# data[].attributes.body
Andy Warhol’s Cowboys and Indians complete portfolio explores our imagination of the American West. I was printed in 1986 by Rupert Jasen Smith in New York. In this series, Warhol presents themes of American exceptionalism and the romanticism of the country’s history. The complete series is included in Warhol’s top 10 most valuable portfolios of all time.

Warhol interspersed recognizable portraits of well-known American “heroes”–John Wayne, Annie Oakley, Teddy Roosevelt, and General George Custer–with less familiar Native American images and motifs to present a commentary on the American mythology of the historic West. Rather than portraying Native Americans within their historical landscape or Cowboys in their veritable forms, Warhol chose to portray a popular, romanticized version of the American West. The West that he chose to represent is familiar to everyone and can be seen in novels, films, TV series. Warhol’s Cowboys and Indians suite serves as an ahistorical representation that mirrors a popular interpretation of the past. Warhol addresses similar themes of American exceptionalism and romanticism in his other works, such as his Ads and Myths portfolios.

Source : https://revolverwarholgallery.com/portfolio/cowboys-and-indians-complete-portfolio/

# data[].attributes.attachment_link.description
Warhol’s Cowboys and Indians complete portfolio shows themes of American exceptionalism through romanticism of the country’s history and the American West.

# data[].attributes.attachment_link.title
Mapping History : Territorial Expansion of the United States 1783-1853 - Territorial Expansion of the United States: 1783–1853

# data[].attributes.attachment_link.description
Territorial Expansion of the United States: 1783–1853

# data[].attributes.headline
Some practice exercices for the Cambridge Certificate

# data[].attributes.subject
Some practice exercices for the Cambridge Certificate

# data[].attributes.attachment_link.readable_text
Entraînez-vous 'sur le pouce' avec Test & Train

Test & Train est un outil d'entraînement facile d'utilisation et efficace pour vous préparer aux examens Cambridge, du A2 Key for Schools au C1 Advanced. Développé par Cambridge English et Cambridge University Press, Test & Train aide les élèves de niveau A2 à C1 à être prêts le jour de l'examen en effectuant de courts exercices sur des points précis. Avec plus de 500 exercices en ligne, vous pouvez utiliser cette application quand vous le souhaitez, où que vous soyez et autant de fois que vous le désirez !
Je veux en savoir plus
Gratuit : activités pour pratiquer l'anglais

Pratiquez votre anglais avec nos activités gratuites en ligne ! Nous proposons des activités pour pratiquer l'expression et la compréhension écrite, la grammaire, le vocabulaire, la compréhension orale et la prononciation.

Cherchez des activités gratuites en anglais
Checklist pour l'épreuve d'expression écrite (Writing) - niveau B2

Utilisez cette checklist pour améliorer votre niveau d'anglais à l'écrtit, et pour vous préparer à l'examen.
Téléchargez la checklist de niveau B2

# data[].attributes.attachment_link.description
Comment préparer le B2 First ? Retrouver toutes les informations et documents utiles à la préparation du B2 First

# data[].attributes.body
Kookaï, Nina and Sacha

[Though your analysis is relvant, your report contains a great deal of basic grammar mistakes that could have been easily corrected with some proofreading]

# data[].attributes.attachment_link.title
Lil Nas X And The Myth Of The All-White American West Black America Web

# data[].attributes.attachment_link.title
KINGSMAN_ THE GOLDEN CIRCLE Movie Clip - That Dog Don't Hunt (2017) Channing Tatum Action Film

# data[].attributes.attachment_link.title
Lil Nas X - Old Town Road (Official Video) ft. Billy Ray Cyrus

# data[].attributes.headline
Has the representation of Native Americans in the Holllywood film industry evolved ? Read the following articles

# data[].attributes.subject
Has the representation of Native Americans in the Holllywood film industry evolved ? Read the following articles

# data[].attributes.headline
Lesson 14 : I wouldn't trust him/her/them as far as I can throw him/her/them (= I wouldn't trust him/her/them at all)

# data[].attributes.subject
Lesson 14 : I wouldn't trust him/her/them as far as I can throw him/her/them (= I wouldn't trust him/her/them at all)

# data[].attributes.body
In Cowboys and Indians by Andy Warhol, Warhol’s work creates a commentary on mass media and the way in which contrived imagery can affect how we understand our history. Images of Geronimo, Annie Oakley and Mother and Child are based on characters in the Hollywood adaptation of our history and do not truly represent the roles that these real individuals historically played.

Warhol interspersed recognizable portraits of well-known American “heroes”–John Wayne, Annie Oakley, Teddy Roosevelt, and General George Custer–with less familiar Native American images and motifs in his ironic commentary on Americans’ collective mythologizing of the historic West. Rather than portraying Native Americans within their historical landscape or Cowboys in their veritable forms, Warhol chose to portray a popular, romanticized version of the American West. The West that he chose to represent is familiar to everyone and can be seen in novels, films, TV series. Warhol’s Cowboys and Indians Suite is an ahistorical representation that mirrors a popular interpretation of the American West.

Andy Warhol created the Cowboys and Indians series during the mid-1980s, arguably his most prolific period. During this time, Warhol was forming bonds with a number of younger artists in the New York art scene including Jean-Michel Basquiat, Julian Schnabel and David Salle. Warhol saw a re-emergence of critical and financial success during this period of his life.

source : https://www.guyhepner.com/artist/andy-warhol-art-prints-paintings-for-sale/cowboys-and-indians-by-andy-warhol/

# data[].attributes.headline
Michael Blake's Dances With Wolves is the story of Lieutenant Dunbar guarding an oupost at the frontier but ending up befriending and even living among a Comanche tribe.

# data[].attributes.subject
Michael Blake's Dances With Wolves is the story of Lieutenant Dunbar guarding an oupost at the frontier but ending up befriending and even living among a Comanche tribe.

# data[].attributes.body
We're going to study an extract dealing with the first encounter between Lieutenant Dunbar and Kicking Bird, the medecine man from the tribe.

I have selected 10 sentences from this passage but erased the names. In your opinion, who do these sentences concern : Kicking Bird ? or Lieutenant Dunbar ? Why is it so hard to tell ?

# data[].attributes.body
You will have to explain the message of this cartoon. To do so, answer the following questions :

What is smallpox ? Smallpox, also known as variola, is a very contagious and deadly disease that was widespread during the 19th century.

What do "smallpox infested blankets" refer to, historically speaking (do some research on the net) ?

Some reports mention the fact that smallpox-infested blankets, coming from hospitals were given to Native tribes during parleys between US soldiers and Indians as tokens of peace, in the aim of infecting them and killing them without shedding a drop of blood.

How can you interpret John Smith's reaction ?

