Stagecoach Film Analysis

To start, the film seems like your basic run-on-the mill coming of age tale with a group of teenagers growing up to desire more after they graduate high school. However, there are various more themes discreetly displayed throughout the runtime of the film. For example, one central sociological overtone of this film is Marxism. With this overtone, it becomes possible to view this light-hearted and comedic movie in a

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.

This movie explores issues of greed, human relationships, betrayal and redemption, personal innocence and responsibility as well as the effects on the human mind

In 1939 John Ford masterminded a classical western film by the name of Stagecoach. This film has the integrity of a fine work of art. Being that it could be considered a work of art, the impression left on a viewing audience could differ relying on the audience's demographics. However, it is conceivable to all audiences that Ford delivers a cast of characters that are built on stereotypes and perceptions conjured from 'B' westerns that preceded this film's time. Each character is introduced to the audience in a stereotypical genre, as the film progresses, these stereotypes are broken down and the characters become more humanized. This is apparent with a handful of characters being

The film consists of many cliché western characters. There is a banker, an outlaw, a prostitute, a doctor, a gambler, and a pregnant woman. These characters are categorized by social class. The banker, the pregnant

This movie based off of a southern family living in Memphis, Tennessee will show you a true taste of southern hospitality. In every film you have your list of characters along with their personalities and most importantly their motives. Along with the certain qualities of every character comes the ethos, pathos, and logos. Ethos which stands for the goodness of a film and/or ethics goes hand in hand with the sender of a film, Pathos which is the passion and emotions of a film which goes hand in hand with the receiver, and lastly the logos which is the logic/information that sends a message. Each rhetoric sends a message and surely puts a movie together.

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.

The story formula for Stagecoach structures around characters in the Tonto and introducing the characters, traveling to Lordsburg, stopping at Dry Fork way station for food and unforgettable dinner table scene, traveling towards Apache Wells in the snow, Mrs. Mallory’s baby born in Apache Wells, finally getting to Lordsburg but got attacked by the Indians, and ended with Ringo Kid in a shooting conflict. Stagecoach did a great job in the characters types. There are the protagonists, prostitute, gambler, schoolmarm. These are the specific character types in Western movies. The setting of the movie is on point. It’s in the American West and takes place in the 1880s. The location of Monument Valley is a favorite location for John Ford. The presentation of Stagecoach has many great exterior shots that collocate the characters with the environment they occupy. The stars in Stagecoach does fit in a Western movie. Like John Wayne, he stars in many Western movies. What makes Stagecoach a western is the traditional western theme. Like the fight between whites and Native Americans. There is a good use of the American West’s open plains and mountains.

Although this paper uses a mainstream movie, at all times you should use scholarly writing and language throughout the paper.

The question is whether No Country for Old Men and Stagecoach provide adequate examples of the decline in American moral values. From my perspective of today’s world and my interpretation of No Country for Old Men and Stagecoach, I can see how the argument could be made that they have declined or haven’t changed at all. I see a difference between the relationship of Ringo and Dallas vs other members of their traveling group compared to Sheriff Bell vs Chigurh. These relationships, in my opinion, explains a lot about the development of moral values, or lack of, in the western United States. In this paper, I will describe the moral values that are represented in each movie and I will also try to describe my understanding of why American moral values may have declined between No Country for Old Men and Stagecoach.

     This film presents an individual that chooses not to conform to modern society, and the consequences of that choice. The main character

Comedy”. 2 It was called the sleeper hit of the decade, and gained extreme notoriety for its breakage of traditional cinematic taboos, in that it showed rather explicitly both sex and especially, raw and brutal violence. It greatly surprised both the

The southwest is a region of the United States that makes our country unique. Without the southwest, we would undoubtedly lack the spirit, hope, beauty, and truth that this vast region brings to the rest of the United States as a whole. The southwest represents many things, such as journeying, racism, violence, the clashing and cooperation of cultures, and spirituality, as well as primitivism and pastoralism. All of these elements that the Southwest is comprised of is perhaps the reason why the rest of the country feels so captivated by it; why the southwest is considered a place to “find yourself” or to “regenerate”; and why literature and film regarding the Southwest has been and continues to be of the most popular genres. The western film was one of the most popular during the first half of the twentieth century. Audiences far and wide were mesmerized by actors such as John Wayne and Roy Rogers, and their roles as heroes who fought to tame the American frontier. This very concept, ‘taming the frontier’, gives way to a larger theme that was prevalent in many western films and literature of the southwest: ubi sunt, or rather “where are those who came before us?”. Director Sam Peckinpah’s The Ballad of Cable Hogue portrays this idea better than any other western film; the concept of ubi sunt is undeniably the film’s overarching theme, clearly seen through its components.

Film noirs describe pessimistic films associated with black and white visual styles, crime fiction, and dark themes. Sunset Boulevard is a 1950 film noir directed by Billy Wilder. Sunset Boulevard presents many themes that are common with the genre film noir, but also introduces some differences from the typical movie in that genre.

The raison d’etre of the Western is arguably to celebrate masculinity, but Brokeback Mountain is a revisionary Western that challenges definitions of masculinity. Discuss this statement with reference to Jane Marie Gaines’s and Charlotte Cornelia Herzog’s comments on the homoeroticism of the Western.