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Characteristics of western heroes
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Llewellyn acts in accordance with traditional western mythology, he acts righteously, and helps those in need. Instead of being rewarded for acting morally, Llewellyn is hunted down and eventually killed for his kindness. This is one of the first concrete examples of the Coen brothers communicating the problematic nature of being nice and moral, and being practical. Another example of this comes in the form of a character, the brutal assassin Anton Chigur Anton Chigur is the greatest example of the movie’s overall message. He is the antithesis of the traditional western stereotype. Westerns are full of heroes who kill only the evil and only when other options are not available. In westerns, heroes are shown to regret taking life. Anton Chigur has no such objections, he kills those who oppose him, regardless of their overall threat. Even his method of killing is vastly different from western myth. In westerns heroes use revolvers and rifles, weapons that enable them to become heroes (Blender). Anton Chigur favors a cattle gun, a steel tank with compressed air and a nozzle that shoots a steel rod from the nozzle; usually into the …show more content…
Judeo-Christian values are often at odds with both of these concepts, yet all three are idealized in westerns. In fact, mythology often perpetuates idealistic values in culture. According to Frye the point of myth is “to conventionalize content in an idealized direction” (Frye). Somehow, these seemingly opposite ideas are connected through westerns and idealized. Through morally righteous violence one can achieve a greater life, fame, glory, love, and money. The Coen brothers chose western mythology because these ideas oppose one another, they help point out the disconnect between idealized values, like Judeo-Christian values and practical
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
Main Idea: The importance of Shakespeare, the Bible, and fairy tales is that they are all myths. Myth in this case doesn’t mean that they aren’t true, but rather that they are stories that seek to, as Foster puts it, “explain ourselves to ourselves.” Myths are important and are a part of a culture’s collective memory. Here, in Western culture, we are mostly associated with Ancient Greek civilization and the myths that lie there. We can see references to those myths in all sorts of literature.
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.
Many authors have employed the religious beliefs of their cultures in literature. The deities contained in Homer’s Odyssey and in the Biblical book of Exodus reflect the nature of the gods in their respective societies. Upon examination of these two works, there are three major areas where the gods of the Greek epic seem to directly contrast the nature of the God of the Israelites: the way problems are solved, the prestige and status that separates the divine from the masses, and the extent of power among the immortal beings.
Westerns have been around for many years. Some would consider westerns to be American classics because they describe early life in a mostly undiscovered America. In class two western films were watched and discussed. These two westerns were High Noon and Shane. On the surface, these movies are categorized as the same genre and look very similar but after further inspection it can be determined that the movies have a lot of differences. Of course, both movies share the same central theme of law versus social order, but the way each movie portrays this central theme is very different. This universal theme between the two movies can be investigated through, setting, violence, view of family, how women perceive guns/violence, and the choice of
Through studies such as comparative mythology, researchers and philosophers have discover hundreds of parallels between the myths that make up every culture, including their creation myths. As most are deeply rooted in religion, comparisons based on geographic area, themes, and similar story lines emerge as religions form and migrate. Campbell recognized these similarities an...
The ideals and morals evident through techniques in both texts are consistent, despite their context. Thus through the texts, it is our ideals and morals that shape our image of humanity. Both texts highlight important facets of human nature in relation to context and its values, urging the audience to reflect on their own morals.
The myths which prove the contradictory behavior of the gods, acting as both benefactors and tormentors of man, can readily be explained when viewed in light of the prime directive for man, to worship the gods and not “overstep,” and the ensuing “Deus ex Mahina” which served to coerce man to fulfill his destiny as evidenced by the myths: “Pandora,” “Arachne, and “Odysseus.” Humankind and it’s range of vision over the gods beauty and power portrayed them to be benefactors but unseemingly it depicted their affliction towards humans.
From before the dawn of civilization as we know it, humanity has formed myths and legends to explain the natural world around them. Whether it is of Zeus and Hera or Izanami-no-Mikoto and Izanagi-no-mikoto, every civilization and culture upon this world has its own mythos. However, the age of myth is waning as it is overshadowed in this modern era by fundamental religion and empirical science. The word myth has come to connote blatant falsehood; however, it was not always so. Our myths have reflected both the society and values of the culture they are from. We have also reflected our inner psyche, conscious and unconscious, unto the fabric of our myths. This reflection allows us to understand ourselves and other cultures better. Throughout the eons of humanity’s existence, the myths explain natural phenomena and the cultural legends of the epic hero have reflected the foundations and the inner turmoil of the human psyche.