John Smith is laughing to himself and looking at us, making us accomplices of what is going to happen, which is often considered a genocide. The viewers are supposed to feel guilty either for what happened, or for accepting the idealistic vision portrayed in Disney's Pocahontas.

What did the cartoonist choose the characters from Disney's animated movie to pass his message ?

Pocahontas is all about a love story between characters who are supposed to be enemies. The settlers are portrayed as savage as the Natives, their hatred being based on fear of the others.

How would you sum up the cartoonist's message ?

By believing the story told in the animated imovie is a fair rewriting of history, a new balance in the relationship between settlers and natives, one would shut their eyes to the genocidal atrocities the Indians were victims of. The cartoonist sides with the Native vision of history and blames both the settlers and Disney for spreading a false an idealized vision of what actually happened.

# data[].attributes.headline
If the representation of the Native Americans was mostly stereotypical, offensive and depreciative in the first half of the 20th century, things tended to change over the last decade.

# data[].attributes.subject
If the representation of the Native Americans was mostly stereotypical, offensive and depreciative in the first half of the 20th century, things tended to change over the last decade.

# data[].attributes.body
That's why The Searchers, by making Scar and Ethan the sides of the same coin, was a turning point in such a vision.

# data[].attributes.headline
Independence and the Opening of the West, Thomas Hart Benton, 1961

# data[].attributes.subject
Independence and the Opening of the West, Thomas Hart Benton, 1961

# data[].attributes.body
The document is a painting/ a mural by Thomas Hart Benton, painted in 1961 at The Truman Library, Independence, Missouri. The place for the mural is quite meaningful as the state of Missouri was the starting point for the Oregon Trail, that took place in 1840

It is entitled Independence and The Opening of the West and depicts an encounter between the Natives and the settlers at the top of a hill.

The mural can be divided into two parts, that oppose civilization (hence the houses in the background on the right side) to wilderness (shown by the Indian teepees).

A lot of horizontal lines (houses/ teepees, Indian brave holding a bow and an arrow / frontiersman wearing a coonskin hat) draw a parallel between both peoples.

The doorway and the hill seem to create an effect of symmetry, placing both people on an equal footing in this meeting, which seems to be peaceful. The Indian chief is offering a peace pipe as a token of peace/ friendship and the settlers standing at the top of the hill are not aiming at the Natives.

However, there’s more to it than meets the eye. Many elements hints at the tension present in the meeting. The dog located in the foreground is barking at the Natives as if they represented a threat to the settlers and the two children look scared of them.

Moreover, although a peace meeting is going on in the foreground, a war is about to be waged in the background in the left part. The war bonnets the Indians are wearing and the fort refer to the many wars that occurred on the frontier throughout the 19th century. (a bad omen reinforced by the presence of the rain).

Last but not least, the position and the stance of the different characters imply and unbalanced ratio of power between the two peoples. If the imaginary symmetrical line is located at the top of the hill, the setters present at that very place is a sign of domination from them who, as a consequence, are literally looking down on the Indians. They’re dominating over them and taking their land.

The domination is emphasized by the Indian chief who is not only offering peace to the settlers but also bending / bowing to them as a sign of submission (contrary the the settlers who are standing straight). Although both sides are on their guard and armed, the sunlight that surrounds the settlers in the middle seems to justify their presence there, as part of their Manifest Destiny. They belong here, as much as the Indians.

Likewise, the fact that the settlers are armed can be justified by the presence of the woman and the children. The lines created by the rifles shelter/ shield them. Therefore, the settlers’ behaviour and need for land is not aggressive, but natural as they are meant to protect / provide for their family.

What is Benton’s message ? It’s hard to tell. Some will see a possible peaceful cohabitation between Indians and settlers (which would explain the presence of the fur trader among the Natives on the right). Others will see a realistic representation of the opening of the West (which the two blacksmiths - who turn their back on the conquest of the West - are excluded from). The viewers can also consider the symbols present in the painting foreshadow a negative outcome to the meeting, or on the contrary, an idealized vision of the conquest of the West.

As a conclusion, much like The Searchers, Independence and the Opening of the West is a turning point in the portray of the Natives and the Conquest of the West, showing this period them in a less stereotypical way, but also clinging to the Myth of the west that prevail in the popular representation of this period.

# data[].attributes.headline
Read the following text written by Michael Blake as an Afterword for his most famous novel, Dances With Wolves in 1988. How do you understand the following sentence : " It was my hope that in showing what was lost, something might be regained".

# data[].attributes.subject
Read the following text written by Michael Blake as an Afterword for his most famous novel, Dances With Wolves in 1988. How do you understand the following sentence : " It was my hope that in showing what was lost, something might be regained".

# data[].attributes.body
Like most children of the fifties, my first impressions of Native American people were not very positive. Indians were widely portrayed as devils, whose destruction was purely a matter of necessity in the process of taming the West. Every publication or film I saw as a child was slanted in this way.

But from the first, I sensed somehow that the story was incomplete. Late in elementary school I read a book by Quentin Reynolds that was written for young readers. I can’t remember the title, but the book was about Custer and the Seventh Cavalry and the Little Big Horn. I enjoyed it immensely and, as most boys would, I identified strongly with the white soldiers.

There was something else, however, that sparked my interest for years to come. One particular Indian was portrayed in Reynold’s book as a great warrior and leader—Crazy Horse. From the moment I read about him I wanted to know more. Perhaps it was the ring of his name or the description of his fighting spirit, but I recall distinctly that I laid the book down with the thought, I’d like to know more about that Crazy Horse.

In succeeding years, I never fully lost the desire to know more, but it wasn’t until my mid-twenties that I encountered the Indian people again, the time reading Dee Brown’s classic Bury My Heart at Wounded Knee. I was stunned, heartbroken, and enlightened. [...]

Another ten years have passed and I am still reading Native American history. It is often a sad study of genocide, of cultural annihilation perpetrated by our forefathers inthe name of growth and of the “future generations” that we now comprise.

When I think of what was lost in the trampling of the great horse culture and its people, I am made immeasurably sad. Here were a people living in rough perfection; at home with sky, earth and plain; strong families living in societies that valued and cared for their members. Not only was most of this destroyed but what little remained was locked up onreservations in desolate territory, far from public sight.

So the novel Dances with Wolves was written in part because I wanted to present some of the record of history as I see it. It was my hope that in showing what was lost, something might be regained—not the least of which could be new respectfor the proud descendants of the people I wrote about, who are living yet onreserves where our ancestors confined them.

