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240030011430000Ideas/MessagesGenre ThemesReception of filmWalt KowalskiSymbolismScenesQuotesIdeas/MessagesWhat does Walt regret?- Regrets not being close to his sons- Killing young men in Korea- Cheating on his wifeHow is his regret shown?- He has outbursts about war – he is a bitter manHow does he redeem himself from it?- He finally goes to confession (his wife’s request)- Sacrifices himself to put the gang members in jail, and give Sue and Thao a chance to ‘find peace in this world’.ThemesRedemptionInternal conflictIntoleranceRacial conflictCycle of violenceViolenceGenerational conflictMarginalisation of culturesOvercoming prejudiceAgeism MachoismStudy suggestion: review scenes which demonstrate each of the above themes.Theme 1: RedemptionWhat is redemption? To gain forgiveness of your past sins/wrong doings/regret. To atone for or compensate for your transgressions.Why do people need it? To feel at peace. So you can move on, to not feel guilt, to make the world a better place. The idea of being free of sins in the after life – Catholics believe you must be cleansed of your sins before you die.How does Thao help absolve Walt of his sins? He gives Walt an outlet to admit his guilt in a context that is meaningful. He tells Thao whathe did in Korea to stop Thao wanting to go fight the gang. He uses his guilt to keep Thao safe.He teaches Thao the most important lesson he can. How does Walt achieve redemption? Sacrifices his life to save Thao and Sue. He has also passed on his knowledge and values toThao and helped start Thao off on a better path in life, one he wouldn’t have had had he notmet Walt. Gran Torino is symbolic of this passing of values and prosperity.Why is it significant to Walt that he achieves redemption?For his wife, pride, to set things right. Being at peace before you die is a universal wish. Something we all wish for. One of the reasons people are scared of death is the fear they may not have done everything they should or could have done. Walt is not afraid to die now. He has set things right. (The montage of him preparing for death is symbolic of his mental readiness/his preparation).What are the flow on effects?Thao is freeSue is freeThe whole community is free from the gang. He never intended to save the whole community, but the community came to trust and depend on him. Theme 2: Cycle of violence Walt has lived his whole life with guilt of shooting a young Korean boy during the Korean War.After Hmong gang burn Thao’s face he beats up a gang member and threatens him with a gun.Guns symbolic/represent damaging effects of violence and destruction that comes when we live with anger. Thao wants to go ‘guns-blazing’ with Walt’s rifle - the same gun he shot the Korean boy with in war. Walt doesn’t want Thao to be involved. He considers himself “soiled” and doesn’t want that for Thao.Reception of the filmGran Torino is racist and insensitive, says Hmong writerWednesday, January 7, 2009 by Kevin Hoffman.A New York writer of Hmong heritage alleges that local?screenwriter Nick Shenk got the portrayal of the?Hmong wrong in the new mega-buzzed-about Clint Eastwood drama,?Gran Torino.?This Friday, Clint Eastwood's Gran Torino opens nationwide. Already released in New York and Los Angeles, I had the advantage of previewing this movie prior to the rest of the country. As a Hmong American writer from Minneapolis, I offer my take on this highly-acclaimed gritty urban fable. The story centres on a Midwest racist who grows to love and defend his Hmong neighbours. The film's director and star, Clint Eastwood, and newcomer writer, Nick Schenk are both being showered with awards and acclaim for the script's brute honesty and originality. An admirable tale with an unexpected ending, no one can deny Eastwood, a true film legend, the respect he deserves for elevating a blue-collar story into a personal mea culpa aimed right at the heart of his aging baby boomer audience. With its Oscar buzz and Hollywood funding, Gran Torino is indubitably the largest mainstream introduction to Hmong culture ever. As the attention focuses on this seemingly obscure community it is important to observe the risk of getting the story wrong and the advantages of getting the story right.When the film was announced this past summer many speculated that this was Eastwood's return to the Dirty Harry genre with a culturally motivated revenge story twist. The Hmong community held their collective breath in anticipation of what could potentially become their own "Miss Saigon"; a controversial musical criticised for patronising the Vietnamese culture. The hope that a sensitive, contemporary writer would handle the material responsibly was quickly shaken with the notice of Nick Schenk's few previous writing credits to be exclusively comedy based. Yet as the filmmaker responsible for "Letters from Iwo Jima," Eastwood's reputation seemingly assured the project's integrity. In the