The Man Who Shot Liberty Valance

River, Wayne stars in the unusual role of Thomas Dunson, who borders on good and bad tendencies throughout the film. “Wayne, often typecast, is given a tortured, conflicted character to play” (Ebert 392), and does remarkably well portraying someone with questionable values. Wayne is sometimes considered more of a natural force than an actor, but here his understated acting is right on the money; the critic Joseph McBride says that John Ford, who had directed Wayne many times, saw Red River and told

comparison between a renowned smell with a flawless place, showing infinite ideal factors in the conceived utopia. In the poem Our Corrupt Society, it strikes back the thought of atrocious things that happen currently, with enjambment used after the line, “Who are the real killers now?” (27). This suddenly triggers the burning ideas of lack of forgiveness and the will to take revenge on others for past actions. Using the poetic device here pauses the reader for a moment and has them reflect on wars of hatred

(1960). The last of the Renown cycle of seven films that Boetticher made with Randolph Scott, Comanche Station reduces the elements of the journey Western to create one of its purest expressions ever. Scott is an aging knight, a man "always alone in Comanche country," who, reminiscent of John Wayne's searcher, hunts endlessly for his wife, taken ten years previously by the Comanches. He buys a woman out of captivity–not his wife, of course, whom he will never find–and escorts her back to her

(Clapham, p.13). The western has also built a legend around iconic figures such as Billy the Kid and Jesse James. It was inspired by events such as the Gunfight of OK Corral, which was staged in many films. At the end of the movie “The Man Who Shot Liberty Valance”, produced by John Ford in 1962, a phrase captures the essence of western: “When the legend sells better than the

the Western context Ford portrays - late 1800s, Texas - the law was implemented by a single man who takes on the role of both the sheriff and the jury. Arrests, executions and the such are all decided on by he who governs the town. Moral integrity, courage, principles, self-sufficiency, gun skills are all main characteristics of a Western cowboy which opposes to the educated, sophisticated portrait of a man coming from the East. John Ford explicitly shows such a contrast between the East and

THE WILD WEST OF AMERICA The Wild West of America, or what historian referred to as the Old West, since the 1800’s men and women all wanted to move to the west to start a new life, have land, find gold and silver ,and to escape the law hence the Wild West. The West of the U.S. started off from the west of the Mississippi all the way to the west coast. With all the open land and the people in the west, legends and stories are being made throughout time, and these stories are for the future generation

From the rich to the poor, from the governments to the protesters. This is because Lafayette would listen to the people and what it is they wanted. On Wednesday mornings, for example, the commander in chief would receive any citizen who visited headquarters. All of these interactions formed a direct bond between Lafayette and the crowd, a bond that deputies feared and the government respected. (Kramer 236) The people looked toward “Lafayette as their defender” (Kramer 236). And

FILM LANGUAGE FILM LANGUAGE A Semiotics of the Cinema Christian Metz Translated by Michael Taylor The University of Chicago Press Published by arrangement with Oxford University Press, Inc. The University of Chicago Press, Chicago 60637 © 1974 by Oxford University Press, Inc. All rights reserved. English translation. Originally published 1974 Note on Translation © 1991 by the University of Chicago University of Chicago Press edition 1991 Printed in the United States of America 09 08 07 6