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Clint Eastwood: Biography and Films
Began film career as an actor
Instantly iconic in his role in Dirty Harry: Violent, strong silent type
Spaghetti esterns: The man with no name, bent on revenge
ork as director
Play Misty For Me (1971): Story of a radio host being stalked
Bridges of Madison County (1995): Love story with Meryl Streep, adaptation of well-known romantic novel
Oscar-winning Unforgiven (1992): Eastwood directed an unconventional estern, after starring in so many himself. Film "functions as both a brilliant western and an examination of the genre as a whole and its patent unrealities" (Sims 1).
Million Dollar Baby (2004): The story of a female boxer, with Eastwood playing her coach as well as directing
Eastwood has favored relatively intimate, character-driven films. Even when his films contain a great deal of action, like Unforgiven, ultimately it is the character that drives the work (such as…
"Clint Eastwood Directing Techniques." Cinemoose. 21 Jul 2008. Web. 18 Dec 2014.
Ebert, Roger. J. Edgar. Film review. 8 Nov 2011. Web. 18 Dec 2014.
Sims, David. "The Clint Eastwood Taxonomy: What Are His Best Films as a Director?"
The Wire 17 Jun 2014. Web. 18 Dec 2014.
Clint Eastwood’s career spans more than six decades, and is one of Hollywood’s few luminaries that is equally as renowned for his acting as his directing. Born in 1930 in San Francisco, Eastwood’s formative years were spent during the Great Depression, during which his family moved around in search of work. Eastwood has one younger sister (“Biography: Clint Eastwood” 1). Eastwood worked a series of odd jobs, mainly manual labor, until he was drafted into the army in 1950. During his time in the Army, Eastwood proudly recalls how he managed to skillfully avoid combat in the Korean War by becoming a lead swim instructor (Schickel 50). Eastwood exhibited traits of the proudly rebellious antihero that many of Eastwood’s films would later depict.
He was discharged from the Army three years later, after which he moved to Los Angeles and became interested in acting. His rugged good looks are what…
Dave, who is an introverted, haunted, loner, acts out his rage and hurt upon another man having sex with a child prostitute. Sean eventually locates Katie's murderers, who were related to and associated with her boyfriend of whom her father did not approve, but not before Jimmy accuses and kills Dave of Katie's murder because he does not believe Dave's confession of murdering the other man. By the conclusion of the film, the remaining men find some relative resolution to their personal problems, which are primarily related to their families.
The film is masterfully composed and has a very subtle power to it, which is indicative of Eastwood's directorial style. Certainly, as a film, the film is meant to be a form of entertainment, but the film is superbly realistic and emotional. The film is about the connections between violence and emotions. There are visual and thematic parallels related to…
Also, these concepts emphasize the limits associated with the American peoples, as by being as realistic as they possibly could be they made it possible for viewers to accept that a estern did not necessarily have to involve a heroic cowboy running off into the sunset consequent to killing the bad guys and saving the damsels in distress.
These films were all about presenting American values as realistically as possible with the purpose of influencing viewers to accept that there is actually much more to the American culture than one might be inclined to believe.
Campbell, Jeff, "USA 5th Edition," (Lonely Planet, 01.03.2008)
"3:10 to Yuma," Retrieved March 20, 2013, from the Reel Gouda ebsite: http://thereelgouda.blogspot.ie/2007/09/310-to-yuma.html
"Yippie ki-yay! The western's not ridden off into the sunset yet," Retrieved March 20, 2013, from the Guardian ebsite: http://www.guardian.co.uk/film/filmblog/2007/oct/29/willlawrencemonampic
Karnick, S.T. "3:10 to Yuma: Review," Retrieved March 20, 2013, from the…
Campbell, Jeff, "USA 5th Edition," (Lonely Planet, 01.03.2008)
"3:10 to Yuma," Retrieved March 20, 2013, from the Reel Gouda Website: http://thereelgouda.blogspot.ie/2007/09/310-to-yuma.html
"Yippie ki-yay! The western's not ridden off into the sunset yet," Retrieved March 20, 2013, from the Guardian Website: http://www.guardian.co.uk/film/filmblog/2007/oct/29/willlawrencemonampic
Karnick, S.T. "3:10 to Yuma: Review," Retrieved March 20, 2013, from the American Culture Website: http://stkarnick.com.previewc45.carrierzone.com/culture/?p=3309
Changeling is the 2009 film directed by Clint Eastwood that looks at the complex relationship between Christine Collins and the Los Angeles Police Department (LAPD) as she sets out to find her son, alter, who vanished and "mysteriously" reappeared only to have been replaced by an imposter. Through her continued insistence that the child returned to her was not her legitimate son, Reverend Gustav Brieglib, who was on a personal mission to expose the LAPD's corruption, is able to demonstrate that the police department, and Captain J.J. Jones who handled the Collins' investigation, acted negligently in their investigation and the subsequent (unlawful) detention of Mrs. Collins. Through Changeling's narrative, plot, and dialogue, Eastwood is able to highlight the impact and influence of social institutions on abuse and corruption and the disempowerment -- and subsequent empowerment -- of women.
