An Analysis of Clint Eastwood's Films

The Alamo is a 2004 American war film about the Battle of the Alamo amid the Texas Revolution; it is a motion picture that catches the dejection and fear of men sitting tight for two weeks for what they hope to be sure passing, and it some way or another succeeds in taking those popular society brand names like Davy Crockett and James Bowie and giving them human structure. The film was coordinated by Texan John Lee Hancock, delivered by Ron Howard, Brian Grazer, and Mark Johnson, dispersed by Touchstone Pictures, and featuring Dennis Quaid as Sam Houston, Billy Bob Thornton as Davy Crockett, and Jason Patric as James Bowie. The film relates to history, the Alamo looks exact, and, in reality, we find that San Antonio de Béxar was deliberately re-made with small saving of cost. In any case, a feeling of the way the occasions at the Alamo are joined with the national story of slavery, development, and the evacuation of Native American from the eastern United States in the 1830s and 1840s is missing. On the off chance that we incorporate this bigger story, we can maybe figure out the more extensive point of view that at first created enthusiasm for the venture.

John Ford built a standard that many future directors would follow with his classic 1939 film “Stagecoach”. Although there were a plethora of western films made before 1939, the film “Stagecoach” revolutionized the western genre by elevating the genre from a “B” film into a more serious genre. The film challenged not only western stereotypes but also class divisions in society. Utilizing specific aspects of mise-en-scène and cinematography, John Ford displays his views of society.

Due to the lack of budget, many directors made films that were more personal and self-reflective. One example would

The world of film has changed dramatically over the last fifty years, both in technology and perceptions on how the industry should work and how it is viewed by the public. The ending of the production code in Hollywood started the cultural change in the industry. With this restrictive institution gone, many directors chose to take advantage of this in many different ways. My favorite of these is Mel Brooks; he chose to break and push boundaries both socially and comedically. Brooks’ style often includes crude humor inlaid with deeper jokes and meaning, many fourth wall breaking moments such as the “We’re in now now” scene of Spaceballs, to stand out in the world of comedy. His masterpiece, Blazing Saddles, is one such film that did just that. Through its new found sense of humor in the post production code era and its twists on common genre tropes of the time, Blazing Saddles was able to find its place into the New Hollywood Cinema.

Wes Anderson is a world-renowned filmmaker known for creating vividly colorful films that are consistent with his auteur signature. Though he has only directed 7 films (not including his upcoming film and two short films), he is a perfect example of how even a small body of work can demonstrate auteur theory. Anderson’s films have frequent themes, visual and methodological style and he even uses a lot of the same actors in most of his films. The Life Aquatic with Steve Zissou (2004) is a great example to demonstrate Wes Anderson’s stylistic use of pastel color schemes, symmetrical shot composition, and thematic use of story elements such as trust, acceptance, child-like

People drive by billboards every day, but do not think about the billboards ever being a negative thing. The film Three Billboards Outside Ebbing, Missouri is a dramatic yet darkly comedic film about Mildred Hayes getting justice for the brutal rape and murder of her daughter Angela Hayes. Mildred Hayes rents out three billboards for the year on a little stretch of road near her house. The billboards going through a lot of hate and even being burned down are a piece of hurt and anger that Mildred is feeling. The three billboards, that were put up by Mildred Hayes, not only evoke fear in the audience fear but are also a monstrous entity being used to get the small town of Ebbing, Missouri and the police department to solve the murder and raping of Angela Hayes.

There are many theories explaining what an auteur is, but I am not going to chose a specific theory to correct or criticize, instead I am merely going to use the term to prove that Wes Anderson has been and still is considered an important director whose work is made in a consistent manner yet still manages to be new and exciting. The auteur theory for some is considered ‘outdated’, so it seems strange to be using such term to describe a director who is recognized as an indie, contemporary American auteur, however for those who choose to believe that the auteur theory is evolving, it is useful. Wes Anderson, himself, “resists overarching theories about his works” (Empire Magazine issue 297, March 2014), believing that he is not an auteur,

The auteur theory holds that a director's hand is clearly and consistently evident in their work, regardless of involvement in the rest of the production process. It's not uncommon for artists to have a signature or quirk--- Author Stephen King uses simplistic writing and significant world building to frame his often dark and fantastical stories, and some painters choose to put their own hair or saliva into their work rather than a signature. In the same way, an auteur's films have an instantly recognizable atmosphere, motif, or even color palette--- and, just as importantly, such an impression can give insight into an auteur's life and mind, lending that much more weight to a body of work. Two such auteurs are thriller and suspense master

