The movie Unforgiven the director under auteur theory Clint Eastwood directed over 30 motion pictures in many had a grumpy old man like Trouble with the Curve, Gran Torino, Space Cowboys, Cobb and even in Unforgiven. The director style of Clint Eastwood is somewhat predictable the audience knows what to expect from Clint Eastwood the movies may change the attitude is much the same under the author theory you know what to expect out of the director chair of Eastwood. Which gives Eastwood’s movies a distinguishable personality under the author theory (Goodykoontz, B., & Jacobs, C. 2014). However, in many of the films That Client Eastwood made he also stared in as the main actor the same as Eastwood's movies. Eastwood is a personality actor as …show more content…
Writer David Webb Peoples which of course wrote the movie in book form or screenplay before Eastwood could have brought the movie to life in cinema form. Cinematography by Jack N. Green according to IMDb staff. 1992 and Khan, M. 2014 was and is Eastwood's preferred cinematographer Jack Green had worked with Eastwood on Pale Rider as a cameraman and Green was later to be known as cinematographer who shadowed the lead of cinematographer Bruce Surtees which was nicknamed the Prince of darkness because he was famous for lowlight lighting with that said Green in the movie Unforgiven continued the trend of low-level lighting effect (Khan, M. 2014). However, without the actors, the director and the cinematographer would not have a …show more content…
However, this film as great as it did not have much of a personal effect or social effect other than bringing a forgotten era of the westerns back to life. The effect it could have on society may be to hunger for knowledge of the time period which in effect causing people to watch more westerns or even how great the battle can be inside one’s self for instance whether to instill vengeance on some that wronged another or to leave it to them to the justice system they may live in or in camas hands. However, because of Clint Eastwood's legacy, there is many items or memorabilia from the film available to those collectors of
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
My analysis begins, as it will end, where most cowboy movies begin and end, with the landscape.Western heroes are essentially synedoches for that landscape, and are identifiable by three primary traits: first, they represent one side of an opposition between the supposed purity of the frontier and the degeneracy of the city, and so are separated even alienated from civilization; second, they insist on conducting themselves according to a personal code, to which they stubbornly cling despite all opposition or hardship to themselves or others; and third, they seek to shape their psyches and even their bodies in imitation of the leanness, sparseness, hardness, infinite calm and merciless majesty of the western landscape in which their narratives unfold.All of these three traits are present in the figures of Rob Roy and William Wallace--especially their insistence on conducting themselves according to a purely personal definition of honor--which would seem to suggest that the films built around them and their exploits could be read as transplanted westerns.However, the transplantation is the problem for, while the protagonists of these films want to be figures from a classic western, the landscape with which they are surrounded is so demonstrably not western that it forces their narratives into shapes which in fact resist and finally contradict key heroic tropes of the classic western.
The Power of an Author Authors have the ability justify the worst actions. Authors have a way of romanticizing certain situations in order to convey a specific message. A good author has power to influence the reader into believing whatever it is the author wants. When it comes to the story of Hannah Dustan, authors such as John Greenleaf Whittier have romanticized her captivity story along with the actions she took throughout her journey. Introducing a character that will be seen in the story is one of the most vital parts when creating a piece of literature.
In 1939, Ford cast Wayne as the Ringo Kid in the adventure Stagecoach, a brilliant Western of modest scale but tremendous power, and the actor finally showed what he could do. Wayne nearly stole a picture filled with Oscar-caliber performances, and his career was made. He starred in most of Ford's subsequent major films, whether Westerns (Fort Apache, She Wore a Yellow Ribbon, Rio Grande, The Searchers ); war pictures (They Were Expendable); or serious dramas (The Quiet Man). He also starred in numerous movies for other directors, including several extremely popular World War II thrillers (Flying Tigers, Back to Bataan, Fighting Seabees, Sands of Iwo Jima); costume action films (Reap the Wild Wind, Wake of the Red Witch); and Westerns (Red River). His box-office popularity rose steadily through the 1940s, and by the beginning of the 1950s he'd also begun producing movies through his company Wayne-Fellowes, later Batjac, in association with his sons. Most of these films were extremely successful, and included such titles as Angel and the Badman, Island in the Sky , The High and the Mighty ( my personal favorite), and Hondo. The 1958 Western Rio Bravo, directed by Howard Hawks, proved so popular that it was remade by Hawks and Wayne twice, once as El Dorado and later as Rio Lobo.
