Western views

has become more important to Hollywood in a culture-driven industry fueled by formulas. As a film genre nothing was so adaptable towards American sensibilities as the Western. Set in the nineteenth century where a large section of the United States was still undiscovered; it is known as the Wild West. The central plot of a western film is the classic goal of maintaining law and order on the frontier in an action, adventure story. Directors would maintain this melodramatic formula by using archetypal

about anthropocentrism, stewardship and christianity. Anthropocentrism and christianity are the current leading worldviews in the western culture and there is something deeply disturbing with those world views in relation to the environmental crisis. It is important to scrutinize anthropocentrism because it is wildly incompatible with scripture. Anthropocentrism of western culture dominates the globe. It is the belief that humans are superior to all other life forms and entitled to use them. The belief

character to his brother’s house and how he looked at Martin who is half-blood Indian. Similarly, Dances with Wolves represented an explicit apology to the indigenous people. However, although it was made by a white person point of view, it emphasizes Indians’ points of view. This is implicitly represented as the hero who is a white soldier from the American Civil War transformed himself into a real Indian of the Lakota Sioux tribe. Although both films symbolize intentions of apology to the

most famous Westerns of all times. Not only it became part of our culture, but it has also created a sub-genre of Westerns, called "Spaghetti Westerns", mainly because of the Italian origins of the filmmaker and the fact that his movies were shot in Europe instead of Hollywood. Despite the characteristic Western tradition found in the movie, Sergio Leone creates a genre free from any stereotypical clichés that Westerns encompass. This paper will explore the ways in which “Spaghetti Westerns” deviate

would say everyone in the world has a different worldview. Although two people may be very much alike and share similar opinions or outlooks, no people look at everything the same way. So many factors are involved in shaping our personalities and views including relationships, environment and culture, and even if two people grow up with the same people in the same place with the same society, they will always be different in some way. The way each individual perceives each and every detail of our

Writing Seminar: The Western: Cowpunchers, Gunslingers, and Beyond Unforgiven: The Contradictory Treatment of Violence Violence has always been a crucial factor in many genres of cinemas and film productions. The Western genre and the film in the genre is a fascinating approach to analyze the treatment of violence. Violence in the Western genre has changed multiple times into completely different but interesting view points over the course of history. The traditional western treatment of violence

motion aesthetic balance to create a mood of chaos throughout the fierce gun battle scenes which advantageously draws the viewer connecting them to the story of the film. Peckinpah chose to bring war and violence in a new level in the action packed western using his editing style, sound and lighting elements, camera

Worldview is based on every individual personal belief and moral values. Every individual have their own views and prospective some time which cause conflicts between the others ( Shelly, 2006). For example an nurse with her own individualistic worldview might assume a different evaluation of patient risk assessment, planning and implementation, which might be differ from patient worldview and cause adverse health outcome. May lead into various health, psychological and spiritual deficiency in patient

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

A Western Hero in Shane The western genre plays an important part in the mythologising of American history. The way the western genre and particularly the western hero are put across in such films as Shane, are most likely not how real life in the 1880s was. In Shane the hero arrived on horseback, he was confident, handsome and managed to charm the female character, Marion, almost immediately. Typically, throughout the film the mysterious gunslinger was wearing