I have to compare the classic western film Stagecoach to a more contemporary film, Unforgiven. I have trouble narrowing my ideas for comparing and contrasting different elements in each film. I also need help with outlining a compare/contrast essay structure. Is there an outline that would be specific so that I can put my thoughts together in an orderly and coherent fashion?
Compare film Stagecoach and Unforgiven
Greetings!
That's a very good question! There is more than one way to structure a compare and contrast essay. Here are a couple of the most-used kinds (I couldn't get very specific, as I haven't seen Unforgiven and haven't seen Stagecoach in about 30 years :-) :
Comparing and then contrasting:
1. Introduction
2. Similarities between Stagecoach and Unforgiven
* Both are Westerns
* Both have [an element]
* Both also have [another element]
* Both use metaphor to express ... (aren't there always metaphors? ;-))
3. Differences between Stagecoach and Unforgiven
* Stagecoach uses the classic Western formula of ...
* Unforgiven [differs in some manner]
4. Conclusion
Or, you could simply talk about one film, then the other:
1. Introduction
2. Stagecoach
* Had this element
* Had that happen
* Contained this
3.Unforgiven
* Had this element
* Had that happen
* Contained this
4. Conclusion
I hope this helps get your thoughts into an orderly and coherent formation!
Thanks,
Sarah, EssayForum.com
That's a very good question! There is more than one way to structure a compare and contrast essay. Here are a couple of the most-used kinds (I couldn't get very specific, as I haven't seen Unforgiven and haven't seen Stagecoach in about 30 years :-) :
Comparing and then contrasting:
1. Introduction
2. Similarities between Stagecoach and Unforgiven
* Both are Westerns
* Both have [an element]
* Both also have [another element]
* Both use metaphor to express ... (aren't there always metaphors? ;-))
3. Differences between Stagecoach and Unforgiven
* Stagecoach uses the classic Western formula of ...
* Unforgiven [differs in some manner]
4. Conclusion
Or, you could simply talk about one film, then the other:
1. Introduction
2. Stagecoach
* Had this element
* Had that happen
* Contained this
3.Unforgiven
* Had this element
* Had that happen
* Contained this
4. Conclusion
I hope this helps get your thoughts into an orderly and coherent formation!
Thanks,
Sarah, EssayForum.com
Thank you for the outline strategy! I still need some advice in terms of editing content and putting the information in order. Can you comment on what I have so far? Help me put together a working thesis that outlines the topics in my paper? Hope you can help thanks!@
Tom
Thesis-
Earlier western films like Stagecoach focused more on the expansion of the new frontier and their encounters with the "savage" Native Americans. This particular film was interesting in the sense that it was more of a social commentary that depicted a sub community of individuals each representing a distinct social status in western society. The cast of characters include; a prostitute with a heart of gold; an alcoholic doctor; a timid whiskey salesman; an honorable sheriff; a degenerate gambler; a pregnant woman; a crooked banker; and of course the outlaw as Ringo Kid. This clash of classes and misfit characters provide a perfect backdrop for social commentary about diverse communities. The film opens with a wide view of Monument Valley to show the vast plain of the open frontier.
In Stagecoach, John Wayne's character (Ringo Kid) possesses all the inherent qualities that truly define the typical Western hero. Ringo is charismatic; resourceful; courageous; morally compelled; and is skilled with his Winchester. Although Ringo is an escaped convict that is set out to kill the men who murdered his family, in some sense, the audience understands his goal to administer justice where society and law has failed. Ringo poses no threat to the passengers and becomes more of an asset when the stagecoach enters hostile Indian Territory. Similar to most early western films, violence is used only as a means to punish bad men and restore order to the community. The western hero possesses a shatter resistant type of invincibility where he can quickly outwit and outgun a group of outlaws.
