The Man Who Shot Liberty Valance And The Grapes Of Wrath

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

In his novel, The Grapes of Wrath, John Steinbeck brings a variety of diverse characters to the reader. The majority of these characters' individuality lies within whom they symbolize. What I'm trying to say is that the character in the novel represents another being outside of the novel. For example, the former preacher Jim Casey who is also a good friend of the Joads may to some readers represent Jesus Christ. In the novel, Jim Casey brings along religious stability and hope to the families migrating West. I believe there are many "hints" or ways that Steinbeck shows this representation throughout the novel, and in this report I will

John Sayles visually integrates the past with the future by “employing panning shots in place of dissolves” or cuts (27). This cinematically exemplifies why Lone Star and the lovers cannot “forget the Alamo.” Though the borders may be fuzzy between races,

President Calvin Coolidge vetoed the bill, but then Congress overrode his veto. The bonus was supposed to be paid once the veteran has passed away, earning the name “The Tombstone Bonus.” But then unexpected happened, The Great Depression of 1929. The stock market crashed, 20% were unemployed, and many were left homeless, starving, and hopeless.

The third pltl we made several references to Walking Dead and life example to make connection with Grapes of Wrath. In the four questions we had some had more material to talk about then other but overall it wasn’t as difficult to answer the questions.

Steinbeck uses a third person omniscient point of view throughout The Grapes of Wrath to describe the conditions multiple characters face; while Tom Joad is considered the protagonist of the novel, Ma Joad proves to be the overall central character. As the novel progresses, Ma displays the qualities of a dynamic character, developing skills such as leadership, drive, and strength; furthermore, she became the reason that the Joad family stayed together throughout their voyage. Ma’s intuition served her well, prior to, during, and after traveling to California. Her loving bond with Tom Joad provides an overall accentuation of Ma’s significant role in the novel.

Ashleigh had a tough choice to make that disappointed one of her parents. But which parent did she disappoint? And was it a good choice? She was old enough to know good from bad. Ashleigh had disappointed her father. Ashleigh did not take the money because her dad doesn’t keep promises, she knew better than to give into peer pressure, and her mom is a good role model for Ashleigh. She must not have gone out to her dad within the 10 minute time span on purpose so Ashleigh could avoid doing the wrong thing, and giving her dad the money. So Ashleigh did not take the money because she knew better than to give into peer pressure, her mom is a good role model, and her dad doesn’t keep promises. These 3 reasons tie together to form this logic of her

In the world-renowned year of 1939, John Ford released Stagecoach, a Western picture based on Ernest Haycox’s novel, Stage to Lordsburg. The film, which takes place in Monument Valley, depicts an action-packed adventure starring a handful of questionable characters fighting war-crazed Apaches. More than 50 years after the film’s release, it was added to the National Film Registry for its cultural, aesthetic, and historical significance. Needless to say, Stagecoach sparked a new expectation for Western films, one that demanded deeper complexity than ever before. Westerns are sold on their hyper-masculinity and violence, yet John Ford is able to capture those traits and much more.

The Man Who Shot Liberty Valance focuses on the two protagonist, Tom Doniphon and Ransom Stoddard. While Tom and Ransom share a common enemy and loved one, Horne believed the movie forgot the real main character of the movie, Pompey. After examining the movie, people concluded the idea that Pompey’s screen time portrayed him being Tom’s wife, due to their close relationship. Pompey’s masculine identity included societal situations, which were caused by complications of the audience after the realization that the leading white men had a smaller roles. While Pompey’s role was undermined because of his color, Ford targeted Ransom with becoming a waiter, which made him be emasculated. John Ford’s school scene, Pompey is emasculated by the schoolgirl wanting to recite the Preamble to the Constitution, making him forget the “all men are created equal”. Pompey appeared to be an idol that appeared on the National screen as an African American during the era of civil rights

