James Dean as the Iconic Rebel Figure Essay

The Oxford English Dictionary define a freedom fighter as a person who resists authority, control, or convening . These be the characteristics of James deans subterfuge personas in Nicholas slams spring up Without a Cause and dear Kazans easterly of nirvana. In a time where unison was a dominant ideology in society, rise uplion became a way to display your receive individuality. spring up Without a Cause and eastside of heaven both respectively jam with the vexing problem of the a hearty youth who appease stubbornly overdue against the nuclear family.Each respective film touches upon the puzzling subject of the 1950s, which is upstart delinquency. The films as well as provide ammunition for the ideological disaffected behavior for teens to parody. arise Without a Cause and due east of nirvana argon both interested with childlike people estranged from their communities and essay to define themselves differently than the norm . James dean was an seductive turn out figure because he re pictureed the raw-nerved emotions of being an adolescent trance he as well as asserted a romantic, mythic nonion about, which became attractive to audiences young and old.doyens direct sexiness and relentless desire to imbue keep an eye on make come up Without a Cause and East of Eden films that withstand generational changes and remain commonplace in spite of appearance teenage society today. James dean as the archetype for the rebel character personified a decade of defiance, and his secrecy picture of the iconic rebel sparked a cult following that superseded his life. The continued relevancy and renowned status of deans screen persona is prevalent because of its sympathetic treatment of adolescent anguish that each director surd on.The enigmatic nature of the rebel icon made it easy for the conceive audience to grab hold and manifest their individualised principles onto it. doyen was catapulted to a cult figure as he evoked the subme rged wound and spoke for a generation of people who had sense of being suppress and sm new(prenominal)ed by values that were imprisoned by. Furthermore, Dean molded the establishment of the tough-but-t rarityer iconic teen rebel in the 1950s, and became a commodity and the legendary figure of teenage angst.Deans unbridled emotions both on and off screen became essential in both Rebel Without a Cause and East of Eden as they channeled the teenager in only of us . The 1950s were a time when teenagers were struggling with their own individualism and this idea of conformity was oppressive to their individual growth. James Dean epitomized the rebel, as his inability to stick to confined conformity both on and off screen was a major asset during 1950s filmmaking. The rebel character that was present in both films was an attempt to glorify individuality.Deans protagonist characters in each respective film were alienated, endangered and antisocial, which were standard traits of the c ommon rebel. The 1950s became an era where individualism had to be hardened to suit the demanded conformity. The rebel icon as a whole offered recourse in a time where adolescents were trapped in environments created by policy-making and social forces beyond their control, which impeded their ability to make their own choices or realize their aspirations.Filmmakers like spear and Kazan attempted to assert their individuality by creating these seditious characters that went against the accepted norms and fought for what they wanted to achieve. prick was acutely aware that the recognitions of the attractive young rebel would intonate a plumping following, and casting the Hollywood bad-boy, James Dean, created a synergy amidst Deans screen persona, Jim Stark, and his real life counterpart. With his magnificent confusion, pained fragility, and unwavering sexiness, Dean became the template for teenage rebellion.Rebel Without a Cause exemplifies a thinly veil attempt to search fo r authority that catapults into an attempt to search for an identity for oneself. On the other hand, in Kazans films, he exploited Deans screen persona as the rebel anti-hero in American movies, democratizing and linking the rebellious behavior to root in American values . This was also seen in Rebel Without a Cause however, this idea was predominant deep down East of Eden. By Kazan doing this, Dean as a rebel character, but also the film East of Eden became symbolic visions and vehicles of change.The integrity of the family formed the rear conformity in the 1950s and non-conformity based on a non-traditional family was something that had not been fully explored. The non-traditional nuclear family is something that was taboo however, both Ray and Kazan deal with them in their respective films. In Rebel Without a Cause the use of gender- intention relapsing is apparent and within East of Eden, the idea of an absentee mother is present. These non-traditional nuclear families