John Wayne’s World: Transnational Masculinity in the Fifties

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John Wayne: The Real Life of a Hollywood and American Icon

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To learn more about how we use and protect your data, please see our privacy policy. In analyzing a series of Hollywood films that illustrate moments of nuanced transnational engagement with the "foreign," Projecting the World: Representing the "Foreign" in Classical Hollywood enriches our understanding of mid-twentieth-century Hollywood cinema as a locus of imaginative geographies that explore the United States' relationship with the world. While previous scholarship has asserted the imperialism and racism at the core of classical Hollywood cinema, Anna Cooper and Russell Meeuf's collection delves into the intricacies-and sometimes disruptions-of this assumption, seeing Hollywood films as multivalent and contradictory cultural narratives about identity and politics in an increasingly interconnected world.

John Wayne’s World

Projecting the World illustrates how Hollywood films negotiate shifting historical contexts of internationalization through complex narratives about transnational exchange-a topic that has thus far been neglected in scholarship on classical Hollywood. The essays analyze the "foreign" with topics such as the s island horror film, the s Mexico-set bullfighting film, Hollywood's projection of "exoticism" on Argentina, and John Wayne's film sets in Africa. Yet, lacking in these colourful lynchpins, the chapters on the western can feel leaden. The U. S-Italian co-production Legends of the Lost Henry Hathaway, finds Wayne trekking across the Sahara in search of treasure with a wealthy French explorer and a local prostitute.


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Wayne portrays a diplomat who seeks to bring the two nations together, just as promotion from the film publicised that Wayne and the U. It is an astute, rigorous and sensitive chapter: a real contribution to the body of work on Wayne.

Meeuf has gone far to dispel the myths that surround Wayne, showing a career that had more variety than audiences and scholars often assume. Across the s, Wayne embodied the values of capitalist modernity, regardless of whether he was performing in anti-Communist romances, gun-slinging westerns or international adventure pictures. Arguably, something very interesting lurks on the periphery of this project.

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