John Wayne’s World
Transnational Masculinity in the Fifties
Publication Year: 2013
Published by: University of Texas Press
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Title Page, Copyright Page
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This Project has its roots in an unDergraDuate honors seminar I took while a student at Pacific University in Forest Grove, Oregon, which first got me thinking about John Wayne in the context of globalization and U.S. power in the 1950s. So my first thanks should go to Jeffrey Barlow, who taught that course, and my professors at Pacific who helped me decide to be a researcher and teacher: Pauline Beard, Johanna Hib-...
Introduction. Reexamining John Wayne
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DesPite some formal similarities, the french and U.S. posters advertising the 1953 classic western Hondo offer radically different visions of John Wayne. In the French version, Wayne stands centered in the poster in “Warnercolor” splendor, rif_le in one hand and pistol in the other, amid the empty frontier in a moment of indecision, yet poised for action. Over one shoulder, Indians charge on the warpath, and over ...
1. The Emergence of “John Wayne”: Red River, Global Masculinity, and Wayne’s Romantic Anxieties
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In a belgian Poster aDvertising hoWarD haWK.smcps’s Red River (1948), two visions of John Wayne are displayed in a spectacular colorful image. To the left stands Wayne as Tom Dunson with Fen (Coleen Gray), his love interest, who early in the film is murdered by a band of Indians. Wayne stares deeply and romantically into her eyes as he slips a brace-let onto her wrist. In the film, this is the same bracelet he would later give to his ...
2. Exile, Community, and Wandering: International Migration and the Spatial Dynamics of Modernity in John Ford’s Cavalry Trilogy
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In her revisionist anD critical history of the American West, Patricia Limerick notes that Hollywood’s con-struction of the western frontier glosses over one of the central concerns of the history of the West: parceling, buying, and selling land. Limerick writes: “If Hollywood wanted to capture the emotional center of western history, its movies would be about real estate. John Wayne would have been neither a gun-...
3. John Wayne’s Cold War: Mass Tourism and the Anticommunist Crusade
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The soviet Premier josePh stalin, in the final, unstable years of his life, decreed that John Wayne had to die. According to the film historian and celebrity biographer Michael Munn, John Wayne was so associated with anticommunism that several attempts on Wayne’s life were undertaken by different communist organizations, includ-ing one supposedly orchestrated by Stalin himself (John Wayne, 125–128). ...
4. John Wayne’s Body: Technicolor and 3-D Anxieties in Hondo and The Searchers
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In the miDDle of HOndO, Wayne’s character en- gages in a ritualized knife fight with an Apache warrior on a cliff overlooking the expanses of the southwestern desert. Exploiting the visual plea-sures of the film’s 3- D and Warnercolor technologies, the scene displays color-fully costumed bodies rhythmically confronting each other and rolling across the dusty precipice, as well as close- ups of knives thrusting straight toward the ...
5. John Wayne’s Africa: European Colonialism versus U. S. Global Leadership in Legend of the Lost
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A s Wayne’s character in Legend Of tHe LOSt, joe January, leads Paul Bonnard (Rossano Brazzi) and a prosti- tute named Dita (Sophia Loren) through the vast Sahara, the burgeoning love triangle between the three characters produces tensions not only between the travelers but also between the different ways that the two men relate to Dita and the idea of Africa in general. In one scene, the three take a much- needed ...
6. John Wayne’s Japan: International Production, Global Trade, and John Wayne’s Diplomacy in The Barbarian and the Geisha
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A t the beginning of the 1958 john Wayne histori- cal romance The Barbarian and the Geisha, Okichi (Eiko Ando)—the geisha of the film’s title, who provides the film’s voice- over narra-tion—insists, “This is my story too,” while the film lyrically captures images of traditional Japanese culture before Western contact. This forceful assertion of narrative centrality and Okichi’s powerful position as narrator challenge many ...
7. Men at Work in Tight Spaces: Masculinity, Professionalism, and Politics in Rio Bravo and The Alamo
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A s the siege of the local jail rages on in hoWarD Hawks’s Rio Bravo (1959), Nathan Burdette (John Russell), a powerful rancher attempting to violently break his brother out of jail, pays the band at the cantina across the street to play a tune over and over again to send a message to the sheriff, played by John Wayne. Proving his intelligence despite his young age, Colorado (Ricky Nelson), a young man who has stayed out of ...
Conclusion. The Man Who Shot Liberty Valance and Nostalgia for John Wayne’s World
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A fter fourteen years as an international su- perstar defined by dynamic body movement, an uncanny skill and speed with a weapon (despite his aging body), and a rugged masculinity capable of enduring hardships and torment, John Wayne’s emergence in The Man Who Shot Liberty Valance (1962) charted new territory for the star. The first we see of his character, Tom Doniphon, is the simple wooden cof_f_in that con-...
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Page Count: 224
Illustrations: 17 photos
Publication Year: 2013