The Movie Dead Man and its Departure from the Western Genre
Put simply, genres are not created by directors so much as they are by audiences. Once it is apparent that something has been received well by theatre-goers, a formula is developed and henceforth followed to achieve the same success. Considering the Western genre, as presented by Robert Warshow, one may note whisky-swilling gunslingers, prostitutes alongside their madams, and arguments over poker tables in smoke filled saloons resulting in someone being thrown through the glass window. The hero of the Western, personified so well by Gary Cooper, John Wayne, and Clint Eastwood, draws his six-shooter fast and is lethally accurate. Unfortunately, these audience-drawing regularities which, while entertaining, undermine the historical representation of how America’s West was truly settled.
The most jarring difference from the Western genre in Dead Man is that the hero, William Blake, does not saunter into town with a pistol on his hip, let alone know how to shoot one. He is an accountant from Cleveland, a rational man headed for an irrational world. Machine, the town which was his destination, is a menacing mill town which comments on the harsh realities of industrialization. Blake’s train ride to the West is in vain, having been refused the job promised to him in a letter because he was tardy in response. There is an absence of order in town, in large part because John Dickinson, owner of the Metal Works plant the towns economy depends on, is insane, possibly parodying the ineptitude of capitalistic hierarchy.
Jim Jarmusch’s choice of William Blake as the name of his main character was not by accident. The jovial Indian Nobody is convinced that Blake is the English poet by the same name, and for good reason. Not because Depp’s Blake resembles the actual poet, but because William Blake’s poetic themes can be recognized throughout the story. Also, Jarmusch’s use of fade to black to separate the scenes transforms each scene into a new poem that can be read and viewed as a new development in the film.
Critics consider Jarmusch’s departure from the Western genre as a breath of fresh air. Dennis Schwartz claims
“Jarmusch didn't falsely romanticize the Western settler and idolize him for how good he was with a gun as most films foolishly do; but, he debunked that whole Western John Ford type of patronizing liberal myth that the cowboy was doing all that violence to advance civilization, that if the Indian can be civilized he can and should live with the white man.
Persepolis is a inspirational story written by Marjane Satrapi in the perspective of a young girl’s life during a powerful, historical moment in Iran. The Islamic Revolution was a life-changing moment that impacted her view on the world around her and her innocence shaping her into the woman she is today. Not many people understand what it feels like to feel pain, hurt and abandonment as a child from major and minor things. The author writes this story and decides for it to be a graphic novel to allow the not only young readers, but also for those who do not understand what happens everyday in the world they live in. Satrapi uses all rhetorical stances, ethos, pathos, and logos to show problems, purpose and emotions.
Orientalism is a way of viewing the world as divided into two unequal halves: the Occident and the Orient. Occidental means Western Hemisphere, and Oriental means Eastern Hemisphere. These ideas of orientalism are challenged in Satrapi's Persepolis. A book about a young girl Marji who lived in Iran in the 1980’s, and therefore is placed in the beginning years of political and religious turmoil in Iran. Satrapi Juxtaposes the western view of Iran to Iran by showing similarities between America and Iran through Marji’s youth and adventures throughout the book.
“The unprecedented growth of the gay community in recent history has transformed our culture and consciousness, creating radically new possibilities for people to ‘come out’ and live more openly as homosexuals”(Herdt 2). Before the 1969 Stonewall riot in New York, homosexuality was a taboo subject. Research concerning homosexuality emphasized the etiology, treatment, and psychological adjustment of homosexuals. Times have changed since 1969. Homosexuals have gained great attention in arts, entertainment, media, and politics. Yesterday’s research on homosexuality has expanded to include trying to understand the different experiences and situations of homosexuals (Ben-Ari 89-90).
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.
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...