Michael Blake,Dances with Wolves, 1988 (afterword written in 1991)

# data[].attributes.attachment_link.readable_text
According to The Hollywood Reporter, Rooney Mara has been tapped to play the Tiger Lily, a Native American princess, in Joe Wright's "Pan." This casting choice has been met with the backlash that Warner Bros. seemed to anticipate, as sources told Variety and other outlets that, "The world being created is multi-racial/international -- and a very different character than previously imagined."

As Variety noted, Lupita Nyong'o and Adele Exarchopoulos were other actresses considered for the role, but while it's vaguely plausible that this might be fundamentally different from the typical brand of Hollywood white washing, there is an undeniable systemic history of white actors playing marginalized peoples.

In the case of Native Americans portrayed by white actors, the trend inherently reflects the lack of respect with which Hollywood willfully treats indigenous people. Here are a few of the roles that not only exemplify stereotyping, but also the insensitive treatment of Native Americans, who are treated as relics resigned to the past.

Henry Brandon, "The Searchers," 1953
In his role as the murderous Chief Scar, Brandon exemplified the intensely flawed concept of Native Americans as savages. Despite their victimized place in history, many narratives -- such as the one featured in "The Searchers" -- reposition the Native story, characterizing them as vilified others.

Burt Lancaster, "Apache," 1954
Lancaster played Massai in the 1954 film "Apache," a warrior who resists the white takeover of his people. Despite the fact that the book is based on the true story recorded in Paul I. Wellman's "Broncho Apache," United Artists studio demanded the film disregard the tragic death of Massai's real-life counterpart in favor of a cinematically happy ending.

Audrey Hepburn, "The Unforgiven," 1960
"The Unforgiven" insensitively deals with the story of a Native child (Hepburn) who is adopted and assimilated into white culture. It repeatedly undermines the intelligence of Native Americans and treats being non-white as a status associated with aggressive shame.

"Iron Eyes Cody," Those Terrible "Crying Indian" Commercials, 1970 - 1971
In order to fake cry in those cringe-worthy Keep America Beautiful spots of the '70s, Espera DeCorti changed his name to Iron Eyes Cody and claimed to be of Cherokee and Cree ancestry, although his half-sister later revealed he was actually of Italian descent. Probably the only thing worse than using glycerin to simulate the fall of a single tear is pretending you are actually Native person in order to do so.

Johnny Depp, "The Lone Ranger," 2013
Depp argued the case for his role as Tonto, going so far as to tell Rolling Stone he believed his performance would be inspiring to Native American children. He also claimed he had a Native great-grandmother. Depp's pleas didn't help the movie: the movie was panned by critics and flopped at the box office.

BEFORE YOU GO

# data[].attributes.attachment_link.title
A Brief History Of White Actors Playing Native Americans

# data[].attributes.attachment_link.description
According to The Hollywood Reporter, Rooney Mara has been tapped to play the Tiger Lily, a Native American princess, in Joe Wright's "Pan." This casting choice has been met with the backlash that Warner Bros. seemed to anticipate, as sources told Variety and other outlets that, "The world being created is multi-racial/international -- and a very different character than previously imagined."

# data[].attributes.attachment_link.description
This week Pan, the story of Peter Pan's origins opens in the US. Already there has been controversy. The film-makers caused an outcry when it was announced that Rooney Mara, a white actress, had been cast in the role of Tiger Lily, a character widely viewed as being Native American.

# data[].attributes.body
I)                     “ In a strangely ironic way he felt much less conspicuous without his clothes. Perhaps that was so. Every tiny plant, every buzzing insect, seemed to attract his attention.”

II)                  “  They were a great mystery to X, these xxxxxxxxxxxxxx . He could not think of them without getting his mind baffled.”

III)                 “When he whirled to meet the voice that had startled him out of his skin, X came face-to-face with the strangest sight he had ever seen.”

IV)                 “ And yet, on the basis of what he had actually seen, the xxxxxxxxxx inspired only pity.  They seemed to be a sad race.”

V)                   “They lived without families. And they lived without their greatest chiefs. With the Great Spirit in evidence everywhere, for all to see, they worshipped things written down on paper. And they were so dirty. They didn’t even keep themselves clean.”

VI)                   “When X saw this, his paralysis evaporated. He stopped thinking altogether, leaped to his feet, and scrambled over the top of the bluff. He shouted out, his bellow cracking the stillness like a shot.”

VII)         “X had heard disconcerting stories about their numbers. On more than one occasion he had heard people say they were as plentiful as birds, and this gave X an uneasy feeling in the back of his mind.”

VIII)        “A naked man. A naked man marching straight across the yard with his fists balled, with his jaw set, and with skin so white that it hurt the eyes.”

IX)          “The man I encountered was a magnificent-looking fellow. ‘’

X)           “Close to the fort, X stopped to watch the entanglement of two lovers. A pair of black water snakes were twisting ecstatically in the shallows of the stream, and like all lovers, they were oblivious, even when X’s shadow fell across the water.”

# data[].attributes.headline
Michael Blake's novel was turned into a movie directed by Kevin Costner in 1998. It's a mut-see which won 7 Academy Awards, including Best Picture.

# data[].attributes.subject
Michael Blake's novel was turned into a movie directed by Kevin Costner in 1998. It's a mut-see which won 7 Academy Awards, including Best Picture.

# data[].attributes.attachment_link.title
Dances With Wolves - Official® Trailer [HD]

# data[].attributes.headline
Excerpt from Pocahontas, Eric Goldberg, Mike Gabriel, 1995

# data[].attributes.subject
Excerpt from Pocahontas, Eric Goldberg, Mike Gabriel, 1995

# data[].attributes.headline
However, the Natives were also seen in a negative light or a distorted one in the popular culture of the first half of the 20th century.

# data[].attributes.subject
However, the Natives were also seen in a negative light or a distorted one in the popular culture of the first half of the 20th century.

# data[].attributes.body
We're going to study two extracts from a very famous story you all know and that involves Indians : JM Barrie's Peter and Wendy (1911)

# data[].attributes.headline
Task 2 : Here's a suite composed by Andy Warhol entitled Cowboys and Indians. Identify the different characters. If you consider everything we have studied on the matter, what could be Warhol's message regarding the myth of the West ?

# data[].attributes.subject
Task 2 : Here's a suite composed by Andy Warhol entitled Cowboys and Indians. Identify the different characters. If you consider everything we have studied on the matter, what could be Warhol's message regarding the myth of the West ?

