The only women appearances in the novel are isolate and the characters are all whores that have no precise role in the story. Indians also make their appearance felt in the story, but none of them has a significant role.
Blood Meridian has nothing to do with being a revisionist western, as it does not attempt to present people with a revised picture of old westerns. It is purely anti-western, as none of the basic western concepts are being properly presented in the novel. After having read the book, one would most certainly feel guilty for accepting the fact that the writer is somewhat right in certain episodes.

Riders of the Purple Sage almost is the opposite of Blood Meridian, as the 1912 book has most ingredients needed to make a successful western-related book. In the Riders of the Purple Sage, writer Zane Grey has most characteristic factors to make a…...

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Works cited:

Softing, Inger-Anne. Desert Pandemonium: Cormac McCarthy's Apocalyptic "Western" in Blood Meridian. American Studies in Scandinavia, Vol. 31, 1999.

Western Landscape
When "spaghetti Western" auteur Sergio Leone set out to make Once Upon a Time in the West, he was determined to shoot in Arizona using the same breathtaking, authentic backdrops and landscapes that the great American Western filmmakers, such as John Ford, used in films like Stagecoach (1939) and My Darling Clementine (1946). The landscape and location were iconic images (Monument Valley has appeared in several of Ford's Westerns) that evoked a sense of foreign territory, of something almost prehistoric for the viewer. Thus, for the hero of the Western film to be seen against a backdrop like that of the "desert wilderness" is enough to draw the viewer into a relationship that is at once hostile and precarious -- "the encounter of home and wilderness" wherein ideas of family, shelter, unity, life are juxtaposed with the spare and sparse Western landscape of bleak desert horizons, mesas, plateaus, and…...

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References

Budd, M. (1976). A Home in the Wilderness: Visual Imagery in John Ford's Westerns.

The Classic Western: 133-147.

Buscombe, E. (1995). Inventing Monument Valley: Nineteenth Century Landscape

Photography and the Western Film. The Western Genre: 114-129.

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 into…...

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Works Cited

Dirks, Tim. "Unforgiven." Filmsite.org. 2002. 27 July 2002.

<  http://www.filmsite.org/unfo.html 

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.

Film Awards
The film industry produces experience goods for consumer enjoyment and consumption, and substantively relies on consumer differentiation for the economic success of movies. Moviegoers appear to differentiate films primarily on the basis of genre, starring actors, exposure to promotion, recommendations from other moviegoers and film critics, and -- for the dedicated film buffs and connoisseurs -- directors, cinematographers, and even screenwriters associated with the film production (Albert 1998, De Vany 2004, Eliashberg and Shugan 1997, Hand 2002, Krider and Weinberg 1998, Nelson et al. 2001, avid 1999, Smith and Smith 1986, Wallace, Steigermann and Holbrook 1993). Access to information about films is related to the resources and networks that moviegoers enjoy, and on the attention that films garner, as expressed by the media and through social networks. Information about films is accessed by moviegoers from many sources: 1) The genre of the film; 2) the rating of the film…...

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References

Albert, S 1998 "Movie stars and the distribution of financially successful fitness in the motion picture industry." Journal of Cultural Economics, 22(4), 249-270.

Chang, B-H and Ki, E-J 2005, Devising a practical model for predicting theatrical movie success: Focusing on experience good property. Journal of Media Economics, 18(4), 247-260.

Chen, Andrew. "Forecasting Gross Revenues at the Movie Box Office" Department of Economics, University of Washington June 2002. 20 July 2006  http://www.econ.washington.edu/user/startz/OldCourses/482_SP2002_studentPapers/econ-482-finalpaper%20Chen.pdf 

Decanay, JC, King-Calvo, MT, Santos, AA 2010, Information cascades as social learning: The case of box-office ticket sales in the Philippines. Proceedings of the European Conference on Knowledge Management, 2010 p.334-344.