Changeling begins with Christine Collins (Angelina Jolie), a single, working mother, and…
Abramowitz, Rachel. "The Other Son." 2008 October 18. Los Angeles Times. 27 August 2012.
Changeling. Directed by Clint Eastwood. United States: Universal Pictures, 2009. DVD.
Collins, Christine. "Letter to Mr. A. Eichoff." 1929 May 3. The Daily Mirror. 2008
his is because of the fact that Chrysler is now getting back its success, as well as because of the fact that the company now is becoming more and more known worldwide. he utilization of Clint Eastwood was also a stroke of genius. His voice is not only well-known but also authoritative and emotional in a way that only adds credibility to the brand.
he ethos here is thus found on two fronts: the subject of the commercial as well as the way in which it is delivered by Eastwood. When he speaks about Detroit, Eastwood utilizes personal as well-known anecdotes that the country can recognize and that can rally it towards a common goal. In fact, the word 'rally' and the phrase 'acted as one' is utilized many times, as Eastwood stresses, time and again his faith in the strength of the country, as well as its ability to…
The commercial, in my view, is quite successful. This is because it makes use of fantastic appeals processes, especially pathos and ethos. Eastwood's voice also contributes to this feeling, as it is the perfect voice to deliver a message of hope and of togetherness. One needs only watch this ad to feel truly that Chrysler can come back, and can make a difference in America. And one can also feel that the overall message of hope will truly be true, as America will get back on its feet and will truly overcome the current economic crisis.
The advertisement analyzed here can be found at the following link:
Ironically, when Walt's last Will and Testament are read, he has left his house and estate to the Church; a final tribute to his wife's years of devotion, and even perhaps, we are given to believe, to Father Janovich's unwavering belief in the goodness of humans.
Walt is almost a quintessential example of someone who has become so embittered by the temporal world that he cannot see the beauty of life or the nature of spirituality. Walt likely went through life much as most of the Post World War II generation; life was planned, this is what you did; you fought for your country, came home, got a job, raised a family, retired, drank at the local pub, and let your wife handle the Church and all the emotional issues. Trouble is -- this paradigm often results in a great deal of burying emotions, of distancing from one's family, and…
Gran Torino (2010). Box Office Mojo. Cited in:
Frankie replies by allowing her to keep the bag she is hitting and giving her some hope. Later, Frankie agrees to train Maggie, but still maintains his distance by telling her that he will not be her manager. He even goes so far as to arrange for her to meet a manager, but Maggie insists on Frankie for the entirety of her boxing career, and after getting to know her better, Frankie concedes. Thus, Frankie begins to accept Maggie as he becomes more and more aware of her persistence and determination. His ability to accept her, then, some may argue, is built on her having masculine characteristics. If she were feminine at all, this critic would suppose, he would not accept her. However, this argument can be countered by simply suggesting that no characteristic is inherently feminine or masculine, but that each gender has equal ability to experience many characteristics.…
estern films, "Shane," made in 1953 and directed by George Stevens, and "Unforgiven," made in 1992 and directed by Clint Eastwood. Specifically, it will analyze the two films, and discuss their importance in the genre of estern films. Today, the classic estern is a film gone out of style, but these two films live on as classics, generally because they deviate from the classic estern model, by showing the characters three dimensionally, and the violence as real and devastating.
TO ESTERN FILMS
"Shane" does not rely on elaborate sets and costuming to get its message across to viewers. One reviewer called the sets "spartan" and the language of the film "laconic." The characters of this estern make the film the classic that it has become. Shane is a man of few words, but much action, and he firmly stands behind his beliefs. From the opening scene, when he rides down…
Dirks, Tim. "Unforgiven." Filmsite.org. 2002. 27 July 2002.
Shane. Dir. George Stevens. Perf. Alan Ladd, Van Heflin, Jean Arthur, and Brandon de Wilde. Paramount, 1953.
