John Fords The Searchers Essay -- Film Movies

tail end fords The Searchers A critical theory by robin woods posits that the filmic genres popularized by the Hollywood system atomic number 18 not discrete, but jibe different strategies for dealing with the same ideological tensions. (478) Wood claims that conventional theories last to address this ideological phenomenon, and proposes a search for the myths and contradictions, produced by American capitalism, which kindle disparate filmic genres. Woods attempt to discuss this ideology lists the components of a definition of American capitalist ideology. (476) One component is the character of the idealistic male, the male hero of the American way. (477) As the films produced out of capitalism tend to extend the systems ideology, the hero produced by the film tends to represent the value of this ideology. Thus, through its hero, the real Western naturalizes and justifies the taming of the land and the consequent subjugation of its sexy native throng in order to buil d civilization. (476) However, genre films are only male because of the potentially subversive intervention of a all the way defined esthetical personality in an ideological-generic structure. (479) In The Searchers, John Ford manipulates the traditional consanguinity between hero, text, and ideology to challenge the dominant set of American familiarity. The watchman initially identifies with the conventional character of Ethan Edwards, but is step by step forced to abjure this hero and his values, and to regard Martin Pawley, a representative of more liberal beliefs, as the new-order ideal male. Martin is both an indicator of how the audience should oppose to Ethans extremist tendencies, and an selection to them. Through the rejection of Ethan, in fav... ..., even as a victim of the mental reach of the expansionist credo. Clearly, revealing the damage through with(p) by the capitalist ideology, whether individual or social, in the frontier society of 1868, or in the s eparate but equal context of 1956, was important to the director. Fortunately, Woods theory, examining the new nub created by the juxtaposition of the thesis of a pre-existent text with the antithetic views of the auteur, reaffirms Fords success, and the potence of the genre film. Works Cited Warshow, Robert. Movie Chronicle The Westerner. fritter away Theory and Criticism. Ed. Braudy, Leo, marshall Cohen and Gerald Mast. in the altogether York Oxford University Press, 1992. (453-466) Wood, Robin. Ideology, Genre, Auteur. Film Theory and Criticism. Ed. Braudy, Leo, Marshall Cohen and Gerald Mast. New York Oxford University Press, 1992. (453-466) John Fords The Searchers shew -- Film MoviesJohn Fords The Searchers A critical theory by Robin Wood posits that the filmic genres popularized by the Hollywood system are not discrete, but represent different strategies for dealing with the same ideological tensions. (478) Wood claims that conventional theories fail to address this ideological phenomenon, and proposes a search for the myths and contradictions, produced by American capitalism, which fuel disparate filmic genres. Woods attempt to discuss this ideology lists the components of a definition of American capitalist ideology. (476) One component is the character of the ideal male, the potent hero of the American way. (477) As the films produced out of capitalism tend to uphold the systems ideology, the hero produced by the film tends to represent the values of this ideology. Thus, through its hero, the classic Western naturalizes and justifies the taming of the land and the consequent subjugation of its libidinous native people in order to build civilization. (476) However, genre films are only potent because of the potentially subversive intervention of a clearly defined artistic personality in an ideological-generic structure. (479) In The Searchers, John Ford manipulates the traditional relationship between hero, text, and ideology to challenge the dominant values of American society. The viewer initially identifies with the conventional character of Ethan Edwards, but is gradually forced to reject this hero and his values, and to regard Martin Pawley, a representative of more liberal beliefs, as the new-order ideal male. Martin is both an indicator of how the audience should react to Ethans extremist tendencies, and an alternative to them. Through the rejection of Ethan, in fav... ..., even as a victim of the psychological reach of the expansionist credo. Clearly, revealing the damage done by the capitalist ideology, whether individual or social, in the frontier society of 1868, or in the separate but equal context of 1956, was important to the director. Fortunately, Woods theory, examining the new meaning created by the juxtaposition of the thesis of a preexistent text with the antithetical views of the auteur, reaffirms Fords success, and the potence of the genre film. Works Cited Warshow, Robert. Movie Ch ronicle The Westerner. Film Theory and Criticism. Ed. Braudy, Leo, Marshall Cohen and Gerald Mast. New York Oxford University Press, 1992. (453-466) Wood, Robin. Ideology, Genre, Auteur. Film Theory and Criticism. Ed. Braudy, Leo, Marshall Cohen and Gerald Mast. New York Oxford University Press, 1992. (453-466)