end, he made it halfway there.The film does offer a sympathetic view towards the Hmong in its depiction of their struggle to survive in a violent urban landscape alongside the aging protagonist, but it is the thoroughly stilted dialogue and mixed cultural references that distracts from the story-telling the most. The exchange about the Hmong's history was seemingly lifted straight from a high school social studies report and ignored the over 5000 year old Hmong history beyond their involvement as allies to the US during the Secret War in Laos. Many of the Hmong actors were amateurs and the awkward dialogue punctuated this fact even further. Schenk, admittedly not an anthropologist, did not appear to research this complex community beyond consulting a few Hmong people among the largely Hmong populated Minneapolis metro area. An early draft of the script even had names misspelled and referenced Chinese surnames, a sloppy mistake that was easily corrected, but what remained unchanged was the confusion of Asian customs. For the record, Hmong people do not use favours as a method of atonement, nor do they endlessly shower individuals with gifts out of gratitude.These may be minor mistakes made for the sake of storytelling, but they do raise the question of why Schenk would use the Hmong in his script if he did not want to accurately research and portray them in his movie. The exploitation of this relatively unknown community seemed like a convenient twist to an otherwise straightforward story. It reveals a certain cutting-edge trendiness that big names like Burger King has even caught on to with the use of Hmong and other ethnic minorities in latest Whopper campaigns. The trendiness factor has always been an important marketing strategy. But why when several professional Hmong filmmakers, actors, and writers exist, do they continue to get passed over when these projects are created? Convenience perhaps, but most likely it is a numbers game. There are simply too few Hmong script writers out there to compete against the thousands of western writers. Western writers and artists are happy to borrow and distort their stories to create the illusion of originality, but in the end, they simply want and will receive the credit.However, to the minority community, it is critical that these storytellers get their facts right. In the absence of a true voice from within the community, it is with this level of expectation that artists should uphold themselves when referencing any minority community. Rather than allowing a minority community to take part in your project, it may be better to consider your responsibility to contribute to their community. Unless this level of respect for both the creative and cultural communities can be achieved, we, the audience, should not accept any tokenizing stories as fact either.-- Sharon Her, a Hmong American writer from New York whose work has appeared in San Francisco's Asian Week, New York Press, and Object Magazine and has also been published in the Hmong American literary anthology, Bamboo Among the Oaks, (Minnesota Historical Society Press, 2002).I had the opportunity to talk to Bee Vang, who played the Hmong male lead Thao, and Elvis Thao, a spoken word artist who played one of the gangsters. They are both Hmong, as were all the other actors playing Hmong characters. All of them were really excited to be part of the introduction to Hmong culture for most Americans, and for many of them, it was an awakening of their Hmong identity. They also loved Clint Eastwood, who was always kind to them and treated them like equals. Many of them were hoping they could redirect discourse on Hmong actors in a positive direction, and they were all happy that Hmong actors were recruited, instead of Japanese or Chinese actors. To?them, that showed that the movie was earnestly trying to help explain Hmong culture, instead of succumbing to the stereotype that all Asians are equal.But, as Quora Users noted, Hmong culture was not represented accurately in the movie, and Elvis and Bee, being intelligent and culturally aware men, were both rather pissed about this - as were the rest of the Hmong actors. They were careful not to blame anyone, like Clint or the screenwriters, but they were frustrated that the movie didn't pan out as they liked. Bee and Elvis were happy that they could bring visibility to the Hmong community, but questioned whether this really had a positive effect.Bee in particular expressed a distaste for the famous barbershop scene, in which Mr. Kowalski teaches Thao to talk like a real man when entering a barbershop. He hated how Asian men were treated?as emasculated, and he saw those overtones in the scene. So he created a parody:Bee was really concerned about how the movie could reinforce the Gramscian cultural hegemony that forces Asians, and especially Hmong people (as primarily refugees), into marginal positions in society. In light of Azazel's criticisms, this makes a lot of sense.GenreClint Eastwood’s film roots are entrenched in the Western genre. You could say that Gran Torino is like a modern Western.Neo-western – classic elements of the Western film in new, urban landscapes.