"Fade Away"--Revised (It might as well be completely new) Treatment

Logline: When a young woman witnesses the impact a terrible accident has had on her loved ones, she is forced to realize what she has lost and finally rest in peace when she decides that her loved one have to move on, too.

We fade into a wide shot of a serene lake and a wide shot of the surrounding trees. We hear some fast footsteps of two people running. There are two people running along a trail bordering the woods and a lake.

Their feet gradually slow to a halt. The guy, Nathan, stops because the young woman, Taylor, is slowing down.

Taylor checks the time on her phone and starts to run away, explaining that she has to go to her sister’s talent show, but the guy tells her to wait as second, reaching his arm out.

They hug each other and Nathan gives the girl a kiss on the cheek. Then Taylor is running toward the street to her car and she pulls out her phone. She starts texting as she runs away, and Nathan starts running again on the trail, away from her.

Taylor is rushing out of the house, shouting behind her to her sister that she’ll be gone all day and that she left some money for food in the kitchen.

The sister, Megan, is in her room with a blank expression on her face. She is looking at a picture of her sister beside a picture of her parents. She takes the picture of her sister and throws it onto the floor.

Taylor stands outside of the house and tries to call Nathan, but he doesn’t answer. She leaves a message about how it’s getting late and she stares at the running shoes on her feet and sighs. She sits on the curb and lies down.

Taylor wakes up to find her little sister sitting on the curb with her backpack not too far away. Her sister takes out a little purse and looks at the few coins in it. Taylor stands up and begins to walk toward her when a hand pulls her away.

She turns around but no one is there. When she turns back to Megan, Nathan approaches and helps Megan up.

They start walking down the sidewalk and Nathan hands Megan a few bucks. Taylor questions why Megan needs money after she left some for her. She starts to follow after them but is pulled leftward toward her house by the mysterious hand.

Taylor regains her balance after being pulled and finds herself on the trail she went running on with Nathan. She spots Nathan alone on the nearby bench with his head in his hands.

He suddenly looks up and turns around to look toward Taylor. Ecstatic at the acknowledgement of her presence, Taylor makes her way toward Nathan, but the hand pulls her to the side to show that the person Nathan was looking at was Megan walking on the trail.

Megan walks slowly toward Nathan as Taylor watches from the side. She sits on the bench beside Nathan. Taylor makes a few steps toward the bench, but is pulled once more by the hand.

As she regains her balance she is standing across the street from an unfamiliar house. Nathan and Megan walk up the pathway toward the front door.

Taylor makes her way across the street, but the hand pulls her back. She turns around but still nothing is there.

The door to the house opens and there is an older couple in the doorway. The female hugs Nathan and Megan, and she smiles and puts her arm around Megan as they walk inside.

Taylor begins to run toward the door to try to catch up to them, but the hand pulls her away as she reaches the door. The door shuts.

Taylor angrily turns around toward the owner of the mysterious hand yelling about how she can’t just let her sister and boyfriend go. Facing her is herself.

The mysterious version of herself walks up to Taylor and puts her hand on her head: A car crash sound is heard, and we see Taylor’s arm on the pavement with traces of blood on it. She is holding her phone.

A half- finished text to be sent to Megan can be seen on the screen that states that Taylor is on her way. Taylor’s “guide” takes her hand off of Taylor. Taylor shows a startled look as she realizes what happened.

Taylor glances behind her at the closed door and then back to herself and nods thoughtfully.

Taylor is on the bench by the trail looking at the text on her phone that she never finished. A hand is put on her shoulder, and we hear a voice saying that it is time to go.

Taylor nods. She disappears to reveal the serene view of the lake.

"Fade Away"--IB Short Film Treatment

Logline: A young woman’s life comes to an end, but she can’t accept that her relationship with her boyfriend is over, so when she realizes that he is out of her life she can finally accept her death.

We fade into a wide shot of a serene lake and a wide shot of the surrounding trees. We hear some fast footsteps of two people running. There are two people running along a trail bordering the woods and a lake. Their feet gradually slow to a halt. The guy says, “You sure you can keep up, Taylor?” and chuckles. The girl gives him a smirk and slaps him on the arm. “I’m keeping up fine Nathan thank you”, she says, saying the last part sarcastically. “Well, it’s only a couple more miles and then we’ll turn around. Then Nathan stops because Taylor is slowing down.