Sitton, Bob. "Refocusing the Western." Film-Philosophy. Vol. 4 no. 24. October 2000. 27 July 2002.
I am very glad that I have waited to pursue my goal. I feel like my travels and my life experience have given me some weight and breadth to my history that will permit me to be a better storyteller. However, I also feel that taking a break from actively pursuing my goal has given me the time to get a firm foundation underneath me. While I may dream of one day winning an Oscar, I understand that being a success in this industry does not mean that one has to be a box office headliner. In fact, in this day and age, actors seem to be gaining merit for being remarkable storytellers, and not simply for having camera-ready Hollywood looks.
When I look at the people that I most admire as actors, I realize that they all tell stories on multiple levels. Take, for example, Clint Eastwood. Eastwood could…
Today, the Americans fight different insurgent factions, who have limited weaponry, no air force, and no real large scale fighting tactics. Instead, they create havoc with roadside bombs and suicide bombers. Vietnam was fought on the scale of a world war, while Iraq is being fought on a much smaller scale. In addition, there was a draft in place during Vietnam, and no draft in place today, so our forces are stretched much thinner in Iraq and at home.
In contrast, many experts believe there are similarities between the two wars, but there are far more differences that keep the two wars very far apart in perspective. For example, there is no real Communist influence in Iraq; rather the country suffers from domestic unrest and insurgency, rather than large-scale intervention from other countries (except perhaps Iran). Thus, Americans are not fighting a "cold" war but rather a war supposedly based…
Kagan, Frederick W. "Iraq Is Not Vietnam." Policy Review (2005): 3+.
Letters from Iwo Jima. Dir. Clint Eastwood. Perf. Ken Watanabe, Kazunari Ninomiya, Tsuyoshi Ihara, and Ryo Kase. Warner Brothers, 2006.
Lopez, George a. "A Quagmire? Vietnam, Iraq & Other Analogies." Commonweal 16 Jan. 2004: 11+.
May, Elaine Tyler. Homeward Bound: American Families in the Cold War Era. Revised ed. New York: Basic Books, 1999.
The 2005 film "Cinderella Man" reunites the team of director Ron Howard, screenwriter Akiva Goldsman, and leading man Russell Crowe, who had worked together four years earlier on the Oscar-winning "A Beautiful Mind." On the surface the two projects could not seem more different: in "A Beautiful Mind" Crowe plays John Nash, a bespectacled Princeton professor with paranoid schiozphrenia and a Nobel Prize in economics; in "Cinderella Man" he plays Depression-era heavyweight boxing champion James J. Braddock (who had been dubbed "Cinderella Man" in the newspaper columns of raffish "Guys and Dolls" scribe Damon Runyon, who also supplies the film's epigraph). Although the film was widely praised by critics and was nominated for three Oscars (for editing, makeup, and for Paul Giamatti as Best Actor in a Supporting Role playing Braddock's trainer Joe Gould) "Cinderella Man" would underperform at the box office on its original 2005 release --…
Moody (2010) introduced many important concepts about aging in his textbook. The idea of aging as a subject is broached in many ways in this informative book, however there are some key aspects that suggest the most prominent and problematic concepts of aging that are highlighted when comparing this text to the film Gran Torino, directed by Clint Eastwood. This movie suggests that despite the portrayal as violence as a virtue, becoming elderly is a difficult and misunderstood time in one's life. The film depicted a man who, after a lifetime of resorting to violence, realizes he his misunderstood in a changed world that pays him no respect.
Moody wrote "the subjective experience of meaning is closely related to individual well being. The search for interpretive meaning in later life underscores the importance of cognitive functioning in old age," (p.23). Using this idea as a model for the…
Albom, Mitch. (1997). Tuesdays with Morrie: An old man, a young man, and life's greatest lesson. New York: Doubleday.
Lorenz, R., Gerber, B., Eastwood, C., (producers) & Eastwood, C. (director). (2008). Gran Torino [motion picture]. United States, Germany: Warner Bros.
Moody, H.R. (2010). Aging: Concepts and Controversies. Thousand Oaks, CA: Pine Forge Press.
In other words, Leone created a surrealistic diorama overflowing with American Western iconography that resembles the historical background of the "real" American West, injected with familiar American cinematic imagery related to costumes, physical attributes, architecture, transportation devices, weaponry and even geophysical patterns, such as deserts, wide-open plains, mountains, and typical urban settings reminiscent of an American Western town.