“Gran Torino appears to accept the impotence of the lone avenging hero”. Walt knows he alone can’t do much, but what he does do is significant for the people he does it for. This contrasts to a ‘western’ hero who rides in, shoots ‘em up and saves the day.Walt KowalskiCharacteristicsA man at odds with himself; angry, bitter, lonely. Not close to his family. His son’s family see him as a hindrence. Worked for 50 years at Ford plant at Highland Park.Last white-American in a neighbourhood populated by immigrants.Values hard work, self reliance, respect.No tolerance for laziness or fools.Angry understanding about life and death – his life has been very bitter, his death is bitter-sweet.RelationshipsRacist – ‘chinks’, ‘gooks’ and ‘zipper-head’ are used derogatively at first, but racial slurs towards Thao and Sue become affectionate in the same way he speaks to his friends – the barber and construction foreman.Initially resists relationships. His relationships with Sue, Thao and Father Janovich are what allows him to find peace.Starts as a snarling, staunch old man. His relationship with Sue and Thao softens him,shown as he sheds a single tear, sitting in the dark after Sue is beaten and raped.Moments of realisationThao impresses Walt by helping an elderly woman when other youths make crude gestures at her. He contemplates by stating, “how about that, Daisy?”A Hmong shaman tells Walt he is not at peace. In the bathroom Walt considers his reflection and realises he received more insight “from these gooks” than his own family. He has more in common with people he earlier despised than with his children. Advice from this Eastern religion is more meaningful to Walt than the ideas of a more traditional Catholic faith.SymbolismChristian SymbolismWalt’s wife’s last request to Father Janovich was that Walt go to confession. She initiates their relationship which becomes an important part of Walt’s realisation and redemption at the end of the film. Christian symbolism and spiritual conflict is central to Walt’s character – he’s never been at peace.Film begins and ends in a church, with a death.Father’s typical Catholic interpretation of life and death is naive. Life is not black and white. It’s bloody. Walt’s bloody hands express the messiness of life after he realises what’s happened to Sue is partially his fault.Confession – inevitably Walt confesses. He gets the minor things off his chest – but not the young boy he killed in Korea, the one thing that has really bothered him. He fulfills his wife’s dying wish. She is a reminder of what was good in his life.Confesses killing the boy to Thao before locking him in the basement. The screen door is a symbolic confessional screen.Walt gives his life to save Thao and Sue. In a biblical parallel Walt dies in a crucifixion position. Athough, instead of the son dying, the father figure dies to save the son.Sue points out that Hmong people fought on America’s side during Vietnam war – they died trying to save Americans, “but in the film the old white man dies to save the Hmong and achieves absolution for the sins of American ImperialismGran Torino & PatriotismWalt embodies many stereotypical American ideals.Walt is proud to maintain the Gran Torino.A symbol of prosperous history of Highland Park and Detroit.Towards the end of the film, Walt offers for Thao to use the car for his date. At the end of the film, Walt bequeaths the car to “my friend, Thao” instead of a family member, solidifying the relationship between the two.It also symbolises a generational passing of values. Thao has learnt important life lessons from Walt.Other patriotic symbols: American Flag, Labrador, “I fix things”, beer in the cooler.2971800123825002286001238250080010029845002971800762000297180075438000068580017970500Good ScenesThree Stages of WaltWalt is isolated and alone at the beginningChurch - standing alone then sitting apart from the familyStands alone outside his house when everyone else is inside at Dorothy’s wake.Close-ups of snarling face and growling when he is displeased with people – granddaughter, neighbours, son.High angle shots showing him maintaining his lawn, highlighting the difference in upkeep between his house and the other houses on the street.Low camera angle used when defending his property. The gun, coupled with the menacing dialogue and shot highlights how territorial he is.Mid-Shots in the bar with his friends – the only time he’s happy is when he’s with fellow white, male Americans of his generation in a masculine setting.Change – relationship with Sue and ThaoGuns (fake and real) are introduced to protect Sue from the gang .