The Stagecoach, a critically acclaimed film, which followed the adventures of a group of unlikely and unfortunate passengers escaping from the brutality of Geronimo’s Apache warriors, established the precedent of the classic Western movie, containing crucial Western archetypical elements such as Ringo the Kid that has not hardly changed today. Furthermore, Stagecoach espoused social issues of the time by including passengers of varied social status and standing and emphasizing on such interactions that cross the rigidly defined and impermeable social divides at the time. The iconic movie was produced during the transition between silent films and films with spoken dialogue, and the remnants of the former film style are conspicuous throughout the film. Although explicit and spoken plot was crucial for the storyline, non-verbal communication offered implicit cues to attentive audience members. Moreover, the fact that the passengers were representatives of different social standings further amplified such non-verbal communication and cues. While the film Stagecoach established the quintessential Western movie, the film also underscored the importance of non-verbal communication in the genesis of the spoken dialogue era and emphasized the interactions between rigid social classes in a seemingly disordered environment that is the Western frontier.

“Stagecoach was the most critically acclaimed of several major studios 1939 Westerns that historians credit with raising the genre into big-budget production from the rut of B-studio, B-movie status” (Bernstein 300). Unlike the other classical Hollywood cinema, Ford chose western frontier as the open landscape for shooting. What’s more, Ford tried to cut dialogues to the minimum and focused on actions, showing how actors react to one another. Certainly, as a classical Hollywood film, Stagecoach reflects Ford’s appreciation of America’s westward expansion by showing chances for democratic life on the frontier. With the aim of specification contradictory beliefs, Ford made fully use of mise-en-scène and cinematography, such as setting and composition.

Hawks’ celebration of the Western frontier, as one could argue about most films, includes a great deal of quality material shrouded in substandard treatment. Red River (1948) is a sprawling, epic telling the tale of the rugged ranchers that dared the first great cattle drive along the Chisholm trail from Texas to Kansas. Complications occur when attempting to define the genre and Red River, especially, is a useful tool to do just that. As Kitses deliberates, the western genre is of a “varied and flexible structure, a thematically fertile and ambiguous world of historical material shot through with archetypal elements” (Kitses, 1969). The John Wayne starrer is exactly that, a tasteful aggregation of western themes and sensibilities wrapped up into a tight, beautiful and genuinely enjoyable film.

Mike felt something empty inside; he would escape his normal life and marriage by joining a group of men who would kill an innocent man. His shadow would reveal itself, which Mike did not want to bare to the rest of the community because he wanted to fit in. He would repress his feelings by re-thinking his actions when it came to hurting another person. When he stood there, watched, felt irritated next to a man who watched with him, and told him how he felt towards the man by the tree trying to burn the body. He turned to a man who stood beside him in the near-darkness, “That don’t do no good, he said” (Steinbeck 133). Mike believed burning the body would not do any good towards the men by the tree. Mike felt this strange feeling inside him,

High Noon opens on a lone rider and quickly establishes the suspense which drives the film. With Gary Cooper at the helm, High Noon comfortably takes its place in the canon of classic Western films. Except it is not the mythic Western that echoes James Fennimore Cooper’s 1823 novel The Pioneers. Rather than drawing on the process of taming the frontier and promoting Americanization, High Noon serves as an allegory for mid-twentieth century political fervor and mistrust. At its core, High Noon is the story of Carl Foreman, the film’s author, and the isolation he felt while writing.

In Hollywood, there was a fear of communism and far-left political ideas. Novelists of the time influenced change in political ideas and national purpose along with the conflict between the common man and capitalist corporations (Sklar 242). Their ideas influenced films like Stagecoach which exposed corporate greed and corruption and other less-than-obvious forces at work in American society (Sklar 242). Stagecoach was a Western film that addressed ideas regarding the end of the American frontier and the end of expansion that reflects in the character of America (Blake 179). It questions the values of big business and the sketchy banks with a corrupt banker, Gatewood, who steals the bank roll and takes off to the West. The doctor, Peacock, is a raging alcoholic, and the hero, Ringo Kid, falls in love with the prostitute, Dallas. Additionally, the Stagecoach itself is in poor repair signifying the daunting condition of the United States at the time. The characters are not who they appear to be and the end, where Dallas and Ringo go off into the sunset together, differs from traditional Westerns where the hero cannot fall in love with anyone, let alone a prostitute. The juxtaposition between the characters and their destiny’s is symbolic of the chaos in America in the late 1930’s.