# data[].attributes.headline
Waiting for the Barbarians was adapted into a movie in 2020, starring Johnny Depp and Mark Rylance

# data[].attributes.subject
Waiting for the Barbarians was adapted into a movie in 2020, starring Johnny Depp and Mark Rylance

# data[].attributes.attachment_link.title
Waiting for the Barbarians Trailer #1 (2020) | Movieclips Trailers

# data[].attributes.headline
Waiting for The Barbarians, J.M. Coetzee, 1980

# data[].attributes.subject
Waiting for The Barbarians, J.M. Coetzee, 1980

# data[].attributes.body
What can be considered offensive regarding the representation of the Natives?

# data[].attributes.attachment_link.title
Disney's "Peter Pan" - What Makes the Red Man Red?

# data[].attributes.headline
Lesson 13 : an Indian giver (an offensive expression used to describe a person who asks the return of or takes back a gift after they have given it)

# data[].attributes.subject
Lesson 13 : an Indian giver (an offensive expression used to describe a person who asks the return of or takes back a gift after they have given it)

# data[].attributes.headline
Scar (The Searchers) vs "Sport" Matthew (Taxi Driver)

# data[].attributes.subject
Scar (The Searchers) vs "Sport" Matthew (Taxi Driver)

# data[].attributes.body
Excerpt from chapter 5

Such is the terrible man against whom Peter Pan is pitted. Which will win?

On the trail of the pirates, stealing noiselessly down the war-path, which is not visible to inexperienced eyes, come the redskins, every one of them with his eyes peeled. They carry tomahawks and knives, and their naked bodies gleam with paint and oil. Strung around them are scalps, of boys as well as of pirates, for these are the Piccaninny tribe, and not to be confused with the softer-hearted Delawares or the Hurons. In the van, on all fours, is Great Big Little Panther, a brave of so many scalps that in his present position they somewhat impede his progress. Bringing up the rear, the place of greatest danger, comes Tiger Lily, proudly erect, a princess in her own right. She is the most beautiful of dusky Dianas [Diana = goddess of the woods] and the belle of the Piccaninnies, coquettish [flirting], cold and amorous [loving] by turns; there is not a brave who would not have the wayward thing to wife, but she staves off the altar with a hatchet. Observe how they pass over fallen twigs without making the slightest noise. The only sound to be heard is their somewhat heavy breathing. The fact is that they are all a little fat just now after the heavy gorging, but in time they will work this off. For the moment, however, it constitutes their chief danger.

Excerpt from chapter 10

One important result of the brush [with the pirates] on the lagoon was that it made the redskins their friends. Peter had saved Tiger Lily from a dreadful fate, and now there was nothing she and her braves would not do for him. All night they sat above, keeping watch over the home under the ground and awaiting the big attack by the pirates which obviously could not be much longer delayed. Even by day they hung about, smoking the pipe of peace, and looking almost as if they wanted tit-bits to eat.

They called Peter the Great White Father, prostrating themselves [lying down] before him; and he liked this tremendously, so that it was not really good for him.

“The great white father,” he would say to them in a very lordly manner, as they grovelled at his feet, “is glad to see the Piccaninny warriors protecting his wigwam from the pirates.”

“Me Tiger Lily,” that lovely creature would reply. “Peter Pan save me, me his velly nice friend. Me no let pirates hurt him.”

She was far too pretty to cringe in this way, but Peter thought it his due, and he would answer condescendingly, “It is good. Peter Pan has spoken.”

Always when he said, “Peter Pan has spoken,” it meant that they must now shut up, and they accepted it humbly in that spirit; but they were by no means so respectful to the other boys, whom they looked upon as just ordinary braves. They said “How-do?” to them, and things like that; and what annoyed the boys was that Peter seemed to think this all right.

JM Barrie, Peter and Wendy, 1911

# data[].attributes.headline
An interesting article about the tropes in western movies

# data[].attributes.subject
An interesting article about the tropes in western movies

# data[].attributes.attachment_link.title
Western Tropes We Never Get Tired Of & How our Authors Use Them

# data[].attributes.attachment_link.description
The western is an intense, action-packed, deep genre of fiction. While not the most popular, those who are fans are die-hard. But what about this genre inspires loyalty? Here are seven western tropes that we and the fans never get tired of and are always bringing us back for more.

# data[].attributes.headline
The myth of the west was popularized Buffalo Bill's "Wild West" all over the USA and in Europe at the end of the 19th century.

# data[].attributes.subject
The myth of the west was popularized Buffalo Bill's "Wild West" all over the USA and in Europe at the end of the 19th century.

# data[].attributes.body
How do you understand "Wild" in "wild West"? Find two synonyms to illustrate your view.

# data[].attributes.headline
Part 1 : Compare Ethan and Scar. Are they similar or different. For each statement about Ethan, fill in the appropriate characteristic for Scar.

# data[].attributes.subject
Part 1 : Compare Ethan and Scar. Are they similar or different. For each statement about Ethan, fill in the appropriate characteristic for Scar.

# data[].attributes.body
Ethan’s Characteristics                                                                                                                            Scar’s Characteristics

He is a renegade and cannot settle.

He has been away from home, fighting.

His side lost the war and have had to change.

He believes his way is right.

He is prepared to fight his own kind.

He knows much about the customs and way of’ life of the Native Americans.

He has respect for his enemy and calls him “Scar”.

When they finally meet, he says “You speak good American. Someone teach you?”

# data[].attributes.headline
Trailer from Django Unchained, Quentin Tarantino, 2012

# data[].attributes.subject
Trailer from Django Unchained, Quentin Tarantino, 2012

# data[].attributes.attachment_link.title
DJANGO UNCHAINED International Trailer 2

# data[].attributes.headline
Excerpt from Lawrence of Arabia, David Lean,1962

# data[].attributes.subject
Excerpt from Lawrence of Arabia, David Lean,1962

# data[].attributes.attachment_link.title
The most epic scene cut in film history (Lawrence of arabia)

# data[].attributes.headline
Excerpt from Avengers : Age of Ultron, Joss Whedon, 2015

# data[].attributes.subject
Excerpt from Avengers : Age of Ultron, Joss Whedon, 2015

# data[].attributes.attachment_link.title
Hawkeye's Secret - Safehouse Scene - Avengers: Age of Ultron (2015) Movie CLIP HD

# data[].attributes.headline
Excerpt from Star Wars : Episode II - Attack of the Clones, George Lucas, 2002

# data[].attributes.subject
Excerpt from Star Wars : Episode II - Attack of the Clones, George Lucas, 2002

# data[].attributes.headline
Excerpt from Close Encounter of the Thirs Kind, Steven Spielberg, 1977

# data[].attributes.subject
Excerpt from Close Encounter of the Thirs Kind, Steven Spielberg, 1977

# data[].attributes.attachment_link.title
Close Encounters of the third kind 1977 the boy is taken by aliens

# data[].attributes.headline
Excerpt from Star Wars ( : A New Hope), Geroge Lucas, 1977

# data[].attributes.subject
Excerpt from Star Wars ( : A New Hope), Geroge Lucas, 1977

# data[].attributes.headline
Excerpt from Rogue One (: a star Wars Story), Gareth Edwards,  2016

# data[].attributes.subject
Excerpt from Rogue One (: a star Wars Story), Gareth Edwards,  2016

# data[].attributes.attachment_link.title
Opening scene Krennic and Galen - Rogue One

# data[].attributes.headline
Excerpt from Paris Texas, Wim Wenders, 1984

# data[].attributes.subject
Excerpt from Paris Texas, Wim Wenders, 1984

# data[].attributes.headline
Exemple de restitution de l'article 'The Searchers' was influential film in its day and still resonates today.