[As a directorial side note it is very reminiscent of an Eastwood classic – here we see what could easily be an older Dirty Harry or ‘The Man With No Name’. The finger gun first appeared in the Any Which Way But Loose film]Walt and Sue both shot in the same frame highlights their bonding.Dialogue becomes affectionate: “You know something kid, you’re alright.”High and low angle shots – used to show the power difference between Walt and Thao. To start with it is slightly hostile as Walt doesn’t think much of Thao, but as they get to know each other Walt becomes more of a mentor. The low angle shots up at Walt passing on advice to Thao are not hostile, but kind and fatherly. Body language in those shots which indicate a change in attitude.Walt and Thao framed together in shots– in the garage discussing tools, in the hardware shop, bringing up the freezer – shows them working together – growing respect – Shows Walt enjoying Thao’s company.Walt: Yeah, you said it brother” – High angle shot to show Thao working and Walt standing beside Hmong neighbour, both instructing Thao – side by side – look very similar. Walt is connecting with the neighbourhood and realising, yes, he does have something in common with these foreigners. Over the shoulder shots over Walt’s shoulder looking at Thao gardening and looking at Sue on the porch with Thao in the background washing the Gran Torino – he is watching over them in a fatherly way. He’s enjoying spending time with them. Opposite of him and his own sons – he doesn’t enjoy their company. In the scene where his son and daughter-in-law attempt to convince him to life in a ‘home’, they appear in separate shots.Son and wife come over to give birthday gifts to “make things easier” – they have contempt for him. (compare with Hmong gifts). Close up on squinty, grumpy, hard Walt again. Walt is incensed by this suggestion that he needs help – close up/zoom in on growling lip.Walt at the conclusion (Significance of the ending)After Sue comes home there are a series of close ups on Walt’s face and hands.His initial reaction is still violence – against the cupboards – however he sits alone in the dark [lighting] and a close-up on his face shows a single tear – he is reflecting on the realities andconsequences of his actions. Close up on the bloody knuckles shows – shows how he takes matters into his own hands and it doesn’t always work – violence doesn’t solve problems. He now ‘has blood on his hands’.Preparing for death sceneClose up of his face confessing, telling the priest “I am at peace” [Dialogue] Crane Shot showing him mowing his lawn. Short scenes – tailor, barber, church, bath, takes Daisy next door – Symbolic of him tying up loose ends. When he tells the priest he’s at peace he really is... done the things he’s thought about doing like a straight shave and a tailored suit.. He’s also been to confession like Dorothy would have wanted. The close up on the lighter in his open hand as the blood trickles down is symbolic of Walt letting go of life (light). He is letting go of his past and the things that haunt him (Korea).Crucifixtion pose –Sacrificing his life for Sue and Thao to live at peace. (“They’ll never find peace in this world as long as that gang’s around.”) In the coffin at the end, the symbol of the USA flag in the lining of his coffin, in his tailored suit – he dies a hero. He really is at peace. Defending his territoryFirst interaction with Thao is defending the Gran Torino – low lighting, low camera angle, gun, deep bass music.Shows Walt defending his property. Not your typical, frail, elderly man – which is how his sons see him.Second interaction with Thao – “Get off my lawn” – low lighting, low camera angle, gun, growl – close up.Later he says he was defending his property with the symbolic flag and Gran Torino in the background. Good QuotesWalt: How many swamp-rats can you fit in one room?Smokie:Are you f*cking crazy? Go back in the house.Walt: Yeah? I blow a hole in your face and then I go in the house... and I sleep like a baby. You can count on that. We used to stack f*cks like you five feet high in Korea... use you for sandbags.Walt: [Watching young kids ignore struggling woman] What at the hell is it with kids these days… [notices Thao helping] would you look at that.Walt: You know something kid, you’re alright.Walt: You people are all nuts - but the food does smell good. Sue: He says you have no happiness in your life. It’s like you’re not at peace.Walt: God, I got more in common with these gooks than I do with my own spoiled-rotten family. Jesus. Happy birthday.Walt: [about Thao] I don't care about him.Sue: You hang out with him, you teach him to fix things, you saved him from that f*cked cousin of ours.Walt:Watch your language, lady.Sue:And you're a better man to him than our own father was. You're a good man.Walt:I'm not a good man. Get me another beer, Dragon Lady. This one's empty.Father Janovich: Go in peace.Walt: Oh, I am at peace.