This research paper explores the myths and realities in the depiction of the American West in popular culture, with a focus on the representation of Native Americans. It aims to confirm or reject the thesis that despite significant changes in attitudes and depictions from early literary works to contemporary revisionist attempts, certain myths and plot elements persist. The paper includes a preliminary consideration of the mythicization of the American West and its reflection in popular culture, particularly film. It culminates in an analysis of two Western genre films, John Ford’s "Stagecoach" (1939) and Tommy Lee Jones’ "The Homesman" (2014), to evaluate whether enduring genre conventions and myths about Native Americans remain prevalent.
Diese Lektürearbeit untersucht die Mythen und Realitäten in der Darstellung des amerikanischen Westens in der Populärkultur, mit einem besonderen Fokus auf die Repräsentation der indigenen Völker. Ziel ist es, die These zu bestätigen oder zu widerlegen, dass trotz signifikanter Veränderungen in den Einstellungen und Darstellungen von frühen literarischen Werken bis hin zu zeitgenössischen revisionistischen Ansätzen bestimmte Mythen und Handlungselemente weiterhin bestehen. Die Arbeit beinhaltet eine vorläufige Betrachtung der Mythisierung des amerikanischen Westens und deren Reflexion in der Populärkultur, insbesondere im Film. Sie gipfelt in einer Analyse von zwei Filmen des Western-Genres, John Fords "Stagecoach" (1939) und Tommy Lee Jones' "The Homesman" (2014), um zu bewerten, ob weiterhin bestehende Genre-Konventionen und Mythen über indigene Völker vorherrschen.
Table of Contents
1 Introduction
2 Preliminary Considerations
2.1 The Significance of the Myth of the West
2.2 Reflection of Myths and Realities in Popular Culture
2.3 Depiction of Native Americans in Narratives of the American West
3 Analysis of the Depiction of Native Americans in Film
3.1 Stagecoach (1939)
3.2 The Homesman (2014)
4 Conclusion
Research Objectives and Themes
This research paper examines how myths and realities regarding the American West have been depicted in popular culture, with a specific focus on the representation of Native Americans. The investigation evaluates whether, despite shifts in societal attitudes and the rise of revisionist cinema, durable stereotypes and mythological plot elements continue to characterize these depictions.
- Significance of Western mythology in American national identity
- Transformation of frontier myths through literature and popular media
- Persistent stereotypes of Native Americans in the Western genre
- Comparative analysis of classical versus revisionist Western filmmaking
Excerpt from the Book
3.1 Stagecoach (1939)
Tom Ford’s Western Stagecoach, based on the novel Stage to Lordsburg (1937) by Ernest Haycox, was released in 1939 and generally received positive, as it is said to have “revitalised” the western genre (Maland 233). Although the movie seems to have a rather simple plot, it has “far greater ambition than that of a standard adventure story” (Pippin 1). Essentially, a group of deliberately representative, half allegorical, half mythic characters must go on a journey from Tonto to Lordsburg for several, individual reasons (Seeßlen 59). Accordingly, the characters stem from quite different economic and social classes. There is the outlaw Ringo Kid, the banker Gatewood, the gambler Hatfield, the gentle Peacock, the alcoholic Doc Boone, the prostitute Dallas, Marshal Curley Wilcox, the coachman Buck and a pregnant Southern woman with the name of Lucy Mallory (Pippin 1 – 2). For Robert B. Pippin (2010), John Ford asks the question whether or whether not such an assembly of different individuals can form a unity that is “capable of something greater than the sum of its parts” (4). Added to questions of class and hierarchy, also issues of the American ideal of equality are posed (ibid.).
Of interest for this research paper is John Ford’s depiction and use of Native Americans in his construction of the West. Thus, in the following, all scenes mentioning or depicting Native Americans will be investigated. After aspects of the representation of Natives in narratives has been discussed in point 2.3, the following analysis and interpretation aim at proving that conventional elements are reoccurring in Stagecoach (1939).
Summary of Chapters
1 Introduction: Introduces the thesis regarding the persistence of myths and stereotypes about Native Americans in the American West through film, despite historical changes in perspective.
2 Preliminary Considerations: Analyzes the development of Western myths in American consciousness, their consolidation in popular literature, and the historical construction of Native Americans as an "other" or savage figure.
3 Analysis of the Depiction of Native Americans in Film: Provides a concrete analysis of John Ford's Stagecoach and Tommy Lee Jones’ The Homesman, examining how both films utilize specific dramatic tropes to represent Native Americans.
4 Conclusion: Confirms the thesis by summarizing how, despite the revisionist attempts of contemporary films, deeply ingrained mythological elements and stereotypes remain prevalent in depictions of Native Americans.
Keywords
American West, Native Americans, Western genre, film analysis, mythology, stereotypes, revisionism, Stagecoach, The Homesman, frontier, popular culture, cultural representation, John Ford, Tommy Lee Jones, historiography
Frequently Asked Questions
What is the central focus of this research?
The research explores the representation of Native Americans in Western films and how these depictions relate to long-standing American myths and historical narratives.
Which films are analyzed in this study?
The study conducts a comparative analysis of John Ford’s classic Western Stagecoach (1939) and the revisionist film The Homesman (2014) directed by Tommy Lee Jones.
What is the core thesis regarding Native American depictions?
The thesis argues that despite significant changes in cultural attitudes and the emergence of revisionist filmmaking, certain mythological plot elements and negative stereotypes concerning Native Americans remain significantly persistent.
What methodology is employed to analyze these films?
The author uses a discursive and archival approach, connecting the films to earlier literature, dime novels, and "wild west shows" to identify recurring patterns of representation.
How is the "Indian" typically portrayed in these narratives?
Native Americans are frequently depicted as silent, flat characters or "generic Indians" used as tools to generate dramatic suspense or to reaffirm the moral superiority of white settlers.
What characterizes the transition from classic to revisionist Westerns?
While revisionist films attempt to deconstruct traditional myths, the analysis shows they often fall back on established genre conventions, merging "myth" and "anti-myth" within their narratives.
Why did John Ford emphasize the "savagery" of Natives in Stagecoach?
The film used the portrayal of savages to create a common external threat, which allowed the diverse characters of the stagecoach to unite and reaffirm the values of civilized society.
Why does the research describe Native Americans as "props" in Western cinema?
Because they are often denied character development and agency, they function primarily as plot devices—either as obstacles or as measures of the protagonist’s heroic qualities—rather than as complex human beings.
- Citar trabajo
- Anonym (Autor), 2020, Change and Persistence in the Representations of Native Americans in Popular Narratives of the American West, Múnich, GRIN Verlag, https://www.grin.com/document/1488098