Western Civ
The question of leadership and government has always been a subject that concerned political theorists. ne of the first political theorists to brake up with the Medieval tradition regarding rulers and the ethics of government, Niccolo Machiavelli, presented his theories related to the rules a prince should follow in order to be able to govern a state and stay in power as long as possible. Machiavelli left the question of ethics completely for religious subjects and treated his topic form a rationale point-of-view destined to prescribe the best recipe for a political ruler to follow in order to succeed. Shakespeare's Richard III and George rwell's The Animal Farm present two different political regimes, the former focusing on dynastic battles in England in the fifteenth century and the latter on fictional animal characters that resemble real life characters form the early twentieth century revolutionary Russia. Despite the fact that the…...

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Orwell, G. Baker, R. Animal farm: a fairy story. Signet Classic, 1996

Richard III, film, 1955.

Textbook. Machiavelli, N. The Prince

hich historians Yahia Zoubir and Daniel Volman describe this way:
At the same time, they [the Judges] are in accord in providing indications of a legal tie of allegiance between the Sultan and some, though only some, of the tribes of the territory, and in providing indications of some display of the Sultan's authority or influence with respect to those tribes."

For the court to have found in the favor of Morocco based on "historic" claims, would have opened the door of a Pandora's box, and there was simply no way to legally deal with that situation. A finding in Morocco's favor would undo the modern world. Then, strangely enough, and because if he wanted to remain in the dynamics of the argument and struggle for control over estern Sahara, Morocco's King Hussan III interpreted the court's findings in favor of Morocco, and in accordance with Moroccan law. If the referendums…...

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Works Cited

 

His stance is also one of superiority as he presents himself as the victim of his own vision and artistic expression. In this context, the generic pronoun "they" symbolizes Craig's detachment from the world around him as he feels superior which he believes, is what causes his isolation.
Craig's wife, Lotte, is perhaps the most radically changed as a result of traveling through the portal. She becomes convinced that she is a transsexual, and consequently, feels the only way she can be true to herself is to assume a new sexual identity, i.e. that of a man. However Lotte abandons her desire of sexual reassignment when she becomes aware that by starting a relationship with Maxine, she can in fact assume a different gender role simply by falling in love with Maxine. Maxine, on the other hand, embarks on a sexual relationship with Malkovich so she can be with Lotte.…...

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Weeks, Jeffrey. 2003. The Invention of Sexuality. In Sexuality, 11-28. New York: Routledge.

Dragunoiu, Dana. "Psychoanalysis, Film Theory and the Case of Being John Malkovich." Film Criticism 26.2 (2001): 1-7

Gauntlett, David. 2002. Michel Foucault. In Media, Gender, and Identity: An Introduction, 115-134. London: Routledge.

Christy Turlington explains to Elle magazine... "Advertising is so manipulative," she says. "There's not one picture in magazines today that's not airbrushed."… "It's funny," Turlington continues. "hen women see pictures of models in fashion magazines and say, 'I can never look like that,' what they don't realize is that no one can look that good without the help of a computer." (Hilary 13)
That's right, the beautiful Turlington, a woman that can be said as fitting the standard ideal of American beauty, admits that it is unachievable even for her. hy? Because even she admits that she has been touched up. In a similar exercise, we can only imagine the remarkable steadfastness this act must have taken, but it shows that there is a realization that this American image is unattainable (Domar 23).

The Trouble with Persisting Ideas

Even if the mechanism behind the spread and adoption of ideas is understood, there…...

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Works Cited

Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. New York: Verso Publishing, 1991. Print.

Chernin, Karen. Hungry Self: Women, Eating, & Identity. New York: HarperCollins Publishers, 2008

Dixon, Violet. "Understanding the Implications of a Global Village." Reason and Respect 4.1 (2008). 1-5. Web. 15 May 2011.

Domar, Allan. (Prof) Harvard Medical School. Parade magazine, October 11, 2003.