# data[].attributes.subject
Exemple de restitution de l'article 'The Searchers' was influential film in its day and still resonates today.

# data[].attributes.body
Cet article a été rédigé à l’occasion de la projection au cinéma du film de John Ford, « The Searchers », un film emblématique à bien des égards.

Il dépeint la quête longue de 5 ans d’Ethan Edwards pour retrouver sa nièce, enlevée par les Comanches. Le film pourrait paraitre daté, mais les thèmes qu’il aborde sont encore très modernes. De nombreux réalisateurs s’en sont inspirés et font de lui un classique du genre reconnu par la critique pour l’imagerie, la poésie et les sentiments qu’il véhicule. Les paysages et les lieux servent de théâtre au désir de vengeance d’Ethan, plus déterminé à exterminer Comanches et ennemis qu’à sauver sa nièce.

Ce personnage complexe se rapproche autant du héros que de la violence qui agite chaque guerre. Ainsi, la sauvagerie est montrée dans chaque camp, et Scar n’est que le pendant d’Ethan.

The Searchers peut se voir et se revoir car, il y a toujours quelque chose de nouveau à découvrir.

# data[].attributes.body
J'ai retrouvé mes notes de la formation que j'avais suivie il y a deux ans à ce sujet.  Voici quelques infos sur le déroulement de l'épreuve.

- Vous passerez par groupes de deux ou de trois (les groupes de 3 seront rares).

- Vous ne pourrez pas passer avec moi, (ni avec Mme Marriott pour les élèves en sections euro). Deux professeurs extérieurs viendront en renfort.

- Vous serez convoqués et évalués par deux enseignant(e)s. L'un(e) mènera l'entretien, l'autre sera derrière vous, hors de votre champ de vision. Pensez à être audibles, c'est ce(tte) derrière(e) qui vous évaluera le plus !

- Il n'y a aucun temps de préparation.

- L'idée est d'alterner les phases de prises de paroles seul(e)s et les phases ou vous interagissez avec votre binôme. Il est important que vous compreniez que vous devez parler et regarder votre binôme et non l'examinateur quand vous êtes en interaction . L'idée est de continuer la conversation tant qu'on ne vous demande pas de vous arrêter. Ne la laissez pas mourir !

- L'oral se déroule toujours en 4 parties :

1ère partie  : présentation. Répondez individuellement aux questions de l'examinateur. il s'agit de questions de base sur vote nom, l'endroit où vous habitez, vos goûts, vos loisirs, vos expériences personnelles, vos matières préférées à l'école, pourquoi etc....

2ème partie : cette phase est à nouveau individuelle. L'examinateur vous présentera deux photos, et vous devrez parler dessus pendant 1 minute complète. Ne vous contentez pas de décrire, imaginez ce qui se passe, ce que ressentent les gens, l'occasion qu a produit ces photos etc...  Votre binôme devra répondre à une question sur vos deux photos (posée par l'examinateur), puis vous inverserez les rôles. A la fin de cette phase vous rendrez les photos (booklet) à l'examinateur.

- Je vous ai posté deux exemples de photos à droite.

3ème partie : la troisième partie vous mettra face à une situation que vous devrez résoudre en discutant. Elle prendra la forme d'une question centrale (reformulée sous forme de situation par l'examinateur), à  laquelle sera rattachée plusieurs alternatives pour y répondre. Vous devrez suivre les consignes de l'examinateur pour discuter des meilleures options. L'idée est que ça ait l'air d'une vraie conversation. Vous pouvez être d'accord entre vous ou non, débattre ou envisager toutes les solutions.

4ème partie : L'examinateur vous posera une ou plusieurs questions en lien avec le thème de la situation (La plupart des YES/NO questions de l'ordre de "Do you think that..."). Vous répondrez séparément, mais l'avis de chacun sur la/les  question(s) peut être demandé. DE-VE-LOP-PEZ vos réponses ! Illustrez avec des exemples, et si vous paniquez, rappelez-vous les trois phases d'une bonne réponses : Répondre à la question, illustrez votre avis avec un exemple, concluez-en que ce que vous dites est pertinent.

Voilà, c'est tout. Montrez ce que vous savez faire, et gardez à l'esprit que ce que je vous demande en cours est bien plus compliqué que cela. Parlez et écoutez vous pour vous corriger sir besoin, c'est la clé.

Je reste à votre disposition s'il y a des questions.

# data[].attributes.headline
Lesson 9 : Out with the old, in with the new (= leave old things or ideas behind and bring in new things or ideas)

# data[].attributes.subject
Lesson 9 : Out with the old, in with the new (= leave old things or ideas behind and bring in new things or ideas)

# data[].attributes.headline
Lesson 11 : To follow in someone's footsteps (= to do the same thing as someone else, especially a member of your family did)

# data[].attributes.subject
Lesson 11 : To follow in someone's footsteps (= to do the same thing as someone else, especially a member of your family did)

# data[].attributes.headline
Time to order your copy of Death of a Salesman

# data[].attributes.subject
Time to order your copy of Death of a Salesman

# data[].attributes.headline
Film director Martin Scorsese on The Searchers

# data[].attributes.subject
Film director Martin Scorsese on The Searchers

# data[].attributes.attachment_link.title
Martin Scorsese on Watching THE SEARCHERS for the First Time

# data[].attributes.headline
Lesson 7 : East is East and West is West

# data[].attributes.subject
Lesson 7 : East is East and West is West

# data[].attributes.headline
Extract 4 - "Stand Aside!" by Juliette, Eloane, Solène and Charlie

# data[].attributes.subject
Extract 4 - "Stand Aside!" by Juliette, Eloane, Solène and Charlie

# data[].attributes.body
We were in charge of the fourth extract entitled “Stand Aside”. We will focus on the tearing of Martin between the two camps by analyzing the western tropes, the symbols, the plot, the stereotypes and the shots.