The Empty pillow :: essays research papers

Using the theory of reason action-Fishbein and applying it on a 5 min. scope of the movie by Alo humankindiQ8 THE EMPTY PILLOW This is a sleep to thrumher paper that its events occur, in Egypt, in the fifties, where there were strict traditions about love between non married lovers, and where the word of the pargonnts rules the lives of their sons and daughters. In that movie, a young man (salah) who is still a student falls in love with a beautiful girl (Sameha), whom she is also an eighteen years old student, they are both college students, that get guarded by their families. The scene begins, when Salah asks his stimulate that he wants to be married, but his father laughs, and asks him if he is able to support himself or her. Salahs father suggested that he should wait until he graduates and gets a job, so he could marry her. Salah refuses, reflection that she would get married to someone else, and her parents will non wait for me until I graduate. alas a doctor proposes to her and asks her hand to be his wife. Samehas father and breed agree instantly, without giving Sameha any notice, only have in minding of the position and the how they would warrantee a wonderful future for their daughter with this doctor, adding that he is a precise nice man and have great reputation. Sameha says that she is young to be married, and disagree. Samehas father says no doughtier of mine argues with me in such matters, you will do as I say Consequently, Sameha stop arguing. And shows yielding. She think about the hard time choosing between the two, the one she loves or the beauteous rich physician, which her parents ergs her to marry. In order to prevent the marriage, Salah meets her in the retire from where they used to meet. He starts convincing her to run a personal manner with him. Sameha refuses, saying that her parents might have a heart attack, then she will not forgive herself. Salah remembers, what one of his friends suggested to him, and that he sho uld rape her, and in this way she would be his according to the traditions. Consequently he tries to do so. She cries and begs him to let her go. save he refuses, until he notices the ring that she is still wearing, which he brought to her as a token of their love.

The Obvious is Absent in Mother Courage Essay -- Mother Courage Essays

The Obvious is off in Mother Courage Brechts intentions when writing Mother Courage were to progress his beliefs and come people aware of two major issues facing party war and capitalism. According to Brecht, people deserve the wars they get if they subscribe to a political system that is unfair and favors a specific sector of society, viz. capitalism, in which it is up to the individual to secure his own means of survival. In other words, if the system is unjust in any way, war and negate is inevitable. For this to be understood, it would be essential that the hearing see the knead for what it is, as opposed to becoming engaged in its story. This means that they would pitch to be alienated from the play, and made perpetually aware of it as a play and nothing more. To do this, Brecht jolted sense of hearings out of their expectations and deliberately avoided theatrical techniques that would make appearances realistic. In this way, people were forced to confront the issues at hand and describe the meanings behind what they were being shown. The obvious being referred to by Brecht is what is clearly seen, what atomic number 53 endnot miss. It does not require reflection and arouses no thought. By alienating the audience in this play, they see that nothing is happening at an obvious level, and can gain true understanding of the characters reasons for behaving as they do, and of the background against which they exist. Brecht incorporated estrangement techniques in the methods of staging used in performances of Mother Courage, firstly by keeping a very bright white light expert evenly upon the set throughout. This eliminated any opportunities for creating an atmosphere any magical or romantic views of ... ...rinciples Brecht believed in unless man has food and shelter, he does not have freedom. This tenet is what Brecht asserts in Mother Courage, and whose understanding can only be gained when audiences realise that the obvio us is an irrelevance, that this play should be seen not as a tale but as a presenting of issues. By using the aspects of character, song, structure, style, inevitability, and staging, Brecht ensures that the audience remains alienated, and that their expectations are not met. Works Cited and Consulted Brecht, Bertolt. Mother Courage and Her Children. Worthen 727-751. Cook, Ellen Piel, ed. Women, Relationships, and Power. Virginia American Counseling Association, 1993. Hwang, Henry David. M. Butterfly. Worthen 1062-1084. Worthen, W.B. ed. The Harcourt Brace Anthology of Drama. 3rd ed. Toronto Harcourt, 1993.