" Photography may not, as Susan Sontag has claimed, symbolically reduce its subjects to "corpses,"
(Guimond 18)

It should also be pointed out this is to often not a specifically intentional attempt at disguise, but rather forms part of the cultural views and milieu of the time. This becomes evident if we take an cursory look at some of the photographers of the period.

Francis Johnston

Frances enjamin Johnston's Hampton Album was possibly one of the first photographic attempts to document and 'explain' in images the concept and reality of the American dream. Her work particularly relates to the above problems: the question of the other or minorities in the nation. Johnson created her images at Virginia's Hampton Institute in November and December 1899. This was an institution which was concerned with the education and training of lack people.

Many of the aspects relating to nations building and the American dream, as well as the…...

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Bibliography

Bird, S. Elizabeth, ed. Dressing in Feathers: The Construction of the Indian in American Popular Culture. Boulder, CO: Westview Press, 1996.

Blair, Sara. "Cultural Geography and the Place of the Literary." American Literary History 10.3 (1998): 544-567.

Clark, Walter. Photography by Infrared: Its Principles and Applications. 2nd ed. New York: J. Wiley & Sons, inc.;, 1946.

Conner, Jill. "Representation and Photography." Afterimage 29.2 (2001): 16. Questia. 15 May 2005 .

The identity of a Geisha, and the origins of the profession has a great deal more to do with performance and skills in such than in any other aspect of the trade.
(1) Okada, Mariko. "Prolegomenon to Geisha as a Cultural Performer: Miyako Odori, The

Gion School and epresentation of a Traditional" Japan." 2003.

http://dspace.wul.waseda.ac.jp/dspace/bitstream/2065/26765/1/034.pdf (accessed July 10,

2010) p. 223.

(2) Ibid. p. 224.

(3) Ibid. p. 223.

(4) Ibid.

(5) Graham-Diaz, Naomi. Immortal Geisha History of the Geisha, Part One: 1100 AD

1750 AD. October 2001. http://www.immortalgeisha.com/history_01.php (accessed July

10, 2010).

(6) Ibid.

(7) Okada, Mariko. "Prolegomenon to Geisha as a Cultural Performer: Miyako Odori, The

Gion School and epresentation of a Traditional" Japan." 2003.

http://dspace.wul.waseda.ac.jp/dspace/bitstream/2065/26765/1/034.pdf (accessed July 10,

2010) p. 223.

(8) Ibid. p. 222.

(9) Ibid. p. 221.

(10) Chen, Li-Yu, and Lai On-Kwok. "Creativity and Hybridism of Cultures in a Globalizing

World The e-Production-cum-Consumption of Asian Local Idiosyncrasies." Journal of Policy Studies 31 (March 2009): p. 147.

(11) Prasso, Sheridan. The Asian Mystique: Dragon…...

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References

Chen, Li-Yu, and Lai On-Kwok. "Creativity and Hybridism of Cultures in a Globalizing World The Re-Production-cum-Consumption of Asian Local Idiosyncrasies." Journal of Policy Studies 31 (March 2009): 141-154.

Graham-Diaz, Naomi. Immortal Geisha History of the Geisha, Part One: 1100 AD - 1750 AD. October 2001. (accessed July 10, 2010).http://www.immortalgeisha.com/history_01.php

Okada, Mariko. "Prolegomenon to Geisha as a Cultural Performer: Miyako Odori, The Gion School and Representation of a Traditional" Japan." 2003. (accessed July 10, 2010).http://dspace.wul.waseda.ac.jp/dspace/bitstream/2065/26765/1/034.pdf

Prasso, Sheridan. The Asian Mystique: Dragon Ladies, Geisha Girls and Our Fantasies of the Exotic Orient. Perseus Book Group Cambridge MA. Cambridge MA: Perseus Book Group, 2006.

