knew,” and away from civilization. The mountain man is going in search of adventure but as this “adventure” starts he finds that his survival skills are not helping him since he cant even fish and as he is seen by an Indian, who watches him at his attempt to fish, he start respecting them. The view that civilization had given him of the west changes and so does he. Civilization soon becomes just something that exists “down there.”
“‘They score! Henderson has scored for Canada!’” Foster Hewitt wordlessly described” (Pelletier) when Paul Henderson scored the series-winning goal. This allowed Canada to win the 1972 Summit Series, a moment that no one would ever forget since it all happened during the climax of the Cold War. Prior to this, the Soviets had won the previous three Olympic gold metals since Canada could not use its NHL players. Thus, this provided Canada with the chance to play hockey against the USSR using its best players. This raised the question: if Canada were able to send its best players, would it still be enough to beat the Soviets? Everyone in Canada was certain that the Soviets would not win a single game, but little did they know they underestimated the extent of the Soviets abilities. Tied in the last few minutes of game eight, Canada had to score or they would lose the series. However, when Paul Henderson scored the game-winning goal, never before had a single sporting event meant so much to Canadians. Therefore, Paul Henderson’s goal is a defining moment for Canada in the twentieth century becauseit provided Canada with the opportunity to evolve hockey, proved that Canada and our democratic society were superior to the USSR and their communist society, and brought citizens together to unify Canada as a nation.
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.
During the Great Depression, while the competitors were cutting costs and reusing outdated designs, Kress was expanding and building more elaborate stores than their previous ones. The architecture was referred to as an “emporium” evoking an elegant atmosphere more suited to a fine cloth or furniture store in New York rather than the five & dime stores dotting small town America. Many wonder what the driving force was behind these design decisions, especially during a national time of economic recession. Perhaps simply to outpace the competition, but perhaps more importantly Samuel Kress was an avid art collector and a proponent of public art enhancing a community. In this way the Kress legacy of the brand became more than a retail business, it became a symbol of small town civic pride.