Volu m e II - Purdue University Calumet

Westerns are a crucial venue for this analysis. Ford’s Westerns portray the journey of a rugged
individualistic hero. This individual is a central character in many of the films, and was a figure to be
admired. This individual was symbolic of the way America viewed itself. When Westerns themselves
started to question the individual’s place in society the implications to American culture are profound.
Through thoroughly examining the setting, particularly Monument Valley, women, and the use of
the domicile one can clearly see how Ford is using these films to relay a shift about the way Americans value
individualism. Setting is the context and environment of the story. Monument Valley symbolizes
individualism in the context of these films, while the towns are representative of civilization. In Cold War
America the home was the symbol of civilization. While the Cold War was the great public fear, the real
dangers to America during the era were internal ones. “The home seemed to offer a secure private nest
removed from the dangers of the outside world, yet also seemed particularly vulnerable” (May X). To
alleviate these fears Americans turned to the family as a bastion of safety in an insecure world. (May xvii)
The home became the symbol of safety, security, and civilization. Women were the linchpin of that home.
They were the embodiment of all that civilization represented. Wayne’s character’s relationship with the
women in these films is directly related to his place in civilization.
Literature Review
John Ford’s Western films clearly demonstrate the shift between 1939 and 1962 in the way
Americans perceived the value of the individual. His films reflect the time of their production and indirectly
engage audiences with narratives that resonate on an allegorical level. Many film scholars have covered
Western films, and countless more have examined national identity in America during the Cold War;
however, these two topics have not been grafted together while specifically focusing on John Ford’s
Westerns. Most scholars look at Ford’s Westerns from an ideological approach, examining New Deal
Liberalism and American foreign policy during the Cold War.
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