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The Man Who Could Go Either Way: the Many Faces of Cowboy Masculinity in 1950S American Film and Advertising

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The Man Who Could Go Either Way: the Many Faces of Cowboy Masculinity in 1950S American Film and Advertising The Man Who Could Go Either Way: The Many Faces of Cowboy Masculinity in 1950s American Film and Advertising by Evan Sidebottom A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in History Carleton University Ottawa, Ontario © 2016, Evan Sidebottom Abstract This thesis explores the cowboy as an iconic figure of white masculinity in the middle-class in 1950s America, focusing on film and advertising as a means of interpreting images of idealized manhood. It explores films including High Noon, Rio Bravo, and The Searchers, as well as print advertising from Levi’s and Marlboro, to juxtapose different projections of masculinity. It finds that, contrary to expectation, the cowboy was not just a singular image of stoicism and martial power, opposed to domesticity and consumerism. Instead, he was more of a language through which different values could be expressed. This creates an intriguingly contradictory image: the cowboy is domesticity and anti-domesticity, invincibility and anxiety, fashion and anti-fashion, and a relic of America’s past and the herald of its future all at once. In this regard he becomes a surrogate for diverse masculinities interacting on the backdrop of the early Cold War. ii Acknowledgments To Dr. Andrew Johnston, my supervisor, whose patience for my long-winded emails and rambling, irreverent footnotes seems boundless. Your attention to detail and form kept me grounded, and balanced out my penchant for going off the rails (and using way too many dashes – constantly!). To Laura McLeod, my partner, for putting up with me while I ranted about “bloody academics” and enduring my long-winded explanations of things you’ve already heard everything about as I attempted to put them together in my mind. Somehow we managed to deal with both doing a Master’s at once, with all the incredible amounts of stress that that entails. To my parents, without whom none of this crazy adventure would’ve happened. Thank you for always having my back when things turn hectic. To the staff of the Ottawa General Hospital, for putting one of my finger tendons back together after a kitchen accident on what was supposed to be the first day of real work on my thesis, and to the staff of the Riverside Hospital for helping me get it back into usable condition so I could be typing this out today. To Jean-Pierre Morin, for helping me out greatly with this whole “employment” thing and for keeping me focused on usable, active histories. Also, thanks for being around during my ghost- town office hours. Spooky. To Gail Bederman, author of Manliness and Civilization: A Cultural History of Gender and Race in the United States, 1880-1917, who inspired my interest in American masculinity and gave me a critical eye for representations of gender in media. This has also ruined a lot of movies for me, so, well, some you win, some you lose. To Lynn Downey, the original Levi’s archivist, and Tracey Panek, the current Levi’s archivist, for helping me find some sources I was missing. And to all the men and women in the world dealing with prescriptive and restrictive codes of gendered behavior: keep fighting the good fight. iii Table of Contents Abstract .......................................................................................................................................... ii Acknowledgments ........................................................................................................................ iii Table of Contents ......................................................................................................................... iv List of Illustrations ........................................................................................................................ v Introduction: Varmint Tracks ..................................................................................................... 1 Chapter I: Surveying the Landscape ........................................................................................ 12 Chapter II: Fireside Stories ....................................................................................................... 27 Chapter III: Stars in the Dirt ..................................................................................................... 44 Chapter IV: Patronize Your Neighbor ..................................................................................... 61 Chapter V: Gunsmoke ................................................................................................................ 84 Chapter VI: Hunting the Beast ................................................................................................ 