Week 7 The West in Early Cinema

Please post your comments on the West in Early Cinema here.

The book is arranged in alphabetical chapters. References in the readings to A, H, C etc are references to other chapters in the book.

Some of the Edison films mentioned in the readings can be found at http://www.memory.loc.gov/ammem/edhtml/edmvchrn.html

Cheers,
Sharon

262 Responses to “Week 7 The West in Early Cinema”

  1. Victoria Morrison Says:

    Yay I am finally blogging here! So, I hate westerns and I hated reading this after the first bit, but this is what I found really interesting.

    I really liked that the setting is not considered important. “This is so because the ambiguity is not geographical but ideological”(48) Is this really the case though? If the genre is about ideology which is focused on as the writer claims the anxiety of being different then how does the genre of westerns differ from race comedies or border comedies at all? (White Chicks, Bad cop Bon cop, etc) Is there something specific in the western or is it simply the earliest version of a border film? Or could we call any border film a western?

    I was confused by the way the author seemed to focus covertly on an implied audience which would be eastern. And yet, the easterner is laughed at in these films. Is the western intended for the east or is this something I have misread?

  2. Sweta Brahmbhatt Says:

    I would like to make this post by commenting on a specific point which Nanna Verhoeff makes in “Genre.” The author writes about the ways in which the film western can be defined. There is a belief that many of the films from early Hollywood were westerns even though the content from one film to the next may have been drastically different. My comment is that aren’t most well made genre films different from the other films in there genre. There is an implication that genre films are fairly similar to one another. And that the western films of early Hollywood were drastically different from one another because of “cross genre relations between films rather than generic coherence” (118). Although I haven’t seen enough to say for certain; I don’t believe that large differences in the westerns of early cinema need be attributed to cross genre relations. It is possible to get creative within the confines of the genre.

  3. Adamo Ruggiero Says:

    Adamo Ruggiero:

    Hey hey. Hope everyone had a great reading week. I did a lot of reading. It was nice. But back to school!

    SO, Tamarah and I are presenting today on the Western. Tamarah and I will quickly share thoughts we have taken from the readings as well as share some questions with you all. So i don’t want to say to much now (cause then ill be repeating myself). However, here is something thats stuck in my mind, and i think is important we all keep in mind as we discuss this topic today.

    The reading is not so much about the Western Genre in particular, but about genre in general. In the reading entitled Genre, the Nanna uses the western as merely a catalysts to discuss the elusive notion of genre — and more specifically, the ways in which early variety practices of cinema helped shape the notion of genre in a kind of dialectic relationship between art and exhibition. Very interesting. This also coincides with her article called Easterns whereby, much like the very open notion of genre, the idea of the frontier in the western is multifaceted. It represents not so much the boarder between wilderness and civilization in terms of space, but more a temporal separation — a kind of comment on premodernity and modernity. More specifically, it also represents various epistemological ideologies as well as spirits of being. This presents the frontier as a kind of dynamic site of progress.

    Now the reading City Lights. Its pretty western based. But it also raises issues of the ways in which cinema provides us with a mediated understanding of temporal and spacial formations. How are the West and East? Is it like the movies? Or has film created this geographical frontier? These are questions Nanna posses in the article.

    SO overall, whether you like westerns or not, remember the readings use the western as a catalyst to analyze wider thoughts and ideas surrounding genre and genre conventions and presentation within early cinema.

    Thank everyone. See you tomorrow.

    cheers,

    Adamo Ruggiero

  4. Tamara Hecht Says:

    The Western film, despite the variances within the genre, is always centred on the concept of the frontier. True, the sci-fi’s, horrors, and other hero-on-a-quest stories consist of very much the same thing; a hero traversing the boundary between the known and the unknown. In that, the Western is very much about defining cultural boundaries, which is why so many of them are about the Easterner going West or vice versa. It is as if there is a split between Eastern America, which was already urbanized, and Western America, which, in the time of the emergence of cinema, had only recently been settled.

    Because Westerns are about defining cultures, there is a great deal of fabrication and exoticization of peoples. The differences between East and West, modern urbanized and pastoral, are played up as the films experiment and explore the idea of American culture and its filmic representation (and thus its preservation as well). Also, native culture is exoticized. The native people are made an Other by extrapolation; if the white Westerners are seen as wilder and less constrained than the Easterners, then the natives are cast as being part of nature, either feral or spiritual, depending on the political aims of the film. All in all, because Westerns are about defining American culture, they are quite political and propagandistic. Just as Curtis wished to relegate native culture to being something of the past (a constructed past, given his direction and influence in the scenes he chose to photograph), the aim of Westerns was to uphold Eastern city life as the way of the future.

