Back from the sunset: the western, the Eastwood hero, and 'Unforgiven.'

Article Abstract:

The film 'Unforgiven' transcends the western film genre by depicting the life of a hero after his heroic deed in the same way that it marks an apparent end point in Clint Eastwood's career in the genre. It also presents the ambiguous boundary between history and mythmaking in the way the hero refers to his own past to which he tries to return and which may be vary according to his own self-perception and the perceptions of others. In the end, Eastwood's character regains his heroic status by overcoming his guilt and imposes justice in the community.

Eastwood, Clint, Unforgiven (Motion picture)

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'The story of Custer in everything but name?': Colonel Thursday and 'Fort Apache.'

Article Abstract:

John Ford's film 'Fort Apache' reinforces the myth of the American hero in the character of Col. Thursday. Thursday has been compared to the historical figure Gen. George Custer, who has become a legend for his supposedly heroic stand against a tribe of Native Americans. However, Thursday's character may have also been based on other military leaders such as William Judd Fetterman, who was another figure whose war exploits have been glamorized as a defender of distinctly American and masculine values.

Heroes, Movies, Military personnel, Heroes in motion pictures

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Now you are a killer of white men: Jim Jarmusch's 'Dead Man' and the traditions of revisionism in the Western

Article Abstract:

A critical analysis of Jim Jarmusch's 'anti-Western' film, 'Dead Man,' is presented, focusing on the traditions and ideology of the Western genre. Topics addressed include historical revisionism, the Native American/ White relationship, the portrayal of savagism and the Other, and the depiction of the physical and spiritual worlds.

United States, Analysis, Native Americans, Native North Americans, Critical Essay, Film criticism, Movie criticism, Historical revisionism, Dead Man (Motion picture), Jarmusch, Jim

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