In most communities, primary cultures are channelled to various genders that are bound within the social setting. This culture has various beliefs that are viewed to be the most effective for a certain gender. For example, we have a professional named John Ford, who analyzes various ways women, or rather females, are viewed according to their societal behaviours (Belton, 2019). For example, when one brings down a certain case in the societal setting, one can subject the case to different females within the society. This particular female’s response to the subject matter defines the female’s main character in society.
Throughout this essay, we are going to major our point of focus on similarities and, more so, the differences that exist bounded on the female view based on John Ford. Considering the scenario that is brought about by profession, one can define various female characters that are mainly found within the community setting. Based on the John Ford content, within the Western genre, females are mostly viewed and ranked as playing a vital role in society. In addition to this, they are found to be symbols that are mostly channelled within the Western genre context (Meek, 2020). As we will discuss throughout this essay, this idea was discovered by John Ford Stagecoach in 1939. Throughout this essay, students will be able to learn more about the similarities and, more so, the differences that exist between and among the females that bring the highlights leading to roles that particular females play as they bring about the symbol of “the West itself” and “the forces of civilization.”
First, throughout this essay, we will discuss the female characters in Stagecoach, who are believed to embody the forces of civilization. Remember, this idea was brought up in 1939, and it has brought about differences in the view of female characters in the community system. In this case, female is viewed or rather portrayed as Wild West since they are found invading this lawless environment. In this case, they are also portrayed to be morally upright. This shows that most behaviours females portray at any given time are correct (Lowry, 2017). When one talks of morals, one means the behaviours mainly pot rayed by the females in the community system. In most cases, they are found to offer or display the correct behaviour and hence viewed as morally upright.
Lastly, females are viewed as being controlled mainly by the moral compasses embedded within their chaotic and refined. Most females are found to be controlled by the moral compass in any given society. For example, in every societal setting, some moral rules are made and implemented by the elders in the social setting. In most cases, females are controlled by these particular moral rules, which act as the compass to direct them on which route to take, especially when making various decisions based on different scenarios (Saunders, 2021). For example, using the Stagecoach, some of the characters are used as examples to symbolize various characters of the females, especially within the societal setting. For example, we have got an example of Lucy Mallory.
This is one of the most beloved females to be married to one of the military people. Despite that, she is found to be pregnant and moving from her area to where her husband is. According to this scenario, this is viewed as the idealized notion of the family. This means that in most societies, a family is complete when the married persons are together at any given time. When she leaves her place to get to where her military husband is, this shows that she is obeying the rule of society about family. Also, she is fond of preserving the traditional laws embedded in different societies at any time. Remember, even though there is developed technology that changes the culture of the community, some of the rules are believed to be more traditional and cannot be changed fully by technology. These particular rules need to be also followed. In this case, Lucy fully follows the customary laws. Lastly, she symbolizes order and, more so, stability.
On the other hand, we have got Dallas, a female with a different behaviour. In her case, she is found to be a prostitute. This point offers a representation of a nuanced depiction of femininity. In the begging, Dallas is believed to be more of their fellow character, but lastly, she desires redemption, compassion and resilience. By doing so, she is fond of changing the cultural values of society at any given time. There are cultural values set against certain behaviours in the community or the social setting. Once any given individual at any given time is therefore found behaving in another direction, this is therefore viewed as a violation of the cultural laws of the society at any given time. This, lastly, may impact cultural change since most individuals will therefore copy the new character in society. Dallas, therefore, introduces a new character in society due to her behaviour. This, therefore, poses a great danger to the community since there is a theme of change in the community’s cultural laws at any given time. Through her case, she brings about societal challenges through the process of displaying a moral direction and capacity for empathy. When one completely focuses deeply on her case, one is, therefore, able to note that there is a complete display of the women in the community systems roles.
In addition, the female characters who are found within the Stagecoach can also be termed as a symbol that signals the West Itself. This has been so because the American West is associated with notions of adventure, freedom and more opportunities. Through the process of the women’s exploring new frontiers, constraints and, more so, some of the liberation from society, females are therefore believed to be embodied by the spirit of the West (Wilkins, 2019). Lastly, this portrays the theme of resourcefulness, coming up with the harsh conditions ushered by the environment, independent, resilient and hostile forces.
In this case, Lucy brings about the conjugal representation of the potential for a better future, symbolizes the West as the place, and represents the forces for civilization. This is cultivated under her spirit to join her husband despite the type of military environment the husband is in. On the other hand, Dallas offers a sense of rebellion in this case. This is because she is actually against the societal requirements, and more so, she is rebellious on the embodies of the West. She symbolizes the wrong characters that challenge society at any given time, and more so, represents the unconventional paths that one can completely emulate in society and fail to fulfil their dreams.
In conclusion, John Fords Stagecoach presents different female characters based on the Western genre. Some of the characters, in this case, are embarking on forces of upholding the values of traditions. In contrast, other characters symbolize the spirit of the West itself, which represents a challenge to societal norms, independence and, more so, freedom. Therefore, throughout this essay, we can learn more about the comparisons and contrast among feminists regarding this topic (Spicer, 2016). Throughout the essay, one has captured the main idea addressed.
References
Belton, John. American cinema/American culture. McGraw-Hill Humanities/Social Sciences/Languages, 2019. https://www.amazon.com/American-Cinema-Culture-John-Belton/dp/0073386154
Lowry, Ed. “Stagecoach (dir. John Ford, 2017).” CinemaTexas Notes: The Early Days of Austin Film Culture. University of Texas Press, 2018. 110–120. https://soma.sbcc.edu/users/davega/xNON_ACTIVE_CLASSES/FILMST_118/FILMS/Stagecoach/StageCoachPartialArticle.pdf
Meek, Barbra A. “Racing Indian Language, Languaging an Indian Race.” The Oxford Handbook of Language and Race. Oxford University Press, 2020. 369. https://academic.oup.com/edited-volume/34251/chapter/290391505
Saunders, John. The Western Genre: From Lordsburg to Big Whiskey. Wallflower Press, 2021. https://www.amazon.com/Western-Genre-Lordsburg-Whiskey-Short/dp/1903364124
Spicer, Jeffrey A. “The changing face of the Western: An analysis of Hollywood Western films from director John Ford and others from 1939 to 1964.” (2016). https://engagedscholarship.csuohio.edu/etdarchive/581/
Wilkins, Kim. “These violent delights: Navigating Westworld as “quality” television.” Reading Westworld (2019): 23–41. https://philpapers.org/rec/WILTVD
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