This paper reviews the treatment of the American Indian, or Native American, in revisionist Western films: Kevin Costner's "Dances with Wolves" (1990) and Michael Apted's "Thunderheart" (1992).
Abstract This paper discusses revisionist Westerns Kevin Costner's "Dances with Wolves" (1990), a film sensitivity to cultural differences and to the importance of Native American culture and Thunderheart (Michael Apted, 1992), which enters a more modern Indian community. The author points out that Costner still made major errors in depicting the history and culture of the Lakota Sioux tribe portrayed in the film. The paper continues that "Thunderheart" tried hard to elevate the Native American but a stereotype emerged in this film that the Native American is in some way a mystic more in touch with supernatural and spiritual forces than the non-Native population would be.
From the Paper "The film did more than revive old stereotypes in new forms, though, and it fails in terms of its accuracy on a number of counts. One problem faced was to recreate the language of the Lakota dialect spoken by the Sioux tribes in the 1860s. The film producers hired Doris Leader Charge, a 60-year-old teacher at South Dakota's Sinte Gleska College and one of only a few thousand Sioux still fluent in Lakota. Leader Charge translated the script and served as a dialogue coach during production. She also played a small part in the film. However, as Seals points out, the men in the film generally speak Lakota in the feminine form, a result of having the script translated by a woman who did not make allowances for the differences. Seals states that a number of Indian leaders were angry about this error and found it maddening in a film that claimed to be authentic. Seals does note, though, that the film managed authenticity in other ways, such as the way the ruling elders' council was handled. The film was correct in its use of the Pipe, which is the sacred Canupa of White Buffalo Calf Maiden, who founded the buffalo culture nineteen generations ago. The Pipe Keeper and others asked that the film not depict the smoking of the pipe, but it does so just the same."
Abstract In this paper, the individual heroism of Costner and Eastwood depicted in the films analyzed reflect the ideology of the Post-Vietnam Era of American society. These heroes do not project the blind bravado toward war or violence, but project a far more individualistic approach to the western by being men of conscience. The paper shows that although Eastwood and Costner do not always present moralistic heroes, they are resoundingly for the individual over the greater good of society.
From the Paper "This film study will analyze the centrality of individualism that resounds within the modern westerns of the modern era. The heroic premise of the films analyzed in this study will explore how Clint Eastwood and Kevin Costner display individualism, relating more intrinsic desires for autonomy from the law or outside 'authorities'. In this manner, the modern western depicts heroes that seek an individuals a sense of freedom in the old west, reflecting the greater sense of individuality in Post- Vietnam Era filmmaking. The basis of individualism is apparent in how Kevin Costner reflects the individuality of the 1990s, as well as the "modern era' of filmmaking after the 1960s. When he decided to create a film based on the life of man living a solitary existence on the open prairie. Costner presents an individualistic hero."
Abstract This paper discusses the film "Dances With Wolves" in relation to man's inhumanity to man, culture, our attitudes towards other cultures, and the media's portrayal of other cultures through the medium of film.
From the paper:
"The film "Dances With Wolves" (Costner) looks in detail at the way strangers get to know each other. It is seen from the point of view of John Dunbar, a lieutenant fighting during the American Civil War. We meet the wounded hero in a field hospital just as he is about to have his leg amputated. However, when the doctors leave, he decides to rejoin his regiment, and invites death by riding his horse in a suicidal charge at the enemy lines."
Abstract The paper analyzes the film "Dances With Wolves", directed by Kevin Costner, and how it uses the western frontier to serve a cultural and political purpose. While "Dances With Wolves" takes place during and just after the American Civil War, it certainly evokes more modern responses to its content and context. The paper notes that the film
represents the western frontier as it was, but also makes specific social commentaries on the behavior of the time, opposed to "politically correct" behavior becoming so popular in the 1980s. The paper comments that the film uses a historic western setting to accomplish very modern objectives, seeing the native Americans and the land they lost for what it really was, and gaining a greater understanding of just what they lost.