The guy says, “I was gonna wait until we got to the marathon, but I thought I’d just get it over with.” So the guy begins to pull out a watch from his pocket, and says, “Happy One Year Anniversary” and gives the watch to her. The girl accepts the gift and smiles with her eyes looking down and her face glowing. After Nathan tells Taylor that he has to go, so they hug each other and Nathan gives the girl a kiss on the cheek, and both go their separate ways. Then Taylor is running to her car as we fade out.

The day arrives for the marathon and Taylor is waiting for Nathan to come pick her up. She tries to call him, but he doesn’t answer. She calls the guy and leaves him a message. “Hi umm. Just another message. I know I’ve sent a billion, but it’s getting late. It’s 9:44 and the marathon starts soon.” The girl sighs and puts the phone down. She stares at her running shoes and heads out of her home toward the street.

The trail empty as the girl, dressed in the running clothes she wore on the day of the marathon, stares ahead. Then it cuts to the girl as a small drip of water going down her cheek. She looks at her watch [9:45], and strokes it, remembering the time it was given to her. She turns around all of a sudden and walks away.

The girl is running by herself in the woods and by the guy’s house in different sets of clothes which each cut. Every time she passes by his house she glances over at the window, with its blinds/curtains shut. This makes Taylor mad and angry trying to figure out what is wrong.

She is in the spot where she remembered being with the guy (opening scene). She stops. There is a flash of that scene and when she returns to the present the guy is standing there in white running clothes. The girl smiles. “Get my messages?” “More or less...Look, I’m really sorry we didn’t get to do the marathon. It doesn’t mean we shouldn’t stop running,, though. Come on [he gestures]...if you can keep up” [he half-smiles] He gestures to her to run with him. She starts to speak but then shuts her mouth and nods in agreement. They begin to run and after a bit she spots a tree and says, “Last one to the tree is a rotten egg!” She runs as fast as she can laughing. We see her from the front and see that the guy is no longer there. She reaches the tree and says as she turns around, “See I told you I could kee-”. She sees him no longer there.

Then she sees him again turning to cross the bridge not far away. The girl is running fast in that direction. She is running but is never able to catch up to him. Then she arrives at the neighborhood, by this time running out of breath yet still persevering as we have a split screen of the guy putting on a shirt, a tie (white), combing his hair.

She knocks on his door frantically and it finally opens. The guy opens the door, dressed in white. “I’ve been waiting for you,” he says half-smiling. “Let’s walk.” She looks at him unsurely and the two walk a short distance and cut to them sitting down on a bench. “You see. Nathan’s gone. You have to let him go, okay? You don’t belong here anymore, Taylor.”

The girl looks at him in confusion and looks at her watch again [9:45] and starts to speak but the guy cuts her off. “This isn’t your world,” Nathan’s subconscious says as the real Nathan, dressed in black, knocks on an unknown door. The door opens to a different girl. “You’ve been gone for months don’t you get it? Let him go. Let me go,” Nathan’s subconscious self explaining to Emily as they sit on the bench. The girl processing everything, then stands up abruptly, unsure of what to do and who the man is. She looks around, and tracking shot of her running back to his house.

The door opens to his room and she walks in slowly and hesitantly, grazing her hand over the walls. She glances over at the dresser to see her watch, and then glances at the watch on her wrist. “But how..?” She stops as she sees a photo-shopped image of her lying near the watch that says Rest In Peace Taylor 1991-2011 with a small heart at the bottom. She takes it and then drops to the floor quietly, staring at the photo. We move away from Taylor to see the subconscious of Nathan coming in.The girl says, “Is he okay?” “I told you. He’s moving on. He’s left this part of himself behind.” Nathan puts his hands on his chest, indicating that this is the subconscious part of himself he left behind. Nathan’s subconscious self reaches his hand out.

“He never forgave himself, you know. Just a minute too late,” he says as we see Nathan with the other girl and they’re walking down the sidewalk. He puts his head in his hands and the girl lays her hand on his back, consoling him. We see a pair of feet in familiar running shoes step out into the street. The sound of a car crash bridges over to Taylor’s shocked face as she suddenly realizes what is going on. Taylor takes his hand, the watch still on her wrist. We see the girl’s bloody arm lying limply on the pavement, the watch on her wrist, 9:45. “It’s time to go now,” Nathan’s subconscious says quietly. He reaches out his hand and as her shaky hand reaches out to it, they fade away to reveal on the wall a photo of her Nathan in their running clothes and holding a trophy.

