Western Landscape When "spaghetti Western" auteur Sergio Leone set out to make Once Upon a Time in the West, he was determined to shoot in Arizona using the same breathtaking, authentic backdrops and landscapes that the great American Western filmmakers, such as John Ford, used in films like Stagecoach (1939) and My Darling Clementine (1946). The landscape and location were iconic images (Monument Valley has appeared in several of Ford's Westerns) that evoked a sense of foreign territory, of something almost prehistoric for the viewer. Thus, for the hero of the Western film to be seen against a backdrop like that of the "desert wilderness" is enough to draw the viewer into a relationship that is at once hostile and precarious -- "the encounter of home and wilderness" wherein ideas of family, shelter, unity, life are juxtaposed with the spare and sparse Western landscape of bleak desert horizons, mesas, plateaus, and barren waste land (Budd, 1976, p. 134). This paper will discuss the relationship between the Western landscape and the social construction and pioneer spirit depicted in the Western film.

In a way, the surrounding landscape of the Western film intrudes upon the serenity of the pioneer family and yet unwittingly serves to bolster and support the spirit of the pioneer hero (he faces the challenges of the "wild west" -- its desolations -- and comes out victorious). The landscape encompasses the marauding Indians, and its sprawling vistas...

Thus, the Western landscape is there to remind the audience of the important social construction of the film hero: he is on a quest to prove himself, his manhood, his ability as a leader -- and he will do so by standing tall amidst the stark and harrowing mesas and the sinister implications of their long forbidding shadows which seem to stretch onward and outward to his ever-nearing fate.
What the desert frontier (like Monument Valley) does, however, is imbue the film with a meaning that an ordinary, say, Texas landscape might not very easily convey. What is this meaning exactly? Buscombe (1995) notes that "Ford's genius for framing and camera placement drew from this one location an astonishingly rich and evocative variety of meanings" (p. 120). Ford's photographing of the Valley in Stagecoach and My Darling Clementine serves a double-fold purpose, essentially: first, it conveys the "puniness of humanity measured against [Ford's] towering mesas," and second, it suggests something about Time -- namely, that it is staunch, older than Man, forbidding,…