[Walt has led Thao into his basement, as though they are preparing for revenge]Walt: Not long after, they gave me a silver star... [pulls it out] Here, I want you to have it.Thao: Why?Walt: Well, because we all knew the dangers that night, but we went in anyway. That's the way it might be tonight. There's always a chance you don't come back.Thao: The hell we won't. We gonna roll up there and test the mags.Walt: Yeah, that's foolish. That's the exact reaction they're waiting for. Go ahead, close this up. [Walks to the door]Thao: How many?Walt: [stops] How many what?Thao: How many men did you kill in Korea?Walt: Thirteen, maybe more.Thao: What was it like to kill a man?Walt: You don't wanna know. Now close it up.[He leaves the basement. Thao closes the box, but hears the slam of the door closing and locking. He hurries up and hammers on the door]Thao: Walt! Walt! What're you doing? What're you doing, huh?Walt: Relax. You can't get out of there.Thao: You let me out right now. You f*cking let me out or I'll fucking kill you!Walt: [kicks the door to silence him] Shut the f*ck up! You want to know what it's like to kill a man? Well it's goddamn awful, that's what it is. The only thing worse is getting a medal of valour for killing some poor kid that wanted to 'just give up, that's all.' Yeah, some scared little gook just like you. I shot him right in the face with that rifle you were holding in there a while ago. There's not a day goes by that I don't think about it. You don't want that on your soul. But I got blood on my hands. I'm soiled. That's why I'm going it alone tonight. [walks off]Thao: [hammering on the door again] Walt! You take me with you right now! Let me out!Walt: [returning] Look, you've come a long way. And I'm proud to say that you're my friend. But you've got your whole life ahead of you. But me, I finish things. That's what I do, and I'm going it alone. [leaves][last lines]Lawyer: [reading from Walt's will] And I'd like to leave my 1972 Gran Torino to... my friend... Thao Vang Lor. On the condition that you don't chop-top the roof like one of those beaners, don't paint any idiotic flames on it like some white trash hillbilly, and don't put a big, gay spoiler on the rear end like you see on all the other zipperheads' cars. It just looks like hell. If you can refrain from doing any of that... it's yours.MORE QUOTES: our Study of the Western Genre to the Course Syllabus Sample Exam Question (2016) Account for the differences in the way two texts use generic conventions by considering their contexts.Sample Response using The Searchers (1956) and Gran Torino (2008) The Western was a major defining genre of the American film industry used as a nostalgic eulogy to the early days of the expansive, untamed American frontier. Tales within this genre usually depict those people building civilization across this hostile landscape as stoic, optimistic and self-reliant. This is certainly a depiction evident in the 1956 classic western film The Searchers directed by John Ford in which the famous John Wayne plays the tough and unforgiving hero, Ethan Edwards. Edwards seeks revenge for the death of his family by a Comanche raiding party and begins a quest to search for his kidnapped niece. GOOD RESPONSES TO GRAN TORINO – (All of the responses were under timed conditions either exam or assessment. I have not edited them. They are the equivalent of a first draft)The Question was a comparative question- but I can’t remember what was given to them. Student Sample One: Visual texts have the ability to reinforce beliefs and ideology of their viewers, through the use of visual techniques and generic conventions. Both the 2008 Neo-Western and the 2013 promotional poster for the television series ‘The Walking Dead’ are marketed to mainstream American audiences and western society, and both texts serve to reinforce traditional beliefs about masculinity and white supremacy, through the construction of the characters and narrative progression. ‘Gran Torino’ follows the story of isolated war veteran Walt Kowalski, who takes on the role of mentor to a young Hmong migrant and goes on to save his neighbourhood from gang violence. Similarly, the main character of ‘The Walking Dead’ is depicted as a hero figure who is protecting his world from evil forces. ‘Grant Torino’ illustrates typical American values of patriotism, and endorses beliefs surrounding expectations of men to act as the masculine heroes of society. The film reinforces these beliefs held by its audience through the protagonist of Walt Kowalski. Originally portrayed as a grumpy and aggressive old man, through the use of montage the viewers are shown Walt’s rapid development into a father figure for Thao, his migrant neighbour. Walt’s power and dominance is demonstrated through the framing of scenes – he is typically placed in the foreground with a strong stance, a representation that depicts the white male as the heroic and strong figure. This is contrasted against other characters, for example in the scene in the garage, where the low wide camera angle places emphasis on Walt’s power and shows Thao’s stooped