John Wayne (1907 - 1979), an iconic American actor, director, and producer, known for playing heroes in westerns on the big screen for fifty years. He won an Academy Award for True Grit (1969) and is consider one of the top leading actors during Hollywood’s classic period. In Red River, Wayne stars in the unusual role of Thomas Dunson, who borders on good and bad tendencies throughout the film. “Wayne, often typecast, is given a tortured, conflicted character to play” (Ebert 392), and does remarkably well portraying someone with questionable values. Wayne is sometimes considered more of a natural force than an actor, but here his understated acting is right on the money; the critic Joseph McBride says that John Ford, who had directed Wayne many times, saw Red River and told Hawks, “I never knew the big son of a bitch could act” (Ebert 393).

Wes Anderson Cinematic style The filming industry has greatly changed in the last couple of decades. Unlike in the past, the modern times have seen great transformations in the filming world with the emergence of a clique of celebrated film directors and developers. Whereas films were mainly praised on how the character and the characterization including, much attention has been given to film directors and developers with regard to the tastes and preferences as may be demonstrated by the way their films have been designed and arranged. Continued specialization in script writing and development of films has brought out the nature of preferences and leanings of various directors, a situation that has resulted in what is today regarded to as the cinematic style.

Considered one of the greatest of all American directors, John Ford would no doubt be regarded an auteur by those who choose to utilize the phrase. One can imagine Ford carefully weaving beautiful images of monument valley, to fulfill his artistic allegories, or demanding the most effective of performances from a cast who manage to convey the emotions which stir inside this most American of auteurs. Just as Corman seems to put a great deal of philosophical thought into crafting what many consider to be "simple" films, Ford seems to suggest that his cinematic choices are often over-analyzed. In an interview with fellow western film director Burt Kennedy, Ford was asked about some of these choices, which have come to define much of his style, and his answers are surprisingly simplistic. When questioned about his connection to Monument Valley, and the reasoning behind choosing that location, Ford responded "I knew

Timeless appeal, retro settings, village appeal are all terms used to describe the charming Sydney suburb of Eastwood. It has it all without being hectic and noisy. There is a shopping centre and shopping plaza where locals go shopping for things they need and want. Whatever virtually any type of services you need, Eastwood has a local provider for it. Medical services abound and eateries are all over with a few different cuisines from which to choose. Working people of the suburb mostly drive to get back and forth to work, but the area is convenient to the train and bus transport systems.

Just ran into Clint Eastwood between breaks at the Bach Festival in Carmel. Clint said that he had seen you at the Academy Awards and that you wanted to make a movie that said something important about America. “Harry is really serious about this thing,” he said. “He wants something really big for a summer release, something in time for the elections.” Clint said you were worried about what’s gone wrong with the country and it’s not in the same place it used to be.”

Star Clint Eastwood's character isn't a lot of a good example, either - unrepentantly cantankerous, smoking and drinking all through the film and a man overflowing with vitality, the vast majority of which he uses to hold himself in. Every word, every frown, appears to have loosened up from a profound spot. he does defend this entire family that he has a racial contempt for, and instructs the kid new things, lands him a position, and recoveries the family from a scaring and life-undermining group keep running by the kid's debased cousin and companions. He gives up himself to spare Toad from the pack individuals tormenting his family and figured out how to adore who he abhorred them most

Clint Eastwood was born on May 31, 1930, in San Francisco, California, as Clinton Eastwood Jr. to Clinton Sr. and Ruth Eastwood, with an older sister named Jean. After looking for work in California during the Depression, the family settled in Oakland, where he graduated from Oakland Technical High School in 1948. Clint worked odd jobs, including as a hay baler, logger, truck driver and steel-furnace stoker. In 1950, he joined the military with the Army Special Services, based at Fort Ord in Monterey, California. While in the Army, he met two actors, David Janssen and Martin Milner, who convinced him to move out to Los Angeles after his military duty. Clint took a screen test and signed a contract with Universal Studios for seventy-five dollars a week. The first roles he ever had were in the films Revenge of the Creature and Tarantula. His first hit was starring on the television western Rawhide in 1959. After Rawhide he then became very popular in a string of the director Sergio Leone's spaghetti westerns and the Dirty Harry Franchise.The spaghetti film were, A Fistful Of Dollars, For a Few Dollars More, and The Good the Bad and the Ugly between 1964 and 1966.