The Structure of Myth and the Structure of Western Film

? The Structure of falsehood and the Structure of westbound Film found on de de de Saussure (1974), structuralism is a theoretical method derived from his theoritical work. He divides actors line into two component calves which in concert produce a third ( physique, sensation and inwardness). check to him, substance is produced by a process of combination and selection. As Saussure insists, In language, there ar wholly differences without positive basis language has incomplete likings not sounds that existed before the linguistic system, besides only conceptual and phonic differences that learn issued for the system. (1974 120) Saussure divides language into langue and parole. Langue refers to system of language, the rules and conventions which organised it. Parole refers to individual utterance, the individual implement of language. Structuralism takes two basic ideas from Saussures work. First, a concern with the vestigial relations of cultural textual matter and practices the grammar which contains signification possible. Second, the view that meaning is always the takings of the interplay of relationship of selection and combination make possible by the underlying structure.According to Levi Strauss, the myths be structured in terms of binary opositions. All myths also impart similar social culture component within parliamentary law. Their purpose is to make the human explicable, to magically resolveits jobs and contradictions. In sixguns and auberge, Will Wright (1975) enjoyment both methodologies to analyze the Hollywood Western as myth. According to Wright, the western sandwich has evolved through with(predicate) leash stages classic, transition theme and professional. He also identifies a basic stria of structuring opositions inside society outside society, life-threatening bad, strong wilderness (49).In beau monde to richly understand the social meaning of a myth, it is necessary to analyze not only its binar y structure simply also its narrative structure the furtherance of event and the resolution of counterpoints. The classic western is divided into sixteen narrative functions. Those are 1. The sensation enters a social group. 2. The hitman is unknown to the society. 3. The hero is revealed to have an prodigious ability. 4. The society recognizes a difference betwixt themselves and the hero the hero is given a finicky status. 5. The society does not only accept the hero. . There is a conflict of interests between the villains and the society. 7. The villains are stronger than the society the society is weak. 8. There is a strong acquaintance or respect between the hero and a villain. 9. The villains threaten the society. 10. The hero avoids interest in the conflict. 11. The villains endanger a recall dose of the hero. 12. The hero fights the villains. 13. The hero defeats the villains. 14. The society is safe. 15. The society accepts the hero. 16. The hero loses or gives up his special status. (48-9) Poststructuralism and popular moviePoststructuralists reject the idea of an underlying structure ultimately find out the meaning of a cultural text or practice. For poststructuralists, meaning is always process, a momentary stop in a continuous flow of possibilities. Jacques Derida (1973) has invented a new-made word to describe the divided disposition of the sign meaning both to protract and to differ. The sign is made meaningful for Saussure by being different. Derrida adds to this notion that meaning is also always deferred, never fully present, always both absent and present.Jacques Lacans poststructuralist neb of the development of the subject has had an enormous allure on both cultural studies and icon studies. Lacan takes Freuds developmental structure and rearticulates it through a critical reading of structuralism to produce a poststructuralist psychoanalysis. According to Lacan, we make a journey through three determinate stages of deve lopment. Those three determinate stages are 1. mirror phase 2. the fort-da game 3. Oedipus Byzantine Laura Mulveys (1975) work is in part an attempt to appropriate the poststructuralist psychoanalysis on Lacan for a feminist film criticism. exploitation Lacan, she constructs an analysis of how popular film produces and reproduces what she calls the anthropoid gaze. The inscription of the image of women inthis system is two times she is the object of a male desire, and she is the signifier of the threat of castration. A particular problem for cultural studies is Mulveys account of the earshot as purely textual- a unvarying and passive production of the text. There is no room in Mulveys possibleness for social, historical subjects who arrive at the cinema with a range of competing and contradictory discourses, which show and negotiate with the discourse of the film.