Our Inspirations:
http://www.youtube.com/watch?v=fj43wIBwEmw
Supernatural Episode 2.16: “Roadkill”

Ideology

1. Explicit ideology refers to when a character in the film or someone important in making the film such as the director or writer announce the subject of the film. Implicit ideology, on the other hand, is when the ideology of a film is open for debate, meaning that people can argue different ideologies with supporting evidence.

2. Christian Bale
a. Notable Works:
· "Empire of the Sun" (1987)—wealthy child becomes prisoner of war in Japanese internment camp
· "Equilibrium" (2002)—gradually rebelling government official in a dystopian society
· "Reign of Fire" (2002)—leader of a group of refugees when dragons are released
· "American Psycho" (2000)—serial killer...
· "The Machinist" (2004)—an emaciated machinist with insomnia
· "Batman Begins" (2005)—Batman (and his alter ego) fighting against the villain Scarecrow
· "The Prestige" (2006)—a struggling magician in competition with another magician (Hugh Jackman)
· "Terminator Salvation" (2009)—John Connor leading a resistance group against robots
· "3:10 to Yuma" (2007)—a Civil War veteran and poor farmer
· "The Dark Knight" (2008)—Batman (and his alter ego) fighting against the villain the Joker
· "Public Enemies" (2009)—the FBI agent in charge of capturing John Dillinger
· "The Fighter" (2010)—the junkie brother of Micky Ward and once boxing star who eventually gets clean
· "The Dark Knight Rises" (2012)—Batman (and alter ego) fighting against the villains Selina Kyle and Bane
b. Typical Role: conflicted, oppressed, unstable, heroic, determined
Christian Bale’s next role will most likely include a leader-like character with internal conflicts who must face a challenge that at first seems he cannot defeat. He will have to overcome his internal struggles before he can face the external struggles, but he cannot accomplish it by himself. His character will most likely be completely opposite if not reformed from the initial character he was as he defeated his enemy.

3. "The Lord of the Rings" (trilogy)—Samwise Gamgee (Sean Astin)

a. Sam is like Frodo’s sidekick, but he is also the best friend Frodo could ever ask for because he reminds Frodo of why he is on this journey and how there is always hope. Even when Frodo abandons him, Sam comes back when Frodo is at his worst to make sure that they accomplish their goal of destroying the ring. To create this effect, the filmmaker created meaningful dialogue for Sam to say when times seem the hardest. Also, the Peter Jackson, the director, creates an emotional response from Frodo about how much Frodo needs Sam to help him fulfill his quest.
b. The value I am being asked to share is that a strong friendship in the toughest of times is all a person needs to find their way. The value I am being asked to reject is that there is no hope because even when Frodo was approaching death sometime after abandoning Sam, Sam returned to save him because it shows their true friendship.
c. Halfway through Frodo’s and Sam’s journey to Mordor, they meet Gollum, who becomes their guide. Gollum finds a way to persuade Frodo to abandon Sam, so we develop a hatred for Gollum. When the two are separated, there is some parallel cutting between them in which Gollum is tricking Frodo while Sam discovers the trick that Gollum played. This cutting makes us feel more sympathetic toward Sam because he was wrongfully turned away, and therefore we feel more hopeful that he will return since he gains the determination to find Frodo and keep him from the evil Gollum. Hence, parallel cutting is used to manipulate me to favor Sam’s viewpoint of the power of a strong friendship over Gollum’s implication of hopelessness for Frodo.
d. A filmmaker might want me to favor one viewpoint over another in order to get the underlying message across in order for the audience to understand the auteur’s intentions. Peter Jackson wants us to favor one viewpoint over another because he wants to hint that there is still hope for Frodo. He doesn’t want the audience to lose a character like Sam because he acts as a stabilizing force for Frodo when the burden of the ring takes its toll on him. He wants to show that without hope for Sam and Frodo to reunite, there is no hope for Middle Earth, so he gives the audience hope for a positive outcome.
e. Many films are debatable in their ideologies (implicit), so they can cause different reactions for people. Films can be released to specific audiences before their official release, and if there is a majority negative reaction then the filmmakers can do reshoots. This is costly and may destroy or alter the vision of the auteur of the film. However, if the film is released officially and there is a negative reaction this can lead to bad reviews which then lead to box office failures. Even with a preview by a select audience, there is still a risk for the film’s release on a large scale. This can also destroy the artistic vision of the auteur that may have had an impact on future films depending on the reaction. Also, filmmakers can lose money when they had the chance to gain it by falsely interpreting an audience’s potential reaction. Luckily, The Lord of the Rings trilogy got overwhelmingly positive reviews (not to mention dozens of academy awards…).
f. If the financier disapproves of the film, they may not want to invest, thus costing a waste in valuable money and ruining the artistic vision of the auteur. It can also have a long-term impact because that investor may not want to work with the filmmakers in the future. The financier also may have wanted the film to go in a different direction that perhaps the filmmakers initially considered, creating a big waste of time and money.

