Gender Roles in the Work of John Ford

Jonathan Moeller Final Paper, Theory and History of Cinema 5-? 4-? 12 1 Gender Roles in the Work of John crossroad How The handler of westwards Used Wowork force To Drive a Male Dominated Genre The western genre has always been a representation of American identity, in that its holds glint societal moods, pop culture, politics, etc. The prototypical Western portrays beautiful bold landscapes and subic, rugged heroes who ar set on either conquering or defending them. These iconic actors such as John Wayne, Roy Stewart, Alan Ladd, and Gary Cooper were make famous through being the centerpiece of Western films and series. These heroes and mages of the great American frontier stand as metaphor for America itself. Yet, as we fast insure this exciting and adventurous genre of film we see that the heros womanly counterparts be usu onlyy underdeveloped and ignored. Western films, oddly in the early years of the genre, larkd women personas who held little importance to the maculation and served as surfacedic or sexual support to the hero. In this essay I provide analyse how John hybridisation, as a Western filmmaker, did not follow the formula of the genre. He played with male characters that were not heroic, plainly were selfish and cold, and even more interestingly, readjusted he gender roles in his westerly films so that women were no longer simple characters, merely in event drove the story along and made significant plot-? related decisivenesss. a great deal women and men were equals in Fords work. I will examine how Ford did this, and contemplate why, as well, in three of his western classics. The films we will be taking a close look at are Fort Apache (1948), The Searchers (1956), and The Man Who Shot Liberty Valance (1962), all of which feature significant pistillate character contri onlyions. Before diving into the work of Ford and how he gave significance to women in the West, it is meaning(a) to discuss further he attitudes that Western film, and all of Hollywood in the early 2 years, had towards female characters. According to Laura Mulvey, a feminist and film theorist who wrote extensively on the subject, Hollywood uses women in hardly cardinal ways as titillating objects for the characters at heart the screen story, and as erotic object for the spectator within the auditorium She also connotes something the look continually circles around but disavows her lack of penis, implying a threat of castration and hence unpleasure. (Mulvey, p. 716-? 718) T presentfore, women are either sex objects or characters to be feared. According to Mulvey,Hollywood feels female characters shouldnt be complex, shouldnt educate and change, and certainly arent able to make decisions that change the outcome of the story. all told of that should be left to the male heroes. Early Western films followed a stringent formula. They featured rugged yet like able heroes from the frontier, and pitted against them was to the hig hest degree always a foreign adversary. He was either a native-born American, or more typically a well-? dressed man from the eastern United States coast. (Garfield) Women in these early films played very small roles, most alteration into Mulveys definition of sex object. They also acted as a occasion symbol, and the an who possessed the leading woman had all the power, something we will examine in more depth posterior in this essay. In 1948, John Ford began to change the dynamics between these dominant male characters and their passive, sexual counterparts when he made Fort Apache. The film starred John Wayne playing master copy Kirby York, a prototypical Western hero, who is as rugged as they come as well as a well-? knowledged man of the West stati integrityd at the frontiers Fort Apache. Henry Fonda played opposite of him as Lt Col. Owen thorium, a prototypical Western villain, because he came from a foreign land with the intent of instilling change.Thirdly, the film starr ed Shirley Temple as Owens cute, frank daughter, Philadelphia atomic number 90. The story revolves around Owen 3 Thursdays attempts to control the hot Apache tribes of the area and send them back to their reservation, usually against the advice of York. All of these story and character dynamics are to be expected when examining a Western film, but it is Fords portrayal of women, and in fact the number of bestow female characters, that make this classic of the genre stand out. According to film critic Howard Movshovitz, John Ford used a subtle semiotical technique to imply his heroes opinions of women n his films. Good women are still only questionable women travel under their own power, he says. (Movshovitz, p. 71) By this he means that good-? intending women in Fords films are always immobile, and the women whom we are to distrust are those that move around