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The Frontier ClubPopular Westerns and Cultural Power, 1880-1924$
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Christine Bold

Print publication date: 2013

Print ISBN-13: 9780199731794

Published to Oxford Scholarship Online: May 2013

DOI: 10.1093/acprof:oso/9780199731794.001.0001

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Frontier Club FingerprintsConclusion

Frontier Club FingerprintsConclusion

(p.233) Frontier Club FingerprintsConclusion
The Frontier Club

Christine Bold

Oxford University Press

The Conclusion sketches the enduring imprint of frontier club fictional patterns, especially on mainstream western movies. Stock features include the laconic white gentleman cowboy, the pacifist heroine come west, the stalk and shootout, and vast, emptied landscapes threatened by “savage” Indigenous figures. Among the movies under discussion are the multiple remakes of The Virginian (five films plus a television series) between 1914 and 2000, High Noon, Shane, and several films directed by John Ford, including Cheyenne Autumn, The Searchers, Sergeant Rutledge, and My Darling Clementine. Attention is also paid to ways in which anti-western movies—including The Ox-Bow Incident, Blazing Saddles, Posse, and Wild Wild West—challenge these emphases.

Keywords:   western movies, anti-western movies, stock features, gentleman cowboy, pacifist heroine, shootout, landscape, Indigenous figures, The Virginian

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