1. Western Films

2. The Western major defining genre of American film industry major defining genre of American film industry nostaligic eulogy to days of the untamed American frontier nostaligic eulogy to days of the untamed American frontier one of the oldest, most enduring and flexible genres one of the oldest, most enduring and flexible genres one of the most characteristically American genres in their mythic origins one of the most characteristically American genres in their mythic origins

3. Popularity Popularity of westerns has waxed and waned. Popularity of westerns has waxed and waned. Most prolific era was in the 1930s -1960s. Most prolific era was in the 1930s -1960s. There was a resurgence of the genre in 1990s. There was a resurgence of the genre in 1990s.

4. Archetypal Conflict good vs. bad good vs. bad virtue vs. evil virtue vs. evil white hat vs. black hat white hat vs. black hat man vs. man man vs. man new arrivals vs. Native Americans new arrivals vs. Native Americans settlers vs. Indians settlers vs. Indians humanity vs. nature humanity vs. nature civilization vs. wilderness or lawlessness civilization vs. wilderness or lawlessness

5. Archetypes continued schoolteachers vs. saloon dance-hall girls schoolteachers vs. saloon dance-hall girls villains vs. heroes villains vs. heroes lawman or sheriff vs. gunslinger lawman or sheriff vs. gunslinger social law and order vs. anarchy social law and order vs. anarchy the rugged individualist vs. the community the rugged individualist vs. the community the cultivated East vs. West the cultivated East vs. West settler vs. nomad settler vs. nomad farmer vs. industrialist farmer vs. industrialist

6. Traditional Characteristics Central plot is usually maintaining law and order on the frontier. Central plot is usually maintaining law and order on the frontier. Fast-paced action story. Fast-paced action story. Often the hero of a western meets his opposite "double," a mirror of his own evil side that he has to destroy. Often the hero of a western meets his opposite "double," a mirror of his own evil side that he has to destroy.

7. Typical Traditional Elements hostile elements (often Native Americans) hostile elements (often Native Americans) guns and gun fights (sometimes on horseback), guns and gun fights (sometimes on horseback), violence and human massacres violence and human massacres horses horses trains (and train robberies) trains (and train robberies) bank robberies and holdups bank robberies and holdups runaway stage coachs runaway stage coachs shoot-outs and showdowns shoot-outs and showdowns

8. Traditional Elements continued outlaws and sheriffs outlaws and sheriffs cattle drives and cattle rustling cattle drives and cattle rustling stampedes stampedes posses in pursuit posses in pursuit barroom brawls, barroom brawls, “search and destroy” plots “search and destroy” plots breathtaking settings and open landscapes breathtaking settings and open landscapes distinctive western clothing (denim, jeans, boots, etc.). distinctive western clothing (denim, jeans, boots, etc.).

9. Traditional Western Heroes local lawmen local lawmen ranchers ranchers army officers army officers cowboys cowboys territorial marshals territorial marshals skilled, fast-draw gunfighter skilled, fast-draw gunfighter

10. Traditional Western Heroes masculine persons of integrity and principle masculine persons of integrity and principle courageous, moral, tough, solid and self-sufficient courageous, moral, tough, solid and self-sufficient maverick characters (often with trusty sidekicks) maverick characters (often with trusty sidekicks) independent and honorable attitude (but often characterized as slow-talking) independent and honorable attitude (but often characterized as slow-talking) could usually stand alone and face danger on his own, against the forces of lawlessness (outlaws or other antagonists) could usually stand alone and face danger on his own, against the forces of lawlessness (outlaws or other antagonists) expert display of his physical skills (roping, gun-play, horse-handling, pioneering abilities, etc.) expert display of his physical skills (roping, gun-play, horse-handling, pioneering abilities, etc.)

12. “Cowboy Code” Gene Autry’s Saturday matinee saddle pals wanted to be just like their hero. Gene responded with the Cowboy Code Gene Autry’s Saturday matinee saddle pals wanted to be just like their hero. Gene responded with the Cowboy Code 1. The Cowboy must never shoot first, hit a smaller man, or take unfair advantage. 2. He must never go back on his word, or a trust confided in him. 3. He must always tell the truth. 4. He must be gentle with children, the elderly, and animals. 5. He must not advocate or possess racially or religiously intolerant ideas. 1. The Cowboy must never shoot first, hit a smaller man, or take unfair advantage. 2. He must never go back on his word, or a trust confided in him. 3. He must always tell the truth. 4. He must be gentle with children, the elderly, and animals. 5. He must not advocate or possess racially or religiously intolerant ideas.

13. Cowboy Code continued 6. He must help people in distress. 7. He must be a good worker. 8. He must keep himself clean in thought, speech, action, and personal habits. 9. He must respect women, parents, and his nation's laws. 10. The Cowboy is a patriot. 6. He must help people in distress. 7. He must be a good worker. 8. He must keep himself clean in thought, speech, action, and personal habits. 9. He must respect women, parents, and his nation's laws. 10. The Cowboy is a patriot.

14. Western Subgenres the epic Western (i.e., The Big Country (1958)) the epic Western (i.e., The Big Country (1958)) the “singing cowboy” Western (Gene Autry and Roy Rogers) the “singing cowboy” Western (Gene Autry and Roy Rogers) the "spaghetti" Western (trilogy of films by Sergio Leone) the "spaghetti" Western (trilogy of films by Sergio Leone) the "noir" Western (Pursued (1947)) the "noir" Western (Pursued (1947)) the "contemporary" Western (Hud (1963)) the "contemporary" Western (Hud (1963))

15. Subgenres continued the "revisionistic" Western (Little Big Man (1970), Dances With Wolves (1990)) the "revisionistic" Western (Little Big Man (1970), Dances With Wolves (1990)) the "comedy" Western (i.e., Cat Ballou (1965), Blazing Saddles (1974) the "comedy" Western (i.e., Cat Ballou (1965), Blazing Saddles (1974) the "post-apocalyptic" Western (i.e., Mad Max 2: The Road Warrior (1981-2), The Postman (1997)) the "post-apocalyptic" Western (i.e., Mad Max 2: The Road Warrior (1981-2), The Postman (1997)) the "science-fiction" or "space" Western (i.e., Outland (1981)) the "science-fiction" or "space" Western (i.e., Outland (1981))

16. Revisionist Western Subgenre of Western movie Subgenre of Western movie Traces to late 1960s/early 1970s Traces to late 1960s/early 1970s anti-western anti-western post World War II post World War II questions ideals and style of traditional western questions ideals and style of traditional western

17. New Western Elements Use of the anti-hero Use of the anti-hero Stronger roles for women Stronger roles for women More sympathetic portrayal of American Indians More sympathetic portrayal of American Indians Critical views of American government, military, and their policies Critical views of American government, military, and their policies Critical views of masculine figures Critical views of masculine figures Nontraditional sexuality Nontraditional sexuality Black humor Black humor