Tuesday, March 2, 2010

Women in Westerns

Jane Tompkins wrote, "when it comes to the relations between men and women, the Western doesn't aim to communicate at all" (Tompkins 61). Women in westerns are typically seen as accessories to the cowboy's goals and reflect the inferiority of the alpha-male, which is what the man strives to withhold. However, in High Noon, Rooster Cogburn, and The Ballod of Little Jo, the role of the alpha-female is increased and the woman is portrayed in a powerful manner. Reasons for the rise of feminism in westerns can be associated with the events that occurred in the time period they were made in.

Helen Ramirez and Amy Kane in High Noon may have been the first women in Westerns to push forward the feminist movement. Helen is not afraid to leave her husband and start a new life out west, while Amy actually saves the protagonists life in the end, proving herself strong. This type of behavior is very atypical for women in Westerns. Tompkins asserts, "(A woman) sees herself as he sees her, silly, blathering on about manly business that is none of her concern, and beneath it all really asking for sex" (Tompkins 61). It is evident in High Noon that the strong females break away from their traditional role to represent a more powerful breed of women. This film was created in 1952, shortly the end of WWII. Women took on increased roles in as workers factories, assuming the jobs of their husbands who were shipped off to war. The U.S. economy relied heavily on women, and this was greatly reflected in High Noon when the women save the day.

Jane Tompkins also wrote that women "may seem strong and resilient, fiery and resourceful at first but when push comes to shove, as it always does, they crumble." Eula Goodnight, in Rooster Cogburn, however, does not fold under pressure. She follows Rooster to avenge her father's death and proves to be independent and powerful. She can even handle a gun. This film was created 8 years after the civil rights act, and the equal rights amendment, both of which opened up opportunities for women. Again, these new roles are exemplified through Eula Goodnight.

Little Jo is definitely the best example of a woman taking on a deeper role. Josephine dressing up like a man and taking on his role symbolizes that a woman can do anything a man can. This is a drastic statement regarding the importance of equality. Jo runs away alone, fights off sex-obsessed men, and learns practical tasks, normally associated with a man. In the end, when the paper shows, "Rancher Jo was a Woman," it is obvious that there is much bewilderment and leaves the viewer assuming people realize the aftermath. Clearly, women have come a long way since 1952 and in 1993, with women in almost every power position.

Clearly, the role of women has expanded since the dawn of the Western. High Noon, Rooster Cogburn, and the Ballod of Little Jo are three significant examples of cultural reflections in Hollywood.

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