Abstract
This paper introduces, discusses and analyzes the achievements of actor/director Clint Eastwood. Specifically, it discusses his work as a director and producer of motion pictures. The paper looks at the history of his career as an actor in westerns, action dramas and even some comedies. It then looks briefly at his directing and producing of some of the most poplar films of all time, such as "Unforgiven," "Million Dollar Baby," "Flags of Our Fathers" and "Letters from Iwo Jima."

From the Paper
"In addition, many of Eastwood's films have become cultural icons, giving identity and meaning to historic and important occasions. "Unforgiven" is an unforgiving look at the last days of the Old West, while "Flags of Our Fathers" shares an intimate moment in American history, introducing the men behind the famous photograph of Iwo Jima. Even more stylistic is "Letters from Iwo Jima," a look at the war though the eyes of the Japanese soldiers who fought and died on the island, and told entirely through subtitles (a risky move even today for most theater audiences). These films offer Americans a glimpse into their own varied cultural identity, and they are much more than entertainment venues, they teach, raise emotions, and even give glimpses into history that most people would never get to experience."

Tags:motion picture, producer composer Hollywood

Abstract
This paper explains that, in "Unforgiven", Clint Eastwood plays William Munny, a former bounty hunter who reluctantly strikes out for his career's final coup de grace - the revenge killing of two men who have maimed a prostitute. The author points out that, hardened by experience, embittered by his fall from the righteous life, Munny eventually gives in to the belief that life is unfair, that men don't get what they deserve and that the world is a hard, cold place. The paper concludes that Munny, portrayed as a fallen soul, who pays for the sins of his past by repeating his past; isn't the brilliant marksman or the long arm of the law but rather a sad alcoholic who wishes he could change his past.

From the Paper
"Once the partners have reconnoitered with the Kid, Munny again must face his past. The Kid is holds him in a kind of naive reverence and reminds him of his earlier escapades, which the Kid has heard from his Uncle Pete. To these stories, Munny shrugs, looks away and simply says, "I don't recollect it." Yet when the trio arrives in Big Whiskey, and Munny falls prey to a fever, he remembers his past in ample clarity. In a hallucination he sees the ghosts of men he's killed, the angel of death with "snake eyes," and his wife's head being eaten by worms. To Logan and the Kid, he confesses that he's really "scared of dying." The Kid is shattered by the demise of his hero and calls him a "broken-down pig farmer." "

Tags:bounty-hunter, alcoholic, pig-farm, hallucination, saloon

From the Paper
"Clint Eastwood has become a major force in American films and has confounded many who predicted that he would never have a career in Hollywood. Long treated by critics as a one-note actor with little range, he received the nomination for the Academy Award as Best Actor of 1992. His success was made all the more impressive as he received the Academy Award for Best Director and for Best Picture in that same year. In addition, he has over the years produced, directed and/or appeared in a number of films that have achieved high grosses, and after winning the Oscars his newest film as an actor, In the Line of Fire, has become one of the major money-makers of 1993.


Alan Frank notes the distinction often made between the actor and the star--the presence of the actor in a film is necessary but not usually enough in itself to ensure that people..."

From the Paper
"The average "studio" film today costs tens of millions of dollars, while the average "independent" film exists in a range below $10 million. Such expenditures under both headings have little to do with the genre of film being made, the length of the film, or even the stars of the film in many cases. Many stars will work for less money in an independent film than they will for a studio-made film--Bruce Willis appears in the $7 million Pulp Fiction, for instance, while he is usually paid more than that personally for studio-made films like the two Die Hard sequels. The quality of the film produced also bears only some relationship to the amount of money spent--the aforementioned Pulp Fiction was well-received by critics and audiences alike, while a film costing $70 or $80 million such as Daylight was denigrated by critics and ignored by audiences. What is.."

Abstract
This paper explains that Western films tend to focus on the hardships faced by American settlers and how these problems are overcome through heroism. Next, the paper compares the plots of Fred Zinnemann's "High Noon" (1952) and Clint Eastwood's "Forgiven" (1992), both with gun-slinging, hard-drinking leading men who are yet honorable and family loving. However, the forty-year period between the creation of these two films, the paper concludes, demonstrates that Westerns have become increasingly more realistic.

Table of Contents:
Introduction
The Construction of American Heroes
Conclusion

From the Paper
"Despite being a tough outlaw, for example, Munny is severely beaten when arriving at the town in which his targets are staying. In addition, the scenes in which the killers are gunned down are different in that Munny and his partners find that they no longer have the stomach for cold-blooded murder. Ned Logan, an old outlaw friend that Munny picked up along the way, decides that he is returning home after the killing of the first target, while the Kid is absolutely terrified. While managing to kill the second target in an outhouse, he admits that it is the first time that he has ever killed anyone when escaping from the scene."

