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GENDER REPRESENTATION in CONTEMPORARY WESTERNS by LUIS ANTONIO FREIJO ESCUDERO

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GENDER REPRESENTATION in CONTEMPORARY WESTERNS by LUIS ANTONIO FREIJO ESCUDERO A GUN OF ONE´S OWN: GENDER REPRESENTATION IN CONTEMPORARY WESTERNS by LUIS ANTONIO FREIJO ESCUDERO A thesis submitted to the University of Birmingham for the degree of Master of Arts by Research Department of Film and Creative Writing School of English, Drama, American and Canadian Studies College of Arts and Law University of Birmingham September 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines the construction of gender in post-Unforgiven North American studio and independent Westerns. This gender framework is developed through the concept of gender hegemony (Connell, 1987). Gender hegemony is presented as a critical theory with which to conceive gender relations and it can be split into the concepts of hegemonic masculinity (Con- nell, 1987) and hegemonic femininity (Schippers, 2007). This critical framework is utilised to analyse how contemporary Westerns are going beyond the paradigm of the Western hero as White, male, and heterosexual. Discussing films such as Brokeback Mountain, Django Un- chained, and The Keeping Room, and TV series such as Deadwood, Westworld, and Godless, this thesis addresses how different races and sexual identities are being accommodated within the boundaries of the genre, and contends that the growing number of films that portray such characters go beyond an idea of genre revisionism (Szalosky, 2001). The conflation of race, gender, sexual orientation, and genre modifies the boundaries of the Western, converting it into a site for the representation of diversity. The Western is thus queered and decoded so that it can achieve social relevance in the new millennium, and every identity can wield a gun of its own. TABLE OF CONTENTS 1.INTRODUCTION 1 1.1 A Working Definition for the Western........................................................................... 2 1.2 Rationale of Chapters..................................................................................................... 4 2. LITERATURE REVIEW 6 2.1 Theoretical Approaches.................................................................................................. 6 2.2 Contemporary Developments in Literature About the Western................................ 8 2.3 Masculinity and Femininity in Literature About the Western................................... 9 2.4 Gender Hegemony as Critical Framework................................................................. 13 2.5 Conclusion: The Need for a Gender Representation Framework............................ 14 3. GENDER HEGEMONY AND MASCULINITIES 15 3.1 Film Form And Hegemonic Masculinity: Appaloosa And The Assassination Of Jesse James By The Coward Robert Ford................................................................................... 15 3.1.1 Appaloosa: Hegemonic Masculinity Through Neo-Classic Form....................... 15 3.1.2 The Assassination of Jesse James by the Coward Robert Ford: Blurring Hegemonic Masculinity Through Slow Film Form....................................................... 21 3.2. Queer Masculinities: Deadwood And Brokeback Mountain..................................... 25 3.2.1 Deadwood: The Economics and Politics of Male Homosocial Desire................. 26 3.2.2 Brokeback Mountain: Turning the Western Homosexual................................... 33 3.3. Black masculinities: Django Unchained and Hell on Wheels................................... 38 3.3.1 Django Unchained: Individual Solutions to Collective Problems in Pre-Industrial Society............................................................................................................................... 39 3.3.2 Hell on Wheels: Strategies of Resistance and Integration in the Industrial Society 45 3.4 Contemporary Masculinities And Western Iconography.......................................... 50 3.4.1 Solo and Logan: The Construction of Contemporary Masculinity Through Fantasy.................................................................................................................... 51 3.4.2 Justified and Hell or High Water: We Will Never Leave Harlan Alive.............. 55 3.4.3 Conclusion.............................................................................................................. 59 4. GENDER HEGEMONY AND FEMININITIES 61 4.1. Film Form And Femininities: Hostiles And Meek´S Cutoff...................................... 