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Myth of the old west
Film analysis of stagecoach
Myth of the old west
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The Western as a Genre
John Ford’s Stagecoach (United Artists) has been hailed as the official Western Classic. Released in 1939 after the lull in production of Westerns caused by the advent of sound and The Great Depression during the mid 1930’s, it is considered one of the key films that helped revived the A-Western in the 1940’s prior to WWII. Stagecoach has the classic Western recipe. The main staple of that recipe in Stagecoach were authentically dressed cowboys and town folk, the dress determined who or what they were; transportation in the form of horses, wagons, or stagecoaches; an authentic location, Monument Valley for example; and varying clashes some between Indians and settlers and some between individuals and communities… This recipe had been used many times over by the time Stagecoach is filmed in 1939.
The development of the Western genre originally had its beginnings in biographies of frontiersmen and novels written about the western frontier in the late 1800’s based on myth and Manifest Destiny. When the film industry decided to turn its lenses onto the cowboy in 1903 with The Great Train Robbery there was a plethora of literature on the subject both in non-fiction and fiction. The Western also found roots in the ‘Wild West’ stage productions and rodeos of the time. Within the early areas of American literature and stage productions the legend and fear of the west being a savage untamed wilderness was set in the minds of the American people. The productions and rodeos added action and frivolity to the Western film genre.
The American film industry’s early attempts at the narrative Western were limited and in the early years were produced mainly in the east. During this early time in the film industry the...
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...he years from a classic plot to including aliens, but the basic recipe is the same. A lone cowboy on the edge of society, placed in some predicament that causes him to have to use the violence he has the capability to use, but doesn’t like using to get himself or others out of the predicament.
Works Cited
Sturges, J. (Director) (1960). The magnificent seven [Theater].
Ford, J. (Director) (1939). Stagecoach [Theater].
Porter, E. (Director) (1903). The great train robbery [Theater].
Hughes, H. (Director) (1943). The outlaw [Theater].
Friedman, L., Desser, D., Kozloff, S., Nichimson, M., & Prince, S. (2014). An introduction to film genres. New York, London: W.W. Norton & Company.
Lewis, J. (2008). American film a history. New York, London: W.W. Norton & Company.
Buscombe, E. (1988). The bfi companion to the western. New York : Atheneum.
"Relocating the Cowboy: American Privilege in "All the Pretty Horses"" Pepperdine University: Global Tides Seaver Journal of Arts and Sciences. Maia Y. Rodriguez, 2014. Web. 2 May 2016. . The Western typically illustrates the journey of a man, usually a horse riding cowboy, into the Western frontier where he must conquer nature "in the name of civilization or [confiscate] the territorial rights of the original inhabitants... Native Americans" (Newman 150). What this brand of mythology promotes is precisely the values of American culture: rugged individualism, achievement and success, activtity and work, democracy and enterprise, and--most importantly--
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.
Wright, Will. (2001). The Wild West: The Mythical Cowboy & Social Theory. New Delhi, London: Sage Publications.
The Man Who Shot Liberty Valance (1962) and The Wild Bunch (1962) are both critically acclaimed western films, regarded as some of the best in their genre. They are both different however in their portrayal of the western myth and the characters therein. This essay will compare and contrast these movies focusing on firstly their depiction of the national identity and mythology of the old west. Secondly, it will look at the differences of the portrayal of different character types, with specific reference to minority groups and women. Finally this essay will look at the two films comments on the development of America and American democracy in the civilising mission of the old west.
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
The story is an Eastern take on the Hollywood western with a dash of satire,
For many Americans, the image of the cowboy evokes pleasant nostalgia of a time gone by, when cowboys roamed free. The Cowboy is, to many Americans, the ideal American, who was quick to the draw, well skilled in his profession, and yet minded his own business. Regardless of whether the mental picture that the word cowboy evokes is a correct or incorrect view of the vocation, one seldom views cowboys as being black. The first cowboy I met was from Texas and was black. After he told me that he was a cowboy, I told him that he had to be kidding. Unfortunately, I was not totally to blame for my inability to recognize that color has nothing to do with the cowboy profession; most if not all popular famous images of cowboys are white. In general, even today, blacks are excluded from the popular depiction of famous Westerners. Black cowboys were unheard of for almost a century after they made their mark on the cattle herding trade, not because they were insignificant, but because history fell victim to prejudice, and forgot peoples of color in popular depictions of the West and Western history.
Classic film noir originated after World War II. This is the time where post World War II pessimism, anxiety, and suspicion was taking the world by storm. Many films that were released in the U.S. Between 1939s and 1940s were considered propaganda films that were designed for entertainment during the Depression and World War II. During the 1930s many German and Europeans immigrated to the U.S. and helped the American film industry with powerf...
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.
The Latin American film genre is one of the most known genre worldwide and one of the most popular and successful of all of the genres in this business around the world. Yearly a number of productions from Latin America become favored and demanded successes, often-earning high levels of recognition and recommendation. In foreign film categories and in events and functions such as the Oscars, which are very highly respected around the world, Latin American films are awarded and praised and unquestionably make audiences sit on seat’s edge to bear mind films being produced in countries here. Latin American films are most likely to be as successful as they are because of the mixture of all of the elements, which their cinema provides, including
A typical Western would usually be set in the late 19th century in the mid-west of America in a remote town. The town is usually small, lonely and unwelcoming. Typically a western set looks like it is in the middle of a desert with sand, cacti and tumbleweed which gives a desert look, there are usually never any lakes or rivers around these features make the place look really hot and deserted. The buildings are generally timber board houses with swinging doors and outside the buildings are places to keep their horses, there is also always a General Store and a Saloon. Horses and carriages and cattle are used to give a western feel. The cowboys are typically dressed in western style clothing for example they wear simple shirts and jeans they may also wear ponchos, waist coats, hats, boots with spurs, guns and a belt to hold the gun and bullets, Hero's tend to wear lighter clothing and the villain’s tend to wear darker clothing.
The story of the American West is still being told today even though most of historic events of the Wild West happened over more than a century ago. In movies, novels, television, and more ways stories of the old west are still being retold, reenacted, and replayed to relive the events of the once so wild and untamed land of the west that so many now fantasize about. After reading about the old west and watching early westerns it is amazing how much Hollywood still glorifies the history and myth of the old west. It may not be directly obvious to every one, but if you look closely there is always a hint of the Western mentality such as honor, justice, romance, drama, and violence. The most interesting thing about the Old West is the fact that history and myth have a very close relationship together in telling the story of the West.
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.
In this essay the following will be discussed; the change from the age of classical Hollywood film making to the new Hollywood era, the influence of European film making in American films from Martin Scorsese and how the film Taxi Driver shows the innovative and fresh techniques of this ‘New Hollywood Cinema’.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.