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Volu m e II - Purdue University Calumet

Volu m e II - Purdue University Calumet

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Angela Pusateri<br />

Saint Xavier <strong>University</strong><br />

Cowboys, Cold War Values and the Death of the American Individual<br />

Introduction<br />

Westerns were one of the most popular genres of film in mid 20th century America. These popular<br />

film narratives functioned not only as entertainment, but also reflected major events and helped audiences<br />

assimilate ideological shifts in the era. Westerns helped to mediate such shifts by grafting history onto myth<br />

to examine changing definitions of national identity. At their best, these films effectively define history and<br />

contemporary trends to appeal to mass audiences while they impart a critique of the society in which they<br />

were made. In these narratives one can clearly see the common beliefs and values of the time in which they<br />

were written and filmed. Not only are these films about the history of America’s West, they function, in an<br />

allegorical sense, as a history of the creators and audiences that viewed them.<br />

John Ford was the definitive Western director of mid 20 th century America, and John Wayne the<br />

embodiment of the Western individual. Both of these men’s names are synonymous with this genre, and for<br />

good reason. Some of the most significant work in the genre came from collaborations between the two.<br />

Neither man was out to create puff pieces when working together. Ford filmed every shot and Wayne<br />

delivered every line with intentionality and purpose. The Westerns they created were not only sensitive to<br />

the currents of historical change, but also expressive of shifts in national mood and circumstance. This paper<br />

examines how John Ford’s Westerns in particular, exemplify the cultural shifts in America, particularly in<br />

examining America’s view of the individual in society.<br />

Examining John Ford’s films reveals an evolving critique of social and political mores of mid 20th<br />

century America. From Stagecoach (1939) through The Searchers (1954) to The Man Who Shot Liberty Valance<br />

(1962), Ford’s message transitions from the celebration of the individual in society, to the individual<br />

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