From childhood my brother, Lawrence Kasdan, and I shared a love of those pictures. When he decided to write and direct a Western, people flocked to participate, both in front of and behind the camera. Most of them fell into one of two groups:
We all have an idea in our head that pops up whenever we think of the Western. Certain characteristics come to mind such as horses, six-guns, cowboy hats, dusty streets or savage wilderness, all of which is usually set in the mid to late s. Classic films like Stagecoach and The Man from Laramie led to revisionist films such as Unforgiven and The Shootist The Western has the largest classic period arguably from late s through the late s and has been subject to revisionist and nostalgic interpretations ever since.
The Western is a perfect avenue to observe genre evolution because of the numerous ways it explores race, gender and identity.
One of the latest explorations of the genre is in The Philosophy of the Westernedited by Jennifer L. The book is an anthology of essays that deal with the Western in terms of the myths created in both history and cinema. This compilation deals primarily with the philosophy surrounding identity, ethics and gender that dominate the American Western.
In addition, the authors incorporate the Robert warshow the westerner essay of philosophy and Western myth, each at different lengths and depths. The blurred line between fact and fiction of the Wild West has continually been carried by the American film industry since the early s.
Hollywood continues to print or revise the legend to this day. The academic field studying the Western is almost as large as the genre itself. Chance John Wayne in Rio Bravo, The most recognizable icon in the Western, other than the dusty landscape itself, is the male gunfighter.
This character is usually the heroic figure that traditionally saves the day and rides off into the sunset. Den Uyl breaks apart the inner working of the famous protagonist.
The most common trait of the Western hero is his ability to rely on himself sometimes herself. The Western hero is certainly self-sufficient, generally virtuous and rarely needing or asking the help of anyone else.
Of course, sometimes the virtue is justified for a character by their desire for revenge as it was for Ethan Edwards John Wayne in The Searchers This kind of individualism is personified through both self-reliance and self-motivation, much of which comes from their past experiences the author mentions the general lack of rookies in Westerns.
The reason that drives these heroes is one that is deeply personal. The Western hero is dedicated to his own ideas of truth and virtue which are often deconstructed in later Westerns that create his moral compass.
This is why he must always ride off alone as he represents the ultimate in rugged individualism. Den Uyl declares the Western genre the best representation of American virtue. Additional essays in The Philosophy of the Western deal with the role of women in Westerns as well as legendary career of Clint Eastwood as both an actor and director in the genre.
Of course, it is not always clean cut as it is always evolving, which is why study of the genre is still warranted. The Philosophy of the Western continues to purge the many meanings beneath the surface of the films in this monumental genre.
Fans of the genre or anyone looking to research the Western will not want to miss this anthology full of useful essays about the oldest and arguably the most dynamic genre in Hollywood.Mar 19, · In the essay ''Movie Chronicle: The Westerner,'' Robert Warshow described the western as ''an art form for connoisseurs, where the spectator derives his pleasure from the appreciation of .
In his biography of Gary Cooper, Gary Cooper, American Hero (Robert Hale, London, ), Jeffrey Myers quotes Robert Warshow’s essay on westerns: “The romantic image of the cowboy as the embodiment of male freedom, courage and honor was created by men who had lived a rugged life in the West: in words by Teddy Roosevelt and Owen Wister, in.
In his pivotal essay ‘The Westerner’, Robert Warshow argued that the appeal of the Western hero lies in the fact that he ‘is a figure of repose [ ] lonely and to some degree melancholy [ ] [H]is melancholy comes from the “simple” recognition that life is unavoidably serious [ ] [and] his loneliness is organic, not imposed on him by his situation but belonging to him.
For a guy who died of a heart attack at the age of 37 back in , Robert Warshow sure has the number of modern American popular culture. This collection of essays ranges from the Rosenbergs, to Charlie Chaplin, to Stalin, to comic books and while the content may sometimes be a little dated, Warshow's voice is always fresh, pointed, and smart.4/5(7).
Jul 20, · 8 See Robert Warshow, The Immediate Experience, New York: Atheneum, , which contains both 'The Gangster as Tragic Hero' (originally published in ) and 'Movie Chronicle: The Westerner' (originally published in ).
Andrée Lafontaine, PhD. About Dorothy Arzner Trans Studies Xavier Dolan Conference & Publications CV Syllabi Digital Portfolio Contact "The Gangster as Tragic Hero" by Robert Warshow () 4/14/ 0 Comments regardbouddhiste.com: File Size: kb: File Type: pdf: Download File.
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