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Men Resisting Change .​.​.

from All Futures Is Static by mnttaB

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about

Westerns generally seem to reflect a reaction to second-wave feminism in one of two ways: indirect indifference, or blatant resentment—ultimately reiterating the perceived necessity of a woman’s dependence on a mans protection.

The portrayal of the ultra-masculine, seemingly omnipotent, overtly narcissistic man in westerns during the 1960s and 70s is a reflection of a reaction against the rise of women's rights in the same period.

The role of the breadwinning man in America reached its apex in the late 1950s, and it was then, one feminist author argues, that “with scant preparation, the nineteenth-century male culture crumbled.

There is no better description of the modern western hero than that of the “disillusioned …demigods in a diminished landscape."

violence and the highly popular role of the antihero in the modern westerns is due mainly to the insecurities men felt about their masculinity in the midst of shifting gender roles and changing social attitudes toward women during second-wave feminism.

A potential problem in comparing the western hero to the father figure during the 1940s and 50s is the simple fact that the western hero never seems to be an overt part of the family unit he so carefully protects—he almost always leaves the family at the end of the film.

In Sam Peckinpah’s The Wild Bunch, women in the film serve as nothing more than cooks and prostitutes—existing in the film merely to serve the wants and desires of the men who fill the anti-hero role.

Feminist Zeal versus the Hyper-Masculine Ideal: The New Western Hero

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from All Futures Is Static, released March 20, 2015

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mnttaB Melbourne, Australia

"a welcomingly aggressive music of defiance, sordid detail with a fully diesel cranked set of beats and bites.
File under: Hate was never so lovely if you like your Big Black larger and dirtier and a damn site more threatening."

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