Genre theory refers to a cumulative term that describes the categorization of other films that have similar aspects such as characters, narratives, filming techniques, etc. Goodykoontz (2019) states that ‘For most of us, genre is the first way that we learn to engage with film.’ In other words, a film’s genre can stimulate and pave the way for certain expectations of the movie, before actually viewing it. The film Shane starring Jack Schaefer displays the tradition of a western genre film with its unique settings and characters, creating an expansion for the genre’s boundaries.
Beyond that, it is essential to understand the conventions of the western genre portrayed in the above film. Goodyknotz says that a western is one on their horse who takes on the struggle of nature and his fellowmen (Section 3.2). The movie’s setting takes place in an insular western alley where Shane was a hero. Beautifully filmed in technicolor, the settings contain a tremendous awareness of passion and resentment for the feuds which existed amid the new homesteaders and the cattlemen. Meanwhile, western genre films deem to be conventional historical approaches, privileges dominant ideologies such as heterosexual masculinity, western civilizing while being consistent with ranchers mountain men, etc.
Moreover, attributes of the western genre include the instantly identifiable character type of a ‘lone hero,’ which takes a dangerous journey to protect the town folk. He usually is a quintessential strong silent type and physically and intellectually strong. He is calm in the sense that, notwithstanding the social privileges earned by his outward achievements, he remains sequestered. Goodykontz (2019) indicates that it is not just the costume that transforms an actor into character; it is also the acting itself (Section 4.2, para. 13). Furthermore, the iconography of skin-tight trousers, low-slung, and cocked hat lends itself to eroticization than that of a gunfighter.
Shane (Alan Ladd), a flawed white knight of a gunfighter with a mysterious past journey into a small Wyoming town, anticipating to settle down as a farmhand quietly, but conflict forces him to extend support to a petite ranching community under repeated gang intimidation and ranchers who want to reclaim the land for themselves. While developing attraction for Starrett’s wife, Marian (Jean Arthur), and a fondness for her precocious son Joey, Shane remains with no choice but to thwart the villainous rancher and his chief henchman’s plan.
Also, Shane’s characteristic is of a classical plot of a hero who forms part of a social group and having to defend the homesteaders while getting rid of villains Rykers and Wilson. Villains frequently appear in Western Genre films but are not usually the main character/s. On the other hand, according to Goodykoontz (2019), a villain/antagonist may also have admirable qualities and may even be like by the audience (Section 2.3, para. 2). Moreover, the protagonist portrays an act of independent courage and strength to fight for society’s value. Shane displayed virility since he left society with an intent of which led him to develop strength and acquire his status. Western genre film characters are predominately male characters typically from outside communities and often driven by vengeance or justice.
This western genre is wholly set in convention to the point of tedium, which took it to new altitudes of combining the application of psychological elements, character element, and high level to promote the genre to further glory. It explores a relationship between Mrs. Starett and Shane, which says very little yet conveys so much to its audience; it examines the relationship between the son of Mrs. Starett who sees him as a tragic star; and finally between right and wrong in interestingly old terms for an American western. For example, in one scene, Emily Meyer wants to drive out all homesteaders, which enlightens the audience’s comprehension of his point of view. The connection formed by Shane and Mrs. Starett, provides an element of drama as the boy begins to see Shane as an icon and may have to face a heart-wrenching feeling at the end involving the protagonist’s departure. Hence, this expands the boundary of a typical western film.
Another representation of the western genre in this film is that of the setting. The film is visually beautiful and takes place in a slightly different west than is seldom in Hollywood. Westerns usually take place in desert environments of locations such as Far Western locals or Monument Valleys. Also, the town of Wyoming is made up of old wooden traditional buildings, as seen in the iconography of Western movies. According to a Wyoming platform (2020), “Wyoming embodies the cowboy spirit, so it is no secret that the Cowboy State is the perfect setting for Western movies to be filmed” (para. 1). Additionally, the utilization of repeated visual troops, such as cowboys riding horses, makes it easily recognizable to its audience as a western film setting.
Moreover, in gorgeous technicolor, the movie Shane is beautifully photographed in the plains and mountains of Wyoming. For example, as the movie opens, Shane rides into the village of the mountain wilderness, leading toward the domain of mortals like a luminescent God. Also, when he bids adieu in the finale, he ascends into the mountain as if into paradise, sequentially traveling out an unearthly realm beyond the realm of mortals.
A third example of a convention exhibited in the film is Shane’s character. He is an ordinary man who discloses very little about himself __ no one even knows his last name. His costumes differ, and he remarkably moves differently with power and confidence. His build is not of mighty force, but there is something about his role. Maybe it is the inexplicable ghost-like aura provided to the character. Based on the protagonist’s style, this film perfectly depicts elements of western genre film.
Often, a character can transcend genre boundaries with its broad appeal. This is because movies can engage in complex ways, such as the viewer’s disbelief or propensity for the character (Grant 2012). Nevertheless, a genre can be culturally constructed, which articulates through various conventions to distinguish a message. The movie Shane did more than entertain its audience. Its success launches into a realm of revelation that a lonely man cannot escape his past, regardless of how hard he tries. Besides, his impressive and loyal character captivated his audience. Shane does not like to fight, yet he carries a gun. Moreover, he is reticent and is not braggadocious about himself.
In conclusion, the usage of various conventions in the film Shane using unique elements, settings, and characters qualifies it as a western genre. These conventions include psychological aspects, backgrounds, and styles. The deserted area in the town of Wyoming, with traditional old wooden buildings and platforms, the protagonist’s heroic character all keeps the film intriguing and captivating, thus transcending boundary expansions. This film brings to the attention of its audience that the past is actively alive by viewing it in the light of one’s current experience and perspective.
