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Thesis Draft “I AM NOT THE FINE MAN YOU TAKE ME FOR” THE POSTMORTEM WESTERN FROM UNFORGIVEN TO NO COUNTRY FOR OLD MEN by Brent Strang B.A., The University of Alberta, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2010 © Brent Strang, 2010 ii ABSTRACT The Postmortem Western is so named because, after having been buried for 15 years, the genre reappears with a pronounced self-awareness of its atrophied conventions and ideologies. As Jim Kitses and Alexandra Keller observe, today’s Western is almost entirely revisionist. Chapter One delineates two broad revisionist cycles: those Westerns that re-imagine marginalized histories and those that deconstruct the genre’s problematic influence on subject formation. This thesis is concerned with the latter, which may be likened to a postmortem examination of the Classical Western that reveals a systemic cause of death rooted in the Frontier Myth. While Richard Slotkin researches how the Frontier Myth has become symbolically encoded within American ideology, he does not attend to how it has also functioned as a prescription for masculine subject formation. Building from Michael Kimmel and Stephen Whitehead sociologies of masculinity, I elaborate how the Myth’s perpetual retelling through the Western has worked to justify compulsive masculinities, incite disjunctive gender relations, and foster an illusory lone-hero mythology of mastery and wholeness. Chapter Two is a literature and theory review that contextualizes the Postmortem Western within the genre’s history of adapting to cultural and ideological change. It also establishes an historical, profeminist methodology to substantiate the connection between an ancestral pattern of frontier masculinity and a perceived contemporary crisis in masculinity. Chapter Three establishes the cycle’s foundation insofar as Unforgiven, The Proposition, and The Claim depict masculinities constrained in rigid gender scripts and dysfunctional behaviours. These same themes thread through Chapter Four’s analysis of HBO’s Deadwood, whose epic scale is able to go much further by formulating a new mythic-historical script to cope with neoliberalism. Lastly, Chapter Five presents The Three Burials of Melquiades Estrada, Down in the Valley, and No Country for Old Men as a subset that deploy Western elements in a modern day setting in order to express another intricacy of this cultural condition. Their narratives and formal designs portray our moment of historical rupture with a palpable sense of loss, when culture feels increasingly disconnected from the meaning and national cohesion once glimpsed in the past. iii TABLE OF CONTENTS Abstract ...................................................................................................................................... ii Table of Contents ...................................................................................................................... iii Acknowledgements .....................................................................................................................v Dedication ................................................................................................................................. vi Chapter One: Introduction ..........................................................................................................1 Chapter Two: ‘The Past Is a Foreign Country’: A Literature Review ..................................13 2.1 The Western’s Second Wave of Revisionism ...................................................................13 2.2 The Frontier Myth .............................................................................................................17 2.3 Demythologization and The Genre’s Erasure ...................................................................21 2.4 Masculine Subject Formation............................................................................................29 2.5 Frontier Masculinities........................................................................................................34 2.6 Women in the Western......................................................................................................41 2.7 In Summary .......................................................................................................................43 Chapter Three: The Impossibility of Being Ordinary ............................................................46 3.1 Setting the Template for Masculine Dysfunction in Unforgiven ......................................49 3.2 ‘Are You Going to Shoot Your Wife as well, Captain?’ in The Proposition ...................57 3.3 When a Man Loses Heart in The Claim ............................................................................66 3.4 Home on the Range ...........................................................................................................73 Chapter Four: Epic Reformulation and Neoliberal Masculinities in Deadwood ..................75 4.1 Synopsis.............................................................................................................................78 4.2 Women of Deadwood........................................................................................................81 4.3 The Necessity of Gender and Homosocial Dialectics.......................................................85 4.4 The Neoliberal Frontier.....................................................................................................90 iv 4.5 ‘Art of War’ Marketplace Masculinity..............................................................................96 4.6 The Importance of In/Action.............................................................................................99 Chapter Five: ‘The Past Is Never Dead. It’s Not Even Past’: The Western Disinterred..103 5.1 A Fable Fermented for the Vintage in Three Burials of Melquiades Estrada ................109 5.2 Everybody’s Talkin’ but Harlan Don’t Hear a Word in Down in the Valley..................115 5.3 Chasing Ghosts across the Hard Caliche in No Country for Old Men............................122 5.4 Crowning the Action with ‘The END’............................................................................130 Chapter Six: Conclusion ..........................................................................................................133 Filmography ...............................................................................................................................139 Works Cited ...............................................................................................................................149 Appendices..................................................................................................................................156 Appendix A: Proposed List of Postmortem Westerns.............................................................156 Appendix B: Proposed Canon of Post-1990 Westerns w. Box Office and Critic Scores .......157 v ACKNOWLEDGEMENTS I consider myself very lucky to have entered into such an extraordinary program with such excellent people. The Department of Theatre and Film has helped to make this program the best in Canada by providing funding, teaching experience, top-notch resources, and continued sponsorship of its graduate film journal, Cinephile. But it is the people themselves who have made this process so rewarding. The Faculty and graduate body possess a brilliant talent equal to their warmth and generosity, which makes me not only lucky, but also honoured to call them my friends. My thanks go out to Dr. Ernest Mathijs, a true inspiration whose enthusiasm and philosophical zeal barely exceed his taste for Talisker. I am equally inspired by, and thankful to, Dr. Lisa Coulthard for always raising the bar, for offering me opportunities to build upon my resume, and for promoting a culture of learning outside the classroom through such ingenious excuses as beory. (Indeed, were it not for her love of the Western, I would feel even more antiquated.) Thanks to Dr. Mark Harris as well, for his gracious help with Cinephile events and for demonstrating how to unload ideas upon the classroom at the rate they fire the Gatling gun in The Wild Bunch, leaving no student untouched. My humblest appreciation goes to my thesis advisor, Professor Brian McIlroy, whose encouragement, patience, and incisive feedback have been a blessing. In addition to the myriad other things he has done to help make this process easier, it has been my pleasure to learn that a teacher can have such a calming effect on others, making the business of coming to work each day a joy. I am grateful also to have shared with, and learned from, fellow graduates Graeme Krautheim, Brenda Cromb, Jessica Hughes, Colin Tait, and, in particular, Andrew deWaard and Colleen Montgomery, who have not only collaborated many hours writing and editing for Cinephile, but have pushed me to improve upon my own skills considerably. Along the way, several teachers have shown a passion for learning that has affected me like those aforementioned, including: Shayne Page, George Hurley, Sheila Berry, Dr. Elena del Rio, Dr. Julie Rak, Dr. Gerald White, Dr. Bill Meilen, and Dr. Martin Lefebvre. Lastly, Dr. William Beard’s passion has been the most infectious of all – were it not for his undergraduate course on the Western, I’d probably be writing about something
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