4. Changing Ideologies: Films are a reflection of society even if they are from a completely unrealistic genre. Films can reflect political views, religious views, educational views, and media’s views. An example of a film narrative that has changed over the generations would be that of "True Grit". Mattie Ross, the girl whose father was murdered and who looks to Rooster Cogburn for help, is supposed to be a more central character in the novel. The 1969 adaptation of the novel did not make Mattie (Kim Darby) as central of a character as Cogburn (John Wayne). In the 2010 remake, Mattie is given a more central role, giving her the point of view that the novel intended (although she was listed as a supporting actress in the Academy Awards). This is especially seen through how the film takes on a narrator of an older Mattie and ends the film with a scene of her older self in person (something in the novel that the 1969 adaptation lacks). The changing ideologies between these two adaptations are that women currently have a more equal and sometimes dominant presence to that of men in the acting world and even society, compared to the society of the 1960s.

5. Ideology and the “Effects” Debate: Films can affect you and your behavior without being conscious of it because in order to enjoy a film you have to accept what you are seeing and hearing. Once you accept it, it subconsciously becomes a part of your ideology so that it influences what you deem right or wrong.

6. Suspension of Disbelief: Sometimes we can accept what we see on the screen as true or realistic because we have had no personal experience with the subject matter and therefore cannot justify why we would doubt it. An example in which the suspension of disbelief applies is the film. I recently saw “Sherlock Holmes: A Game of Shadows” (2011) in the movie theater, and the idea of the suspension of disbelief was definitely present.In this film, Holmes makes many predictions about things, whether based on speculation or intuition. To show this, we are shown his predictions and possible courses of actions he could take. The suspension of disbelief applies to these situations because we go along with his predictions based simply on the fact that we know Holmes is a detective who knows what he’s doing. We don’t question his conclusions based on our own reason because Holmes has much more knowledge about the circumstances than us, the viewers. In the film world, he has access to resources, while we only have access to what the filmmakers allow us to know.

7. The financial support of a film or ownership of a film company influences the ideology of its films because they have the advantage of authority over what a film shows. If the financial backer doesn’t agree with it, they can pull their funding of a project, much like the owner(s) of a film company can replace people who made a film whose ideology they disagree with. This is risky for the filmmakers, so they must allow them to have a say. However, the potential loss of the artistic and ideological vision of the auteur can perhaps be prevented with legal help (i.e. contracts). An example of this is The Walt Disney Company and its films. Because Disney is such a well-known corporation, when placing films into the broadest of categories, one of those categories can be simply Disney. Disney’s ideology strives for family values and “happily ever-afters” because its main targets are children and their families. Especially with the animated films, there are themes throughout Disney films in which there is the good guy (or reformed guy) and the bad guy, and the bad guy is always defeated. Also, one theme I noticed just by watching a lot of Disney movies is that for almost all of their animated films, there is at least one parent missing or killed. One such example is "The Lion King" (1994): Simba is the hero, Scar is the villain, and Mufasa is the parent that is killed. This reflects the Disney ideology that despite internal conflicts (i.e. the loss of a parent), good always triumphs over evil. Disney attempts to maintain its pure image by maintaining the image of a hero and villain and making it seem more realistic by making loss a real thing (in other words, not making it look too perfect).

Genres and Their Conventions

Writing About Film

According to the article "Writing About Film" by Karen Gocsik, the five types of film writing are: formal analysis, film history, ideological papers, cultural studies or national cinemas, and discussion of the auteur.

Formal Analysis includes the breaking down of a film in order to determine how they contribute to the film overall. In order to do this correctly, one has to have a thorough understanding of film terminology.

