This essay looks at the historical phenomenon of the western as a focal genre in postwar America. Through discussion of Howard Hawks's "Red River" and John Ford's "My Darling Clementine", it shows how the western was well suited to convey important ideological rationales for postwar U.S. foreign policy, including the inevitability of American expansion and the strategies for hegemony that guided the Truman administration's foreign policy.
Cinema Journal publishes essays on a wide variety of subjects from (using) diverse methodological perspectives. A "Professional Notes" section informs Society for Cinema and Media Studies members about upcoming events, research opportunities, and the latest published research.
Founded in 1950, the University of Texas Press publishes over 90 books per year and 11 journals in a wide range of fields. In addition to publishing the results of original research for scholars and students, UT Press publishes books of more general interest for a wider public. It also has a special obligation to the people of Texas to publish authoritative books on the history, culture, arts, and natural history of the state and region.
This item is part of a JSTOR Collection.
For terms and use, please refer to our
Cinema Journal
© 2000 Michigan Publishing