In “The Thematic Paradigm,” Robert Ray explains how there are two vastly different heroes: the outlaw hero and the official hero. The official hero has common values and traditional beliefs. The outlaw hero has a clear view of right and wrong but unlike the official hero, works above the law. Ray explains how the role of an outlaw hero has many traits. The morals of these heroes can be compared clearly. Films that contain official heroes and outlaw heroes are effective because they promise viewer’s strength, power, intelligence, and authority whether you are above the law or below it.
Few events in history have impacted a culture as much as the introduction of the horse into plains Indian culture. The positive impact of the horse on North America's indigenous people has been romanticized forever in popular culture. The portrait of plains Indian horse created by the likes of John Wayne and Clint Eastwood is far from complete. While the horse did make nearly every aspect of Native American life more efficient, the spread of horses also contributed to the violence in the southwestern region of the United States in three ways. The trade of horses among the plains Indians created competition for resources, encouraged and contributed to raiding, and allowed the domination of the region by the Apache Indians.
One could easily dismiss movies as superficial, unnecessarily violent spectacles, although such a viewpoint is distressingly pessimistic and myopic. In a given year, several films are released which have long-lasting effects on large numbers of individuals. These pictures speak
Integrity is the basing of one's actions on an internally consistent framework of principles. Meaning, one who has integrity bases their actions on a moral code of honor, character, strength, and courage. These principles guide a character’s motive and cause, putting public image aside to lead a life chivalry and conviction. One example this is Willie Bodega of Bodega Dreams by Ernesto Quiñonez. Although Willie’s means are shady, he strives for the betterment of Spanish Harlem through the improvement of abandoned and damaged apartments. Next, there is John Proctor of The Crucible by Arthur Miller. Proctor refuses to provide a false confession is a true religious and personal stand. By refusing to give up his personal integrity Proctor proclaims his conviction that such integrity will bring him to heaven. Lastly, there is Holden Caulfield of Catcher in the Rye by J.D. Salinger. However, Holden displays the intrinsic converse of integrity by embodying a hypocrite. Willie Bodega and John Proctor embody the principles of integrity and let it shine through their actions. However, Holden Caulfield shows his deceit and impiety through his consistent dishonesty and hypocrisy.
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.
When talking about Billy Wilder as a director a popular, controversial topic is whether or not he is considered an auteur. There have been many critics who have attempted to prove that Wilder is not an auteur but many have fallen short on providing a strong and convincing argument. Billy Wilder is an auteur for many reasons; the most obvious reason though is by comparing his four most famous movies. Wilder was very involved in the process of making the film and was often the writer, producer and director of the film. By being so involved he was able to make scenes his own, especially since Wilder wanted every detail of the scene written out in the script. He also has similar themes of cynicism towards different elements of human nature but would lighten the mood of the film by adding a comedic element to the scene. Wilder also enjoyed pushing the boundaries of screenwriting and to be able to get an approval from the Production Code Administration, he had to add comedy to the script. Another reason that proves Wilder as an auteur is through his work with famous actors and actress. Wilder had a knack for dealing with difficult actors and was often able to make them who he wanted. Finally Billy Wilder stuck to very traditional uses of camera angles and movements that set him aside from other directors. Billy Wilder was not only an influential director but also an auteur through his involvement in writing, directing, and producing the film, the cynicism mixed with comedy shown through the characters, and his traditional use of camera movement and angles compared to other directors during the 1950’s.
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 highly acclaimed Citizen Kane creates drama and suspense to the viewer. Orson Welles designed this film to enhance the viewer’s opinion about light and darkness, staging, proxemics, personal theme development, and materialism. Creating one of the most astounding films to the cinematography world, Welles conveys many stylistic features as well as fundamentals of cinematography. It is an amazing film and will have an everlasting impact on the world of film.
The novel Erasure by Percival Everett explores the development of writer Monk Ellison as well as the frame tale Monk sells. After writing My Pafology, Monk continues to struggle with his sister’s death, his mother’s deteriorating health, and the growing sense that he has “sold out”. Monk writes about story ideas, his feelings on art form, and flashbacks to when his father was alive or when he was an adolescent. Through these vignettes of Monk’s thoughts, separated by three ominous X’s, we find not only the extreme intelligence that he has, but also the sadness and isolation his “uniqueness” has brought him. Specifically, he ruins his relationship with Marilyn by criticizing how the book We’s Lives in da Ghetto was on her nightstand, the book
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.
plans; it is a world run by Pierce Inverarity, a character who is dead when