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The Western Genre

post 1970

Julie Clementson

on 11 October 2012

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Transcript of The Western Genre

The Western structure cultural conflicts characters villain society a threat to society until the hero acts a group of people with common interests. usually domesticated and not
used to threats typically estranged from the society, but society's fate rests on him in the end usually contain insight into american culture violence
puritan control law
morality progress
freedom classic western the modern take professional plot 1900 dances with wolves 2000 1950 1929 Space Western Science Fiction
& Space Opera Firefly & Serenity narrative
The hero is accepted into the society. 8. There is some sort of friendship or mutual respect between the hero and villain. 2. The hero is an unknown in the society. 9. The villain threatens society. 1. The hero enters a social group. 4. The society then realizes a difference between themselves and the hero. Therefore giving the hero a special status. 3. It is revealed that the hero has some sort of talent or ability 15. 16. The hero either loses or gives up their special status. 5. Hero is not fully accepted by the society. 7. The villain is stronger than society. 6. There is a conflict of interest between the villain and society. 10. The hero avoids initial involvement in the conflict. 11. Villain endangers a friend of the hero. 12. The hero fights the villain. 13. The hero defeats the villain. 14. Society is safe. Will Wright's list of functions silent westerns the great depression world war ii the cold war vietnam war reagan "talkies" sound revolution the great train robbery stagecoach liberty valence the wild bunch blazing saddles heaven's gate unforgiven shanghai moon brokeback mountain true grit firefly (tv) serenity 'the town called mercy' bad girls 1910 1920 1930 1940 1960 1970 1980 1990 2010 2020 parody and decline absence return classical western professional plot true grit case study A Town Called Mercy hero classical professional hero why bother? a group of professional fighters morality money and pleasure the relationships between hero, villain, and society are minimal generally singular (cc) image by anemoneprojectors on Flickr the samurai genre Akira Kurosawa an opportunity to examine: jidaigeki violence plays an essential role social outsider(s)
who restore order samurais and gamblers cowboys and gunmen the "John Ford" hero as a group society threatened by lawlessness remade in the U.S. as The Magnificent Seven the individual as a tool of society? The Seven Samurai compare feudal Japan with the West after the Civil War the fundamental nature of authority the justification of government the nature of contracts spaghetti westerns sergio leone an adaptation of Kurosawa’s Yojimbo play with the conventions of the genre "critical cinema" the end of the west? modern takes on the end of the western
Joel and Ethan Coen Jim Jarmusch Dead Man rewriting the myth No Country for Old Men True Grit western or film noir? frontier mindset? has everything been done? “The world of yesterday has changed so drastically that the hero of yesterday can no longer survive as the hero…No Country for Old Men tells us that this world, this country, today is no longer a place for the [heroic].” –Philosophy of the Western, William J. Devlin the virginian http://www.youtube.com/watch?feature=player_detailpage&v=ch3X5WrhwGM#t=350s
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