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Westward expansion in the 1800s
Westward expansion in the 1800s
Westward expansion in the 1800s
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In their historical account of the American West, Robert Hine and John Mack Faragher suggest that the American Frontier:
Tells a story of the creation and defense of communities, the utilization of the land, the development of markets, and the formation of states. It is filled with unexpected twists and turns. It is a tale of conquest, but also one of survival and persistence, and of the merging of peoples and cultures that gave birth and continuing life to America as we think of and experience it today (page 5).
The enduring cultural expressions of the frontier were adapted into unique narrative traditions known as the “Western”. The Western genre portrays a story of conquest, competing visions of the land, and the quintessential American frontier hero who is usually a gunfighter or a cowboy. These Western archetypes can be observed in, The Outlaw Josey Wales, a film that employs revenge motifs that lead into and extended chase across the West and touches on the social and cultural issues of the American frontier.
The film is set during and after the American Civil War (1861-65). One of conflicts between the Northern states, the union, and the Southern states was how to proceed in the federal territories of the West. According to Mathew C. Hulbert, in his article titled Texas Bound and Down, this film “clearly captures how Civil War memory and film overlap; the ways in which the war is remembered, represented, and continues to influence the lives of men and women more than a century-and-a-half after its conclusion” (Hulbert). The Civil War drastically changed the social landscape of Missouri, and this is evident through what is observed in the film. The Outlaw Josey Wales shows the effects of the war on Missouri. According to Ge...
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...s than one. It reveals a larger issue at hand between the “white man” and the Indians. This is a common theme portrayed in Westerns—conflicting views of the land. When Watie talks to Josey about how the white man has deamed him “civilized” he expresses a great deal of shame. Watie goes on to talk about how he not only lost his family to the Union but also his pride and his heritage. He talks about being out of touch with his culture because he was forced off of his land and onto the land set-aside for his people by the Union. Watie admires Josey for his bravery, or edge as he calls it. There is a sense of honor and pride that Josey arries with him as he is determined to redeem what was lost. This gives Watie the drive to join Josey and redeem what was taken from him. Both of these men have something worth fighting and dying for and that’s what brings them together.
Despite the efforts of the community to make the ranch feel like home, Josey struggles with this transition. It is too similar to the life he once had. Josey tries to adjust to this community, however, he is reminded of his family and his untimate pursit of vengeance agaist the men who killed his family. Josey recognizes that this ranch is a symbol of a new life, but in order to enjoy this he must first take of what is important to him. Josey is a wanted man and the longer he lingers around this community without killing off those men after him, he puts their life in danger. This is one of many honorable acts of Josey. He knows that he man not live on to see the further development of his new community, but he is still willing to fight for the sake of avenging his family and saving their lives.
John Ford’s classic American Western film, Stagecoach (1939) shows many examples of political life and social behavior during it’s time. The plot is about nine travelers onboard a stagecoach from Tonto, Arizona to Lordsburg, New Mexico Territory. In the beginning, the passengers of the Stagecoach are unfamiliar with each other. However, their relationships grow as they get to know each other during their journey. Each character claims a different social position.
Zinn, Howard. A People's History of the United States: 1492-present. New York: HarperCollins, 2003. Print.
Tindall, George, and David Shi. America: A Narrative History. Ed. 9, Vol. 1. New York: WW. Norton & Company, 2013. 185,193. Print.
Lyon, Peter. The wild, Wild West; for the discriminating reader. New York, Funk and Wagnalls, 1969.
Sherman Alexie’s character’s often struggle to release themselves from the stereotypes that have been forced upon them. The narrators of these stories all become the Indian that the white man wants them to be in order to tell their stories. This can leave the readers with a sense of discomfort, which is exactly what Alexie wants to do. He wants the reader to feel uncomfortable with these stereotypes so that they know there is something wrong with attaching a group of people to certain standards like that their all alcoholics, live on reservations, and spiritual. He pushes this feeling of discomfort onto his readers to make them aware of social injustice and immorality towards Native Americans and much of this discomfort is projected through the use of dark humor, cultural assimilation, and ceremony.
