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Introduction for full metal jacket
Essay on the full metal jacket
Introduction for full metal jacket
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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 film opens with potential American Marine recruits going through the process of basic training, in preparation for being sent to the war in Vietnam. They are subjected to the stripping down and rebuilding process overseen by Drill Sergeant Hartman. While most of the recruits take, and accept, Hartmann’s abuse, Private Leonard Lawrence does not fare so well. Hartmann gives Lawrence the nickname of “Gomer Pyle”, due to Lawrence’s constant failures to adopt the basic-training style mentality, which leads to Hartman punishing the others for Lawrence’s failures. This is the first frontier which, in Turner’s words: “[The frontier] strips off the garments of civilization and arrays him in the hunting shirt and the moccasin.” (Turner. 2.) As such, the other Marine recruits have already been stripped of their civilized outside world, and have adopted a primitive communal lifestyle in order to survive...
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...rontiersman himself.
Works Cited
Anderson, Mark Cronlund. Cowboy Imperialism and Hollywood Film. New York: Peter Lang Publishing Limited, 2007.
Ebert, Roger. (1987). “Full Metal Jacket,” [Online]. http://www.rogerebert.com/reviews/full-metal-jacket-1987. [2013 November].
Gruben, Patricia. “Practical Joker: The Invention of a Protagonist in ‘Full Metal Jacket,’” Literature/ Film Quarterly, Vol. XXXIII, No. 4 (2005): 270-279 [Online]. http://search.proquest.com.libproxy.uregina.ca:2048/docview/2036716/141FBFAE82564C172D3/1?accountid=13413 [2013, November]
Kubrick, Stanley (1987). “Full Metal Jacket,” [Online]. http://viooz.co/movies/4862-full-metal-jacket-1987.html. [2013 November].
Turner, Frederick Jackson. “The Significance Of The Frontier In American History.” In The Frontier in American History. New York: Henry Holt and Company Incorporated, 1948: 1-18.
Turner fails to realize the extent to which Native Americans existed in the ‘Wilderness’ of the Americas before the frontier began to advance. Turner’s thesis relies on the idea that “easterners … in moving to the wild unsettled lands of the frontier, shed the trappings of civilization … and by reinfused themselves with a vigor, an independence, and a creativity that the source of American democracy and national character.” (Cronon) While this idea seems like a satisfying theory of why Americans are unique, it relies on the notion that the Frontier was “an area of free land,” which is not the case, undermining the the...
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
There are many ways in which we can view the history of the American West. One view is the popular story of Cowboys and Indians. It is a grand story filled with adventure, excitement and gold. Another perspective is one of the Native Plains Indians and the rich histories that spanned thousands of years before white discovery and settlement. Elliot West’s book, Contested Plains: Indians, Goldseekers and the Rush to Colorado, offers a view into both of these worlds. West shows how the histories of both nations intertwine, relate and clash all while dealing with complex geological and environmental challenges. West argues that an understanding of the settling of the Great Plains must come from a deeper understanding, a more thorough knowledge of what came before the white settlers; “I came to believe that the dramatic, amusing, appalling, wondrous, despicable and heroic years of the mid-nineteenth century have to be seen to some degree in the context of the 120 centuries before them” .
In the article “The Thematic Paradigm” exerted from his book, A Certain Tendency of the Hollywood Cinema, Robert Ray provides a description of the two types of heroes depicted in American film: the outlaw hero and the official hero. Although the outlaw hero is more risky and lonely, he cherishes liberty and sovereignty. The official hero on the other hand, generally poses the role of an average ordinary person, claiming an image of a “civilized person.” While the outlaw hero creates an image of a rough-cut person likely to commit a crime, the official hero has a legend perception. In this essay, I will reflect on Ray’s work, along with demonstrating where I observe ideologies and themes.