In our extract, Debbie, who became a Squaw, warns Ethan and Martin about an attack from the Natives to come. But here is the problem, Debbie is a Squaw and she doesn’t have the intention to leave “her people”. In consequence, Ethan wants to kill her, but Martin protects her. Then, the Natives interrupt them by attacking, just as Debbe said. A race starts, Ethan gets shot, however, even if they are 2 vs 10, they win anyways.

1:25:30 The character Emilio Figueroa stands out with a close-up. He is the stereotypical Mexican character, with his sombrero, his pancho and his Mexican accent. He is supposed to be a white actor, so he painted his face brown. It’s called a brown face.

1:25:54 The long shot makes that we can see two opposite sides :

on the right, the “civilized” side with the ruffle

on the left, the side of wilderness, with the blanket of the Natives that they got in exchange for hats.

We can notice that Martin is standing right in the middle of these two sides, meaning that he can’t choose between them. In fact, he has native’s blood in his veins. Furthermore, he can’t choose between his sister who is a Native now, and Ethan who is American.

At 1:26:16, Ethan grabs a rock and throws it in the river. It’s also a stereotype because every man will do that, in movies, when they feel frustrated. Besides the fact that the river helps Ethan to calm down, it also separates the two sides that we saw just before. Up, the wilderness, and in the bottom of the frame, the civilization. The river is like a bridge between these two worlds.

Let’s talk about the landscape now. It’s a desert that symbolizes a place of confrontation. The hills have an important role. Indeed, we’ll see that everything will come from behind these hills, without a sound. It’s the case here : 1:26:24, with a depth of the field. We saw Debbie arriving, but the characters didn’t. At the same time, a music which sounds like a Disney movie begins, as if Debbie were a princess. That’s a trope too.

Besides, at 1:26:32, she is right in the middle, between Ethan and Martin, showing that she is the stake.

At 1:26:36, Martin is the only one who sees Debbie. Thanks to that, he will not try to kill her for the moment. Martin and Debbie can have their “brother and sister moment” (with close-ups), at 1:26:47. By doing this, they can talk without being heard by Ethan. However, at 1:27:21, Ethan, hand on his gun, gets closer and hears from Debbie : “These are my people”. Furthermore, she keeps speaking like a Native. In consequence, at 1:27:38, a music full of tension begins and Ethan takes out his gun, but in a particular way. In fact, he holds his pistol at the level of his pelvis, to show his manliness, his virility. Starts a duel between Martin and Ethan. At 1:27:49, we can barely see Debbie behind Martin, meaning that it’s a manliny duel between two men.

Their duel will be interrupted by an arrow, hurting Ethan, thrown by a Native, at 1:27:55, who appears from behind the hills, without a sound, again. The shot is taken with a low angle view to show his strength. Then, the same Native will be killed by Martin and fall into plenty of stunts. That’s a trope.

At 1:28:04, a low angle view extreme shot shows 7 Natives coming from behind the hills. We didn’t hear them before they attacked. However, a mistake has been made. In fact, just 4 seconds later, at 1:28:08, the Natives aren’t coming down from the hills. They are now coming from the left, skirting the river. A race, a chase will begin. It’s another western trope.

At 1:28:28, we can clearly see the landscape. Indeed, Martin and Ethan are enclosed by the rocks. It symbolizes that they are enclosed, framed. They can’t escape the fight.

At 1:28:36, Ethan and Martin hide in a cave. The difference in light between outside and inside of this one, echoes the very beginning : the dark place epitomizes safety.

Furthermore, during this fight sequence, (filmed in a high angle view to show the weakness of Ethan and Martin) the Natives, Ethan and Martin are shooting at the horses ! And at 1:28:44, two of the Natives were running to Ethan and Martin. They were ready to kill them. But they turned their backs.. This is quite ridiculous.

At 1:28:59, the chief, Scar, who is a red-faced actor, puts on his head a war bonnet. However, that doesn't make any sense, given that the fight has already started. Furthermore, we saw previously that many of the Natives were wearing a war bonnet. Besides that, it can mean that the real fight will begin.

At 1:29:09, the attack starts and then, we are crushed by a horse with a low angle view. Which is a western trope. It is for the audience to feel threatened, in danger and that also increases tension.

At 1:29:18, the fight ends with the fall of Scar, in a high angle view. He is weak because he has lost. Ethan, injured, and Martin have just won a 2 vs 10.

Juliette, Eloane, Charlie and Solène

[A nice and relevant analysis. Don't confuse past and present when you're telling a story. You managed to show the many tropes that are present in this extract quite clearly.]

# data[].attributes.headline
Here's a video that compares two scenes from the same story. 

# data[].attributes.subject
Here's a video that compares two scenes from the same story. 

# data[].attributes.body
The first comes from a classic Western movie entitled True Grit by Henry Hathaway (1969) whereas the other, also entitled True Grit, was a Revisionist Western film directed by Ethan and Joel Coen and released in 1990.
Interesting fact : John Wayne won the Academy Award for Best Actor for his role in 1969 True Grit (the only category the movie was nominated in). The 2010 version was nominated for the Academy Awards in 10 categories (including Best Picture), but won none.

Watch both scenes : The dialogue and the plot will be identical. What makes the 2010 version different from its predecessor (and why can it be called revisionist ?) Do not only only focus on the music as the video tells you to.

# data[].attributes.headline
Today you will have to watch The Searchers and compare the movie, considered to be a revisionist one, to Stagecoach, a classic one.  For every characteristic from Stagecoach, find the equivalent in The Searchers. Do they show similarities or differences ?

# data[].attributes.subject
Today you will have to watch The Searchers and compare the movie, considered to be a revisionist one, to Stagecoach, a classic one.  For every characteristic from Stagecoach, find the equivalent in The Searchers. Do they show similarities or differences ?

# data[].attributes.body
Stagecoach                                                                                                                                                                    The Searchers

The film is shot in Monument Valley, Utah.

Ringo has escaped from jail.

He is driven by revenge and spends the majority
of the film looking for the man who killed his family.

The film is about a journey.

The driver of the stage coach is a comic character.
He is an innocent and often says the wrong thing.

There is an older character, a sheriff who
likes Ringo and whom Ringo respects.

The sheriff says he is going to arrest Ringo, but he does not.

There is the threat of attack by a renegade Indian, Geronimo.

There is an army presence. They arrive at the last minute.

There are quite large towns and settlements in the film.

There is a Mexican character.

The Mexican’s wife is a Native American who disappears
in the middle of the night. Ringo thinks she may have gone to warn Geronimo.

At the end of the film Ringo kills the man who shot his family.

There is a happy ending. Ringo rides off into the sunset with the girl who loves him.

