Tag Archives: The Magnificent Seven

The Magnificent Seven vs. The Historical Negationism of Westerns

Yesterday marked the North American premiere of The Magnificent Seven, a movie that I’ve been looking forward to ever since I saw the trailer some months back. The reason for that is far more simple than you might have guessed: I’m a sucker for Westerns. A large part of that can probably be traced back to my playthrough of Red Dead Redemption back in college-

rdrgif

-but even before that there had always been something appealing about the clink of spurs, the arid desert heat, and towns that weren’t big enough for two particular individuals. That being said, I did with The Magnificent Seven what I do with everything I’m excited about, which is research it obsessively.

mag7poster

Eventually my search led me to a thread in /r/movies sharing the new poster for the film, which you can see on the right. Clicking on the image should help you get a better look at the titular cast of characters, and reveal an additional reason for my interest you might have expected me to be more upfront about.

Of the seven men four are people of colour.

Denzel Washington, emphasized by the number that outlines him, is bounty hunter Sam Chisholm and leader of the group. On his far right is Martin Sensmeier, of First Nations descent, playing Comanche warrior Red Harvest. Skipping past Chris Pratt on his left are Byung-hun Lee as assassin Billy Rocks and Manuel Garcia-Rulfo as Vasquez, a Mexican outlaw.

Now if there’s anything enthusiasm likes it’s company, and as I scrolled down through the thread seeing if anyone else shared my excitement for the film I came across this comment:

multicultural7 Continue reading

In With the Old [And In With the New]: The Silver Lining of Intertextuality

Last Friday I asked you all to watch a short video on the concept of intertextuality, which provides the basis for this week’s post.

While Nerdwriter1, the YouTuber responsible, initially describes the device as “something in a text, in this case a movie, that is shaped by another text” he later goes a step further in making the term distinct from mere allusion. Contemporary intertextuality, which he refers to as being “weaponized”, is defined as:

“objects, people or situations explicitly meant to trigger an emotional response”

To use my own visual example, successful intertextuality results in a combination of:

and

Being able to recognize and understand the reference is important, but equally essential is having that recognization elicit feelings, whether they be of awe, or joy, or pleasant surprise. Simply identifying a shot in a film as the replication of a comic book panel matters most if you care[d] about that original work. Continue reading