In essence, Leone's 'Man With No Name' trilogy "expresses the familiar imagery of the Old West based upon myths and legends culled from the pages of an American history primer" (De Claudio, 76), replete with imaginative visions of the 19th century America Southwest resplendent with good, old-fashioned American violence, greed, avarice, self-promotion and self-determination (De Fornari, 124). Leone also creates a very recognizable milieu "rooted in American historical detail but refracted through the looking-glass" of typical Hollywood Western films dating back to the silent era (Cumbow, 214), an abstraction of the "real…
Cumbow, Robert C. The Films of Sergio Leone. UK: Scarecrow Press, 2008.
De Claudio, Gianni. Directed by Sergio Leone. Rome, Italy: Libreria University Press,
De Fornari, Oreste. Sergio Leone: The Great Italian Dream of Legendary America.
And as with male road pictures, it is sex that threatens to divide the two women. Not when they unite to blow up the truck of a leering, misogynistic truck driver, but when the drifter they pick up tires to exploit them and Thelma's attraction towards him. Thelma is more flighty and sexual, and her youthful, sexual drive, unfulfilled in her relationship with her husband, causes the events that propel the narrative of the road picture, and perpetually frustrates Louise. The film does seem to imply that women cannot have sex, love, freedom, and power but then again most road pictures suggest that men cannot settle down into marriage with women and still glory in the freedom of the road. Like the women's relationships, the male relationships of road pictures often seem homoerotic in their intensity and disdain of the opposite gender's compassion. However, when transposed onto a feminine narrative,…
Thelma and Louise." Directed by Ridley Scott. 1991.
The Power of the Situation
Sam Sommers (2008) writes in an article entitled The Elusive Power of Daily Situations about an incident in which he broke a finger of each one of his hands and had to undergo a minor surgical operation that was necessary to ensure the healing process. He describes how this situation was altered for him by his anxiety over the various choices and complications that were part of this type of surgery, by the discomfort he felt wearing a flimsy hospital gown that he was unable to tie due to his broken fingers and being in an unfamiliar place, and by his embarrassment at the incident that resulted in the injury in the first place. Sommers relates this to the phenomena of the power of the daily situation as he writes "As we know from decades of research in social psychology, many of us…
Berger, P.L. And Luckmann, T. (1966) The Social Construction of Reality.
Biali, S. (2007) Was Michael Jackson a Highly Sensitive Person (HSP)? Are You? Retrieved on May 2, 2011 from http://www.psychologytoday.com / blog/prescriptions-life/200907/was-michael-jackson-highly-sensitive-personhsp-are-you.
Gleitman, Fridlund, and Reisberg. (2004) Personality. Psychology Today. 6th Ed. New York W.W. Norton and Co.
Markman, A. (2009) People, Situations, Attributions, and the Hollywood Movie. Retrieved on May 2, 2011 from
movie industry in America has been controlled by some of the monolithic companies which not only provided a place for making the movies, but also made the movies themselves and then distributed it throughout the entire country. These are movie companies and their entire image revolved around the number of participants of their films. People who wanted to see the movies being made had to go to the studios in order to see them. They made movies in a profitable manner for the sake of the studios, but placed the entire industry under their control and dominated over it. The discussion here is about some of those famous studios inclusive of that of names like Metro Goldwyn Mayer, Culver, RKO, Paramount Studios, Warner Bros, 20th Century Fox, Walt Disney Studios, Universal Studios, Raleigh Studio, Hollywood Center Studio, Sunset Gower Studio, Ren-Mar Studios, Charlie Chaplin Studios and now, Manhattan Beach Studio.…
"What better way to annoy the Hollywood liberals than to remind them every single day that
George W. Bush is STILL the President?" Retrieved from https://www.donationreport.com/init/controller/ProcessEntryCmd?key=O8S0T5C8U2 Accessed 15 September, 2005
"What's interesting about the business is that it's no longer the movie business" Retrieved from http://www.pbs.org/wgbh/pages/frontline/shows/hollywood/picture/corptown.html Accessed 14 September, 2005
Marketing and Advertising
Marketing & Advertising
(01) uper Bowl commercials cost millions of dollars (as an example, companies paid an average of $2.6 million for 30 seconds of airtime in uper Bowl XLIV for the chance to reach a projected audience of 90 million viewers worldwide). Go to this site to view the latest uper Bowl ads. Identify which ad you believe was the most effective for domestic and international markets and why.
