Volu m e II - Purdue University Calumet

society. Yet, as that individual became less valued, so too did the genre. Westerns rested on the idea that
the individual was the protector of society, and what Americans should aspire to be. Overtime, America
stopped aspiring to be individuals. Ford thrust the Western into mainstream popularity with Stagecoach and
tolled the death of the traditional Western with Tom Doniphon’s death in The Man Who Shot Liberty Valance.
Works Cited
Church, Jeffrey. "Recognition and Restlessness in John Ford's The Searchers." Perspectives on Political
Science 38, no. 1 (Winter 2009): 47-57.
Corkin, Stanley. Cowboys as Cold Warriors. Phildelphia: University Press, 2004
Cuordileone, K.A. “Politics in an Age of Anxiety: Cold War Political Culture and the Crisis in American
Masculinity, 1949-1960.” The Journal Of American History (September 2000): 515.
Eckstein, Arthur. The Searchers: Essays and Reflections on John Ford’s Classic Western. Wayne State
University Press, 2004.
Engel, Leonard. "Mythic space and monument valley: Another look at John Ford's Stagecoach."Literature
Film Quarterly 22, no. 3 (July 1994): 174.
Ford, John, Director. Stagecoach. 1939
Ford, John, Director. The Searchers. 1956.
Ford, John, Director. The Man Who Shot Liberty Valance. 1962.
May, Elaine Tyler. Homeward Bound: American Families in the Cold War Era. Basic Books, 1988.
Hefner, Hugh. “The Playboy Philosophy” Playboy, January 1963, p. 41
Reisman, David. The Lonely Crowd. Yale University Press, 1961.
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