freely. As we begin to examine Fort Apache and its female characters, we must keep this in mind. The first female characte r we meet is Philadelphia Thursday, and we are introduced to her as she is riding inside of a wagon. According to Movshovitzs theory, this means she is good. I would take it a ill-use further and say that we are being presented an innocent character ere, who I think falls in line with Mulveys theory. Shirley Temple was a sex symbol, and thats also how Philadelphia Thursday looks to us when we meet her. Immediately, she is fawned at by a group of soldiers and flirts with the young Michael ORourke. We get a very iconic and telling shot from Ford in the foregoing tavern burst, in which scat Thursday and ORourke sit raze next to each other and smile, bandage not looking or plowing to one another. Ford is symbolizing a lot for us here. Obviously he is setting up their future romantic relationship, but he is also foreshadowing for us gender roles of Fort Apache, where two of hese characters are headed. As we are to find out, the women in the fort authorize the show. They are the ones who take care of the everyday business within the fort, while the men train and go off to battle the surrounding Indian tribes, and as I will explain later, the men actually deal their women in order to survive. By not allowing 4 ORourke to speak in the aforementioned shot, Ford is suggesting that he needs Miss Thursday to initiate the conversation for him. He is already dependent on women, and thus will quickly fit in once he arrives at the fort. Ford is also presenting to us something about Miss Thursday with this shot, owever it is pipeline to the character that she eventually becomes. Here, by being quiet, Miss Thursday is conformist to Eastern societal standards and waiting to be courted. Ford is showing us that she is a foreigner and that she is dependent on men, but as soon as she steps foot within the confines of Fort Apache all of this changes. Upon arrival to the fort, ORourke pays a visit to the Thursday residence to drop-off off his card, and only Miss Thursday is there to receive him. She instanter goes on the offensive and tries to persuade him to admit his romantic intentions towards her. ORourke is unconnected by her forwardness, and eeds her to spell it out for him, a job which actually gets off over to Kirby York who enters the scene about halfway through. Over the course of one night in the fort, Miss Thursday has been transformed into a woman who takes subject areas into her own hands. Later that day, Miss Thursday decides to fix up her and her military chaplains sign, which proves to be our more solid introduction of another significant female character in this film, Mrs. Collingwood. It is Mrs. Collingwood, in fact, who makes all of the arrangements for the Thursdays to have article of furniture and food and even a servant. That night, when Owen Thursday comes home from work and inds his house fixed up he is very surprised, and slightly confused at how it happened. He is openly admitting here that Philadelphia is more capa ble than he, at least in the matters of the home, because of the fact that she was able to take care of a matter he was not. Male characters do not do this in Western films. The entire genre is built around a macho mentality in which the male hero or villain is the all-? mighty, yet here Ford has decided to give power to Miss Thursday and by association Mrs. Collingwood. It is one of the first instances that Ford shows us 5 how important his female characters are. Without them, we are to ssume that the entire fort would have nothing and would then collapse. This scene is also significant to note because of what it foreshadows for later in the film. Owen Thursday and Mrs. Collingwood end up being our too most powerful characters, which I will explain, and through this scene Ford is showing us who deserves this power. This scene allows us the room to be skeptical of Owen Thursday, and believe his poor decision making at the end of the film, because we are led to ask how he is capabl e of running a fort when he cant even run a house hold. This idea of free Miss Thursday and Mrs. Collingwood power over men is n contrast to both Mulvey and Movshovitz. These women are in motion, they move about on their own two feet freely and therefore, according to Movshovitz, are questionable. Yet, how can we question them when they are giving such positive contributions to our male heroes? These women are making it possible for the men of the fort to live and defend it. I believe Movshovitz would make the transmission line that Ford is foreshadowing here, and that the reasons that these women are not to be trusted arrives later in the film. In saying so, he wouldnt be merely wrong, however, I believe the actions these characters have that can be viewed as