Shortly after the end of World War II, some important directors either stopped writing or lost their creative motivation. Ford, a veteran of the studio era, was such an active veteran filmmaker who remained at the heart of the movie scene after the war.
Because of the Western's irrefutable, colonial perspective on the civilized, domesticated West, white characters are bound to insist they have an innate right to liberty and property. The vast tract of land west of the Mississippi River became a target beyond human control but contested for all.
The real carnage in the West was the military war with the Native Americans, and this genocidal conflict is carefully presented in many big Westerns, often appearing as stereotypical noble savages or small-town drunks. Ford's films often rely on this racist characterization, and two of the most direct representations of war: "The Searcher" and "Fortress" explore in their not flawless old-school style the morally abusive nature of the protagonist's heart. Personality racism. That's in contrast to Kevin Costner's "Dancing With Wolves" decades later, which is also a classic example of a "cultural upheaval": when it deals with scenes like "cowboys face Indians," Cowboys no longer automatically win our sympathy.
That John Ford film is often criticized for its xenophobic depiction of Native Americans. But "Fortress" depicts Indigenous and white people from a complex and diverse perspective, perhaps more than any film before "Anbang Ding Guozhi." In "Anbang Dingguozhi" is not only the escalation of frontier violence, but also the moral decline of the Native Americans. In addition to condemning Henry Fonda's character's total disregard for Indian rights and his stubborn, blind compliance with U.S. government regulations and laws, Ford also scolded those who illegally sold weapons and near-poison-like whiskey to Indians. Frontier Merchant.
In the final scene of Fortress, a horrific military decision that resulted in the senseless deaths of soldiers on both sides turned into a misguided celebration of heroism. Ford made a strong condemnation of the mythologizing of the American West, which he himself helped bring about. In Fortress, Ford confronts imperialism and the ritual celebration of sheer power that accompanies it without fear, and responds with a startling, unabashed disgust.
Shortly after color photography was introduced into Westerns, Stewart's Broken Arrow (1950) and Anthony Mann's psychologically deep Naked Spurs (1953) began to rehabilitate Indians politically and vindicate the diversity of Native Americans. , Positive image display.
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