Tags:hardships, gun-slinging, honor, disillusioned, sarcastic

Abstract
This paper underlines and elaborates on the anti-war statement made in Clint Eastwood's film "Letters From Iwo Jima". It describes how the self-sacrifice of the protagonists is shown to be meaningless and how the gestures of the Japanese soldiers trapped in Iwo Jima are properly related to the Japanese warrior tradition. The paper also discusses how the adherence to tradition is shown to be heartless and empty, and often reduced to the whims of national leaders. It also goes on to show that the instances of true heroism adhere to the American ideal where self-expression is favored over self-sacrifice.

From the Paper
"The fates of those trapped in Iwo Jima are shown to depend on defunct traditions and a state machinery that is indifferent to the people. All those who receive sympathetic treatment in the film appear to be at odds with the Japanese ethos of war, and therefore Eastwood elicits our sympathy in a calculated way. The ethos derives from the Samurai ethic that suicide is preferable to surrender. As Eastwood presents it, death in the name of the homeland is something so highly prized in the Japanese tradition that it often leads the warrior towards suicidal tactics rather than a full commitment towards battle. Rather than flee from Mount Suribachi, Lieutenant Ito decides to throw himself under a US tank, believing that he can take out one US tank for the price of his life. When Saigo transmits the orders of General Kuribayashi that the contingent should retreat to the north, Captain Tanida refuses to believe this order, and instead commands all his men to commit suicide."

Tags:anti-war, heroism, self-sacrifice

Abstract
This paper discusses the movie "Million Dollar Baby". It provides information on the characters and actors (Hillary Swank, Clint Eastwood and Morgan Freeman) and the use of lighting and other features throughout the movie. The paper concludes that despite the excellent performances, the movie was a slight disappointment.

From the Paper
"The music and the editing support the directing and the actors and contribute greatly to getting the message across. Sound editing excels at making punches sound like nearby explosions and one can almost feel and imagine their full blast. Image editing creates the suggestive fighting scenes and the play with dark/light sequencing. The music is soft, sustaining and complementing the emotional moments of the movie."

Tags:Frankie, Dunn, Maggie, Eddie, Danger

Abstract
This analysis uses David E. James' geo-cinematic hermeneutics as the lens through which to explore the relationship between the spatiality in which a film is set and also the spatialities in which it came into being. The film analyzed is Clint Eastwood's 'Gran Torino' (2008).

From the Paper
"David E James uses a geo-cinematic hermeneutic as a framework to explore the spatiality in which a media production is set but also the spatialities in which it came into being. A geo-cinematic hermeneutic permits us to explore the ideology that is behind a movie. The spatial representations of race relations in Clint Eastwood's 'Gran Torino' reflect different ideological attitudes. Location serves both through dialogue and visual imagery to play a significant part in understanding the ideological message of 'Gran Torino' ..."

Tags:Detroit, Michigan, film production, incentives, space, landscape, ideology, immigrants, Hmong, auto industry, economy, gangs

Abstract
In this article, the writer compares two films with similar content and themes; Adrian Lynne's 'Fatal Attraction' and Clint Eastwood's 'Play Misty for Me'. The films are compared and contrasted across a number of elements, from character and theme to plot and acting.

From the Paper
"'Play Misty for Me' directed by Clint Eastwood and 'Fatal Attraction' directed by Adrian Lyne are two films that throw their respective protagonists into a state of terror after a night of casual sex in the case of the former and a weekend of infidelity in the case of the latter. Both films portray a psychotic woman bent on vengeance for being spurned after a sexual encounter as the source of terror. This theme and topic is so similar in both films that their respective ..."

Tags:Eastwood, acting, plot, theme, psychotic, murder, sex, revenge, jealousy, rage, loneliness

Abstract
This paper analyzes the two films and discusses their significance in the genre of Western films. Today, the classic Western is a film out of style, but these two films live on as classics, generally because they deviate from the traditional Western model. They portray the characters three dimensionally, and the violence as real and devastating. The underlying theme and message is that violence is unnecessary and useless, and it can ruin the lives of those who use it.

From the Paper
""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 film make it the classic it has become. From the opening scene, when Shane rides down into a valley with a massive chain of mountains behind him, the viewer understands his character is larger than life, and it is right that he came down from the "mountaintops" to save the struggling family in the valley."

Tags:violence, movie, character