The next type of film writing is film history. It includes how history influences the production of a film, a film impacts historical events, and the production of a film creates its own history. The example used in the article is war films. The inspiration to create a war film may have come from the experience of actual events of war. There is a cause-and-effect factor at work, as well, because as the idea for a war film becomes a film it has an impact on the audience that can influence a society's stae of mind regarding war. The article also discusses how films have their own place on a timeline. A film can be considered a Hollywood classic based on when it was created, such as Sunset Boulevard, because the certain traits it possesses, from the glamorous female lead to the simple fact that it is in black and white, are what make it capable of obtaining such a label.

Another way a film can be analyzed in terms of how it has its own history is what happens along the way in the production of the film. What if they cast someone else to play Travis Bickle in Taxi Driver? The "You talkin' to me" scene, along with others, probably wouldn't have the same effect because great films have their own "trademarks" that could only originate there depending on the choices of everyone in the production of the film. The last way in which the article discussed how film's have their own history is with the release of films. Some films are meant only for young audiences (I can't imagine some poor old lady having to sit through Twilight). Similarly, there is a cultural barrier in the film world that allows films to be released only in certain areas, such as with the exmaple in the article in which The King and I was banned in Thailand for its disrespect toward the royal family of Thailand.

Ideological papers are about how a film has a set of beliefs, whether political to the point of propoganda or moral to the point of familial values. One example would be with Leni Riefenstahl who was a German director and personal favorite of Hitler whose films had a strong portrayal of the Nazi ideology. In terms of morals, according to the article, Mary Poppins shows a strong sense of the importance of a father's relationship with his children that even the best nanny in the world could not be a substitute for. Films can have an underlying message that an ideological paper is meant to decode and take apart based on how it is represented in the film.

The next section is cultural studies and national cinema. Films can reflect a certain culture, which is why some people become hesitant about watching foreign films. For example, a US film starring a not-so sensible female may be considered shameful somewhere like Saudi Arabia where society is very conservative and many women are Muslim with almost every inch of themselves covered. The culture in which a film was made can even be reflected in shot composition. For example, a Russian film may not have a single close-up, therefore allowing it to fit into a national category of Russian films. Cultural studies can tell one about a nation or patterns in the cinema of that nation or culture.

The auteur is the person whose ideas about a film and whose style ultimately influence the final product because of their authority over the decisions made to make that film. Oftentimes a film can be associated with this single person because of their influence on the film depsite the contributions of everyone else involved (e.g. Psycho= Hitchcock, Star Wars=Lucas, Pulp Fiction=Tarantino). Auteur criticism serves to identify the auteur's themes and trends with their body of work, as well as the decisions made in the process of creaitng the film. For example, Scorsese tends to embody themes associated with the anti-hero and oftentimes one of the decisions he makes in his films is having deNiro as one of the main characters. It is important to note that in a successful auteur criticism, one must bring in other types of film writing such as film history and formal analysis.

Annotating a film sequence is a good way to take notes before writing a film paper. It includes a shot-by-shot list of the sequence in order to distinguish patterns in cinematography and editing techniques or the lack thereof. Its benefits are that it gives you a comprehensible layout of an important scene in order to determine how the director put the film together and how these intentions reflect the audience the way they do.

By "Think Beyond the Frame" Gocsik means to imply that one should always consider the force of external factors on a film. This could mean the auteur's influence and how this shows a pattern in terms of style, what the circumstances were at the time the film was made (e.g. ideology, financial limitations, etc.), how critics and academics viewed the film, what place the film has in its genre, and what simply the presence of the film or who is in it tells one about a certain culture (e.g. stardom's place in the US).

"Taxi Driver"- 5 Most Valuable Minutes

http://www.youtube.com/watch?v=1rHxq42QrIQ&feature=related

11:10-14:42

*Note: All screenshots of extract are flipped from their original version as they came from a youtube source in which the entire film was flipped.

What happens in these couple scenes is that Travis (De Niro) is sitting with Betsy (Shepherd) in the cafe and Betsy tells Travis of the song he reminds her of. Then Travis goes ot buy the record of that song, he tells us of his next encounter through an interior monologue, and he tells Palantine what he should do if he was elected President.

