True Grit Essay

The most serious Native American stereotypes are clearly visible in films of the early twentieth century in Hollywood westerns. The big screen stories about western cowboys defeating Native tribes proved to be extremely popular and lucrative. Hollywood then started producing western tales in incredible quantities . In most Westerns, white cowboys represent courageous, brave, and quick witted men while the Indians are the dimming past. Cowboys are logical. “Indians” are irrational. Together, cowboys and Indians are the ego and the heart of the Anglo-Saxon identity. Native American characters in twentieth century films have ranged from stereotypes including the bloodthirsty, raging beast to the noble savage. Still other Indian characters, whether they are heroes, bad guys, or neutral, were the characters with little to no character development or range in their personalities. These stereotypes have their origins in popular American literature dating as far back as the sixteenth and seventeenth centuries. Jacquelyn Kilpatrick, author of Celluloid Indians, notes that popular stories “centered on Native American savagery served as outlets for violence and pent up aggression in an early American society that prided manners and respectability.” (Kilpatrick 2) In these stories, the Native American population was seen as bad, though individual members could be represented as good. These stereotypes continued for years. One author, James Fenimore Cooper, began publishing a series of stories titled The Leatherstocking Tales in 1841. Kilpatrick emphasizes that Cooper

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

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.

Grit, what is this? Is it success, is it failure, or is it talent? As Angela Duckworth said “Grit is passion and perseverance for very long-term goals. Grit is having stamina. Grit is sticking with your future, day-in and day-out. Not just for the week, not just for the month, but for years. And working really hard to make that future a reality. Grit is living life like it’s a marathon, not a sprint.” Grit is a combination of strength, persistence, focus, and dedication that helps a person to maintain the optimism and discipline needed to persevere in their goals even if they are head to head with failure. Grit does not depend on talent, IQ, or success. Grit is the ability to fail and learn from your mistake, in order to come back next

“True Grit” is about a fourteen year old girl trying to bring justice to the man who killed her father. She hires a sheriff named Rooster to help her. Through characterization, setting, and law enforcement, Charles Portis in “True Grit” sets an accurate portrayal of the time period know as the old west to create a more riveting story.

In Charles Portis’ True Grit deals with a great amount of suspense throughout the novel. There could be questions such as, “Will Mattie get to tag along with Rooster on the hunt for Tom Chaney?” The reader could also ask, “Will Mattie ever avenge her father’s death and kill Tom Chaney?” There is a great deal of suspense all throughout the story. The reader might also wonder, “Will Mattie make it to the doctor in time to save her hand?” This is a novel a person has to read to get all of the suspense sprinkled throughout Portis’ work.

In Chapter 9 of Grit, Angela Duckworth argues that a growth mindset, rather than a fixed mindset, leads to more success. She shows that a growth mindset leads to a more optimistic outlook on failures, which further leads to perseverance and the ability to take on new challenges without giving up. Using additional research, I agree with Duckworth’s claim that a growth mindset makes an individual more successful because a growth mindset transforms obstacles into learning opportunities and fosters hope, which are essential skills to overcoming failures and becoming successful.

Institute of Internal Auditors, American Institute of Certifi ed Public Accountants and Association of Certifi ed Fraud

During the nineteenth century, lynching was brought to America by British Isles and after the Civil War white Americans lynching African American increased. Causing and bringing fear into their world. In the Southern United States, lynching became a method used by the whites to terrorize the Blacks and to remain in control with white supremacy. The hatred and fear that was installed into the white people’s head had caused them to turn to the lynch law. The term lynching means to be put to death by hanging by a mob action without legal sanction. So many white people were supportive of lynching because it was a sign of power that the white people had. “Lynching of the black people was used frequently by white people, their is no specific detail of how many times they had done it, but lynching of black people has lasted from 1882 to 1968. Lynching also is in fact a inhuman combination of racism and sadism which was used to support the south’s caste system,’’(Gandhi).

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.

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.

If told that Joel and Ethan Coen’s film No Country for Old Men is a Western, a viewer may develop some preconceived notions on what the narrative will include: ten-gallon hats, shiny law-enforcer badges, and a clock struck at high noon. While the former two may technically be included in the film, said viewer will likely be shocked at how far off their assumptions were. The Coen Brothers used some aspects of the traditional Western when making this film, but turned the rest of the genre on its head. No Country for Old Men exists in contrast of traditional Western narratives, where the unavoidable, fatalistic forces of the universe overshadow the .44 magnum of justice.

Typically referred to as ‘Indians’ in popular culture, Native Americans were traditionally seen in Westerns as the antagonists. The Western genre typically tells the story of the colonisation and discovery of America, which saw the major Hollywood studios revive the interest in the Western. Westerns draw on “historical actuality, a romantic philosophy of nature, and the concept of the […] savage” (Saunders, 2001, p. 3). Westerns often split the “depiction of the Indian, with the cruel and treacherous [Indian] balanced by the faithful [Indian]” (Saunders, 2001, p. 3) which resulted in the portrayals of Native Americans witnessed in films today.

In 1985, a movie was made that displayed the attitudes and fears that Americans had of the former Soviet Union. Although the

The Frontier myth has been a collection of different stories and legends since the American expansion West in the early 19th century. It was a popular entertainment in which the typical gunslinger or outlaw is the hero, he saves a girl, tricks the snobby politician or overcomes the political ideology, and defeats the outlaw villain. The Fronter myth popularity carried on through the 20th and 21st century still exists in many of the entertainment today, such as books, tv shows, movies, and video games. Two examples of entertainment that portrays the frontier myth is Clint Eastwood’s Gran Torino and James Gunn’s Guardians of the Galaxy.