According to the thesis of Fredrick Jackson Turner, the frontier changed America. Americans, from the earliest settlement, were always on the frontier, for they were always expanding to the west. It was Manifest Destiny; spreading American culture westward was so apparent and so powerful that it couldn’t be stopped. Turner’s Frontier Theory says that this continuous exposure to the frontier has shaped the American character. The frontier made the American settlers revert back to the primitive, stripping them from their European culture. They then created something brand new; it’s what we know today as the American character. Turner argues that we, as a culture, are a product of the frontier. The uniquely American personality includes such traits as individualism, futuristic, democratic, aggressiveness, inquisitiveness, materialistic, expedite, pragmatic, and optimistic. And perhaps what exemplifies this American personality the most is the story of the Donner Party.
This historical document, The Frontier as a Place of Conquest and Conflict, focuses on the 19th Century in which a large portion of society faced discrimination based on race, ethnicity, and religion. Its author, Patricia N. Limerick, describes the differences seen between the group of Anglo Americans and the minority groups of Native Americans, Asian Americans, Hispanics Americans and African Americans. It is noted that through this document, Limerick exposes us to the laws and restrictions imposed in addition to the men and women who endured and fought against the oppression in many different ways. Overall, the author, Limerick, exposes the readers to the effects that the growth and over flow of people from the Eastern on to the Western states
"Chapter 2 Western Settlement and the Frontier." Major Problems in American History: Documents and Essays. Ed. Elizabeth Cobbs Hoffman, Edward J. Blum, and Jon Gjerde. 3rd ed. Vol. II: Since 1865. Boston, MA: Wadsworth Cengage Learning, 2012. 37-68. Print.
Turner’s essay is motivated essentially by the fact that the frontier is disappearing. The 1890 Census explicitly states that “Up to and including 1880 the country had a frontier of settlement, but at present the unsettled area has been so broken into by isolated bodies of settlement that there can hardly be said to be a frontier line….[the frontier’s extent] can not therefore have a place in the census reports”. Turner’s essay is sparked by this statement because he does not want the frontier to disappear, since he believes that the frontier has given so much to the American culture and contributed so much to American history, and he believes
When looking at the vast lands of Texas after the Civil War, many different people came to the lands in search for new opportunities and new wealth. Many were lured by the large area that Texas occupied for they wanted to become ranchers and cattle herders, of which there was great need for due to the large population of cows and horses. In this essay there are three different people with three different goals in the adventures on the frontier lands of Texas in its earliest days. Here we have a woman's story as she travels from Austin to Fort Davis as we see the first impressions of West Texas. Secondly, there is a very young African American who is trying his hand at being a horse rancher, which he learned from his father. Lastly we have a Mexican cowboy who tries to fight his way at being a ranch hand of a large ranching outfit.
The Taming of the West: Age of the Gunfighter: Men and Weapons of the Frontier 1840-1900.
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.
My Review of Full Metal Jacket In Stanley Kubrick’s film Full Metal Jacket, the emphasis is spotlighted on the carnage of boot camp and the soldier’s life in Vietnam. The life of a soldier is not an easy one, as it requires great diligence and much sacrifice to ensure the safety and freedom to all those who are afraid and those who seek it. Stanley Kubrick makes sure that we see the harshness and ugliness of the Vietnam War as it was made to be seen. The movie starts with the life of boot camp, getting marines ready to be sent and fight over in Vietnam. The relationship between Private Joker and Private Pyle appears when the Drill Sergeant Hartman makes Private Joker the squad leader. Private Joker, is to make certain that Gomer Pyle cleans his act up and bring an end to the burdens that Pyle has put on the whole squad. Although Private Joker is trying his best to clean up the Private Pyle’s mess, he has met his match, and ultimately sees Pyle as a problem. During the scene where everyone in the squad prepares to beat Pyle with bars of soap wrapped in towels it shows that Private Joker is somewhat hesitant at first, but eventually hits Private Pyle multiple times with heavy blows. Analyzing the relationship between the two privates can be said that Private Joker was trying to help Private Pyle as much as he could, until Private Pyle suddenly breaks and it is made clear when Private Pyle is talking to himself while he is cleaning his rifle. Yes boot camp can be living hell for those who are psychologically unfit and not able to cope during times of great stress, and this can often make certain people “snap”. Stanley Kubrick does a fine job focusing on the stresses of boot camp, especially as this is a time of war and thousands of ...
