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Genre Features of Western Films
Genre Features of Western Films
Aspects of western movies
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The Western film genre
Extending from paintings and illustrations, the Western film genre constitutes another kind of visual representation that also has had a profound impact on the mythic West. Although it no longer occupies the “central position in the system of popular genres that it held throughout most of the twentieth century,” (Cawelti, 2) the genre is still important to include because of its history, influence, and effect on American culture and understanding of the West. As Slotkin notes, American culture “as a whole would remember the West in terms of movie images.” (Gunfighter 237) Because pop culture as previously noted reflects the culture in which it is produced, the Western and its portrayal of the West have changed over the
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Lenihan, and Cawelti describe undergone many transformations throughout history, defining what constitutes a ‘Western’ film is not that simple. This is also noted by Raymond Durgnat and Scott Simmon who state that it is “hard to square a static image of the genre with its constant and profound response to its changing times.” (69) But as the notion of ‘genre’ suggests there are recurring structural patterns in Western films, a formula that according to Hausladen is repeated in most Westerns with only subtle variations: “(1) the cowboy as hero; (2) the frontier experience as storyline; and (3) the West as landscape/setting.” (Where the Cowboy 297) Although the first two components, the cowboy and the frontier experience, unquestionably are important in Westerns, it is the third component, the setting, which is of particular interest in a discussion of the mythic …show more content…
Because the Western setting is a ‘symbolic setting’, certain elements, themes, and characters have gradually become purely associated with the mythic West. This explains why the historical and geographical setting Springhall referred to has become what is most commonly associated with that of the mythic West: most people’s knowledge of the West primarily derives from that portrayed in Western films and the iconography, conventions, and settings have thus imprinted themselves so powerfully in the audience’s mind and imagination that it has become
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.
Wright, Will. (2001). The Wild West: The Mythical Cowboy & Social Theory. New Delhi, London: Sage Publications.
Director Jim Jarmusch’s film Deadman displays many of the accepted conventions for Western genre films, but manipulated in such a way as to create a revisionist, rather than a classical, western. The most obvious example of this manipulation are the characterizations of the hero, William Blake, and his Native American partner, Nobody. Blake is an awkward easterner who travels westward unaware of the different rules governing western life, instead of the rugged, knowledgeable outdoorsman who “does what he has to do” to defend justice and honor. Nobody’s character is unusually independent, educated, and kind towards Blake, instead of the traditional Western genre’s violent, unintelligent Indian.
In the classical Western and Noir films, narrative is driven by the action of a male protagonist towards a clearly defined, relatable goal. Any lack of motivation or action on the part of the protagonist problematizes the classical association between masculinity and action. Due to inherent genre expectations, this crisis of action is equivalent to a crisis of masculinity. Because these genres are structured around male action, the crises of action and masculinity impose a crisis of genre. In the absence of traditional narrative elements and character tropes, these films can only identify as members of their genres through saturation with otherwise empty genre symbols. The equivalency between the crises of genre and masculinity frames this symbol saturation as a sort of compensatory masculine posturing.
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
The Western portion of the United States includes thirteen states that are home to around 80,000,000 Americans, yet it remains one of the most sparsely settled regions in the country (U.S. Census Bureau 2010). In a sense, the American West is the closest thing left to a “frontier” in the modernized United States. One can travel to Montana and become immersed in a world not dissimilar to that of their forefathers, just as easily as one could travel to California, widely considered to be the epicenter of growth and modernization in the States. With Silicon Valley and Yellowstone all in one region, there is a unique sense of space presented within the West that is unattainable from the American North, East, or South. For instance, a trip to New York City may be fairly comparable to a trip to Pittsburgh, but a trip to San Francisco as opposed to Rapid City provides an entirely different cultural experience. If the West was just a replica of the American East, Kerouac’s On the Road would have never come to be. The wide disparity among spaces in the New West is a main reason behind the effectiveness of Coupland’s Generation X. Without the spaces of the American West the comedic genius of Portlandia would be nonexistent!
Westerns are split down into sub genres for example classical westerns like "The Great Train Robbery" but there are also other western genres like revisionist westerns. Revisionist westerns occurred after the early 1960's, American film-makers began to change many traditional elements of Westerns. One major change was the increasingly positive representation of Native Americans who had been treated as "savages" in earlier films. Another example is Spaghetti westerns, Spaghetti westerns first came during the 1960's and 1970's, The changes were a new European, larger-than-life visual style, a harsher, more violent depiction of frontier life, choreographed gunfights and wide-screen close-ups.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
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.
The use of tropes is prevalent in film, literature, poetry, and other art forms, and is commonly used to provide a familiar theme that would attract the audience. A trope is a common theme or device found in multiple works of art that are familiar to the audience and easily understood. Steven Spielberg employs several tropes as the director of “Raiders of the Lost Ark” such as The Evil Empire, The Search for the Lost City, and The Stereotypically-Primitive Natives, though the question remains on the historical accuracy of these plot devices. This paper will discuss the factual-basis of these tropes and the way these tropes were used in the film.
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.
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.
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
In Hollywood today, most films can be categorized according to the genre system. There are action films, horror flicks, Westerns, comedies and the likes. On a broader scope, films are often separated into two categories: Hollywood films, and independent or foreign ‘art house’ films. Yet, this outlook, albeit superficial, was how many viewed films. Celebrity-packed blockbusters filled with action and drama, with the use of seamless top-of-the-line digital editing and special effects were considered ‘Hollywood films’. Films where unconventional themes like existentialism or paranoia, often with excessive violence or sex or a combination of both, with obvious attempts to displace its audiences from the film were often attributed with the generic label of ‘foreign’ or ‘art house’ cinema.
Sklar, Robert. Movie-made America: A Social History of American Movies. New York: Random House, 1975. Print.