Writing a Personal Narrative :: Personal Reflection

A yarn is a story. In writing a narrative essay, you partake in with the endorser some personal experience of your own in methodicalness to make a point or convey a message. You whitethorn choose to tell how your grandfather influenced your desire to become an orthodontist, or maybe youll relate the story of the while you didnt make the cut for the basketball team. Whatever story you tell, your purpose is to sh be with others some experience that has taught you something or changed you somehow.Remember that narration is more than just description. Your essay should be descriptive, plainly it should alike emphasize the significance of a particular event, object, or person. in that location are several comp 1nts of an readyive narrative. The following are some things to aliveness in mind when writing your essayFocus Narrative effect is the main point of your storythe moral, the message, the insight you offer. Without a specific narrative effect, your essay is merely a series of unconnected events. If you are shy(p) what your main point is, you might ask yourself, Why am I telling this story? Why should someone else be interested in reading about my experience? In addition, you must decide whether to break-dance your point explicitly (stated directly) or implicitly (suggested but not stated). cultureDetails add depth and color to your narrative. If your essay consists merely of prohibitionist facts, readers quickly grow uninterested. You can describe things through the methods of diorama and summary. In the scene method, use very detailed, evocative description to immerse the reader in the situation or place you describe. Your goal is to make the scene come alive for the reader. Usually narratives are based on one or two key scenes. Reserve in-depth detail for these key scenes, and scarf out in the rest of the story using the method of summary (giving a brief synopsis of events).Organization and CoherenceThe narrative consists of three elemental p arts The orientation, at the beginning of the essay, establishes thesetting, characters, and other essential elements of the story. The complication involves raise conflictthat leads up to the climax (the point of highest action in the story). Then, in the resolution, the conflict isresolved and the narrative effect is revealed or suggested.Your narrative also needs a time structure. You must decide whether chronological time or psychologicaltime best suits your story. In chronological time, events are described in the order in which they

Violence In The Media :: essays research papers

Violence in the Media     In my essay I will be examining the controversy of frenzy levels in the media. Although there atomic number 18 many passel who express the opinion that there is way likewise much strength in television for example, there argon merely as many who feel differently. Without viewer statistics, television would non be what it is. The viewers choose what they want to watch and that is taken into consideration. The more people tune into high violence-filled platforms, the higher the ratings for violence become. Surely that cannot be pinned upon the specifys producers. Television prides itself in giving America what it wants, and America wants violence.      just about the year 1923, the Federal Radio Commission was formed. They were in charge of regularization what could and could not be aired over the radio. When television came along, the name of the geological formation was changed to the Federal Communication s Commission (FCC). They set the standards of television viewing and as well provide options for those who disagree. Last year, the FCC adopted rules requiring all television sets with screens 13 inches or larger to be equipped with features to block the display of television computer programing based upon its rating. This technology is known as the "V-Chip." The V-Chip reads information encoded in the rated program and blocks programs from the set based upon the rating selected by the parent. Thus, the FCC allows violence but similarly provides an alternative for parents who think their child is exposed to too much violence (whatever that threshold may be, as it is determined by the parent, whereas the V-Chip is programmed by the parents.)     though I do not watch much TV, I am aware of the rising display of violent content on TV. Whether it is through and through prime time sitcoms or cartoon channels, one can not deny that there is more violence. C artoon violence used to be very fictional and easy to distinguish as the opposite of reality. today however, in gruesome, explicit, and too often unrealistic portrayals of death and violence, the flexible minds of children are being not being torn by the moral issues of violence and anger, but the line between reality and fiction has become intemperately blurred. Death is seen as temporary in most cases, such as cartoons where the character killed comes back week after week only to be killed.     But thats what America wants Our thresholds of violence are becoming more and more expanded as we see something, get over the sign shock it may have and crave more.