Crazy Horse and the Western Hero
Crazy Horse, believed born sometime in 1838, was a respected member of the Oglala Sioux Native American tribe and is noted for his courage in battle. He was recognized among his own people as a visionary leader committed to preserving the traditions and values of the Lakota way of life and leading his people into a war against the take-over of their lands by the White Man. The location of Crazy Horses birth is not conclusively known. Some sources report his birthplace as the South Cheyenne River. Other sources point to either Rapid Creek, near present day Rapid City, South Dakota, or near ear utte outside Sturgis, South Dakota.

Crazy Horse earned his reputation among the Lakota not only by his skill and daring in battle, but also by his fierce determination to preserve his people's traditional way of life. Celebrated for his ferocity in battle,…...

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Bibliography

Marshall, Joseph M. "Crazy Horse (Tasunke Witko) 1840-77."

Pautler, N.P. "We all play the hand we're dealt, honored historian says." University Week. June 22, 1995, p. 3.

Robert Warshow. The Immediate Experience: Movies, Comics, Theatre and Other Aspects of Popular Culture. Cambridge, MA: Harvard University Press, 2001.

White, Richard. It's Your Misfortune and None of My Own. Norman: University of Oklahoma Press, 1991.

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, studios…...

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Works Cited

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-

68.

However, in spite of the fact that the film was promoted as a motion picture displaying real-life events, it appears that the director did not hesitate to modify a series of aspects about the environment that he shot in and the story itself. The protagonist's wife and children were not actually his and Flaherty correctly believed that audiences would be more deeply impressed if he presented the story from a more spectacular point-of-view. Even with this, one can still claim that the film is a documentary because it presents viewers with its own creation.
Many individuals took advantage of the fact that documentary films were very influential and devised propaganda strategies using motion pictures. Many individuals involved in this affair considered that fiction films no longer had a strong appeal and that society was more concerned about seeing 'cinema verite'. Many filmmakers got actively engaged in creating films discussing political…...

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Works cited:

Aufderheide, Patricia, "Documentary Film: A Very Short Introduction," (Oxford University Press, 2007)

Ellis, Jack C. And McLane, Betsy a. "A new history of documentary film," (Continuum International Publishing Group, 2005)

Nanook_1.jpg

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.

orks cited:

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 American Culture ebsite: http://stkarnick.com.previewc45.carrierzone.com/culture/?p=3309

Prasch, Thomas,…...

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Works cited:

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

film Lone Star discussing various aspects of the movie.
Lone Star" is John Sayles' best movie yet, a richly textured, multi-racial, multi-generational examination of a Texas town. The writer/director Sayles brilliantly combines drama, romance, mystery, and social observation into a one third love story with a twisted one-third-murder mystery. Exploring the lives of half a dozen people in a Texas border town (i.e. border) Sayles ties them all together in his script with discovery of a skeleton in the desert that brings the skeleton out if every closet in the sleepy little berg. Two off-duty sergeants from an Army post near the town of Frontera find skeleton remains and a rusty Sheriff's badge. The current sheriff of Frontera Sam Deeds, son of late legendary lawman uddy Deeds, begins an investigation. Sam quickly learns that the remains are those of the corrupt sheriff Charley Wade, his father reputed to have run…...

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Bibliography

Lone Star" Director: John Sayles, Producer: R. Paul Miller, Maggie Renzi, Screenwriter: John Sayles, Year of Release: 1996

Akira Kurosawa (1910-1998)
Akira Kurosawa, a renowned Japanese filmmaker, has profoundly shaped the global perception of Asian culture through his groundbreaking cinematic masterpieces. His films have transcended linguistic and cultural barriers, captivating audiences worldwide and leaving an indelible mark on the international cinematic landscape.
Subtle Elegance and Cultural Authenticity
Kurosawa's films showcase the subtle elegance and depth of traditional Japanese culture. In films like "Rashomon" and "Seven Samurai," he portrays samurai values of honor, loyalty, and sacrifice with remarkable authenticity. His characters are not mere historical figures but complex and relatable individuals who grapple with universal themes of good and evil, fate, and....