In earlier western films, the portrayal of minority groups were anything but sympathetic; Native Americans were looked upon as savages and ethnic groups were viewed as ignorant. This lack of political correctness was greatly reflected in the cultural views of that particular time period. During the early expansion of the western frontier there were African American cowboys and other settlers from various ethnic groups. However, African Americans were not added to the cast of characters in John Ford's Stagecoach. Another example of ignorant exploit of minority groups includes the portrayal of Native Americans. When the stagecoach stops at a mid station to meet cavalry troops all they find is a group of Mexican occupants. When one of the stagecoach characters spots a Mexican man with a Native American wife they identify her as a savage. The Mexican occupants are hospitable towards the passengers; however, in the film these characters are portrayed as simple minded, tequila pourers. This negative portrayal of Native Americans is further illustrated through the fear of a savage attack from Geronimo. These Native Americans are viewed as violent inhabitants that want nothing less than to kill the Americans riding in the stage coach.
Clint Eastwood's film, Unforgiven, uses some of the classic western elements that define the western genre; only the elements are reversed or further complicated. The role of the reluctant gunslinger that acts as a peacekeeper and protector of the community, while administering justice by punishing bad men is somewhat lost in this film. The good guy versus bad guy mentality is left someone ambiguous and the traditional archetype hero becomes somewhat of an antihero.
At the beginning of the film, Eastwood's character, Munny, is depicted in anti-heroic terms. Munny is a pig farmer with a violent past. Munny's former occupation as a kill for hire bounty hunter contrasts the idea of a morally compelled protagonist. For example, throughout the film Munny makes reference to the many people he has killed, including women and children. He shows little remorse for what he has done and thinks of it as just business. Munny undergoes a series of character transformations throughout the film. For example, after Munny meets his wife he is then able to transition from a cold hearted killer to a virtuous husband, loving father, and an unsuccessful pig farmer. Munny credits his wife for having saved him from evilness and even after his wife's death Munny still honors her by living virtuously. However, when Munny gets propositioned, by the Scoffield Kid, to come out of retirement for one last kill for hire job, at first hesitates but then quickly accepts for the chance to earn more money for his family. The Scoffield kid is a new up incoming bounty hunter that is impressed by Munny's skill in killing. Unfortunately, Munny transformation from a pig farmer back to his infamous bounty hunter persona is riddled with ironic quips that poke fun of the civilized cowboy. For example, the traditional western hero, like Ringo in Stagecoach, is skilled with his horse and his Winchester rifle. In contrast, Munny is rusty and appears to be out of touch with the skill for killing that he once had. When Munny takes some practice shots with his shotgun he misses most of the can targets; further, when he saddles up his horse and tries to climb on top of the horse he falls face first in a pile of mud.
*more paragraphs needed-
Conclusion=
Tom
Thesis-
Earlier western films like Stagecoach focused more on the expansion of the new frontier and their encounters with the "savage" Native Americans. This particular film was interesting in the sense that it was more of a social commentary that depicted a sub community of individuals each representing a distinct social status in western society. The cast of characters include; a prostitute with a heart of gold; an alcoholic doctor; a timid whiskey salesman; an honorable sheriff; a degenerate gambler; a pregnant woman; a crooked banker; and of course the outlaw as Ringo Kid. This clash of classes and misfit characters provide a perfect backdrop for social commentary about diverse communities. The film opens with a wide view of Monument Valley to show the vast plain of the open frontier.
In Stagecoach, John Wayne's character (Ringo Kid) possesses all the inherent qualities that truly define the typical Western hero. Ringo is charismatic; resourceful; courageous; morally compelled; and is skilled with his Winchester. Although Ringo is an escaped convict that is set out to kill the men who murdered his family, in some sense, the audience understands his goal to administer justice where society and law has failed. Ringo poses no threat to the passengers and becomes more of an asset when the stagecoach enters hostile Indian Territory. Similar to most early western films, violence is used only as a means to punish bad men and restore order to the community. The western hero possesses a shatter resistant type of invincibility where he can quickly outwit and outgun a group of outlaws.