pave t he way for the rebel character that Dean personifies on screen.Dean is use as a sentimentalist with a yearning to refurbish the struggling nuclear family. Since the nuclear family played such an influential role, Hollywood saying it as worth saving and worth reconstructing. During this decade, the nuclear family dominated, so it was burning(prenominal) to reconstruct the failing nuclear family in site to promote the conformity the government and society sorely desired in cases where the nuclear family could not be restored, sickness or injury became the typical Hollywood scapegoat. firearm the nuclear family plays an important role in understanding the rebel character, the family plays a background role within the film itself. The nuclear family within Rebel Without a Cause features gender role reversal where Deans go is a weak pushover and is controlled by his overpowering wife, that in conclusion forces Dean to react in a rebellious manner. These non-traditional gender roles throw off the teenage characters and propagate the rebellious characteristics as a mean for garnering attention.In order to right these wrongs, Jim adopts a surrogate family, whereby Judy is his wife, and Plato becomes the adoptive son. Since in that respect is a lack of a traditional nuclear family, the escape to the abandoned family removes Dean from the compromises of the real world whereby he is able to live with Judy and Plato in an idealized version of family life, which is when he comes to the realization that he no longer needs to equate masculinity with violent rebellion and perpetuates his reintegration into society.Additionally, Elia Kazan was fascinated with James Deans personal struggles, which helped him connect to his rebellious character as Cal in East of Eden. Kazan used Deans personal problems to his advantage, exploiting them and creating a tumultuous nuclear family that mimicked the biblical tale of Cain and Abel. The spang and hate plotline that deals with forbidden love and explosive passions is reticent of the well-known biblical tale. Cal defiant, disobedient, and uncompromising provokes the central conflict within the film, which impersonates his biblical counterpart Cain.Cal himself is stuck between the brooding coast of his mothers sin and the sunlit valley of his engenders righteousness, which adjusts and brings to light the coexistence of good and evil within all of us. Cal and Aron are primary demonstrations of this good versus evil idea, as they are fighting for their fathers affections, which is a paralleled allegory of the biblical tale. However, it is also applicable to the 1950s when the film was created, and can be further fitted to fit modern society, which is why East of Eden is a timeless film.Deans character Cal exhibits a multitude of self-destructive behavior. As a traditional rebellious character, Dean exhibits free result and the potentiality to forgive even though he begrudges his father and brother e nd-to-end the diegetic. Cal is embittered with the idea that his father favors Aron, his perfect twin brother. Further, Cal attempts to win his fathers undying affection by farming beans and selling them for a large profit. If Cal shows his father that he can create a successful occupancy and repay him monies lost, he would be showered with the affection he feels deprived from.Cals plan backfires and instead resorts to killing his brother by destroying his integrity in order to gain his fathers affection and adoration. However, this plan fails and last causes his fathers demise. The theme of reconciliation appears in East of Eden when Dean offers to take care of his invalid father shows his father that his intentions, while misguided, were pure and only used as a guise for his father to notice all his hard work. Deans concern with masculinity and manhood is at the forefront of Rebel Without a Cause.Dean exhibits virtuous and psychological vertigo as he teeters on the brink of ma nhood , and is concerned with masculinity as there has been an apparent lacking means of manhood within his home life. Dean is searching for a sinewy and upright male figure with whom he can identify with, which was a customary histrionics during the 1950s. Instead of being a strong role model, Deans father portrayed as a turncoat subordinate who succumbs to the over-demanding ways of his boisterous wife.For a struggling teen, these ideals prove to be less than appropriate, which launches Dean into rebellion, in hopes of finding the role model he desperately needs and desires. In the absence of a credible heavy(a) guidance, especially from his father, Dean headings his masculinity. Furthermore, Dean equates manhood with honor. This theme of masculinity and honor is present in both Rebel Without a Cause and East of Eden. In Rebel Without a Cause Dean plays the role of the informer, which is an straight characteristic .Informing is construed as the highest act of courage, and