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How movies sterortypes ethnic groups
Fargo essay 123 help me
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Joel and Ethan Cohen’s sixth film “Fargo” first released in 1996 has not only been able to stand the test of time, but can now be watched as a period piece of sorts as a snapshot into a period of time that was not so long ago, but in retrospect shows us how much has changed in twenty years.
“Fargo” is ironically set in the bleak Minnesota winter (not North Dakota), and revolves around a convoluted kidnapping plot gone terribly wrong. Mousy, sleazy car salesman Jerry Lundergaard (William H. Macy) is financially in over his head after embezzeling money from his father-in-law’s car dealership and his world is about to come crashing in on him. He decides that his best way out is to “fake” the kidnapping of his wife and have his father-in-law (Harve Presnell) pay the ransom for her safe return. He enlists the help of two bumbling career criminals (Steve Buscemi and Peter Stormare) to carry out a VERY poorly thought out scheme that unravels as quickly and haphazardly as it was thought of by Jerry.
The heroine, police chief Marge Gunderson (Frances McDormand who won an Academy Award for...
The foils of everyday life make for surprisingly quality entertainment. This concept may appear quite counterintuitive, but it is constantly proven true in Joel and Ethan Coen’s 1996 film Fargo. Beyond the film’s oddball subject matter lies a surplus of middle class misfortunes and simpleton fodder. These seemingly extraneous components of the film are actually extremely crucial to the atmosphere the Coen brothers created. Despite having such a lack of regard for human life, the film still is extremely relatable to the common man and blue collar USA. This is exactly what Joel and Ethan Coen were aiming for with this film. They were trying to create as relatable and real of an atmosphere as possible. This persistence to creating a believable
“The Onion Field” directed by Harold Becker is a true story, set in the 1960’s, about two men named Greg Powell (James Woods) and Jimmy Smith (Franklyn Seales) who meet through a mutual friend. The two men become close and soon become business partners. They go around together robbing places such as stores to get money. On one excursion to gain some money, they are stopped by two Los Angeles Department police officers named Karl Hettinger (John Savage) and Ian Campbell (Ted Danson). When Campbell asks Powell to step out of the car, he grabs him and puts a gun to his back, pushing him around to the other side of the car. Powell forces the other officer, Hettinger, to hand over his gun to Smith. Without a choice he does so. Powell and Smith take the officers prisoner and drive them out to a middle of nowhere onion field in Bakersfield, California. Powell ends up shooting Campbell once in the mouth, but not before mentioning the Lindbergh Law. He later shoots him four more times while Smith shoots at Hettinger who has escaped. After Smith escapes with the car, Powell is arrested and blames the shooting on Smith. Over several years an investigation and trial goes on to find out the true events of that night. Both men are sentenced to the gas chamber and wait for their time in prison. In the meantime, Hettinger is suffering from severe post-traumatic stress disorder, as well as depression and keeps having nightmares about what occurred that night. He loses his jobs and begins stealing as a coping mechanism. After some time, Powell and Smith get a re-trial and are sentenced to life. After the trial, Hettinger is offered a job in Bakersfield, near the onion field. He and his family move out there. Eventually he learns to deal with the...
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.
To bring these films into historical context, North by Northwest was shot and released in the heart of an era Thomas Hine calls th...
By adapting the standard Hollywood ‘road’ movie narrative (east to west), incorporating modern music as non-diegetic sound and utilizing shocking scenes – both socially and in terms of ignoring every written and unwritten filming law - Dennis Hopper’s Easy Rider stands as a testament to the changes going on in the US during the late 1960s and creates a certain distance to the previous way of seeing America.
A more modern outlook on the film recognizes the film's flaws but gives it, it’s credit as the last fully realized work of one of the most important directors in American cinema history. Ford understood that an audience's recollections of older, less complex Westerns would add a layer of expressiveness to the viewing experience. The black-and-white structure helps him achieve this. Ford’s decision to shoot the film in black and white in 1962 produced a dark, anachronistic look, while the unconcealed soundstage effects of the film’s opening scene reinforced Ford’s vision of a wilderness, interiored Western frontier. Just as Ford intended, many of the flashback scenes are masked in darkness, whereas the frame tale is immersed in light. This con...
Clint Eastwood’s film Unforgiven is often called a “new” or “revisionist” Western because it is part of a group of films that revitalized the Western genre in the early nineties and because it provides a narrative about the Western within its storyline. Previou s Western films focused on the story of the lone outlaw while he seeks revenge for the wrongs done to him and for his version of the American Dream. They fall right into the stereotype of the Western in many ways: fantastic gun skills, revenge quests, Indian fights, and lowly Mexicans. The surface narrative of Unforgiven almost follows the storyline one would expect from a Western film. An infamous but retired outlaw gets back with his partner to uphold the honor of a woman, albeit a whore, while also battling internal conflicts. In the end, justice is served, the bad
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.
Forks Over Knives. Dir. Lee Fulkerson. Prod. John Corry. Perf. Collin Campbell and Caldwell B. Esselstyn. 2011. 2011. Film.
In Jim Jarmusch’s Dead Man, he pays homage to the classic style of western films while taking his own eccentric take that puts the film in a league of its own. With a combination of elements related to the western genre and a genre Jarmusch creates all on his own, the viewer can begin to explore and appreciate the unique film, Dead Man.
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.
Although “Thriller” is beloved as a classic 80’s pop music video, it manages a successful dive into the social and political issues that make zombie flicks so great. Pulling from a history of work on zombies, Michael Jackson packs so much history into such a concise package. Through using the texts of Amy Devitt and Kerry Dirk we are able to uncover Jackson’s experience and social commentary in “Thriller”. He simultaneously writes a hit song, revolutionizes music videos, and still remarks on the societal problems of the early 1980’s. However, the story goes much further than that of a number one hit. “Thriller” owes its success to an important cultural figure that looms as large as
Ten years before Tarantino made Pulp Fiction, the academic and critic Frederic Jameson identified some of the key features of postmodernism, and debated whether these were a true departure from modernism, or just a continuation of the same rebellious themes. His paper on postmodernism tends towards the latter view, but at the same time prophetically pinpointed the essential departures that postmodernism has made from what has gone before. Tarantino’s film does not continue the debate in an academic way, but instead presents a virtuoso visual performance of the ideas that Jameson could only dimly perceive. These ideas include pastiche, a crisis in historicity and a blurring of the distinction between high culture and low culture.
Trendy directors Justin Benson and Aaron Moorhead (“Resolution”, “Spring”) return to their trippy hallucinations deeply connected to enigmatic cults and sinister characters. However, their induced fear of the unknown, otherworldly paranoia and suicide fascination simply don’t convince me.
David Lynch employs parody and hyperrealism in his hit 1990s Tv series, Twin Peaks: a detective story that melts into a soap opera with hints of sitcom. Twin Peaks (which is apparently set in modern day but somehow incorporates elements of 50s style and dress) fully embodies the potentialities of postmodernism through its humorous and hyperbolic portrayal of characters and themes.