# data[].attributes.attachment_link.title
Stagecoach - Movies 1939 - John Ford - Action Western Movies (Western Films)

# data[].attributes.body
We were in charge of extract #3.

This extract indirectly tells about what happened to Lucie, as well as Brad's fate. The shooting was heavily affected by the Hayes code, which implies the banishment of immoral violence. At the beginning of the extract, a long; low-angle view of the three characters was shot. Whilst the purpose of a low-angle view is to put the emphasis on might, Ethan gets off his horse in a rambunctious way and sits down. Being part of the low screen makes him powerless-- thus showing the debunking of the heroic myth. Out of stress, he starts digging the sand with his knife-- thus revealing the vengeful and distressed spirit of Ethan. Martin offers water to Ethan, to which he roughly takes from Martin's hand. He explains where the trail leads and that he 'has lost' his jacket with no intention of getting it back. They all get back up on their horse and rides away, gaining back the power. They travel next to the 'Monument Valley' (a famous must-to-go place for western movies) before stopping. The camera shoots an extreme-long shot while an intense, crescendo music builds up the tension.

Next, the scene switches from day to night-- the use of the Day-to-Night technique allows for better sights and understanding of the environment during shooting the scene during the day and editing the footage with a blue filter to make it look like night. Brad (while standing up), reports about him seeing Lucie and the natives' camp to Martin and Ethan (both are lying down), but that cannot be trusted, as the extreme long shot shows no sign of camps nor characters. Ethan debunks what Brad saw, as he knows the truth-- the dead tree in the background draws a line between Ethan and Brad; the Truth and the Lie. The sudden close-up to Ethan builds suspense and tension towards the truth : he wrapped Lucie's naked body with his coat and buried her "with [his] own hands", but this cannot be shown because of the Hayes code. Brad, exhausted and saddened by the truth, wants to know the detai-- "WHAT DO YOU WANT ME TO DO, DRAW YOU A PICTURE?! SPELL IT OUT?!" Ethan shouts, with a zoomed in medium shot and referencing once again the Hayes code's restriction. A music starts playing, underlining the truth and building up tension.

Brad goes mad and takes matter into his own hands and rushes the natives' base, unable to be stopped by Martin. The camera zooms on Martin and Brad by a medium shot. What happens next off-screen can be deduced by the gunshots : Brad loses his life because of the natives. The music gets intensive the moment where the shots are over, indicating that he has, indeed, lost his life. The extract ends here.

[you perfectly understood the scene, and showed quite a lot of relevant elements. However, you could have insisted on Ethan's behaviour and what is actually meant that couldn't be shown in terms of symbols (the night, the tree) or beahviours (Ethan digging the ground with his knife, Brad being unable to finish a sentence).

# data[].attributes.headline
The representation of Columbia in American Gods (season 2, episode 6)

# data[].attributes.subject
The representation of Columbia in American Gods (season 2, episode 6)

# data[].attributes.headline
The History and Columbia and what she stands for in terms of history regarding the Conquest of the West.

# data[].attributes.subject
The History and Columbia and what she stands for in terms of history regarding the Conquest of the West.

# data[].attributes.attachment_link.title
The Story of an American Goddess | Columbia: The Woman America Forgot

# data[].attributes.headline
Task 1 : Read this article, which is basically our lesson plan for the movie. Translate from "This dark knight....."  to ".....terrible vendetta" Use an English dictionary only.

# data[].attributes.subject
Task 1 : Read this article, which is basically our lesson plan for the movie. Translate from "This dark knight....."  to ".....terrible vendetta" Use an English dictionary only.

# data[].attributes.attachment_link.readable_text
A lone rider, dust-caked and grizzled, approaches a ranch house in the distant reaches of West Texas. Ethan Edwards - played by John Wayne in perhaps his most powerful role - is a former Confederate soldier returning to the home of his brother Aaron three years after the Civil War has ended. Where he has been and what he has done is not clear, but his saddlebags are stuffed with freshly minted Yankee dollars.

His arrival precedes a series of tragic and traumatic events. His brother and beloved sister-in-law and two of their children will be slaughtered in a brutal Comanche raid, and his 9-year-old niece, Debbie, abducted by their killers. Ethan and his adopted nephew, Martin Pauley, will launch a five-year search to get her back.

"The Searchers," which will be shown again to Washington audiences on the big screen at AFI Silver Theatre on Saturday afternoon, is set in the waning days of the 40-year struggle between Texans and Comanches - the longest war ever fought on American soil - and it unflinchingly depicts the terrible price that each side inflicted on the other. But the 1956 movie is anything but a museum piece. It explores themes of gender, race and sexual violence that are stunningly modern.

Despite the best efforts of Clint Eastwood, Kevin Costner and a handful of other Hollywood directors and stars, the Western is largely a forgotten genre in these morally tangled times, its narrative simplicity and black-and-white verities elbowed aside by 150 shades of gray. Yet the taming of the frontier, even as portrayed in the Western, was never as morally straightforward as it seemed. We're still wrestling with its legacy in the controversies over the Washington Redskins and Johnny Depp's portrait of Tonto.

Directed by John Ford, "The Searchers" is widely recognized not only as the greatest American Western but as one of the best Hollywood films of all-time. It is beloved by Steven Spielberg, George Lucas and Martin Scorsese, all of whom saw it when they were aspiring young filmmakers and were deeply influenced by it. Largely overlooked in its time - it got no Academy Award nominations - it has captivated three generations of filmgoers.

Just as Ernest Hemingway noted that "all modern American literature comes from one book by Mark Twain called 'Huckleberry Finn,' " film critic Stuart Byron once declared, "in the same broad sense it can be said that all recent American cinema derives from John Ford's 'The Searchers.' " The film's images - the door of a frontier cabin swinging open to reveal the vast grandeur of Monument Valley in the film's opening moment, and closing again at the end; Indians stalking a small band of Texas Rangers on a vast horizon; two lone riders set against a blazing evening sunset - are among the most majestic in all of American cinema and the most copied. The emotions of sadness, grief, lost love, terror and defiance that it captures are among the most resonant. Set against its poetry, power and passion, films like "Django Unchained" and "The Lone Ranger" feel like Happy Meals or kids' toys.

Ford is responsible for the film's visual poetry - its skill in moving from the intimacy of domestic interiors and family life to the terrible beauty of the gothic sandstone cathedrals and vast obliterating plains of Monument Valley, where its outdoor scenes were shot - as well as its deep and unsettling emotions. But at the heart of "The Searchers" is Wayne's towering performance as the angry, vengeful Ethan Edwards. From the beginning of his quest, it is clear he is less interested in rescuing Debbie than in wreaking vengeance on the Comanches for the slaughter of his brother's family. And as time goes by, and she grows from a child into a young woman, he resolves to kill her because she has come of an age to become a Comanche wife and has been physically and spiritually polluted by her contact with Indians.