di splays a defining moral choice. Having this moral compass helps to shape and define the man that Dean will turn in to, which is a dependable figure as he attempts to salvage Plutos dementia and Judys insecurities. Dean screen persona is concerned with not only preserving his honor, but also with live and thriving in a world that embodies teenage confusion. Ultimately, Deans reconciliation with hegemony makes a rebel honorable, possible by the virtue of its own authority and unimpaired by psychosis, alienation, or a romanticized futility.While Dean is a rebel within East of Eden by dissenting his fathers orders, he has honorable characteristics when traffic with his manhood. Integrity and honor are integral parts to Deans persona as he attempts to save his father and salvage his well being after an paradoxical investment. The rebel character that became a figure of non-conformity, and rugged individualism became not only a culture but also became a political stance as a way to s tray from American hegemony. Ray uses Dean as a dissent of social control, in order to promote the independence that became synonymous with rebellious behavior.There was a squash to conform that was thrust upon the young adolescents, who were already facing a confuse time during their formative years. Dean as a rebel is espoused as the cause of the protestor and stultified the inherently violent social system. The rebel sparked debate and offered a different perspective that would not have been possible with a altogether conformist hegemonic society. In order to stray from a completely hegemonic society, and defy global homogenization, America can turn iconography against itself.This was a message the Ray attempted to portray by having the rebellious characters fight each other even though ultimately they believed in the same things. Psychological and social issues became prevalent and defined the two types of rebels that were present within Rebel Without a Cause. Firstly, there is the rebel that James Dean personified with displays of reconciliation and reintegration into society and secondly, there is a character such as Plato who was a clear representation of hostile rebellion.Dean is able to be readmitted into society as his disaffection was not profound in the first place, and was used as a mechanism of expression and attention in the wake of the absence of a strong father. Additionally, Deans rebelliousness was sentimentalized, which furthered his reintegration. On the other hand, irreconcilable rebellion is equated to insanity, which cannot be accommodated in society, thusly forcing Platos death and the end of the film. While psychological issues can be discusses and presented within a film, insanity is not accepted during the 1950s, so to respond to this, it is imperative for Plato to die.With the death of Plato and the re-integration of Deans character, there is a theme of rehabilitation. Moreover, once the abyss of personal isolation is link up d, rebelliousness ceases and those who cannot experience rehabilitations have no place within the film diegetic. This was seen with Plato who was shot down, and Buzz who died during the chicken run he challenged Dean to. Kazans representation of the rebellious character in East of Eden was seen as a function of a lack of love and significant contact, which is why Cals forbidden relationship with Abra became central within the narrative.Deans screen persona is searching for the authentic self and his virile identity, which leads him to his mother as well as his reliance on Abra. Further, Abra is the atom smasher for the reconciliations between Cal and his father as she promotes the loving relationship the Cal lacks with his father. East of Eden deals with moral values in a generation where teenagers begin to question their fathers generation. Abra became a representation of purity and simplicity that helped bridge the tumultuous relationship between father and son during the perio d of brilliant personal moral dilemma for the teenage rebel.All in all, the young rebel character that is firmly ingrained in our cultural resourcefulness carries its traces to the Hollywood screen rebels of the fifties, none more than James Dean . twain Rebel Without a Cause and East of Eden are dealing with the protagonists movement into moral orientation and their journey into self-identification, and present themselves as remedial, therapeutic, and redemptive, which explain symptoms with implied cures.Over the decades the rebel has been a particularly forked icon, where the meanings often contradict one another however, the use of James Dean as an iconoclastic rebel defined term and created the archetypal rebel character. During the 1950s, every aspect of emerging teen culture was viewed as hard and incomprehensible however, the rebel character was used for teens to expand their personal boundaries during a time when the cultural landscape was largely undefined.