In earlier western films, the portrayal of minority groups were anything but sympathetic; Native Americans were looked upon as savages and ethnic groups were viewed as ignorant. This lack of political correctness was greatly reflected in the cultural views of that particular time period. During the early expansion of the western frontier there were African American cowboys and other settlers from various ethnic groups. However, African Americans were not added to the cast of characters in John Ford's Stagecoach. Another example of ignorant exploit of minority groups includes the portrayal of Native Americans. When the stagecoach stops at a mid station to meet cavalry troops all they find is a group of Mexican occupants. When one of the stagecoach characters spots a Mexican man with a Native American wife they identify her as a savage. The Mexican occupants are hospitable towards the passengers; however, in the film these characters are portrayed as simple minded, tequila pourers. This negative portrayal of Native Americans is further illustrated through the fear of a savage attack from Geronimo. These Native Americans are viewed as violent inhabitants that want nothing less than to kill the Americans riding in the stage coach.
Clint Eastwood's film, Unforgiven, uses some of the classic western elements that define the western genre; only the elements are reversed or further complicated. The role of the reluctant gunslinger that acts as a peacekeeper and protector of the community, while administering justice by punishing bad men is somewhat lost in this film. The good guy versus bad guy mentality is left someone ambiguous and the traditional archetype hero becomes somewhat of an antihero.
At the beginning of the film, Eastwood's character, Munny, is depicted in anti-heroic terms. Munny is a pig farmer with a violent past. Munny's former occupation as a kill for hire bounty hunter contrasts the idea of a morally compelled protagonist. For example, throughout the film Munny makes reference to the many people he has killed, including women and children. He shows little remorse for what he has done and thinks of it as just business. Munny undergoes a series of character transformations throughout the film. For example, after Munny meets his wife he is then able to transition from a cold hearted killer to a virtuous husband, loving father, and an unsuccessful pig farmer. Munny credits his wife for having saved him from evilness and even after his wife's death Munny still honors her by living virtuously. However, when Munny gets propositioned, by the Scoffield Kid, to come out of retirement for one last kill for hire job, at first hesitates but then quickly accepts for the chance to earn more money for his family. The Scoffield kid is a new up incoming bounty hunter that is impressed by Munny's skill in killing. Unfortunately, Munny transformation from a pig farmer back to his infamous bounty hunter persona is riddled with ironic quips that poke fun of the civilized cowboy. For example, the traditional western hero, like Ringo in Stagecoach, is skilled with his horse and his Winchester rifle. In contrast, Munny is rusty and appears to be out of touch with the skill for killing that he once had. When Munny takes some practice shots with his shotgun he misses most of the can targets; further, when he saddles up his horse and tries to climb on top of the horse he falls face first in a pile of mud.
*more paragraphs needed-
Conclusion=
Greetings!
I'd be happy to help--I think you're doing an excellent job! Your thesis will take a position on whether and/or how the two films are alike. I can't really write one for you, as I don't know enough about both of them, but it would be something comparable to "Stagecoach and Unforgiven are both social commentaries dressed in Western wear, but their distinct differences are born out of the cultural environments from which they arise." I made that up, but you get the idea. ;-)
Some editing tips:
The cast of characters include: [instead of ;] a prostitute ..." - your other semicolons are fine, but you need commas here: and, of course, the outlaw as Ringo Kid.
Ringo is charismatic; resourceful; courageous; morally compelled; and is skilled with his Winchester. - Here, you just want commas, not semicolons.
Say, "simple-minded tequila pourers."
The Scoffield kid is a new, up-and-coming bounty hunter
Unfortunately, Munny's transformation
I think you're doing great! Keep up the good work!
Thanks,
Sarah, EssayForum.com
I'd be happy to help--I think you're doing an excellent job! Your thesis will take a position on whether and/or how the two films are alike. I can't really write one for you, as I don't know enough about both of them, but it would be something comparable to "Stagecoach and Unforgiven are both social commentaries dressed in Western wear, but their distinct differences are born out of the cultural environments from which they arise." I made that up, but you get the idea. ;-)
Some editing tips:
The cast of characters include: [instead of ;] a prostitute ..." - your other semicolons are fine, but you need commas here: and, of course, the outlaw as Ringo Kid.
Ringo is charismatic; resourceful; courageous; morally compelled; and is skilled with his Winchester. - Here, you just want commas, not semicolons.
Say, "simple-minded tequila pourers."
The Scoffield kid is a new, up-and-coming bounty hunter
Unfortunately, Munny's transformation
I think you're doing great! Keep up the good work!
Thanks,
Sarah, EssayForum.com
