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Essay / Research Paper Abstract
A 6 page research paper/essay that focuses on two superlative film adaptations of James Fenimore Cooper's classic novel of early America The Last of the Mohicans the silent 1920 film directed by Maurice Tourneur and the 1992 version directed by Michael Mann. In each film, as in the Cooper novel, collision between cultures is a thematic focus. This occurs on several levels, as there is the clash between European settlers and Native Americans, but there is also a cultural disconnect between English soldiers--sent to North America to fight the French and Indian War--and the colonials, who have, in many cases, been here for generations. The take that each director gives to these cultural clashes largely reflects the historical perception and political awareness of their particular era, with the 1992 version offering a more nuanced portrayal of the social factors involved. Bibliography lists 5 sources.
Page Count:
6 pages (~225 words per page)
File: D0_khlofmo2.rtf
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Unformatted sample text from the term paper:
directed by Maurice Tourneur and the 1992 version directed by Michael Mann. In each film, as in the Cooper novel, collision between cultures is a thematic focus. This occurs on
several levels, as there is the clash between European settlers and Native Americans, but there is also a cultural disconnect between English soldiers--sent to North America to fight the French
and Indian War--and the colonials, who have, in many cases, been here for generations. The take that each director gives to these cultural clashes largely reflects the historical perception and
political awareness of their particular era, with the 1992 version offering a more nuanced portrayal of the social factors involved. Maurice Tourneur (1876-1961) is widely acknowledged as a leading Americas
greatest silent film directors and he is noted for the "pictorial qualities" of his productions (Magills-1920). His adaptation of Last of the Mohicans has been recognized as "culturally significant" by
the Library of Congress and it has been preserved by the United States National Film Registry (Chan). Due to an accident that occurred during shooting, Tourneurs assistant, Clarence Brown, took
over much of the directing of the film, which was shot on location at Big Bear Lake and Yosemite Valley in California (Magills-1920). In the 1920s production, Wallace Beery
was cast as the Indian renegade Magua and a "less likely and more melodramatic Indian...is hard to imagine" (Magills-1920). Beery plays Magua with maniac intensity, obviously trying to convey an
image of the Native American as somewhere between being deranged and being a product of a completely animal nature. This contrasts sharply with the 1992 version, in which the director,
who co-wrote the script, added a rationale for Maguas rage, which is that he is seeking revenge for the loss of his family. As this suggests, the 1920s version
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