At this point the drill instructor realizes that Leonard will never make it through boot camp without help. He assigns “Joker” (a fellow soldier and the main character of the film) to mentor him. Joker and Pyle work together on even the simplist of things that Pyle cannot get right, such as tying his boots. There is one scene in particular where Pyle is finally able to make it over the obstacle that has given him problems. That scene was a turning point because it shows that Pyle is capable to accomplish anything in boot camp with help from the other soldiers. In the Marine Corps boot camp, the soldiers are taught that they are weapons and their sole purpose is to kill. The drill instructor notes that there have been a lot of former marines that do horrible things, including Lee Harvey Oswald. He uses this to explain that they were trained within the Marine Corps and by the time that they are though, they would be capable of doing the same. You can imagine what being told your only purpose is to kill does to someone like that. A little later on, Pyle is starting to do well (even surpassing Joker in some ways). They start to learn how to shoot their rifles. The drill instructor immediately takes notice to Pyle’s proficiency with his
Over the years, the idea of the western frontier of American history has been unjustly and falsely romanticized by the movie, novel, and television industries. People now believe the west to have been populated by gun-slinging cowboys wearing ten gallon hats who rode off on capricious, idealistic adventures. Not only is this perception of the west far from the truth, but no mention of the atrocities of Indian massacre, avarice, and ill-advised, often deceptive, government programs is even present in the average citizen’s understanding of the frontier. This misunderstanding of the west is epitomized by the statement, “Frederick Jackson Turner’s frontier thesis was as real as the myth of the west. The development of the west was, in fact, A Century of Dishonor.” The frontier thesis, which Turner proposed in 1893 at the World’s Columbian Exposition, viewed the frontier as the sole preserver of the American psyche of democracy and republicanism by compelling Americans to conquer and to settle new areas. This thesis gives a somewhat quixotic explanation of expansion, as opposed to Helen Hunt Jackson’s book, A Century of Dishonor, which truly portrays the settlement of the west as a pattern of cruelty and conceit. Thus, the frontier thesis, offered first in The Significance of the Frontier in American History, is, in fact, false, like the myth of the west. Many historians, however, have attempted to debunk the mythology of the west. Specifically, these historians have refuted the common beliefs that cattle ranging was accepted as legal by the government, that the said business was profitable, that cattle herders were completely independent from any outside influence, and that anyone could become a cattle herder.
Few Hollywood film makers have captured America’s Wild West history as depicted in the movies, Rio Bravo and El Dorado. Most Western movies had fairly simple but very similar plots, including personal conflicts, land rights, crimes and of course, failed romances that typically led to drinking more alcoholic beverages than could respectfully be consumed by any one person, as they attempted to drown their sorrows away. The 1958 Rio Bravo and 1967 El Dorado Western movies directed by Howard Hawks, and starring John Wayne have a similar theme and plot. They tell the story of a sheriff and three of his deputies, as they stand alone against adversity in the name of the law. Western movies like these two have forever left a memorable and lasting impressions in the memory of every viewer, with its gunfighters, action filled saloons and sardonic showdowns all in the name of masculinity, revenge and unlawful aggressive behavior. Featuring some of the most famous backdrops in the world ranging from the rustic Red Rock Mountains of Monument Valley in Utah, to the jagged snow capped Mountain tops of the Teton Range in Wyoming, gun-slinging cowboys out in search of mischief and most often at their own misfortune traveled far and wide, seeking one dangerous encounter after another, and unfortunately, ending in their own demise.