This discourse aims to examine the advantages and limitations of using genre theory in studying Hollywood film. Also, the movie that will be examined are western genre which is Shane (Steven 1953) directed by George Stevens and The Searcher (Ford 1956) directed by John Ford. Meanwhile Steve (2000) indicates that “Genre is a French word meaning type or kind” (Steve 2000, p.9). Yet, genre is culturally constructed therefore articulated through many kinds of convention in distinguish a particular value messages. According to Silverbatt (2007) indicates that “cultural myths are stories that tell a culture about itself” (Silverbatt 2007, p.224). Regarding to Silverbatt’s (2007) argument, American can identify their representation through movie as well value by others. Meanwhile, according to Wright (1975) indicates “myth become part of the cultural language by which American understands itself” (Wright 1975, p. 12). Regarding to Wright’s (1975) argument, in an explicit way western genre reflected the myth and history of American.
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Six convention of Western genre
Alternatively, it is important to understand the six conventions of western genre portrayed in the movie aforementioned earlier. Firstly the setting, Shane (Steven 1953) located in an isolated western alley and The Searcher (Ford 1956) in Northern Texas. Secondly the characters types, Shane and Ethan both were heroes in the movie meanwhile the rest were townspeople and civilization of savage. Following by narratives, fall under Wright’s (1977) four plots, Shane (Steven 1953) as classical plot and The Searcher (Ford 1956) under vengeance variation. Also, iconography such as six guns, harmonica, Stetson (hat) and landscapes. In styles, mostly in bright, wide open spaces and outside contrasted. Lastly in stars represents Clint Eastwood, John Wayne and John Ford. Pursuing further, Wright’s (1977) four plot which is classical and vengeance variation will be discussed.
Wright’s (1977) classical and vengeance variation
In this paragraph will evaluating differences of hero attributes portrayed through western genre. The characteristic of Shane identify as classical plot, however in Ethan identify as vengeance variation. Firstly in evaluating classical, Shane as the hero enters a social group. It is easy to see that Shane joins Starrett as farmhand, defending the rest of the homesteaders honor in saloon fight and he kills the villains Rykers and Wilson at the climate. Hence Shane represents as independent strength which fights for the value of the society.
In comparing, Ethan in The Searcher (Ford 1956) identify as vengeance variation in Wright’s (1977) four plots. After the Comanche Indian murder his brother Aaron and family, he leaves the society to follow the traits of Deborah kidnapped by Scarface and avenge for his unspoken love Martha. Ethan represents as independent strength because he leaves the society to avenge, hence similarities occurs same as in Shane (Steven 1953) where both heroes represented as independent strength.
To support, according to Ibid argues “the wilderness is a sphere for masculine actions” as quoted in Lusted (2003, p.32). Regarding to Ibid argument, in the wilderness is an advantage for Shane and Ethan to demonstrate their independent strength as well as masculinity. However, according to Wright (1977) argues “he is known to have left society with specific intent that has led him to develop his strength and acquire his status” (Wright 1977, p.256). Regarding to Wright (1977) argument, Shane and Ethan left their society in developing their strength and gaining acceptance status of hero in their society.
Thus, both of the heroes Shane and Ethan have similarities that celebrate consensus in Wright’s (1977) four plots hence this is an advantages in using Wright’s (1977) four plots genre theory in examining western as a genre. In furthering this discourse, both similarities of Wright’s (1977) four plots theory will be discussed further.
Wright’s (1977) classical and vengeance variation
On the other hand, in this discourse will further examine in using Wright’s (1977) four plots theory in classical and vengeance variation. Clearly in classical, the villains threaten the society. It is easy to see that the relationship among homesteaders is weakening when Rykers forced them to leave his valley by cutting Mr. Wright and Mr.Shipstead cattle fence. Meanwhile, Torrey was killed by Wilson during the gunfight, Rykers gang burnt Mr. Fred house during Torrey funeral prayer.
However in The Searcher (Ford 1956) the villains do harm to the hero and to society. Clearly, the Comanche Indian leaded by Scarface as villains’ murdered Aaron’s family including young ones and women. Moreover, Brad soon to be Lucy fiancé killed by Comanche Indian when he persistent headed to their camp solely. Also, during the pursuit Ethan and Captain Samuel and rest of his mates threaten and surrounded by a large group of Comanche’s tribe during the pursuit.
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According to Cawelti (1984) argues “some westerns seem to favor violence as the only solution to certain moral and political conflicts” (Cawelti 1984, p.130). Regarding to Cawelti’s (1984) argument the implication of violence act both have similarities in defining heroes in western genre uses violence to maintain social order. However, Warshow (1954, p.47) argues “is not violence itself but a certain image of man, a style, which express itself most clearly in violence” as quoted in Saunders (2001, p.24). Regarding to Warshow’s (1954) argument, the act of violence can be expressed through form of expression, styles and emotional upon masculinity.
Consequently, after comparing classical and vengeance variation between the film Shane (Steven 1953) and The Searcher (Ford 1956) both have similarities in using the variations in keeping the genre on-going. As result, this serves as advantages in studying genre theory in examining film as western genre. Limitation of studying genre theory in examining film will be discussed further.
Limitation of genre theory
Conversely, genre theory could be problematic and serves as limitation in studying western genre. Audience use genre to categorize text while institution use genre to package text which facilitates their sales to audiences (Lacey 2000, p.134). According to Lacey (2000) argument, this suggests that the relationship between audience, institution and text are inter-related. Firstly which is genre are culturally relatives, in defining genre might contrary upon other culture. To support, according to Tudor (1974) argues “a genre are not only characteristic inherent in the film themselves, they also depend on particular culture with which we are operating” as quoted in Steve (2000, p.18). Regarding to Tudor’s (1974) argument, the representation of western genre might not celebrate consensus with another culture. Secondly, the limitation is an iconography is not easily adopted in any genre. To support, according to Langford (2005) argues “the very consistency of their iconographic conventions makes these genres atypical film genre” (Langford 2005, p. 14). Regarding to Langford’s (2005) argument, in applying the very consistency of iconographic convention in western genre, easily audience could difference between one and another.
Conclusion
In concluding the overall discourse prior to this subject, each genre has its own specific sets of concern and plays an important role in representing a particular culture which reflected through films. In addition, genre plays important part in keeping on-going discourse and celebrate consensus between audiences and text. Although genres are processes, they change according to period in helping people to understand how genre is relevant to a particular community where genre is enacted and changed.
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