Texas Ranger LaBoef is also on the hunt for Cheney. The film is set up in western times with a western setting, but doesn’t quite portray Stanley Corkin’s idea of a traditional western. In Corkin’s piece, “Cowboys and Free Markets: Post-World War II Westerns and U.S. Hegemony,” he states that one theme of a traditional western is the, “inevitable subordination of women to men” (Corkin, 125). In the film, Mattie is just as powerful as the male characters, even when being beaten by a male. Throughout the film Mattie displays leadership by pushing Cogburn though his tantrums and onward toward finding Tom Cheney.
The Indian prefers the soft of the wind darting over the face of the pond, the smell of the wind itself cleaned by a mid-day rain, or scented with pinion pine.” First Perce states that the white man only conquers the land then leaving everything else behind. This implies that the white man pays no close attention to the land. That he only sees as a mission or enemy that needs to be conquered. Then leaving sentimental objects such as father’s grave. Then sarcastically says “perhaps it is because the red man is savage and does not understand.” Saying that their tatics make no sense, that wasting so much is smart or more civilized, and which must be because he is “savage”.
“’Jem, I ain’t ever heard of a nigger snowman,’ I said.” (Scout, pg. 72) It shows that Negroes aren’t important in society, but when you take a closer look at it, there would be no civilisation in Maycomb without the hard work of Negroes. “’He won’t be black long,’ He grunted” (Jem, pg.72) White men will simply be treated better and with more royalty, even if they had done the same sin as a black man has done; For instance in Tom Robinson’s case with Bob Ewell’s daughter Mayella. Everyone knows that the white man Bob, will win. A black man never has a chance up against a white man.
Minstrel shows were meant to make fun of black culture at the time they consisted of comic skits, talent acts, dancing, and music all performed by whites in blackface. They were created to entertain mostly all white audiences. With the civil war newly freeing the African Americans the minstrel shows began to incorporate the zip coon and the urban coon into their shows. The zip coon was a freed black who dressed up in nice clothes as if he was equal to whites. Because of the way the zip coon dressed and spoke as if he was white whites thought he was ignorant and foolish and used that as humor in their minstrel show.
Achilles and Beowulf are not heroes. Just because you have super-human strength and undying will does not mean you’re a good guy. Sure, they’re great warriors, and Achilles is blessed by the Gods, but jerks never get far in life. Beowulf chopped of Grendel’s head for no other reason but for trophy. Achilles tied someone to the back of a chariot and drove him through town, parading him like it was a really big deer at the end of a hunting match like some kind of prize.
Men who lived on the American frontier were seen as tough gunslingers - rough skinned and independent. Alcohol and revolvers were their companions. But Stephen Crane's The Bride Comes to Yellow Sky turns this stereotype on its head by showing the world through the eyes of John Potter and Scratchy Wilson, contrasting these two characters and their motivations and finally using a suspenseful plot that mimics the typical Western tale right until the surprise ending. Crane's omniscient narrator allows the reader to get into the heads of both John Potter and Scratchy Wilson, which gives the narrative a different flavor than the typical hero-centered Western story. In stereotypical Westerns, the focus of narration is the same as the focus character, meaning the reader would only see the world through the eyes
A perfect example of this is the movie "Team America: World Police", by Trey Parker and Matt Stone 1. While I personally find this movie hilarious, I also find it somewhat offensive in many ways. For 98 minutes throughout the whole movie middle eastern people and Arabs are ridiculed. Their respected language boiled down to only the words "Durka" and "Muhammad Jihad" 1. At one point in the movie an American citizen is "disguised" as a middle eastern or Muslim person and covered in patchy facial hair with thick and angry looking eyebrows, as if every person of middle eastern or Arab descent had this appearance1.
The passengers include the town banker and his wife, a whiskey salesman, a conniving drunk Dr. who has long been excommunicated from the medical profession, and two women, one “proper” and one “not”. On the top of the wagon, are the driver Buck Rickbaugh, who is a garrulous type, who doesn’t like Indians; mostly because he’s afraid of them, and sitting “shotgun” to Buck is the roughneck sheriff of Tonto New Mexico; who is coming along to search for a cowboy that recently escaped from the state penitentiary. Shortly after the stagecoach leaves the town of Tonto, it runs into the “Ringo kid” on the trail. The sheriff then orders the kid into the wagon because he is the escaped prisoner he is looking for. The Ringo kid “goes down without
As the reader begins to see the unfairness of the actions against black people, mostly because of Atticus’ speech, the theme of discrimination is developed through the motive of ‘walking around in their shoes.’ The title, To Kill A Mockingbird is very symbolic and meaningful. The quote which corresponds with the title is also said by Atticus and is, ‘Shoot all the blue jays you want if you can’t hit ‘em, but it’s a sin to kill a mockingbird.’ There are two characters in the text which are metaphorical to the mockingbird. One is the obvious one, Tom Robinson, a black man accused of the rape of a white girl, whom Atticus defends, and the other is Boo Radley. Just like a mockingbird, Tom Robinson only did good and in the end was accused of a crime he didn’t commit. He helped Mayella Ewell every time she asked, for free, and for it he was accused of raping her.
Both Williams’ use of black stereotypes and participation in the “blackface” type of acting were considered negative and racist ways of portraying black people during this time period. He charmed his way past barriers that blacks had not been able to overcome, with a smile and comical attitude. Williams opened the door for black actors of his generation as well as for generations to come, in the film and stage industry. During this time, blacks were portrayed as “coons”, a stereotypical depiction what a “negro” was at this time: lazy, dishonest, and corrupt. “Blackface” actors represented the blacks as whites wanted to see them.