I selected these five minutes because they not only tell us about Travis from his point of view, but they tell us about him from other people's points of view (i.e. Betsy and Palantine), as well as create a sort of two-faced character out of Bickle to influence an overall theme of the film. Betsy uses the lyrics of a song to describe Bickle: "He's a prophet and a pusher, partly truth and partly fiction. A walking contradiction." Although she uses all of these words, she says that the only applies the "contradiction" part, as she says in the dialogue.

These words create the idea that Bickle is two-faced because while he seems like a truly nice guy in this scene and the next scene when he talks about her in his journal, in the final scene of this excerpt he proclaims that the whole problem with New York should be "flushed down the toilet." This characterization is a recurring motif of the film because it shows how we never truly know Travis. He always continues to surprise us and sometimes what he does go against what we thought he believed. This highlights his mental instability throughout the film, which, instead of creating merely a psycho character creates a compelling, suspenseful film. This creates the theme throughout Scorsese's film that a person with a violent past who feels no purpose in their life resorts to such violence as means of gaining revenge.

This theme can especially be seen with the attempted assassination of Palantine, as well as indirectly with the murder of the pimp (, etc.) in the apartment. With the attempted assassination, Bickle was trying to get back at the government for all he had to go through as a Marine in the Vietnam War. Although we are never told of Bickle's experiences in the war, it is implied that the war had a strong effect on Bickle because of his mental instability demonstrated by his insomnia, confusing interests (Betsy and a triple x-rated movie?), and inability to take care of himself (pigsty of an apartment). Through Bickle's connection to Betsy and his encounter with Palantine in the cab, Bickle sees Palantine as an opportunity for him to disprove the slogan "We are the people". Bickle served his country by taking part in an endless bloodbath in a foreign country and all he got in return for it was societal isolation.

Pertaining to the bloody scene of the film, Bickle saw in Iris the victim he saw in himself, with the government acting as Sport and others in Iris' case. Therefore, because Bickle could not achieve his goal of revenge against Palantine and the entire political scene, he had to rely on helping someone he felt connected to (Iris) in order to feel a sense of closure so that maybe he could get over his past and create a life for himself (which relates to the final scene of the film with Betsy in the car, ending on a hopeful note).

This extract relates to Scorsese's body of work with his recurring motifs of crime and violence, which often to go hand in hand. Many of his films, like "Raging Bull" and "Goodfellas", are perfect examples of these motifs. "Raging Bull" is about a boxer (De Niro) who becomes alienated from his family and "Goodfellas" is about the rise and downfall of a crime family (Mafia...) (Source: Wikipedia).

These and "Taxi Driver" do not attempt to create a candy-coated society in which the protagonist is a hero. Quite on the contrary, the protagonist is a bad guy in many cases but has certain qualities that still make them a likeable character who has some moral motive (anti-hero).

The extract relates to the narrative and plot structure of the rest of the film through how we get a straight answer from Bickle about his beliefs and this foreshadows the events of the climax and rising action in which he attempts to carry out his goal of "flushing" the problem down the toilet by getting rid of people like Sport, as well as attempting to get rid of Palantine, who he hardly sees as a solution to the problem. In some sense, when Bickle refers to New York as full of "filth and scum" he is referring not only to the city itself but the people living in it, even Palantine.

The director's intent of the film is to portray New York City as it truly was in 1976 and show the negative effects of war on veterans. The city was quite honestly a dump, and the significance of Scorsese's honest portrayal of it makes it a part of the city's history that can never be forgotten. Martin Scorsese was born and raised in New York, so naturally he would have a personal connection to the city that could influence his desire to create an accurate portrayal of the city. In addition to the hustle and bustle of what was then a filthy city, it seems natural that a poor guy like Bickle with his trauma would get caught up in the smoke and steam.

Not only does Bickle seem lost but everyone seems lost. The difference is that Bickle does something about it, which highlights his identification as the anti-hero.

The way this film relates to film history is through the popularity of the anti-hero that seems to rise up after wars (e.g. WWII or, in this case, the Vietnam War). This is seen in the extract through how Betsy characterizes Bickle as not being a perfect person but a "contradiction," which foreshadows how unpredictable Bickle is, especially when it comes to shooting eveyone in the apartment building and attempting to shoot Palantine. Also, in the taxi ride he says that the whole problem with New York should be flushed down the toilet, thus making him seem as though he is a person with questionable motives.

