Admirable Alterity on the Frontier: French Women’s Agency in the Hollywood Western (1931-1980)
The article explores a corpus of Hollywood Westerns spanning a fifty-year period between 1931 and 1980 in which Frenchwomen are prominent agents on the Western frontier. It suggests that while the American film industry has had a long-standing esteem for French culture, it was during the 1950s that...
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| Format: | Article |
| Language: | English |
| Published: |
Association Française d'Etudes Américaines
2020-12-01
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| Series: | Transatlantica |
| Subjects: | |
| Online Access: | http://journals.openedition.org/transatlantica/15812 |
| _version_ | 1811329026943352832 |
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| author | Lara Cox |
| author_facet | Lara Cox |
| author_sort | Lara Cox |
| collection | DOAJ |
| description | The article explores a corpus of Hollywood Westerns spanning a fifty-year period between 1931 and 1980 in which Frenchwomen are prominent agents on the Western frontier. It suggests that while the American film industry has had a long-standing esteem for French culture, it was during the 1950s that Hollywood began to promote systematically positive representations of Frenchwomen in the Western. It proposes that a genre of “Frenchness Westerns” emerged in the 1950s as a sub-genre of commercially successfully “Frenchness films” (Schwartz 2007) such as An American in Paris (1951) and Gigi (1958). Issuing from a general climate of American post-war Francophilia, Frenchwomen in the “Frenchness Western” are intelligent and daring, even outdoing American male heroes. These women are understood as incarnating an “admirable alterity,” and are often compared to indigenous and Mexican women, sometimes aiding the latter in the sphere of interracial romance. These broadly positive representations of the Frenchwoman as agent and potential ally to other women would last until 1980 and Michael Cimino’s Heaven’s Gate. This essay suggests that the commercial failure of this film seems likely to have had a hand in ending the presence of Frenchwomen in the Hollywood Western—Frenchness becoming synonymous with the financially unviable. |
| first_indexed | 2024-04-13T15:36:32Z |
| format | Article |
| id | doaj.art-525994240656431e95b8538971289b6c |
| institution | Directory Open Access Journal |
| issn | 1765-2766 |
| language | English |
| last_indexed | 2024-04-13T15:36:32Z |
| publishDate | 2020-12-01 |
| publisher | Association Française d'Etudes Américaines |
| record_format | Article |
| series | Transatlantica |
| spelling | doaj.art-525994240656431e95b8538971289b6c2022-12-22T02:41:16ZengAssociation Française d'Etudes AméricainesTransatlantica1765-27662020-12-01110.4000/transatlantica.15812Admirable Alterity on the Frontier: French Women’s Agency in the Hollywood Western (1931-1980)Lara CoxThe article explores a corpus of Hollywood Westerns spanning a fifty-year period between 1931 and 1980 in which Frenchwomen are prominent agents on the Western frontier. It suggests that while the American film industry has had a long-standing esteem for French culture, it was during the 1950s that Hollywood began to promote systematically positive representations of Frenchwomen in the Western. It proposes that a genre of “Frenchness Westerns” emerged in the 1950s as a sub-genre of commercially successfully “Frenchness films” (Schwartz 2007) such as An American in Paris (1951) and Gigi (1958). Issuing from a general climate of American post-war Francophilia, Frenchwomen in the “Frenchness Western” are intelligent and daring, even outdoing American male heroes. These women are understood as incarnating an “admirable alterity,” and are often compared to indigenous and Mexican women, sometimes aiding the latter in the sphere of interracial romance. These broadly positive representations of the Frenchwoman as agent and potential ally to other women would last until 1980 and Michael Cimino’s Heaven’s Gate. This essay suggests that the commercial failure of this film seems likely to have had a hand in ending the presence of Frenchwomen in the Hollywood Western—Frenchness becoming synonymous with the financially unviable.http://journals.openedition.org/transatlantica/15812admirable alterityFrenchwomenHollywood WesternFrenchness filmsBelle ÉpoqueFrenchness Western |
| spellingShingle | Lara Cox Admirable Alterity on the Frontier: French Women’s Agency in the Hollywood Western (1931-1980) Transatlantica admirable alterity Frenchwomen Hollywood Western Frenchness films Belle Époque Frenchness Western |
| title | Admirable Alterity on the Frontier: French Women’s Agency in the Hollywood Western (1931-1980) |
| title_full | Admirable Alterity on the Frontier: French Women’s Agency in the Hollywood Western (1931-1980) |
| title_fullStr | Admirable Alterity on the Frontier: French Women’s Agency in the Hollywood Western (1931-1980) |
| title_full_unstemmed | Admirable Alterity on the Frontier: French Women’s Agency in the Hollywood Western (1931-1980) |
| title_short | Admirable Alterity on the Frontier: French Women’s Agency in the Hollywood Western (1931-1980) |
| title_sort | admirable alterity on the frontier french women s agency in the hollywood western 1931 1980 |
| topic | admirable alterity Frenchwomen Hollywood Western Frenchness films Belle Époque Frenchness Western |
| url | http://journals.openedition.org/transatlantica/15812 |
| work_keys_str_mv | AT laracox admirablealterityonthefrontierfrenchwomensagencyinthehollywoodwestern19311980 |