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The american west history
Western film genre style
Western film genre style
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The Wild West 9MGI
The Wild West was a period of great change in North America. After 1775, the American Colonies began to expand westward in search of more land. This expansion was led mostly by cattle ranchers in need of new pastures for their herds. Over time, people gradually left their homes and friends on the East coast, and moved into little townships in the west. This would be a very difficult decision for them, since they generally didn’t know whether they would be able to support themselves at their new place. Many Wild West movies are set in the latter half of the 1900s.
A “Western Film” is a film genre dedicated to this period in time, where Cowboys, Indians and Outlaws ran wild. The very first Western films showed in the 1890’s, these were; Annie Oakley, Bucking Broncho, Buffalo Bill, Buffalo Dance and Sioux Ghost Dance. They were trying to show audiences the “heroics” and the “bravery” of fake people, which I think flawed many people’s impressions of what makes a real man, as it would almost always depict the man as a hero who stands up for the weaker many, is great with a gun, can take down several men at once with just his fists, which just isn’t possible. Personally, I think this has skewed gender roles over the years, even just slightly, and only now are we “recovering” and realizing that not everyone is a macho-man.
Western Films are very standard, the protagonist is generally a handsome rogue cowboy or gunslinger. They always have some sort of antagonist or “evil” groups that take advantage of the general population, thus bring them wealth and notoriety. People that watch Western films expect to see cowboys, US Rangers, gunslingers, thieves, outlaws and trains are a common feature.
In th...
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... out of its hiatus. Otherwise the genre will grow stale and no revenue will be produced. This can be seen happening in the Call of Duty franchise of video games, as they have not innovated in many years, the games’ sales figures have been dropping exponentially. With these points made, I feel that without a break in the industry, not just a slowdown as it is now, the genre will fail.
Works Cited
(I was going to fix this up when I finished) http://www.artofmanliness.com/2013/06/04/best-western-movies/ http://en.wikipedia.org/wiki/List_of_TV_Westerns http://www.fiftiesweb.com/western.htm http://www.westernpolicy.org/2011/07/05/why-western-movies-became-popular-in-america/ http://www.imdb.com/title/tt0046303/ http://www.forbes.com/sites/insertcoin/2013/11/08/activision-admits-call-of-duty-ghosts-didnt-outsell-black-ops-2-at-launch/
movies;
Shane (1953)
True Grit
To many families the prospect of owning land was the central driving force that brought them to the land known today as the wild Wild West. Much propaganda wa...
Movies are a new edition in today’s culture. They are a new form of art medium that has arrived in the late 1900s and were a new way to express ideas and viewpoints of the time. A good example of this is the movie The Manchurian Candidate. The movie had a simple plot a man is kidnapped after the Korean war and is hypnotized to work for the communists and take down the U.S. This movie showed the American public’s fear of communism at the time. If a movie like this can easily portray the fears of the American people at the time then it can easily portray stereotypes of gender. There have been thousands of movies where the male protagonist is a rough tough dude but there is one movie that has that stereotype is broken. That movie is none other than Napoleon Dynamite.
"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--
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.
In The Pathos of Failure, Thomas Elsaesser explains the emergence of a new ideology within American filmmaking, which reflects a “fading confidence in being able to tell a story” (280) and the dissolution of psychologically relatable, goal-oriented characters. He elaborates that these unmotivated characters impede the “the affirmative-consequential model of narrative [which] is gradually being replaced by another, whose precise shape is yet to crystallize” (281). Christian Keathley outlined this shape in more detail in Trapped in the Affection Image, where he argued that shifting cultural attitudes resulted in skepticism of the usefulness of action (Keathley). In Robert Altman’s McCabe & Mrs. Miller and Roman Polanski’s Chinatown, this crisis of action is a key element of the main characters’ failure, because it stifles the execution of classical narrative and stylistic genre conventions.
The American West was the land of opportunity for many groups of people from 1865 to 1890. For farmers and ranchers, the American west was a land of opportunity due to low cost of land as a result of the Homestead Act and the a chance for Americans, including immigrants and blacks, to achieve the American dream and make a profit by growing crops such as cotton for the thriving textile industry and raising cattle for the upcoming cattle industry. For the miners, the American West was seen as an opportunity to get rich through the gold and silver rush and was even popular in other parts of the world where immigrants responded to the rush as well; although most were not successful. The America West offered opportunities for Americans, both rich and poor, to establish a new life and achieve economic independence.
