Prince’s Theory On The Western

Prince asserts that the Western genre is unique in its preoccupation with historical events, which lends itself to a specific temporal and spatial awareness that explores a post-civil war time frame. The traditional Western embodies a yearning for a simpler world devoid of the complexities brought by modernity. Western narratives often focus on the conflict between the absence of law and order and the establishment of civilized society. The hero enacts violence to protect civilized society, yet their inclination towards violence prevents them from embracing the community they protect. The presence of uncivilized characters, usually portrayed as Native Americans, outlaws, and cattle rustlers, threatens the delicate nature of these idealized domestic communities. The genre encompasses an array of depictions of Native Americans, ranging from stereotypical and villainous portrayals as savages to the presentation of sympathetic and intelligentially astute characters.

Prince also explains that Westerners depict fixed rules about which individuals can perpetrate violence and the specific forms of violence deemed permissible. The most enduring regulations relating to acts of violence revolve around gunfights. The gunfight demonstrates that the hero is reluctant to kill and is only willing to kill within a strict set of regulated conditions. However, many writers try to deconstruct and reconstruct Westerns. Some Westerns depict antiheroes in pursuit of vengeance, while some heroes disregard the rules of gunfights, and others exhibit behavior akin to savages or outlaws. In essence, the Western genre embraces vast landscapes, rugged men, and an untamed wilderness. However, it is inherently inclined to delve into the tensions and contradictions inherent in American society and culture.

While my familiarity with the Western genre is limited, I believe Prince’s delivery of the analysis of this genre was succinct. Prince’s analytic deduction regarding the role of violence in Westerns was enlightening. I have contemplated, although without serious intent, the correlation between the perpetration of violence and the people who receive violence in Westerns. After reading Prince’s analysis, my understanding of violence within the Western genre has been enhanced. It is clear to me that violence is an integral part of American cinema. I ponder the potential influence of Westerns on the contemporary portrayal of the antihero, considering the parallel adherence of superhero movies to principles regarding the portrayal of violence.