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Also it is in our extra time or feeling bored of the tasks in the workplace, this corrects for you. In The Wild Bunch , Sam Peckinpah shows more pessimistic and more violent version of the transition.
Here Peckinpah adopts other Anthony Mann-like visual elements, violence and agony of characters, than mythic landscape. Peckinpah's nihilism is revealed through his representation of children, innocent and cruel, at the opening scene. Children put straws, set on fire, and laugh at burning ants and scorpions. Their cruelty is not a result of their depravity, but related to their innocence. It even signifies that they cannot avoid violence and brutality in their future as in the past.
In general, woman implies the settlement and the future of civilization in Westerns. No body in the Bunch succeeds in getting married to a woman or settling. With the excessive violence in this film, the absence of women leads into the absence of melodrama or romance code, which influences the composition of audience and the reception of the genre: a male action film or a Western for man.
That is, the excessive violence and the absence of woman not only mean the end of Wild West in the film but also transform the genre itself. There are four battle scenes in this film. Among them, let's examine the first battle at San Rafael. When the Bunch tries to rob a local bank, Temperance Union holds a conference at the street.
When the Union makes its march, the Bunch tries to escape and shoots at bounty hunters. The shootout brings out the chaos in the people, and innocent people in the Union are shot. In this sequence, all collapses and falls are shot in slow motion and inserted between gun shooting shots, which strengthen the dramatic effect of this sequence. Peckinpah adopts multi-camera shooting for these scenes - to take picture with many cameras in different angle - from Kurosawa Akira's Seven Samurai.
With slow motion inserts and the multi-camera shooting, Peckinpah can make the action scenes of The Wild Bunch more visually stylistic. Screening Violence. New Brunswick: Rutgers University Press, At the gun fight, the Bunch is intermingled with the members of the Union on the street while bounty hunters are shooting them from roofs. Though the Bunch can fire back to the bounty hunters, the members of the Union, who seek their ideal, just get shot by bounty hunters who seek the profit and the fortune.
The Bunch is located in the turmoil with the victimized Union members and tries to escape from the victimization of profit seeking. But Harrigan, who works for a railroad company, does not apologize. Harrigan's word implies the relation between law and capital. Law serves to capital rather than people or community.
The reason why they pursue Pike Bishop's gang is that Pike Bishop robbed trains before and hindered the railroad company from its expansion. Sam Peckinpah's The Wild Bunch. Cambridge: Cambridge University Press, , p. If the West has been the frontier to Americans, the establishment of Civilization means the end of frontier, the end of a realm of opportunities. Hence, other world beyond the West is presented as the new frontier, the new realm of opportunities.
At the level of representation Peckinpah wanted to let people see how brutal and horrible the domesticated violence of the Vietnam War through television. Though the last battle is grandiose, the Bunch is killed and their lives are destroyed after all. Their search for opportunity ends tragically. After the battle, bounty hunters who pursue the Bunch come and get their corpses in order to acclaim reward.
Profit seeking and opportunity are treated meaningless and ugly. The massacre of Mapache's army and tragic ending of the Bunch predicted the chaos, tragedy and violence which US Intervention would have brought in the Third World in the late s and early s. At the ending scene, Deke Thornton, who completes his mission and loses his motif and goal, just sits in front of the gate of Agua Verde.
You want to come along? It ain't like it used to be, but it'll do. This ending of Sykes and Thornton's joining Mexican peasants implies their romantic but outmoded character. They could not accommodate to new condition in which progress has brought to the US West but find their life in the rather pre-progress stage in Mexico. This ending shows Peckinpah's suspicion of progress or establishment of Civilization in the West.
London: I. Tauris, Multiculturalism or cultural hybrid is revealed through Monco's wardrobe, too. He always wears a poncho, which is different from Ford's and Mann's westerns. In most Hollywood Westerns including Ford's and Mann's, a male hero wears cowboy outfit but does not wear Mexican style wardrobe.
There is no mythic or legendary landscape but only badland and town in For a few Dollars More. There are two types of town - Caucasian street and Latino agrarian community. Caucasian street consists of station, hotel, saloon, and bank while Latino agrarian community of white residence.
The absence of mythic landscape signifies no attachment of main character to a specific area and settlement is not an important issue in this film.
The establishment of Garden is not a process of excluding Wilderness or filling vacant place with civilization. That is, the axis of struggle is not between Garden and Civilization but between humans, bounty hunters to criminals. In editing, Leone juxtaposes faces of characters to emphasize this Hobbesian situation.
In the scene that Monco and three Indio gang members go to Santa Cruz for fake robbery, one asks Monco whether it is a joke that he would gather bounty of Indio gangs. Their faces are juxtaposed quickly, and Ennio Moricone's music of bell and guitar sound increases the dramatic effect.
Then, Monco shoots them. This type of editing and music for dramatic effect is frequently used in this film. Indio sadistically urges a man to the duel. In this scene, Indio opens a pocket watch to turn on music.
The music is played and, then, non-diegetic sound of pipe organ and guitar is added to increase the tension. As music stops, Indio shoots the man. Another feature that Leone borrows from Boetticher is his characters, especially Indio.
Indio betrays his minions in order to take all money. Their betrayal comes from their greed. When he sees the poster of Indio's bounty, Mortimer's face and Indio's poster are juxtaposed repeatedly with music. In comparison, when Monco sees it, there is no juxtaposition. This editing implies that Monco just considers the bounty whereas Mortimer has a more profound motive to pursue Indio.
Get Wars of the Western Border Books now! Jim the Westerner. Jim the Westerner by Edward Everett Rose. The Western Architect by Anonim. The Westerners by Steward Edward White. The Western Christian Advocate by Anonim.
The Western Monthly by Anonim. Horizons West by Jim Kitses. The Westerners by Stewart Edward White. The Western Fruit grower by Anonim.
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