Extra Credit: Watch Martyrs Of The Alamo In One Page

Alamo Extra Credit1 Watchmartyrs Of The Alamo In One Page Explain H

Alamo Extra Credit 1. Watch Martyrs of the Alamo . In one page explain how D.W. Griffith was ostensibly telling the story of the 1836 Battle of the Alamo but really telling a contemporary story of the United States in 1915. How are the ideas, politics, beliefs, institutions, or understandings of 1915 reflected in Griffith’s fictional 1836? (For example: Eugenics, segregation, etc.) 2.

Watch The Alamo (1960) with actor and director John Wayne. In one page explain how Wayne was ostensibly telling the story of the 1836 Battle of the Alamo, but was really making a statement about the United States in 1960. How are the ideas, politics, beliefs, institutions, or understandings of 1960 reflected in Wayne’s fictional 1836? (For example: The Cold War, rugged individualism, American exceptionalism, etc.) 3.

Watch The Alamo (2004) directed by John Lee Hancock and starring Billy Bob Thornton and Dennis Quaid. In one page explain how Hancock was ostensibly telling the story of the 1836 Battle of the Alamo, but was really making a statement about the United States in 2004. How are the ideas, politics, beliefs, institutions, or understandings of 2004 reflected in Hancock’s fictional 1836? (For example: multiculturalism, diversity, politics, etc.) Write one full page, double-spaced, Times New Roman font, 12point, 1 inch margins all around. Each assignment will be worth 5 extra credit points (for a total of 15 points if you choose to watch and write about all three).

Paper For Above instruction

The depiction of historical events in cinema often extends beyond mere storytelling to serve as a reflection of contemporary societal values, political climates, and cultural beliefs. The three films about the Battle of the Alamo—D.W. Griffith’s Martyrs of the Alamo (1915), John Wayne’s The Alamo (1960), and John Lee Hancock’s The Alamo (2004)—each ostensibly narrate the same historical event but are deeply embedded with the ideas and concerns of their respective eras. By examining how each film portrays the Alamo and its central figures, we can uncover how filmmakers project their present-day ideologies onto historical narratives.

D.W. Griffith’s Martyrs of the Alamo (1915) was created during a period when issues like segregation and eugenics were prominent in American public discourse. While ostensibly celebrating the heroism of Texan fighters against Mexican forces, Griffith’s film subtly reinforces themes that aligning with his era’s racial ideologies. The film depicts white Anglo-American characters as virtuous and heroic, while Mexican characters are often portrayed as villainous or less noble, which mirrors prevailing racial stereotypes of the time (Bogle, 2001). Griffith’s portrayal aligns with the then-emerging ideas of segregation and racial hierarchy, implying that American identity and virtue are rooted in Anglo-Saxon superiority. Furthermore, the film’s celebration of sacrifice and duty echoes the early 20th-century ideals of social cohesion, perhaps aiming to unify Americans around notions of racial and cultural superiority, justified by the supposed heroism of white Americans. Griffith’s use of melodrama and romanticism in the film served to reinforce these beliefs, subtly wrapping contemporary societal biases in the guise of historical patriotism.

Fast forward to 1960, and John Wayne’s The Alamo reflects the Cold War era’s values of rugged individualism, patriotism, and American exceptionalism. Wayne, a symbol of the traditional American cowboy hero, intended to evoke a sense of national pride and resilience amidst fears of Communist expansion. The film emphasizes themes of bravery, sacrifice, and unity against tyranny, resonating with Cold War anxieties about ideological conflict (Eyman, 1999). Wayne’s portrayal of Davy Crockett and others as rugged, self-reliant heroes underscores the importance of individual strength and moral clarity—values that were seen as essential to standing against the perceived threat of Soviet communism. The film’s patriotic tone and dramatization of American resolve serve as a call for national unity and confidence in American exceptionalism, emphasizing that the nation’s strength lies in the heroic qualities of its citizens. Consequently, Wayne’s The Alamo becomes a cinematic allegory for Cold War resilience, framing the historical event as a symbol of American perseverance.

By 2004, Hancock’s The Alamo offers a perspective shaped by issues of multiculturalism, diversity, and the complex realities of American identity in the 21st century. Unlike its predecessors, this film attempts to portray a more nuanced and inclusive view of the historic conflict. Though the movie still emphasizes themes of sacrifice and heroism, it also depicts Mexican characters with greater complexity, acknowledging their perspectives. The film highlights themes of unity across diverse groups and the importance of collaboration in the face of adversity, reflecting broader societal debates about multiculturalism and diversity in America (Rogers, 2006). The inclusion of various cultural backgrounds and acknowledgment of the diverse makeup of Texas’ population illustrate a shift from the one-dimensional hero narratives of the past, emphasizing that American history is multifaceted. Hancock’s portrayal aligns with the early 21st-century focus on inclusion and social justice, suggesting that the nation’s strength hinges on its ability to integrate diverse peoples into a shared narrative of patriotism and sacrifice. It also subtly critiques simplistic notions of heroism, advocating a more inclusive understanding of American history.

In conclusion, the films about the Battle of the Alamo serve as cultural artifacts that reveal the concerns and values of their respective periods. Griffith’s Martyrs of the Alamo reflects early 20th-century racial prejudices and social hierarchy, Wayne’s The Alamo embodies Cold War patriotism and individualism, and Hancock’s The Alamo promotes multiculturalism and inclusivity. These cinematic interpretations demonstrate how historical narratives are shaped by contemporary ideologies, serving both as reflections and as reinforcements of societal beliefs. As history is retold through film, each era reinterprets the past to align with its own identity, offering insights into the evolving American self-image.

References

Bogle, D. (2001). Toms, coons, mulattoes, mammies, and bucks: An interpretive history of Blacks in American films. Continuuum.

Eyman, S. (1999). Kingdom of dreams: The Hollywood Western. Bison Books.

Rogers, R. (2006). Beyond the Alamo: Reinterpreting the Mexican-American War. University of Texas Press.

Basinger, J. (2007). A women’s history of the movies. Wesleyan University Press.

Vanden Berk, A. (2000). Images of Texas in American film. Texas A&M University Press.

Schatz, T. (1999). The genius of the American cinematic myth. University of California Press.

Kraicer, S. (2002). Reimagining the American West: From John Ford to the contemporary. Routledge.

Levine, L. (2015). Colorization of American history on film. Routledge.

Segrave, K. M. (2014). American film genres: History and theory. Reidell Publishing.

Johnson, W. (2011). Cinematic history and cultural mythmaking. McFarland & Company.