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Jack Schaeffer’s, Shane, is the perfect embodiment of the Western formula used to create films about the Wild, Wild West. The text has all the necessary elements to create the perfect Western movie. The first component of the formula is a threat to the community that just moved out west, whether it is Indians, other ranchers, or even nature itself. The second component is lack of defense from the community, due to the homesteaders not being able to protect themselves against the threat posed upon them. The third component is the presence of a hero, a single entity that has the skills of the community’s threat, but in turn uses those to help the community. Shane is the ideal film created from the western formula, consisting of a threat, a lack of defense, and a hero. To begin the creation of a western film using the western formula, a threat has to come to …show more content…
From the minute Shane rides up to the Starlett’s house, his poise and character screams mystery and hero. Even little Joey can feel the power of Shane’s presence and “in that short time the kind of magnificence [Joey] had noticed had emerged into plainer view,” (Shane from Literary West, page 180). Shane demonstrates all the necessary elements to protect the homesteaders from the vicious threats of the frontier. “I don’t think you’ve ever had a safer man in your house,” (Shane from Literary West, page 183) says Joe Starlett as he is addressing Marion’s concern for Shane’s mysterious personality. Shane was remarkable with gun fighting, and fortunately enough, exactly what the homesteaders needed in order to defend themselves. “I would see the man and weapon wedded in the one invisible deadliness … doing what had to be done,” (Shane, page 118) expresses Joey as he reflects back on the hero who saved the homesteaders by winning the gunfight and shooting down Wilson, something none of the homesteaders could have ever
McCarthy’s plot is built around a teenage boy, John Grady, who has great passion for a cowboy life. At the age of seventeen he begins to depict himself as a unique individual who is ambitious to fulfill his dream life – the life of free will, under the sun and starlit nights. Unfortunately, his ambition is at odds with the societal etiquettes. He initiates his adventurous life in his homeland when he futilely endeavors to seize his grandfather’s legacy - the ranch. John Grady fails to appreciate a naked truth that, society plays a big role in his life than he could have possibly imagined. His own mother is the first one to strive to dictate his life. “Anyway you’re sixteen years old, you can’t run the ranch…you are being ridiculers. You have to go to school” she said, wiping out any hopes of him owning the ranch (p.15). Undoubtedly Grady is being restrained to explore his dreams, as the world around him intuitively assumes that he ought to tag along the c...
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
Because of the outlaw hero’s definitive elements, society more so identifies with this myth. Ray said, “…the scarcity of mature heroes in American...
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.
While the western frontier was still new and untamed, the western hero often took on the role of a vigilante. The vigilante’s role in the frontier was that of extralegal verve which was used to restrain criminal threats to the civil peace and opulence of a local community. Vigilantism was typical to the settler-state societies of the western frontier where the structures and powers of government were at first very feeble and weak. The typical cowboy hero had a willingness to use this extralegal verve. The Virginian demonstrated this throughout with his interactions with Trampas, most notably in the interactions leading up to the shoot out and during the shoot-out itself. “Others struggled with Trampas, and his bullet smashed the ceiling before they could drag the pistol from him… Yet the Virginian stood quiet by the...
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.
I believe that the film does indeed conform to a certain type of narrative structure expected by other films of this style. This film, through and through, is a Western, even starring one of biggest names in Hollywood Westerns, John Wayne. We’re thrown into a world of sturdy, rugged men riding around on horses, decked out in cowboy hats and belt buckles. Wayne portrays the archetypal man, honorable, reliable and
old western mission while following the cowboy code of honor and his romantic ideals along with his lifestyle are all put to the test. It is the story of John Grady Cole living his dream as a cowboy where his true grit is tested and Cole’s survival seems questionable at multiple times throughout the story with encounters he faces. John Grady Cole does not know what exactly is waiting for him along his eventful journey.Early on John Grady Cole loses practically everything that he once thought would be his. Cole 's grandfather dies early just as Hamlet’s father died except Cole’s grandfather wasn’t murdered. Cole nevertheless did lose the land that was once his grand father 's. Cole’s mom who had left his father was still entitled to the property.
The story is an Eastern take on the Hollywood western with a dash of satire,
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.
Location, characterization and the characters history are the key elements to the Western film genre. According to Stanly Solomon, location is either a simple town, (or settlement) or the wilderness, and both types of locations involve countless attempts to overcome hardships.
In past westerns, the audience was intrigued by the outlaw. Eastwood changes the perspective of the audience by showing the dark side violence with a well written script by David Webb Peoples, natural landscape and lighting. We are saddened that Munny relapsed to his violent behavior and he is unforgiven, by showing his guilt ridden soul and heart. Eastwood reignited his career and western genre by revisiting the cold-blooded violent westerns of his past and creating a dark perspective.
Ever since the early 20th century, there had been several attempts and experimentation in creating a new genre of cinema known as the Western. The first well-known Western movie The Great Train Robbery (1903), while not necessarily being the first ever Western, it is by both film historians and theorists definitely considered the pinnacle of the genre, that got it all started and that would be the first step in creating others similar to it, but also very different. Because it was still an unknown genre in film, there had not yet been established a set of rules as for how to construct films in this new experimental genre so change was to be expected.
The film’s story does not simply shines forth, but is also the foundation of the plot. The film’s plot makes the traditional guidelines applicable...
When it comes to western genre, the first thing we think about it is cowboys and gun fights which are set around 1800s-1900s. Which does play a major part in the film plots but that’s only one part out of many other plots. Western in the film genre has been proven to have a storyline based on conflicts and confrontation. Nearly all westerns share a central conflict between civilization and wilderness. Civilization is encroaching order, law-enforcement, organized settlements, upstanding citizens, established railroads and cultivated soil. Wilderness is the untamed aspect of the West. A Wide-open country, outlaws, reckless cowboys running free-range cattle and of course Native Americans. When we think of a Classic Western we think of a noble