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Film assignment over bonnie and clyde essay
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Rebellion, mischief, and killing: The American outlaw couple has been one of the most iconic folk stories of cinema. Bringing violence and heart- throbbing suspense into an action packed storyline, crime films had captured the attention of many Americans during the 1960s. One of these films, in particular, introduced violence which had never been seen before: Bonnie and Clyde. Establishing a rather complex and intertwined mixture of love, murder, and adventure, the film pulled viewers into the bank- robbing journey of Bonnie Parker and Clyde Barrow. Its successor, Badlands, came a few years later and continued to adopt the theme of the “outlaw couple.” However, its aesthetic and dreamy storyline engaged viewers in a crime film unconventional and rather mild in its approach to violence. In whatever way they were …show more content…
They are also based on the “Mad Dog Killer” of the 50s and the real Bonnie and Clyde--adding to the eeriness of both plots. More importantly, they signify an insatiable desire for discovery which derives from their boring and placid lives. After all, how do two sets of people look so beautifully benign and yet menace the person who looks at them? It’s a mysterious twist for viewers, who try to decipher the characters and understand their motives. Terrence Malick’s Badlands and Arthur Penn’s classic Bonnie and Clyde seem to exhibit a variety of similarities; however, upon further examination, their differences convey a completely distinct structure and interpretation of American crime couples on the run. The aesthetic, fairytale- like methods Malick employs in Badlands suggest a striking difference from Penn’s pragmatic Bonnie and Clyde. Malick’s construction of a fairytale amounts to an unsuccessful interpretation of crime lovers through its banality and unrealistic
Bang! Pow! Bullets are raining down on the infamous Bonnie and Clyde. It is a standoff with the local police department. Bonnie and Clyde are in trouble again; robbing a liquor store of their cigarettes and their liquor. It seems as if Bonnie and Clyde were the greatest pair of criminals in history.
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.
In her book, Limerick describes the “idea of innocence” that permeated the American West (36). According to the author, the underlying motive for every action was pure (even when it really was not). According to Western American folklore, early settlers did intend to victimize Indians and trespass on their land, but instead came to America to pursue new opportunities and improve their lives (Limerick 36). The same ideological theory may be applied to the motivations of the sensationalized outlaws from the time. For example, in her book Limerick details the life of John Wesley Hardin, an outlaw, who began his violent life of crime at the age of fifteen (36). According to the story, Hardin shot and killed a black man (Limerick 36). However, idolized as the son of a preacher, Hardin hid his crimes behind the veils of “bravery” and “honor” (Limerick 36). He claimed that he actually shot the man --...
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.
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.
Bernstein, Matthew. “The Classical Hollywood Western Par Excellence.” Film Analysis: A Norton Reader. Eds. Jeffrey Geiger and R.L. Rutsky. New York: W.W. Norton & Company, 2nd edition, 2013. 298-318.
Clyde Barrow and Bonnie Parker burst upon the American Southwest in the Great Depression year of 1932. At the time of Clyde’s first involvement with a murder, people paid little attention to the event. He was just another violent hoodlum in a nation with a growing list of brutal criminals, which included Al Capone, John Dillenger, Pretty Boy Floyd, and the Barker Gang. Not until Bonnie and Clyde joined forces did the public become intrigued. The phrase “Bonnie and Clyde'; took on an electrifying and exotic meaning that has abated little in the past sixty years.
Jesse James and Billy the Kid are almost perfect examples for the definition of outlaw. Billy and Jesse lead a life of defiance, always running from the law, their lives clinging to existence, hoping death was not a breath away While running from a governor or robbing a bank, both Billy and Jesse were not the type of men that stop and smell the flowers. It is hard to think that these two men were proud of all they had done, but their choices lead them to become legends and icons of the wild wild west, and their fast lives created senerios in the minds of young and old people everywhere. Their stories were embedded in the history of America, stories of two not so different men.
Westerns have been around for many years. Some would consider westerns to be American classics because they describe early life in a mostly undiscovered America. In class two western films were watched and discussed. These two westerns were High Noon and Shane. On the surface, these movies are categorized as the same genre and look very similar but after further inspection it can be determined that the movies have a lot of differences. Of course, both movies share the same central theme of law versus social order, but the way each movie portrays this central theme is very different. This universal theme between the two movies can be investigated through, setting, violence, view of family, how women perceive guns/violence, and the choice of
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.
Bonnie Parker grew up with a normal childhood went to school every day was an above average student. She was born in Rowena Texas on October 10, 1910. Her father Charles Parker was a brick layer, but he died when bonnie was only four. After her father’s death the family moved in with her grandparents by Dallas Texas. She met Roy Thornton and soon after they got married, but Thornton got in trouble with the law and sentenced to five years in prison leaving bonnie on her own. She had a waitress job but was unhappy after Roy left. Until went to visit a friend in West Dallas where she then met Clyde Barrow. Clyde was born March 24, 1909 in Telico Texas. Clyde Barrow’s father was Henry Barrow who was a share cropper. He was one of eight children in the family. Clyde’s academics was anything but consistent. When his father quit farming the family moved to West Dallas which was were his dad opened a service shop. Clyde started high school but that was short lived he dropped out of school. Bonnie and Clyde met in West Dallas at a mutual friend’s house .Bonnie’s life prior to their crime spree was completely normal for a teenage high school student job at a café, showing no signs of becoming a notorious robber. Clyde on the other hand was the complete opposite. After dropping out of high school he went out with his brother selling stole...
The films protagonists Kit Caruthers (Martin Sheen) and Holly (Sissy Spacek) are loosely based on the real life adolescent criminals Charles Starkweather and his girlfriend Caril Ann Fugate. Starkweather and Fugate become infamous after their murder spree through Nebraska and Wyoming in the 1950’s, however the story of two young fugitives in love is not one that is unfamiliar with audiences; the most notable is Arthur Penn’s Bonnie and Clyde (1967). The character of Kit also bears a resemblance to Jim Stark, James Dean’s character i...
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.
However, upon the new changes in cinema—the idea of ideology shifted as well. Modernist Cinema subverted that typical dominant ideology. There is always a larger question poses about the film as a whole; why was this film made? Badlands situates the spectator in the position to decide whether or not murder is evil based on the visuals he or she views. The author’s hopes is that by creating unidentifiable characters and a nonchalant world that the spectator will realize that the idea of murder isn’t in fact being promoted merely the opposite—it’s being subverted. The subject matter of this film is one that is certainly unpleasurable in terms of entertainment but actually a dissatisfaction intending to comment on society as a whole. This intentional provocation involves “the attack on ‘entertainment’ cinema [as] part of a broader attack on the whole of ‘consumer society’” (Wollen, 424). Cinema serves as a distraction from society, but also operates to make a point to its intended audience. The point being the obvious, murder should never be morally acceptable. Its consequences typically should evoke a reaction that testifies against nature of the