The advertisement that I believe has the most appeal to domestic markets is the Chrysler Commercial titled "Its Halftime in America." If effectiveness is defined as the ability to cause the consumer to remember the commercial, to encourage the customer to be engaged with the brand, to bring about a positive customer attitude toward the brand, and to tip the consumer toward converting those feelings and perceptions about the brand into a purchase of the product, then…
Statement of Ethics. (2012). American Marketing Association. Retrieved http://www.marketingpower.com/AboutAMA/Pages/Statement%20of%20Ethics.aspx
Corporate Social Marketing. Interlex (2012). Retrieved http://www.interlexusa.com/corporate-social-marketing.php
Artic Home Commercial Retrieved http://www.youtube.com/watch?v=bdxrVabe_C0
Harley Davidson has traditionally targeted middle-aged white men. This target arises out of a couple of factors. The first is that most users do not rely on their Harley Davidson as their primary means of transport, so the purchase is discretionary. This skews the target demographic older because younger demographics do not have thousands of discretionary dollars to spend. The bikes are also priced at a premium, which further pushes them into an older target market. The image of freedom that the company projects is also symbolic -- Harley wants customers to reconnect with their youth now that their children have left the home, and to reconnect with the spirit of freedom in their lives.
The company has utilized both the cost element and the freedom element in its positioning strategy, but the product itself also reflects the positioning. Harley makes heavyweight and superheavyweight bikes, which inherently carry a…
Fournier, S. (1998). Consumers and their brands: Developing relationship theory in consumer research. Journal of Consumer Research. 24:4(March):343-72. Available 5/5/12 through ProQuest database.
Hagerty, J.R. (2011). Harley, WIth Macho Intact, Tries To Court More Women. Wall Street Journal (October 31). Available 5/5/12 through EBSCO database.
Harley Davidson. Accessed 5/5/12 at http://www.harleydavidson.com/en_US/Content/Pages/home.html
Terminator and Matrix evolutions
When a Californian speaks of the "terminator," almost anyone listening will wonder briefly if the emerging dialogue is to be about the actor/governor of California (Arnold Schwarzenegger) or the film, The Terminator. And if the discussion is to be about the movie The Terminator then which "Terminator" will be in focus - one, two, or three? For purposes of this paper, the focus will be on The Terminator (1984) and Terminator 3: ise of the Machines (2003), and, also, on The Matrix evolutions.
The Terminator: The big career break for Arnold Schwarzenegger was not when he became a well-known body-builder. His huge break was playing the lead role in The Terminator, the first of three science-fiction films that were also action-thrillers.
The plot: It is the "Year of Darkness," 2029, and a powerful and intelligent computer named Skynet continues to battle human resistance on Earth, after…
Axmaker, Sean. "If nothing else, 'T3' is blessedly unpretentious." Seattle Post-
Intelligencer 2 July 2003.
BoxOffice Online Reviews. "The Terminator." Retrieved online on 18 August 2004. http://www.boxoffice.com .
Clark, Mike. "Schwarzenegger is back, barely, in 'Terminator 3'." USA Today 1 July 2003: C1.
estern and Hollywood: The Art of Show Business
The estern helped spawn the American myth -- the legend of the frontier spirit, where civilization met the road and the individual was put to the test: either he would be a man of honor, or a criminal. The estern hero, guys like ayne and Cooper and Roy Rogers before them, participated in the mythos and were awarded with stardom in the "genus stardom" of Hollywood, where stars and starlets were groomed and given to the public for consumption: they represented the public's image of itself -- Lana Turner representing their sexiness, ayne representing their machismo (Damico 240).
Hollywood as art and as industry, used the estern to boost the box office in the early days of cinema -- but by the time John Ford made Stagecoach, the big estern film had lost its luster and unless a big star was attached,…
Damico, James. "Ingrid from Lorraine to Stromboli: Analyzing the Public's Perception
of a Film Star," 240-253.
Kitses, Jim. "Authorship and Genre: Notes on the Western." The Western Genre: 57-
A roughly overgeneralized list of great moments in film genres in America may give the suggestion that the history of the different genres summarizes the development of individuals within the society. For instance, with respect to the comedic genre, the first significant phase in such films is more often than not linked with revolutionary, polymorphous individuals such as Chaplin. With respect to the weepy genre of films, Erich Segal is considered to the revolutionary individual that not only instigated it but also paved the way for similar films. The present-day movie scene is dominated and filled with movies in the romantic comedy genre. At the moment, there are genres that are made for making individuals cry and are deemed to be weepy films, books and plays. Weepy is not basically entertainment, but neither can it be deemed simply tasteless. In particular, the entertainment industry has a preference for sitcoms…
This decision was a wise one from a business standpoint and it allowed him to drastically reduce costs, which in turn reflected in lower prices for cocaine. Soon enough then, Lucas became the preferred drug provider, selling the quality Blue Magic at low prices. He even became the wholesaler for other drug dealers in the city.
