The Western Film Genre and the American Frontier Myth

the western film genre and the American frontier myth

THE SEARCHERS
October 10, 2015

Screening Questions:

1. Describe the opening scene: choice of elements—setting, action, iconography. How does Ford introduce his story in visual terms? How is it different from Stagecoach?

2. Plot structure—Cite an example with a few details for each category:

A. establishment—through narrative and iconographic cues—of the generic community with its inherent dramatic conflicts

B. animation of the conflicts through the actions and attitudes of the genre’s constellation of characters (jot down a few as you watch)

C. intensification of the crisis by means of conventional situations and dramatic confrontations until the conflict reaches crisis proportions (what are some of these?)

D. resolution of the crisis (how? remember it’s generally in a fashion that eliminates the physical and/or ideological threat back to an ordered community)

3. Schatz calls Ford’s films subversive because “they seemed like traditional cowboy movies, and yet left one with a feeling of regret and nostalgia” (64). What does he mean? How does this apply to The Searchers?

4. As you did with the opening scene, identify a few key element that help us understand the Ford’s intentions—setting, action, iconography. How does Ford conclude The Searchers in visual terms? How is it different from Stagecoach?

5. Community rituals were an important feature in Ford’s Westerns. Site an example in The Searchers and describe it’s function.

6. Both Ringo in Stagecoach and Ethan in The Searchers are motivated by vengeance. What actions and values distinguish these “heroes”?

7. You saw Scorsese describe his reaction to seeing The Searchers. What was yours given what you’ve learned thus far about the Western.