Tindall, George B., and David E. Shi. America: A Narrative History. 7th ed. New York: W.W. Norton & Company Inc., 2007.
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
The American western frontier, still arguably existent today, has presented a standard of living and characteristics which, for a time, where all its own. Several authors of various works regarding these characteristics and the obvious border set up along the western and eastern sections have discussed their opinions of the west. In addition to these literary works by renowned authors, one rather convenient cinematic reference has also been influenced by these well-known, well-discussed practices of this American frontier. “True Grit”, a film recently remade in 2010 by the Cohen Brothers, crosses the boundaries of the west allowing all movie-goers to capture one idea of the western world. The movie, along with a few scholarly sources which will also be discussed offer a more ideal glimpse into the past of the western lands. The true nature of the west, both refuted and supported, is characterized well through the author’s dictation as well as the Hollywood interpretation introducing the land’s distinction between savagery vs. civilization, law vs. chaos, and loyalty vs. independence.
In Stanley Kubrick’s “Full Metal Jacket”, Turner’s Frontier is presented within the confines of Vietnam and shows the frontier in all of its brutality. Unlike other western style movies, which romanticise the frontier, Kubrick openly attacks the Turner Frontier myths, stating that rather than stripping the frontiersmen down and reforming them as the ideal example of American society, the Turner mindset, of completely stripping away one’s culture, actually transforms the frontiersmen into childlike figures, who are unable to think for themselves. In addition Kubrick states, when the frontier becomes an institutionalized idea, that the process of the frontier can backfire and end up creating a frontiersman with severe mental issues, which could lead to the death of many people if the frontiersman is pushed to the brink of self-destruction.
The Wild West is romanticized by many, despite the horrors people encountered and the lack of law it was home to people who wanted to settle away from city life. The West was home to many gang and bandits such as Butch Cassidy, Jesse James, and specifically, Billy the Kid. Billy the Kid is famous for being one of the most notorious outlaws of New Mexico and fought in the infamous gang war The Lincoln County War. In Robert M. Utley’s book, Billy the Kid: A Short and Violent Life, Utley describes the young gunslinger’s life upbringings, how his actions affected people and his untimely death, and an overall response to Utley’s work.
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.
A foray into nostalgic childhood memories reveal narratives that have saturated America’s culture for decades: A good man in a white hat and a bad man in a black one, lonely days on the open range with only a horse and the imminent threat of an Injun attack for company. The mythos of the wild, wild west is truly a cultural obsession. Perhaps it is the stunning western scenery, the rugged, independent masculinity, or the clear division of morality that makes wild west narratives so enchanting to America. Whatever, the reason, this mythos seems to be preferable to the real story of the American west: death and disease, oppression and colonization, and the genocide of the native population. America would clearly rather hear about the rugged man
Turner and Buffalo Bill both showed American westering as a tale of conquest, of either nature or Indians, but triumph in the face of difficult odds nonetheless. They also used similar iconography that was already popular in American culture at the time to draw their audiences in. Covered wagons and log cabins were set pieces in Buffalo Bill’s dramatizations, familiar pieces of American history that resonated with audiences who longed to see the simpler side of life actually come to life. In Turner’s writings, those same covered wagons and log cabins were nostalgic and romantic depictions of the lives westward pioneers were building in the free lands. Through these icons, Turner and Buffalo Bill rooted the value of exploration of new lands and hard work even further into American cultural ideals that they were before. The Frontier was, according to them, the essential American experience and many people agreed. But this American experience could not last forever and both men mourned the closing of the Frontier as a serious loss to American culture and development. For the West, so celebrated for its freedom and wildness, to be contained by the rigid lines of city life was a blow to the development of American culture in their minds. Structured primarily by their own ideas of masculinity, the rougher terrains and hardships of settling land were preferred and the containment and refinement were in a ways emasculating.
The West was a great era and all, but it is often mythologized. People think that cowboys were romantic, all white, could make a fortune in the west, and western towns were lawless. To tell you the truth, it’s the very opposite. Cowboys were poor, not everyone was white, there were harsh conditions. There was more than just fighting, whites, and men.