This desire to cut the middle man and deal with operations directly is also present with ichie obinson. Not once is he met with the frustration of the bureaucracy that slows him down. And when he finally manages to better follow the illicit activities, he becomes head of a new department that follows drug dealers directly, rather than focusing on the middle men.
Then, there is the theme of discipline and strong character. ichie oberts is not himself a very disciplined man. His marriage is falling apart and his colleagues dislike him. Still, in…
Benshoff, H.M., Griffin, S., America on film: representing race, class, gender and sexuality at the movies, John Wiley and Sons, 2011
Gambetta, D., The Sicilian mafia: the business of private protection, Harvard University Press, 1996
DiCanio, M., Encyclopedia of violence: frequent, commonplace, unexpected, iUniverse, 2004
Sifakis, C., The mafia encyclopedia, 3rd edition, Infobase Publishing, 2005
171). On the other hand, men are sometimes depicted in the opposite stance: as overtly dominant. The difference between the "willing subordination" and the cocky gaze is that the former is a pose formally reserved for females whereas the latter epitomizes male social roles of dominance and political control. The individual who gazes directly at the viewer is confident and in control, whereas the individual who bears his or her behind and looks away from the viewer is saying "take me, do what you want with me." Interestingly, Bardo discovers a racial and age disparity among the images. African-American males are more likely to be shown in a dominant role, whereas young males are more likely to be represented as submissive (p. 192).
Thus, Bardo explores the language of visual imagery through a direct discussion of the male body. hereas the female body has been the de facto tableau on…
Bardo, Susan. "Beauty (Re)Discovers the Male Body." In the Male Body: A New Look at Men in Public and in Private. Farrar, Straus and Giroux; 1st edition (July 15, 2000)
The need to go forward and to be in sync with the fast-paced life that characterizes modernity was the main objectives of people like Sammy Glick. These individuals, in fact, are considered the modern individuals of Schulberg's time. What made Sammy became the embodiment of an archetype was because, among the "runners" in his time, "Sammy was just a little bit faster, that's all..." Combining ambition, cunning, and disregard for morals, Sammy was able to achieve the high standard of success modern individuals in the 20th century American society sought to achieve and have.
From the persona of Sammy, audiences will realize that archetypes are developed and patronized because they mirror the realities of human society in a specific time period and place. This realization was echoed in Abramowitz's interviews and analyses in the book, "Is that a gun in your pocket?" In it, the author elucidated on how during…
One can almost consider that American filmmaking contains fixed ideas where Japanese motion pictures produced by Kurosawa are the result of complex concepts coming from a series of cultures being brought together. In spite of the fact that Kurosawa's film goes against some of the most respected Japanese values during the 1950s, it is nonetheless related to the general context involving Japan. It follows Japanese film-making rules in an attempt to captivate an Asian public through having viewers identify with the characters from time to time. While the fact that the ronins in the film are shown as being glorious and as generally being responsible for the fact that the situation is saved, this type of people was considered to be predisposed to performing immoral acts at the time when the motion picture was released. The Japanese had just survived an international conflict that claimed the lives of many and…
1. Dir. Akira Kurosawa. Seven Samurai. Columbia Pictures, 1956.
2. Dir. John Sturges. The Magnificent Seven. United Artists, 1960.
Indeed, the trajectory of the narrative involves exacting revenge on those who prevented her marriage from taking place.
Although the Bride's marital aspirations might suggest that she holds a conservative sensibility, this is far from the case and she is ultimately more aggressive than Jen. While Jen also exhibits physical prowess, her sacrificial gesture at the film's conclusion signifies how she maintains a strong reverence for the Confucian moral code, assimilating her within the wuxia genre. Physically, the Bride resembles a dominatrix; she is taller than many of the characters and fights in a relentlessly savage manner (even going so far as to bite her adversary in one scene.) in contrast, Jen is more diminutive and her face and eyes are softer and less predatory. Where the Bride looks much more imposing than an average person, Jen has an average size that is not dissimilar from the other characters. Indeed,…