Film: Eastwood's Canon Of Westerns

The film “The Alamo” revealed the history of Texas and battle of Alamo about Texas revolution, early back in the mid-1830s. The film was released in 2004, which reflected how the Texans fought bravely against Mexicans government to preserve their independence from the Mexico. Sam Houston, Jim Bowie, William Barrel Travis, Davy Crockett, Antonio Lopez de Santa Anna were the main characters of the movie. Sam Houston was the governor of the Texas and used to live with Indians. Jim Bowie was the colonel with a huge knife and was opportunities. William B Travis was lieutenant colonel who divorced his wife and Jim used to call him “Buck” in the movie. Davy Crockett was renowned as a bear fighter and sharpshooter. He used to play violin and everybody

I think one of the theme is coming to ages. Where in part 1 John Grady was optimistic toward the old Western life. While adventuring to Mexico, John and Rawlins were convinced that Mexico is the place they were searching for. They thought life would be good from now on and working at Don Hector's ranch. Later on to part 2, John falls in love Alejandra, which makes him more attached to this ranch. What he has lost in Texas, he has gained in Mexico. Then Alfonsa told him to stay away from Alejandra because he is a threat to her innocence. This was Johns first time of being accused of a crime and he sees how his action can harm Alejandra and the ranch. Later on Hector knows about Alejandra relationships with John. Then Hectors reported the cops.

The Alamo was one of the most astounding and critical battles of our country. Its men were ruthless in their bravery and love of their country. Their mission for independence lives on in the hearts of all American’s today. Their legacy lives on forever and their courageous souls are still in the heart of the people of the lone star state. This is the story of bravery, love, tyranny, and liberty. This is the story of the Alamo

In Matthew Bernstein’s essay, The Classical Hollywood Western Par Excellence, he states that while Stagecoach (John Ford, 1939) “appears to glorify American history, particularly its expansion westward at the expense of Native Americans” (299) it also develops an “acute social observation” of life on the Frontier and it challenges elements of the myth constructed around this history (316). The film Stagecoach depicts not only the struggles faced by pioneers traveling through Indian territory, but the belief among people during this time period that anyone can go to the West to get a “fresh start” and live a completely new life without social prejudice. However, Stagecoach proves this myth to be false for various reasons. One example of this would be when Mr. Hatfield offers Mrs. Mallory water from the water canteen on the stagecoach. Once she accepts his offer, Mr. Hatfield pours it into a silver cup for her and does not offer anyone else in the stage coach water. Ringo then makes a comment to Mr. Hatfield that he should give the other lady in the stagecoach, Dallas, water as well. However, Dallas has a reputation of being a prostitute. So, Mr. Hatfield decides to give her some water but refuses to lend her the silver cup to drink out of, he makes her drink it out of the canteen instead. This example proves that these people were not getting a “fresh start” and only the upper class can share such luxuries as a silver cup with only other upper class people, social

Everyone has heard, “Remember the Alamo”, but the Alamo remembered today is not reality. Rather than seeing the Alamo as a symbol of Texas independence or American spirit, Richard Flores contends that the resurrection of the Alamo in the 1880s by Anglos was about social class and racial identity. To prove his argument, Flores presents the actual history of the Alamo, compares two women who influenced the Alamo—Clara Driscoll and Adina De Zavala, and analyzes the representations of the Alamo in film. Flores structures his argument by first presenting a social theory to explain why and when this occurred and then presents his evidence. In the greater context, Flores’s work attempts to explain the history of Anglo and Tejano relations in

Since the beginning of the Industrial Age, Americans have idealized the journey towards economic success. One thing people do not realize, however, is that that journey is not the same for every individual. For Charles Foster Kane (Orson Welles), the main character of Citizen Kane, directed by Orson Welles, the path towards riches and a fulfilled life is being well liked. He serves to please others. He strives for that attention. This view cost him his happiness in the end. In this man’s rise and fall through prosperity, Welles shows the futility of striving solely for likeability.

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.

In “Out of the West: Clint Eastwood’s Shifting Landscape,” author David Denby writes a summary of Clint Eastwood’s life rather than a review of any of the movies Denby has mentioned in his article. Even though Denby starts off with a summary of a scene from Unforgiven in the article and talked about old Western police films, he goes off on a tangent about Eastwood. Denby described Eastwood as the typical attractive Californian male “who loves beer, women, cars,” and all that good stuff. Denby also discusses the many things that Eastwood has accomplished in his life such as starring in numerous TV shows and movies, directing and producing several films, serving as mayor, winning a few Oscar awards, and so on. After describing Eastwood’s achievements,

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.

It is commonly known that the American Wild West took place in the 1860’s and dragged on all the way to the early 1900’s. Through this time period there were gunslingers, prostitutes, and overall just a rough life for the people. They had to make money in any way they could, but movies about the Wild West often get that wrong. They glorify it, and make it seem like this time period was the best and easy to live in, but in reality nothing was the way that these films make it seem. The Wild West in the 1860’s is portrayed inaccurately in Hollywood’s films.

Name: Nhat Ho Mr. Erwin Philosophy 432 30/10/2015 Hero in High Noon In many Western films, the roles of courage, women, integrity, community , individualism, Indians, landscape, and the wilderness were often presented in a similar thematic way, for the directors and their audiences shared a common view of the Old West and shared the same basic values. Courage, integrity, and individualism were greatly admired, women were admirable creatures but needed to be rescued quite frequently, and communities needed to be united in order to survive hostile Indians and an unforgiving wilderness. These values all reflect the idea of Sublime, Jonathan Locke’s view of property, Thomas Hobbes’ conception of human nature and human society, and Aristotle’s

The Western film genre is typically set in a secluded village in the middle of the desert, normally in the American West. The setting includes wooden buildings, tumble weed, cacti, trains, horses and carriages. The storyline for western films is usually the same, namely, a hero travels to a remote village, usually on a horse, and brings peace to the warring villagers.

For more than fifty years, Clint Eastwood has been actively defining and redefining cinema as an art form. His experiences as an actor on television and in film have greatly influenced his directing style. Across his films, Eastwood incorporates several issues and techniques that help the audience to identify said films with Eastwood's directorial style. Eastwood's aim in his films is to tell stories of the human experience. Francois Truffaut and Andrew Sarris have aimed to define the qualities that make a director an auteur whose works stand out above the rest. The qualities defined by Truffaut and Sarris can be seen in Eastwood films including Unforgiven (1992), Million Dollar Baby (2004), and Changeling (2008) and help to establish Eastwood as an auteur.

Clint Eastwoods Changeling leaves the audience in mystery when a mother's son goes missing. Police is left to frantically search for her son but only to find an imposter in order to give the press for a good-news story. Christine is left to face an awful likelihood that she may never see her son again.

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