This dark knight is determined to exterminate the damsel and anyone who stands in this way. He shoots the eyes out of a Comanche corpse, scalps another dead Indian, disrupts a funeral service, fires at warriors collecting their dead and wounded from the battlefield, and slaughters a buffalo herd to deprive Comanche families of food for the winter. Still, because he is played by John Wayne, we identify with Ethan's quest even as we recoil from his purpose. His charisma draws us in, making us complicit in his terrible vendetta.

"Wayne is plainly Ahab," wrote cultural critic Greil Marcus. "He is the good American hero driving himself past all known limits and into madness, his commitment to honor and decency burned down to a core of vengeance."

Ethan represents the macho, war-without-end, take-no-prisoners solution to ethnic conflict and terrorism. His modern heir is Maya, the do-whatever-it-takes heroine of "Zero Dark Thirty" - like Ethan a loner who alienates potential allies and co-workers in a single-minded pursuit of justice and retribution against the enemy. Martin Pauley's goal, by contrast, is to rescue his adopted sister and reunite the remnants of their shattered family. It's a classic struggle between love and hate, as relevant to today's extended savage wars as it was when it was released 57 years ago.

Based on Alan LeMay's taut and powerful novel (which is loosely based on a true story from frontier Texas), "The Searchers" presents a troubling and at times racist portrait. In the opening scenes, Ford depicts Comanches as rapacious barbarians. Yet later in the film, we see a smoldering Indian village in which the corpses of men and women are sprawled in the snow, having been slaughtered by soldiers. And still later we learn that the evil war chief Scar, who led the raid on the Edwards family, had lost two of his own sons to whites. Scar and Ethan become two sides of the same coin, wounded warriors united by hatred.

What will happen when Ethan Edwards catches up with his niece? Will he wreak his terrible revenge? Film critic David Thomson said that "because of its mystery," he has been compelled to watch "The Searchers" again and again. "And every time, I find, I'm not sure how it's going to end . . ."

Glenn Frankel teaches journalism at the University of Texas at Austin. This article is adapted from his new book, "The Searchers: The Making of an American Legend" (Bloomsbury 2013). He'll introduce the film at 3:45 p.m. Saturday at the American Film Institute, 8633 Colesville Rd., Silver Spring.

# data[].attributes.attachment_link.title
'The Searchers' was influential film in its day and still resonates today

# data[].attributes.attachment_link.description
A lone rider, dust-caked and grizzled, approaches a ranch house in the distant reaches of West Texas. Ethan Edwards - played by John Wayne in perhaps his most powerful role - is a former Confederate soldier returning to the home of his brother Aaron three years after the Civil War has ended.

# data[].attributes.attachment_link.title
Awesome USA 🇺🇸| Compilation | Horrible Histories

# data[].attributes.headline
Lesson 5 : out of the blue (= unexpectedly)

# data[].attributes.subject
Lesson 5 : out of the blue (= unexpectedly)

# data[].attributes.headline
EXTRACT 2 (THE SEARCHERS) Gwenn, Manyollo, Céllenie :

# data[].attributes.subject
EXTRACT 2 (THE SEARCHERS) Gwenn, Manyollo, Céllenie :

# data[].attributes.body
PLOT :

Ethan, Aaron's brother is gone after the natives tried to trap him in the wilderness. Aaron is left with his family ; Martha his wife and his 3 children. But something feels wrong... Aaron who was outside notices some birds flying away which make his dog barks. He enters his house to take his riffle. Martha feels that something is wrong as Aaron is taking his riffle, but the children don't. Lucy wants to light up a lamp but her mother told her not to. Lucy understands what is happening and she screams. Then, Martha and Aaron are telling Debbie that she must escape the house but she will not did it without her doll. In fact, the Natives are coming to burn down their house. Debbie is now outside but the dog is too. It follows her and starts to bark. It goes away but Debbie has been found by one of the natives : Scar.

MEANINGFUL SYMBOLS :
- (slide 2) the big rock symbolizes the fact that they are framed, trapped, that they have nowhere to escape but also the fact that Ethan could not come to save them from the Natives.
- (slide 11) the high angle view symbolizes the weakness of Debbie facing the Native. her doll symbolizes the end of her innocence as we can imagine what is going to happen to her when she will be captured by the Natives. she is also framed by the tombstone which indicates us that she really cannot escape from Scar.
- (almost every slide s) we can see that the main colour of this scene is orange, which symbolizes the fire, but also light blue or white, which symbolizes death.
- (slide 4) the depth of field is here to show Aaron smaller than usually to indicate that he will be defenceless against the Natives.

STEREOTYPES OR TROPES :
- (slide 1+9+10) the dog is a sort of trope : at the beginning of the scene, it alerts Aaron that something is wrong with the birds flying away. It is also betraying Debbie when she tries to escape.
- (slide 7) Lucy screams when she understands that the Natives are coming. It's a trope beacause it is very commmon in films in general. for example, when someone is discovering a corpse in a film, it is always a woman and she is always screaming because they are considered as hysterical.
- (slide 8) Debbie must escape the villain Natives.
- (slide 12) the Natives are the bad characters of the movie and of the Westerns movies in general.

NOTICEABLE FEATURES :
- (slide 3) When Martha notices Aaron taking his riffle she knows that something is wrong.
- (slide 6) tragic irony : Martha doesn't want Lucy to light up the lamp but we know that their house will later burn down beacause of the Natives. the flame can also represents their lives.
- (slide 12) this Native (Scar) is actually not a real Native but a white actor (we can see it because he has blue eyes)
- (during the whole scene) the music increases the tension of the scene.
- (almost every slides) every lines we can notice in this scene are here to frame the characters as in the slides 1, 2, 4, 5 and 11.

[The use of slides makes your analysis crystal-clear. A few mistakes remain, but the report is still very easy to understand and contains a lot of relevant elements]

# data[].attributes.attachment_link.title
LLCER DIAPO THE SEARCHERS ANALYSE EXTRAIT 2

# data[].attributes.body
1959

# data[].attributes.headline
Go West, young man and grow up with the country

# data[].attributes.subject
Go West, young man and grow up with the country

# data[].attributes.body
1865

# data[].attributes.body
1845

# data[].attributes.headline
The Adams-Onis treaty / The USA gains Florida

# data[].attributes.subject
The Adams-Onis treaty / The USA gains Florida

# data[].attributes.body
1819

# data[].attributes.body
1806

# data[].attributes.body
1840

# data[].attributes.body
1862

# data[].attributes.headline
The Battle of Wounded Knee / The Wounded Knee Massacre 

# data[].attributes.subject
The Battle of Wounded Knee / The Wounded Knee Massacre 

# data[].attributes.body
1890