¶ … Western films, "Shane," made in 1953 and directed by George Stevens, and "Unforgiven," made in 1992 and directed by Clint Eastwood. Specifically, it will analyze the two films, and discuss their importance in the genre of Western films. Today, the classic Western is a film gone out of style, but these two films live on as classics, generally because they deviate from the classic Western model, by showing the characters three dimensionally, and the violence as real and devastating.
TWO WESTERN FILMS
"Shane" does not rely on elaborate sets and costuming to get its message across to viewers. One reviewer called the sets "spartan" and the language of the film "laconic." The characters of this Western make the film the classic that it has become. Shane is a man of few words, but much action, and he firmly stands behind his beliefs. From the opening scene, when he rides down into a valley with a huge chain of mountains behind him, the viewer understands that his character is larger than life, and it is right that he came down from the "mountaintops" to save the struggling family in the valley. He is larger than life to the small son (Brandon de Wilde), and he is larger than life to the settlers he is trying to protect. This makes him the ultimate hero, and the ultimate "good guy" of the Western.
The plot of the film is straight good vs. evil. The settlers are battling the evil ranchers, who want to run them off the land so they can graze their cattle. Shane helps the settlers stand up to the ranchers, and hold on to their land, the only thing they have of any value. Director Stevens later said he hoped to show the extreme violence in the film for what it was, and hoped people would stop glorifying it. "And it was a time, I remember, when kids had gone very...
The only women appearances in the novel are isolate and the characters are all whores that have no precise role in the story. Indians also make their appearance felt in the story, but none of them has a significant role. Blood Meridian has nothing to do with being a revisionist western, as it does not attempt to present people with a revised picture of old westerns. It is purely anti-western,
In this area, meanings with their endless referrals evolve. These include meanings form discourses, as well as cultural systems of knowledge which structure beliefs, feelings, and values, i.e., ideologies. Language, in turn, produces these temporal "products." During the next section of this thesis, the researcher relates a number of products (terminology) the film/TV industry produced, in answer to the question: What components contribute to the linguistic aspect of a sublanguage
film noir movement by examining two films from the genre made at two different times within the movement. This will first mean looking at definitions of what classifies a film as noir and then looking at conventions of the movement such as: story, character and setting. This will explore how production value expresses the story and acts as an important filmic tool. The first movie to be discussed is
Western Landscape When "spaghetti Western" auteur Sergio Leone set out to make Once Upon a Time in the West, he was determined to shoot in Arizona using the same breathtaking, authentic backdrops and landscapes that the great American Western filmmakers, such as John Ford, used in films like Stagecoach (1939) and My Darling Clementine (1946). The landscape and location were iconic images (Monument Valley has appeared in several of Ford's Westerns)
The spectator is unwittingly sutured into a colonialist perspective. But such techniques are not inevitably colonialist in their operation. One of the innovations of Pontocorvo's Battle of Algiers is to invert the imagery of encirclement and exploit the identificatory mechanisms of cinema in behalf of the colonized rather than the colonizer (Noble, 1977). It is from within the casbah that we see and hear the French troops and helicopters. This
" (p. 52) Some of the famous action adventures include the latest ventures like Transformers. It is a classic example of new age action adventure movies which has a great deal of science fiction involved. Some action adventures also include a healthy dose of comedy like Jackie Chan movies such as Rush Hour. ROMANCE Romance is possibly the one genre that is not likely to disappear. Even though over time, it has taken
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