Myths and religious doctrine are generally recognized as two entirely different things. Myths are usually referred to as a fictitious story or a half-truth; often they are stories shared between groups of people that are part of a cultural society. Religion is a set of beliefs concerning the cause, and purpose of the universe, and often containing an ethical code dictating appropriate human conduct. Although they differ in certain aspects, they still hold similarities. Comparable to parables within the Bible, myths have different versions which are both motivating, as well as entertaining. There are not only parallels to the idea of the stories but specific tales hold similar morals and equivalent characters.
Myths relate to events, conditions, and deeds of gods or superhuman beings that are outside ordinary human life and yet basics to it” ("Myth," 2012). Mythology is said to have two particular meanings, “the corpus of myths, and the study of the myths, of a particular area: Amerindian mythology, Egyptian mythology, and so on as well as the study of myth itself” ("Mythology," 1993). In contrast, while the term myth can be used in a variety of academic settings, its main purpose is to analyze different cultures and their ways of thinking. Within the academic setting, a myth is known as a fact and over time has been changed through the many different views within a society as an effort to answer the questions of human existence. The word myth in an academic context is used as “ancient narratives that attempt to answer the enduring and fundamental human questions: How did the universe and the world come to be? How did we come to be here? Who are we? What are our proper, necessary, or inescapable roles as we relate to one another and to the world at large? What should our values be? How should we behave? How should we not behave? What are the consequences of behaving and not behaving in such ways” (Leonard, 2004 p.1)? My definition of a myth is a collection of false ideas put together to create
...Pity 2. Self-sacrifice B. Evil 1. corruption (Gollum) 2. greed (Smaug) II. Characters, Christian and anti-Christian A. Christian 1. Comparing to Christ a. Bilbo b. Gandalf B. Anti-Christian 1. Satan a. Saruman b. The Ring III. Power of the Imagination A. Creates secondary belief B. Escape through imagination
Mythology is the study of a compiled group of stories that describe the culture’s practices and past experiences. Mythology is a valuable aspect of every culture. It communicates the culture’s truthful everyday experiences or fabricated details of past events, roles, and traditions such as family, sexuality, art, religion, philosophy, laws and marriage. A culture’s collective group of stories help communicate loyalty, ethical and rational teachings, and social models. Ancient Greece and Egypt are two cultures that we’ve studied in this course so far that I will discuss the Creation Myth associated with each culture.
Most Christians (or those religions that follow the basic principles of the Bible) believe in the stories told in the Bible. In fact, these stories are usually regarded not only as mere stories, but also as actual historical accounts of important people, events, and concepts of the Christian faith. However, stories of Greek and Roman mythology are typically regarded as nothing more than fictional, fantasy stories. The idea that Ancient Greeks viewed these stories to be their religion seems insane to many people of Biblical Faith. This idea seems to cast a stigma of irrationality, almost ignorance, upon the Ancient Greeks. Although placing this stigmatism on a long-dead culture may seem to be unimportant in much of the contemporary world, it is important because this long-dead culture represents the history of a large portion of the world (the Ancient Greek empire was much more vast than modern-day Greece). Just as many Americans would find it offensive to have their history as irrational and ignorant, it seems logical that Greeks might as well. Therefore, it is necessary to try and understand that both Ancient Greeks and Ancient Christians may have held similar beliefs about the world they were living in. The fact is that Greek myths contain unrealistic and unbelievable characters, events, and other elements, but upon comparison of Greek mythology stories with different Biblical accounts, it is apparent that some parallels between the two do exist, and that the Ancient Greeks view of the events of the early world are very similar to the views of both ancient and contemporary Christians.
I think the Western hero is appealing because of their simplicity. When a character is firmly good or firmly bad, then we know exactly who to root for or root against. Even when that means the story is predictable, it can still be enjoyable and comforting to watch a world where the good guy always wins. Meanwhile, Western antiheros may not be as clear cut as the hero, but they are able to do the things that may not be moral but are still interesting and even satisfying. For example, Ben Wade in James Mangold’s 3:10 to Yuma satisfies the wants of the audience as he turns on his gang at the end of the movie. It’s arguable whether this was the “good” thing to do or not, but regardless, the calm and ruthless way he kills the members of the gang is a bit chilling—and also feels like justice. With characters like this, good and bad guys are no longer as clear, which can at times be uncomfortable, but ultimately much more interesting than typical hero and villain. Furthermore, through morally grey characters, writers can challenge the audience’s notions of morality and raise questions about what’s right and wrong. As the Western progresses, authors seem more interested in these questions and more critical of the genre’s morals, exploring deeper into what it actually means to be a