The idea of an anti-hero helps fulfill the film's genre as a western with film noir elements (according to Tom Dirks). The protagonist in a western is oftentimes a rebel in society, which describes Bickle with his violent outbreaks and "alienation" in society (Tom Dirks). The film noir aspects show with how much of the film is during the nighttime in a busy, depressed city. There are aspects of suspense involved, as well.

"The Rise of the American Anti-Hero"

The Question: What historical factors influenced the rise of the American Anti-Hero in cinema and how does this hero contradict the Classic Hollywood Ideology.

The land of the brave, eh? The anti-hero, in America in particular, has become more and more popular as the classic, if not cliche, concept of hero versus villain. These anti-heroes are not considered to have the qualities of any old hero, evidentally because they are the "anti-". Therefore, what makes them the anti-hero is because, in my opinion, they are working toward some personal goal in which they reflect some qualities of a hero, such as bravery. In the film we just watched in class, "Taxi Driver," Travis Bickle, played by none other than Robert De Niro, shows no signs of heroism, which is implied strongly by the title.

However, this is a war veteran we are talking about and the film shows traces of the elements of a Western, so while Travis is quite frankly pathetic, murderous in thoughts and later actions, and in no way someone a little kid dreams of going up to be, he does reach his personal goal of helping the prostitute get her life back. We are awe-inspired by Travis, but disgusted at the same time when we see the idea of his greater good, attempting to kill of Palantine. This is a common theme throughout anti-heroes in American films: the protagonist offers a set of two-faced poignancy in which he possesses the qualities of a true hero and then brings in the "anti-" by doing something stupid, disgusting, or horrific.

Henneberry says that "The anti-hero became a darker, edgier character, who was just as confused as the average American." A war veteran forced to go back to normal life without any real purpose is enough cause to try to find a purpose. Such characters could relate to the audience because, much like Steve McQueen was described in the article, they were realistic without being fluffed up in order to be called a hero. This contributed greatly to the rise while leaving room behind to discover an actual moral even though the anti-hero may have very few.

Films like "Damsel in Distress" are ideal for the Classic Hollywood Ideology because they go with the same old story of the hero rescuing the damsel while meeting obstacles on the way. This contradicts what a anti-hero stands for in many cases. While this contrasts with realism in terms of cinematography, as films are becoming more and more formalist, it connects to realism in terms of reality.

What could cause such an awakening? WWII caused a lot of damage for the US, especially compared to WWI, because US morale was lowered by such events as Pearl Harbor. This event, in line with the events of war following, changed the US forever. This was one factor in the rise of the anti-hero.

Another reason is that they wanted themselves to be reflected in film through the use of characters that went against the norm much like Americans rebelled against the status quo. The generation that came out of WWI America was one of rebellion (i.e. teenage rebellion) during the 1960s, which was when anti-hero films became very popular. This generation didn't want to have to live in such a society that caused the US to be involved in something as horrific as WWII.

The third factor also related to being realistic; having human heroes to represent humans "who were true representations of life, who were faulty and vulnerable, like America's real life heroes." It is a salute to our soldiers in the war. What is interesting is how this anti-hero trend has lived on to the present, perhaps because of other wars giving a new cause for nationalism, such as in Vietnam and Iraq.

The fourth and final reason is that audiences wanted an accurate portrayal of the American spirit, its culture, without any polishing to go along. This goes along with rebellion because it tells telling the world "Hey. We're American and proud! What are you gonna do about it?" Establishing such as sense of nationalism through film was key in maintaining morale even after the war with its devastating effects on the whole world.

The darker side of the idea of an anti-hero mascot for the US is that it is an accurate represenation of America as a whole. The anti-hero is not a perfect hero but a regular person who can be very violent or merely unpleasant but for some glowing moments of acting heroically, although sometimes not inentionally, such as when De Niro tried to kill himself after murdering many people in'Taxi Driver".

Nonetheless, the negative side of these characters acts as a reflection of American atrocities, such as with the atomic bombing of Hiroshima and Nagasaki. That is something the US cannot deny and it was such a large event in American history, so it was bound to have its effect on the anti-hero.

Overall, to answer the question, the rise of the American anti-hero was influenced by WWII and events following so that it turned the Classic Hollywood Ideology of a perfect hero into the anti-hero, which was more emotionally accessible to Americans and a more realistic view of America for Americans in terms of self-identification, as well as for the world.