From the Paper "One of the most important aspects of the film was its portrayal of Native Americans. However, it also relied heavily on Native American actors, which was unusual in a western film. Again, this was timely due to the occurrences going on across the nation and in government, but it showed a much deeper respect for the Natives and the things they endured at the hands of the whites. Another writer states, "Indians know that no white man or woman can become Indian, but many of us hope those who have learned of our cultures and appreciate their unique humanity will be our friends and allies in protecting the earth and all of her children."
Tags: events/conflicts, relevant, social, context, life, on, the, prairies
Abstract This paper analyzes and compares the two films, "City Slickers," directed by Ron Underwood and "Dances with Wolves," directed by Kevin Costner with regards to their genre. The paper specifically focuses on whether the films can be considered to be variations of westerns. It concludes that they are western in genre, but they should not be categorized as westerns first and foremost.
From the Paper "Dances with Wolves is also a drama and an adventure. It is far too long and complicated to be termed simply a western, and, in my opinion, should be considered these things before it is considered a western. The historical data alone makes the film almost like a documentary in its scope. However, it is fiction, so we would be better of to classify this filed as an epic or historical drama. This movie is filled with adventure and battles; it is filmed against an enormous panoramic backdrop. The movie also involves a romance with Dances with Wolves and Stands with a Fist. It would not come close to being classified as a romance, however, because the romance is secondary to everything else that is happening in the film."
Abstract This paper explains that, although the Warren Commission's report stated that Lee Harvey Oswald acted alone, and there was no conspiracy, the nagging question of who killed JFK still haunts the minds of many Americans. The author points out that the CIA theory of New Orleans District Attorney, Jim Garrison, is probably the most well-known of the conspiracy theories because it was made into a film starring Kevin Costner and directed by Oliver Stone. The paper relates that the Kennedy assassination is probably one of the most galvanizing events of modern history, and so, it will always remain controversial and shrouded in secrecy and theories.
Table of Contents
The CIA Theory and Jim Garrison
The "Grassy Knoll" Theory
The Mafia Theory
The Warren Commission
From the Paper "One of the most credible theories in recent years is the Mob or Mafia theory. Some historians point to Jack Ruby's known links with organized crime before he moved to Texas as evidence that the Mob was involved in the President's assassination. However, there are even more compelling arguments to back up the Mafia theory, including incriminating tapes of Mob bosses discussing bumping off one or more of the Kennedy's. The bosses were angry about John and Bobby's open war against organized crime, and it is conceivable that they could have created a conspiracy that pointed to Oswald, while making sure Ruby would do away with any evidence that might lead the trail back to the Mafia."
Abstract This paper points out the weaknesses in the film, "Thirteen Days". The paper talks about the shortcomings of some of the performances, the inaccuracies of the script concerning historical events, and the exaggerated importance placed on President Kennedy's assistant, Kenny O'Donnel.
From the Paper "The film "Thirteen Days" is an epic film about the 1962 Cuban Missile Crisis. The film is chronicled through the eyes of Kenneth O'Donnell, John F. Kennedy's appointments secretary. While the basis of the story is true, there is still much in the film that is based on historical speculation."
This paper uses the social penetration theory to analyze "Dances With Wolves", the novel written by Michael Blake and the film directed by Kevin Costner.
Abstract This paper explains that Irwin Altman and Dalmas Taylor's social penetration theory suggests as relationships grow deeper as self-disclosure deepens and uses social exchange theory, also called the game theory, to analyze the cost-reward balance of these self-disclosures. The author points out that "Dancing With Wolves" provides excellent examples of how totally different cultures can both attract and repel one another, how friendships and trust are formed by deeds not just words and how different intersecting strata of social and cultural lives either repel or attract one another. The paper relates that it teaches that the differences among people tend to be created without truly being aware of one another and can be resolved as those "onion skin" layers are removed revealing our true inner personalities.
From the Paper "There are many examples of initial encounters in "Dances With Wolves", and the manner of the meeting does not always provide the result of closeness, of course. What makes the novel so fascinating is the contact, verbal and non-verbal that links the white man with the Comanche, and prepares him for a life he had never known or understood before. Was it simply loneliness or necessity that brought these encounters to fruition? Is social penetration merely a theory that evolves as social circumstances change? Are we different, socially, today, than were the people in the post-Civil War era covered by this novel?"