[1] The silent film, With Daniel Boone Thru the Wilderness, was produced in 1926: a time of prosperity, an era without the skepticism of the modern American mind. People were not yet questioning the stories and histories they had been taught as children. The entertaining story told in this Robert North Bradbury film is loosely based on the life of an American hero. However, the presence of several insidiously inaccurate historical representations demonstrates how an entertaining film might not be as innocent as it initially seems. This film fails to question certain key issues concerning the Daniel Boone legend. In fact, it does quite the opposite. The creators of this film wholeheartedly bought into the many warped myths and distorted “facts” surrounding the story of Daniel Boone. Amazingly, the ethnocentric (read racist and colonial) ideals found in 19th century whites apparently still existed in 1926, and, to a certain extent, still do today. This essay will explore the factors that contributed to the twisted representations found in With Daniel Boone Thru the Wilderness. Hopefully, the work of this essay and many others like it will help the next generation of Americans (and filmmakers) to avoid the same injustices and societal pitfalls that have plagued mankind for ages.
Satrapi’s first chapter in “The Complete Persepolis,” The Veil, guides us through her country’s revolution against the
Since the late 1890’s films have been constantly changing the history of pop culture and the way people view war, politics, and the world as a whole. As the timeline of the history of film progressed, there were many different phases: gothic noir, slapstick comedy, tragedy vs. love, romance, and many more. Towards the more recent times, the central ideas of films started drifting to the greatness of the directors. Directors such as Stanley Kubrick, Martin Scorsese, Steven Spielberg, and many more were noted as outstanding directors of action and cinematography. In this paper I will speak about Wes Anderson, Martin Scorsese, and the ever so infamous Baz Luhrmann. These directors have changed the way filmmaking has been and will be looked at from this point on.
During our class discussions, the issue of identity in Marjane Satrapi’s novel, Persepolis (2004), became a contentious issue. The question was asked whether Persepolis might be understood to being in-dialogue with western ways of seeing and did the effects of modernization influence the identity of Marjane’s protagonist in Persepolis. How does the novel involve the issue of identity? I will extend the argument and, through the exploration of Marji’s changing ideologies, I will attempt to prove that Marji is caught between the traditional eastern culture and western modernization.
In Persepolis, Marjane Satrapi’s childhood experiences allow her to demonstrate the cultural changes that occurred in post-revolutionary Iran, as well as those perpetrated by western culture. In Persepolis, western culture plays a major role in the author’s attempt to dispel the
Schatz, Thomas. Hollywood Genres: Formulas, Filmmaking, and the Studio System. Philadelphia: Temple University Press, 1981.
Persepolis, a graphic novel by Marjane Satrapi, is not a run-of-the-mill comic book. It is written with purpose. Satrapi wrote and illustrated this book to show Americans that their perspective of her home country, Iran, is askew. She believes Americans are too focused on the “fundamentalism, fanaticism, and terrorism” (Satrapi ii), of the nation and that they forget to notice the normality and humanness of it. Since these two perspectives have vast differences, Satrapi wants to change their minds. Thus, it is crucial that she effectively communicate this humanness of Iran to the literary audience in America. Since the literary devices in a work are needed to correctly convey a message, she found it necessary to include these and manipulate them in her favor. Satrapi uses the innocence of a child along with morals in her pictures and a relation of cultures to effectively communicate her message. It is necessary to examine how she manipulates such literary devices in order to gain a full understanding of the text.
The story Persepolis uses the medium of graphic novel and the perspective of a child to convey her message. The events of Persepolis are very dark and in some
...n all family members get involved in trying to help. By the individual’s family being apart of their therapy session, it shows how much their family members care for them and want them to get help with whatever issues they may be having. This is very important because it is a sign of love and it is showing the support that they have for one another. Therapist have also found that during strategic family therapy, they can help all family members with helping to encourage each other as well as create rules and interactions that are psychological healthy for all family members who are involved. It will make it easier for the family members to all get along and understand each other. When one person in the family is having issues, the other members should take the time to talk to one another and help each other out, especially the family member who is in need of help.
When it comes to culture, different views can cause major conflicts, and these said conflicts occur in the novel Persepolis. The book is a memoir about Marjane Satrapi, also known as Marji, growing up in Iran under the Shah’s rule and the Islamic rule. Even with the many different cultures in Iran, she stuck up for what she believed in and rebelled against the things she thought were wrong. In Persepolis, Marjane’s growth is affected by various aspects of culture including religion, government, and social organization.