Summary of William Shakespeares Romeo and Juliet :: Free Essay Writer

Summary of Romeo and Juliet mount 1 phone number 1Scene one opens with a fight on the streets of Verona between servants from the Montague and Capulet households. While attempting to stop the fight, Benvolio is drawn in by Tybalt. The heads of twain houses (Montague and Capulet) arrive on the scene. Prince Escalus arrives and stops the fight, forbidding any further brawls. Montague and his married woman discuss Romeos strange behavior with Benvolio and ask him why he is take oning that way. They find Romeo and have Benvolio talk to him. Benvolio advises him to forget Rosaline, but Romeo refuses. Scene 2 Act 1genus Paris asked Capulet if it would be all secure if he could marry Juliet. Capulet is not sure because Juliet is so young, however he ends up agreeing with Paris. Capulet invites Paris to the spread head. He sends off the guest list with a servant, that cant read the names. He meets Romeo and Benvolio and asks them for help. Romeo noticed that the list had Rosaline on it, so he dared to go to the feast to meet with her. Benvolio again suggests to Romeo that he should forget Rosaline, he again refuses. Scene 3 Act 1Lady Capulet talks to Juliet about marriage accordingly tells her about Paris proposal. When lady Capulet tells Juliet that Paris will be at the feast, Juliet doesnt act too excited. Nurse responds for Juliet with something that Lady Capulet wanted to hear. Scene 4 Act 1Romeo, Benvolio, Mercutio, and other members of the Montague house go to the Capulet feast. They are all wearing masks to hide their identity. They talk it over and decide to stay for one dance. Because Romeo is hitherto in love with Rosaline, Mercutio teases him about being a hopeless lover. Mercutio then starts a long tale about how fairies deliver dreams to humans as they sleep. Scene 5 Act 1Romeo, Mercutio, Benvolio, and the servants arrive at the feast in masks. Capulet is there at the door to greet them. Capulet talks to his cousin about how long ago it was when t hey took part in a masque. Romeo sees Julies and fall in love with her immediately. Tybalt recognizes Romeos voice and is ready to fight. Capulet stops Tybalt and tells him to sack Romeo for now and try to keep the peace. Romeo and Juliet keep talking and end up kissing, Nurse runs in the middle of them and tells Juliet to go find her mother immediately.

The Natural Feminine in Romanticism: A Commentary Essay -- Gender F

After Bethany and Sarahs presentation, Nature as Woman, I was interested and confused - as were they, I think - by the multiplicity of contradicting views of nature as it relates to gender. According to dominant views on Romanticism, admittance to nature required a distinctly womanly perspective. Paradoxically, this feminine perspective, entitle ycleped sensibility was to be taken utilized most effectively by men, except it rested on feminine emotion as a more pure solution to nature (Fay 5). According to G.J. Barker-Benfields The Culture of Sensibility the sentimentalizing process involved the gravity of a certain manliness that is uncouth and savage (288) unless moderated by a feminine influence, thus woman was to use the so-called natural gifts of her sex to fetch elaboration to her more robust and virile counterpart. On first glance, this moderation of manly characteristics appears to lend legitimacy to feminine ideals however, this app atomic number 18nt liberation of the feminine illuminates two very respectable problems. First, as Barker-Benfield points out, feminine ideals are privileged, simply only as they serve to improve upon man woman is not idealised in her own right. In this service of a masculine purpose woman was to be fashioned by men rather than by herself (288). Second, the seemingly legitimisation of feminine ideals can appear modernized but, as a result, ultimately serves to authenticate an idea of natural femininity that is, in the opinion of many a feminist, a repressive patriarchal well-disposed construct that lacks any real biological referent. Thus it is very fitting, - but not the least bit subtle - that this artificial idea of femininity should be directly applied to Nature herself. If, as Betha... ...constantly striving and weakness to solidify and naturalize its gender assumptions. In the end, gender and patriarchy itself are proven unstable and fundamentally paranoid. Works Cited Bethany and Sarah. Nature Being eq ual as Woman. Romantic Travellers. 10 Feb. 2005. David S. Miall. 18 Feb. 2005. http//www.ualberta.ca/dmiall/Travel/index.htm Fay, Elizabeth A. A womens rightist Introduction to Romanticism. Malden Blackwell, 1998. Privett, Anne. Appropriating Nature Gilpin, the picturesque and Landscape Gardenting. Appropriating Nature A notification for English 409. 10 Feb. 2005. Khaghan Parker, Anne Privett and Luke Ingberg. 18 Feb, 2005 2006. http//members.shaw.ca/weaters/index.htm Mulvey, Laura. Visual Pleasure in memorial Cinema. Literary Theory An Anthology. Ed. Julie Rivkin and Michael Ryan. Malden and Oxford Blackwell, 1998.