Western Electric

Development and adaptation of the western genre has occurred throughout the twentieth century in relation to the shift in context, this is still relevant. Stereotypes of a western genre and the context are determined by the time in which the film is being produced. The time in which they were produced determine how social construction, gender ideas, values and attitudes, the setting and SWAT codes are demonstrated. I have chosen to present this speech by looking at the film studied in class, and

“Film is more than the instrument of a representation; it is also the object of representation. It is not a reflection or a refraction of the ‘real’; instead, it is like a photograph of the mirrored reflection of a painted image.” (Kilpatrick) Although films have found a place in society for about a century, the labels they possess, such as stereotypes which Natives American are recognized for, have their roots from many centuries ago (Kilpatrick). The Searchers, a movie directed by John Ford and

Genre Theory and John Ford's Stagecoach The analytic theory posited by Robert Warshow in his essay "The Westerner", itemizes the elements necessary for a film to belong to the genre of the "western". Most contentiously, he mandates that the narrative focus upon the individual hero's plight to assert his identity, and diminishes the importance of secondary characters and issues, or any tendency toward "social drama." (431) He states that it is subtle variations that make successive instances

and contrasts The Searchers to the concept of ‘the stereotypical Western film’, the film would most certainly have shaped the mould for what the stereotypical western was to become. Being one of the largest early Western films to release, the film’s once relatively unique storyline and thematic content have become subject to being replicated in more recent Western films. Therefore, when comparing the film to the now conventional Western, it should serve moreso as a critique of the unoriginality of those

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

In John Ford’s 1962 western, “The Man Who Shot Liberty Valance,” the audience experiences a narrative with a flashback retell for most of the film. Ford uses diegesis storytelling to portray details about the taming of the western frontier and the experiences of his characters in the modernization of the frontier through narrative. This film uses a social ideology that it is time for the taming of the western frontier, with law and order. The audience learns through a flashback sequence that

The Hilarious Blazing Saddles On February 4, 1974, a director by the name of Mel Brooks produce a very entertaining Western film “Blazing Saddles”, starring Cleavon Little and Gene Wilder. The movie took place in a town from the Old West scenery in a town called Rock Ridge. In the town a man by the Hedley Lamarr a shady land speculator need to have a railroad that runs through the town of Rock Ridge, but to have the railroad run through the town he need to figure out a way to get the, residents

The Western genre can be a variety of works, including texts and films, which are set in the American Old West during the latter half of the nineteenth century. This genre primarily focuses on the life of a cowboy with gunfights, a good guy and a bad guy, and the usually ending of riding off into the sunset. The common misconception that is shown throughout the Western genre is that the male characters are always the hero, whereas the female characters are impediments and less valuable. This relates

suggests that western comedy films both reinforce and subvert the conventions of their more serious classical counterparts in an attempt to “breathe new life into the genre”. While the author recognises that comedy “relies, to a certain extent, on the reversal of expectations”, he argues that the subgenre of western comedies actually has its own complex set of principles which can be observed throughout films belonging to the subgenre. To illustrate this Turner compares five western comedies ranging

The birth of the Western film comes from the unknown, lone hero whom defeats the villains on the frontier. In the case of the classical plot, the hero comes into society and ultimately fights for society against the villains using their own moral code usually ensuing violence and death. In the film, Shane, the Western hero, Shane, is just this hero whom cares about the good of society and stands up to the villains. Shane inevitably leaves upon defeating the villains showing that good triumphs evil