stance. Thao is looking up at Walt and drawing the viewer line of sight upwards to Walt. The framing and positioning of characters reinforce the beliefs of mainstream western society that white men are the dominant and more powerful figures, as well as heroes of the society.The film appeals to the values and beliefs of a mainstream American audience through the use of Christian symbolism. The climax of the film is reminiscent of the ‘stand-off’ scene featured in Western films. Walt sacrifices his life in order to save the Hmong migrants and the women of his neighbourhood from gang violence. The drumming sound-effects serve to build tension and the crescendo music as Walt falls in slow motion heightens the emotional impact of the scene. As Walt falls there is a slow panning shot that evokes imagery of the crucifixion of Jesus Christ thus reinforcing in the minds of viewers Walt’s role as savior. As the hero of the text is neither a migrant not Sue, who was a victim of violence, the film can be read as endorsing the traditional patriarchal power structure that is prominent within mainstream American society.Student Sample Two: Viewers context shapes their beliefs and hence also their reaction to issues within texts. Garn Torino directed by Clint Eastwood reinforces stereotypes and common identities through the redemption journey of an elderly veteran, Walt Kowlaski. Walt Kowalski holds true to his Asian prejudice despite the changing neighbourhood. We follow him as he discovers how his morals and values coincide with the Hmong people greater than his own family, through his mentoring of a Hmong boy Thao. As a young female from Australia with strong beliefs against war, sexism who values elders many of my personal beliefs are challenged within this movie.The exposition of Gran Torino uses a juxtaposition of youth identities to emphasise how disconnected Walt is with his grandchildren. A shot of Walt’s granddaughter demanding the ownership of Walt’s belongings after his death is presented at the scene of her grandmother’s wake. A high camera angle looks down onto the girls as she asks her grandfather ‘ What are you going to do with your car, when you like,um, die?’ The subject of death amongst loved ones is a sensitive topic to most but not Walt’s granddaughter as she sees it as Walt’s responsibility to provide for her even in death. The camera angle and use of slang provoke the viewer to question her morals and oppose her rude western attitude. A clip of Thao is then immediately contrasted when an eye level camera looks upon him as he asks Walt to borrow jump cables to assist one of his elders. We see Thao as respectful and down to earth with the level camera angle and respect hi for his duties towards his elders. It is common in Western culture for youth to be valued more than elders as they are seen as ‘the next generation’, their identity is one that holds themselves as important and hence expect to be waited on by those older than themselves. However, in Asian cultures it is more common for elders to be held as more important and it is seen as youth’s responsibility to look after them till after death instead of elders looking after youth through their wills. Although Walt is a proud white man and sees his culture as superior his beliefs of respect align with those of the Hmong people. Both youth identities are reinforcing Walt’s beliefs depending on viewer’s context, as a young girl who has been raised to respect elders, Thao attitude reinforces my own beliefs, yet Walt’s granddaughter reinforces youth identity of many of my peers.Although my context allows Thao’s identity to reinforce my beliefs of youth the responsibility of youth today. It is more my parents’ context that allows archetype beliefs of masculinity to present Walt as the alpha man. I’ve been lucky enough t be brought up watching spaghetti western movies and hence can be aware of the many codes and conventions Gran Torino draws upon within this iconic American genre. Walt himself is an archetypical hero of this genre. He is rugged, experienced and ends up saving the female minority in many scenes. When Thao’s sister, Sue is being harassed by a group of black boys, the antagonists of the scene, Walt rides in on his Ford truck and saves her from her vulnerable position. A symbol of ultimate man is presented through America’s and older generations of Australians through this close of parallel with Clint Eastwood’s former Spaghetti Western movie star status. He embodies the man who every man wants to be, and every women wanted to be saved by the build up of suspense also assists the heroic victory of Walt and builds up to the perfect western show down. Mis –en- scene allows a strong correlation to Western genre with a shot of Walt bearing his gun. In the background his white stead, his ford truck, waiting for him to ride off into the sunset. In the foreground the rugged man with a powerful expression and a thirst for justice looks