61 4.1.1 Hostiles: Non-Hegemonic Femininity Through Neo-Classic Film Form........... 61 4.1.2 Meek´s Cutoff: Non-Hegemonic Femininity Through Slow Film Form............ 66 4.2. Queer Femininities: Godless And Westworld............................................................. 72 4.2.1 Godless: Queerness as Power................................................................................. 73 4.2.2 Westworld: The Artificial Construction of Sexual Identity................................. 79 4.3. Intersectional Feminism: The Keeping Room And The Beguiled............................. 82 4.3.1 The Keeping Room: Labour, Speech and Anger as the Basis for an Alliance.... 83 4.3.2 The Beguiled: Reversed Hegemonic Femininities and the Consequences of Race Erasure............................................................................................................................. 88 4.4 Contemporary Femininities And Western Iconography........................................... 91 4.4.1 Kill Bill: Regaining Agency Through Violent Bodies........................................... 91 4.4.2 Mad Max: Fury Road: Queerness as the Condition for Revolution................... 94 4.4.3 Certain Women: Affect and Intimacy Through Western Iconography............... 97 4.4.4 Three Billboards Outside Ebbing, Missouri: Combative Feminism in the Body of the Female Hero............................................................................................................. 100 4.4.5 Conclusion............................................................................................................. 103 5. CONCLUSION 105 6. REFERENCE LIST 108 6.1 Bibliography................................................................................................................. 108 6.2 Filmography................................................................................................................. 117 6.3 Other Media................................................................................................................. 121 LIST OF ILUSTRATION • Figure 1. Virgil Cole framed as a Western hero. Appaloosa/New Line Cinema. [P17] • Figure 2. Virgil Cole and Ring Shelton as professional rivals. Appaloosa/New Line Cinema. [P17] • Figure 3 and 4. The conflict between Virgil Cole and Randall Bragg is framed in shot- reverse-shot structure. Appaloosa/New Line Cinema. [P18] • Figure 5. Everett Hitch resembles the bullfighter before the duel. Appaloosa/New Line Cinema. [P19] • Figure 6. Jesse James framed as an epic hero by Roger Deakins’ cinematography. The Assassination of Jesse James by the Coward Robert Ford /Warner Bros. [P23] • Figure 7 and 8. The relation between Jesse and Bob Ford structured with shot-reverse- shot technique. The Assassination of Jesse James by the Coward Robert Ford/Warner Bros. [P24] • Figure 9. The blurred image erases clear-cut historical readings. The Assassination of Jesse James by the Coward Robert Ford/Warner Bros. [P25] • Figure 10 and 11. Male homosocial desire is represented through the gaze. Dead- wood/HBO. [P29] • Figure 12 and Figure 13. Bullock’s and Swearengen’s desire is also expressed by their looking at each other in shot-reverse-shot-structure. Deadwood/HBO. [P30] • Figure 14 and 15. Similar shot composition, different results.Deadwood /HBO. [P31] • Figure 16. Removing the gun belt as striptease. Deadwood/HBO. [P32] • Figure 17. Brokeback Mountain references John Ford through framing. Brokeback Mountain/Focus Features. [P34] • Figure 18 and Figure 19. Horizontality and verticality reveal the constructed nature of gender. Brokeback Mountain/Focus Features. [P37] • Figure 20. Racism is seen from Django’s perspective. Django Unchained/The Wein- stein Company. [P40] • Figure 21. Gary Cooper as the Southern gentleman. Vera Cruz/United Artists. [P41] • Figure 22 and 23. Django’s first and last appearances in the film.Django Unchained/ The Weinstein Company. [P42] • Figure 24. Approval shown by the Black community toward Django. Django Un- chained/The Weinstein Company. [P44] • Figure 25. Bohannon and Elam’s friendship is based on a shared display of violence. Hell on heels/AMC. [P47] • Figure 26. Elam enacts a radical and violent approach toward liberation. Hell on Wheels/AMC [P48] • Figure 27. Psalms grants Bohannon victory in the railroad race. Hell on Wheels/AMC. [P49] • Figure 28. Han Solo and Chewbacca together in the shower. Solo: A Star Wars Story/ Walt Disney Studios Motion Pictures. [P53] • Figure 29. Western iconography is used in the construction of Solo´s masculinity. Solo: A Star Wars Story/Walt Disney Studios Motion Pictures.
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