104 Bibliography .............................................................................................................................. 119 iv List of Illustrations Figure 1: Levi Strauss & Co., “Mens Bib Overall Dealer Adv.” (1927) ..................................... 37 Figure 2: Levi Strauss & Co., “Wheeeee” (1937) ....................................................................... 37 Figure 3: Levi Strauss & Co., “Right for School!” (1950s) ........................................................ 66 Figure 4: Levi Strauss & Co., “First in the West… Because They Last!” (1950) ....................... 68 Figure 5: Levi Strauss & Co., “For Rugged Wear… It’s Always Been Levi’s” (1950s) ............ 69 Figure 6: Levi Strauss & Co., “Cut for the Cowboy!” (1956) ..................................................... 69 Figure 7: Levi Strauss & Co., “Follow the Leader… Wear Levi’s” (1951) ................................ 75 Figure 8: Levi Strauss & Co., “Know Your West!” (1954) ......................................................... 75 Figure 9: Levi Strauss & Co., “Rodeo Dance” (1950s) ............................................................... 77 Figure 10: Levi Strauss & Co., “Pies” (1958) ............................................................................. 79 Figure 11: Levi Strauss & Co., “Beyond Compare for Leisure Wear” (1953). ........................... 81 Figure 12: Levi Strauss & Co., “First Name in Denims!” Print advertisement, 1954. ................ 81 Figure 13: Marlboro, “Ivory Tips Protect the Lips” (1935) ........................................................ 85 Figure 14: Marlboro, “Ivory Tips Protect the Lips” (1935) ........................................................ 85 Figure 15: Marlboro, “Gee, Mommy, You Sure Enjoy Your Marlboro” (1951) ........................ 85 Figure 16: Marlboro, “Because All Smokers Inhale…” (1942) .................................................. 88 Figure 17: Marlboro, “The Filter Doesn’t Get Between You and the Flavor!” (1955) ............... 90 Figure 18: Marlboro, “New from Philip Morris” (1955) ............................................................. 90 Figure 19: Marlboro, “Only a baby… but BIG!” (1955) ............................................................. 93 v Figure 20: Marlboro, “You Get a Lot to Like” (1956) ................................................................ 94 Figure 21: Marlboro, “You Get a Lot to Like” (1957) ................................................................ 94 Figure 22: Marlboro, “What’s He Like...” (1957) ....................................................................... 97 Figure 23: Marlboro, “Flavor/Flip-Top Box/Filter” (1958) ...................................................... 100 Figure 24: Marlboro, “New Improved Marlboro Filter” (1958). ............................................... 101 vi Introduction: Varmint Tracks The locomotive’s mourning howl resounded in the empty streets of the town, as though heralding the arrival of the violence that was to ensue. Doors and windows slammed shut as the young cowboy rode in. Mothers pulled their children inside. The sheriff, still swaying in the noose in the center of town, watched him with lifeless eyes. The cowboy tied up his horse and felt for his revolver, a Colt Peacemaker single-action. The weight of justice hung from it like a funeral shroud. Ash from the burning end of a cigarette fell onto his jeans, faded with months of hard wear in patterns of electric blue streaks. Spurs clinked above Cuban heels as he climbed the stairs to the saloon, old wood creaking beneath him. He kicked open the doors to the saloon, leveling his Colt. Painted women and black-clad banditos stared daggers at him, but he felt nothing -- nothing but rage and the rush of revenge. “I’m lookin’ for the man what killed my Paw!”1 Who is the cowboy? On the silver screen, he is John Wayne, Clint Eastwood, Gene Autry, Slim Pickens and Gary Cooper. Historically, the cowboy is just a cattleman; he is a cow- wrangler on horseback in the agrarian Old West. But in fiction, he takes on many more shapes: he might be a hero out for revenge, a rebellious bandit in blue jeans, a singer whose hat seems glued onto his head, a violent killer, or a morally-conflicted anti-hero. Each of these identities plays out their role on the same backdrop of the Old West and what we imagine are its stories: Native Americans attacking white settlements en masse, dramatic Mexican standoffs in the middle of town, shootouts with bandits at the saloon, and other dramatic tales of romance and violence. In this regard, the cowboy in Western fiction becomes a warrior, heavily-armed, tough, strong and often solitary. The cowboy today, however, is a figure of contention. “Cowboy diplomacy,” an ironic term used to portray
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