Western films are the major defining genre of the American film industry, a eulogy to the early days of the expansive American frontier. They are one of the oldest, most enduring and flexible genres and one of the most characteristically American genres in their mythic origins - they focus on the West - in North America. Western films have also been called the horse opera, the oater (quickly-made, short western films which became as common place as oats for horses), or the cowboy picture. The western film genre has portrayed much about America's past, glorifying the past-fading values and aspirations of the mythical by-gone age of the West. Over time, westerns have been re-defined, re-invented and expanded, dismissed, re-discovered, and spoofed. But, most western movies ideas derived from characteristics known to the Native Americans and Mexicans way before the American culture knew about it. What you probably know as a good old western American movie originated from a culture knows as vaqueros (cowboys for Spanish). They are many misrepresentations of cultures and races shown throughout movies from as early as 1920's with silent films. Although one could argue that silent film era was more politically correct then now a day films, the movie industry should not have the right of misrepresenting cultures of Mexicans, Indians and there life styles in films known as western films.
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.
As the twentieth century approached, America was experiencing a time of considerable expansion. All eyes were looking for ways to make the United States a larger, more powerful, and more efficient country. Because of this wave in American society, there was no movement given more devotion than the settling of the West. The range-cattle industry in its various aspects, and in its importance to the United States and particularly to the Great Plains, has been a subject of focus to Americans since its origin in the mid 1800's. This industry was rendered possible by such factors as vast sections of fertile land, the rise of heavy industry involving the great demand for beef, and projected commercial tributaries, such as railroad lines across the frontier. The West was turning toward the future - A future that held industrial promises of high monetary rewards as well as a valuable addition to a growing America. However, like any other industry, the West needed a labor force. Workers with special skills and qualities were necessary to support a booming new frontier. Previously untaught skills such as riding, roping, and branding could not simply be acquired by the average American. Athletic, rugged men were needed to settle the West. However, these men also needed inborn courage and quick thinking to utilize these skills effectively. The general public, however, under the influence of decades of "Western" movies and television shows have created an imagery of these "men of the west" or "cowboys" that is extremely inaccurate. American society has come to regard these settlers as the purest and noblest Anglo-Saxons. In reality, a great portion of the work contributed towards the settling of the western frontier was performed by minorities, largely consisting of African Americans.
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 cowboys of the frontier have long captured the imagination of the American public. Americans, faced with the reality of an increasingly industrialized society, love the image of a man living out in the wilderness fending for himself against the dangers of the unknown. By the end of the 19th century there were few renegade Indians left in the country and the vast expanse of open land to the west of the Mississippi was rapidly filling with settlers.
At the beginning of the list would be the casting choices, particularly Johnny Depp, a white American male, playing a Native American, despite him having no Native heritage himself. This is something that has been questioned regularly by people watching the movie, and it honestly boils down to that racism still exists today, and the whitewashing of films, while less frequent, still happens. Native Americans were slaughtered in Manifest Destiny in cases like the Trail of Tears, with a myriad of other tragedies enforced by the United States Government. Having a white person playing a Native American can help reinforce the stereotypes, mainly because the actor will be less aware of the unintentional harm that they are inflicting. “The Lone Ranger” also has the issue of guns randomly being shot off in the middle of a town, not dissimilar to “Wild Wild West”. As previously stated, it isn’t likely that a successful society was started by people who don’t even understand gravity. The typical tools were used, such as handguns with rotating bullets for accuracy. While the randomly shooting guns are probably supposed to give an exciting and uncontrollable edge to the movie, it really is just stereotypical and expected at a certain point. The older looking town, salons, environment, and setting in general were also very similar to “Wild Wild 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.
Dirty Harry(1971) is the movie my arguments are based around along with these Westerns that portray white male power, traditional values, and vigilantism such as McLintock! (1963) and A Fistful of Dollars (1964). Clint Eastwood the star in Dirty Harry and A Fistful of Dollars shows the white, masculine male as the strength and the man who brings justice, law, and order to the city where a lot of change has taken place recently with the hippie counter culture movement.. John Wayne the star of McLintock! brings the same values to the table as Clint Eastwood and shows the values of a Western through his McLintock character.. Both of their careers have been made through portraying characters that are conservative and this does not change with Clint