Fragmented point of view; western genre conventions; post-war context;

Demonstrate how at least TWO of the filmmaker’s creative decisions in ONE film from the block (weeks 7-11) serve to establish the film’s point of view on the characters, story and subject. Screening: The Searchers (1956, John Ford, USA) Reading: Douglas Pye (1996) ‘Double Vision: Miscegenation and Point of View in The Searchers’ in Ian Cameron and Douglas Pye (eds) (1996) The Movie Book of the Western. London: Studio Vista, 229-235.

Topics: Fragmented point of view; western genre conventions; post-war context; interpreting themes; stylistic patterning.

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