down the barrel of his weapon. The audience view Walt as having the power and he dominates the ‘bad guys’ and even Sue. He is the alpha male. This reinforces male hero archetype as the savior not only women, but Sue’s position as a Hmong girl allows him to save her as the racial minority as well. Without conscious thought viewers accept stereotypes due to the western genre parallels, even though they challenge Australia’s beliefs.STUDENT SAMPLE THREEThe visual texts that surround us are a reflection of the society we live in and work to either reinforce or challenge beliefs within our society. The film Gran Torino (2008) directed by Clint Eastwood is a feature film set in 21st century America reinforces the belief of the dominance of men within society, as it follows the protagonist Walt Kowalski, a bitter war veteran, who becomes entangled in the affairs of his immigrant Hmong neighbours. Through the depiction of Walt as the classic ‘hero’ in the film it is clear to see the filmmaker has targeted the audience of Western society to endorse the power of a patriarchal world. Furthermore, the ….(other text here) to come to terms with the cruel reality that acknowledges that my belief of equality for all does not exist in every society or cultural group.The superiority of Walt’s character is portrayed through the fight scene between the Hmong gang and the Hnong family as Walt takes on the role of the hero in settling the dispute. The frenzy and chaos of the brawl between the Hmong people is captured through the use of shaky camera technique and harsh dialogue of screaming and yelling builds tension of the scene. A high camera shot reveals the helplessness of Walt’s neighbours as they are violently beaten to the ground by the gang. Upon Walt’s intervention, it is evident that he had gained authority in this situation as hectic fighting quickly stops and the focus is now on Walt. A close-up shot of his face depicts his facial expression to be fierce and threatening, with his eyes glaring down at the gang members and teeth clenched. The rifle that he holds in the frame connects to the idea of power through a weapon and as he is the only person armed it is clear he holds the most power. This power that Walt holds is symbolically reinforced, through the lighting of the scene, as he stands in the moonlight with his face lit up yet the gang stand below him in the dark as if to be his shadow. Through this Walt’s character is constructed to be the hero with the courage and power t stop the fight and as the gang slowly back away in fear it is confirmed that he held the authority to settle the dispute.Walt’s character is a representation of men within society as he adopts the conventional idea that men are the tough protectors through his actions in intervening in the fight. However, through displaying power over the situation her reinforces the view that men hold power in society as without Walt the Hmong family would have been left at the hands of the gang. This portrayal of Walt easily connects to things that occur within the context of Western society such as men taking on the role of breadwinner in the household or men defending their country in combat. It is a part of the identity of men to tackle issues and have authority therefore the representation of Walt is reinforcing our own context which strengthen our belief that men are dominant.The dominance of men is further portrayed through the ending of the film as through Walt’s bravery, the idea of the patriarchal structure of society is portrayed. The final scene incorporates the element of the Western genre known as a duel, a stand-off between two men that subtly reiterates the tradition of men having the power to handle issues. Through this scene Walt’s bravery is emphasized as he confronts the gang alone in the hope to set things straight within the troubled community. The medium shot of Walt depicts him to be courageous as his posture is forward, upright and assertive conveying the fearlessness of his character. The climax of the film occurs as Walt is shot down by the gang and a bird’s eye view shot of Walt’s body splayed out on the ground shows him to be positioned like Jesus on the cross. His arms being spread out and his feet together alludes to the crucifixion of Jesus symbolically suggesting that Walt sacrificed himself as Jesus did in the Bible, for the better of the world. The act of confronting the gang was for justice and through this justice was awarded. The death of Walt emphasizes the dominance of men as the hero to settle disputes but also the patriarchal structure in society. It is men who hold positions of power within political and judicial systems therefore with this in mind Walt’s death is a representation of only men having the capability to serve justice. This reinforces the view of men being dominant with society as through the patriarchal system they gain power. ................
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