    East and Western America were united, culturally, within Western film. By defining the distinction between the two, the old Wild West was romanticized as a nostalgically treasured past and the Westward-spreading settlement (the advancement of the East) was designated the single future. Indeed, the divide between the two American cultures (the American frontier, if you will), was what served to filmically immortalize them both.

  5. Laura Smallwood Says:

    I would like to touch a bit on the short discussion we had in class today about the genre of western films. We talked about how the genre seems to be vague given that so many other types of movies wit into this category, such as sci-fi films. If we define westerns with idiological paradigms, such as having a frontier, then we find ourselves mixing other genres into this category since so many films fall under this description. I know that the point was made that when we really look deeply into cinema, we see that almost all films have the same basic elements and therfore there are no genres since there is no way of defining them.

    I beleive that this is untrue. We must have some way of categorizing film since there are too many to just umbrella them under one giant category. I realize that the system of genres that we use right now might not be perfect or totally accurate but it is the only functioning system that we have. I have always been told in my other classes that you never throw out a theory until you have a better one. For example, we know that the theory of reletivity is flawed but we do not disregard it because we havn’t yet come up with a better theory of relativity to replace it. You must work off of the existing theory to produce a new one, not start from scratch.

    This is related to the idea of genres. Although right now we have a hard time identifying and describing each genre, it is the only categorizing model that we have to organize the abundance of films that exist. Therefore we must use this categorization method until a new and better method is determined.

  6. Nadia Litz Says:

    Hello all–

    I’m a bit behind on this discussion, however… I found what Laura just wrote really interesting. I’m coming from a emphasis in my studies these days in discourses of colonialism. The idea of classification and categorization is debunked regularly, as classification is seen as a way that posited European authority, set up binaries and generally oppress people of ‘other races, cultures genders, etc.’ It is understood by our Western culture that we need to categorize, otherwise the world be be too chaotic. However, HOW we categorize and classify becomes an interesting topic for further discussion. Are there ways in which fitting a film into a genre can be oppressive?
    Well, one thing that stuck out in the readings was the use of the aboriginal (and all too often the non-aboriginal actors) in the “Western” genre. How disgusting that the use of a non- Aboriginal actor was seen as preferable to the project of art and realism- although I know some Aboriginals who argue that this is an acceptable practice as long as Aboriginals are able to play white roles…I digress…
    The point is that perhaps genre can oppress. The Western- the naming of the genre/category, the stylistic and filmic characteristics attributed to the category to be sure seem to (in the case of the Western) disavow the presence of Aboriginal as original inhabiter of the land. The group of films, so popular, so loved support the status quo and remove the Aboriginal first person narratives from the canon.

  7. Ang Says:

    I think what I liked most about this particular topic was how the issue of class was raised, although thoroughly, and how space and the construction of space in relation to class and privilege was mediated.

    The West was seen a very masculine and very American space, where the “strong silent type” could escape the insanity of multiplicity of the East. The “Cowboy in the city” genre was quite fascinating in that the distinction between what Ameria is was already present in Early Cinema. The cowboy representing the American myth of Manifest Destiny and virility, being diplaced in upper, middle and lower class structured with the urban space, made not only him foreign, but at the same time and conversely the urban space foreign.

    The urabn bourgeois as the modern America, with the New York tycoons and New woman coming into fruition, places the Cowboy as neither white and bourgois, nor poor and immigrant “other”. He is the hybrid of both of these worlds and connot a place within the space of “modernity”.

    At times, he is the butt of the jokes, the rube, the country pumpkin, and other times he is a symbol of the American yester-year, where bourgeois oppressionism, and frivality are subject to ridule as superfluous and “un-American”.

    This problematic nature of class in relation to race is also demonstration in the “native” films, whereby the lens because a scientific ethnography in which the savage other is scene in the natural habitat. The cobboy and the Indian it seems, become theortically joined in opposition to the modernized Easterner.

  8. Jane Kim Says:

    I did some reading last summer on screwball comedies of the 30’s and 40’s and I found there was a connection to the idea of a dichotomy btwn the eastern and western male. ie. the urban male (associated with wealth, privilege, leisure, and women) was in a sense emasculated for not having the qualities attributed to the cowboy or rural Western male. It was as though trying to define the socialite in screwballs is a similar discussion (space, identity, civilization, etc) but from the opposite end/genre of the spectrum.

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