The Searchers, ©1956, Warner Bros.
By Megan Stewart
Mise-en-scène does work for the camera, but also more broadly works to contribute and construct the broader meaning of a film. The arrangement of actors, landscape, props and camera angle all work together to provide a deeper critical lens for the film. The article, “Cowboys and Free Markets” points out the utilization of mise-en-scène in Westerns, saying, “the very geography of the West- and the camera’s treatment of that space- provides the site and the mise-en-scène in which individuals of magnitude assert their sense of order” (Corkin 75). Authors Ella Shohat and Robert Stam, in their article, “The Imperial Imaginary“, that “central to the Western is the land [and it acts] as a binary division that pits sinister wilderness against beautiful garden” (Shohat & Stam 116) which in turn leads Native Americans to be seen as the outsiders on their own land in Western films. John Ford’s The Searchers, released in 1956, reflects the cultural place of the Untied States at a pivotal moment in the division of races. Through the use of mise-en-scène, war scenes in The Searchers promote a racist agenda and work to emphasize the race binary and order of dominance, ultimately reinforcing the superiority of Whiteness.
It could be argued that the Comanche tribe in The Searchers is initially portrayed as the superior race, as they appear as a large cohesive group on top of a hill, looking down on the Whites travelling on their land. However, as the scene continues, the Native Americans surround Ethan Edwards and fellow White Americans on either side, sandwiching them. This is the first glimpse the audience has of the opposing sides at war with each other. The sandwich is the first physical representation of the race binary.
But as the scene continues, the Europeans-Americans quickly race forward; physically, and arguably metaphorically, in front of the Native Americans. In this way, the audience is immediately sutured in and understands the White Americans as superior, striding ahead of the so-called savages. This shot is vital to the understanding of the race binary.This violent scene ends with the races once again split; the White Americans on one side of the river, and the Native Americans on the other.
- The Searchers, ©1956, Warner Bros.
This use of mise-en-scène is a physical representation of the race binary. Ethan Edwards, the dominant male figure in The Searchers, immediately reinforces the savagery of the Native Americans on the other side of the river- insisting that the White men’s guns must continue to kill them as the tribe tries to charge onward across the river, attempting to fight against the race binary.
In this way, Ethan Edwards is seen as the hero in the film, “defined by the number of Indians he could kill” (Shohat and Stam 116). His character works to group the tribe as homogenous, just as the mise-en-scène completely disregards including any cultural elements of the Comanche tribe. His identity as the problematic hero develops throughout the movie as scenes such as this display his racist tendencies. On the whole, the audience is able to see the race binary expand just as Ethan Edward’s character evolves. This identity development is a common theme in many movies, especially when race is a contributing theme. Although only individuals from the tribe would’ve killed his family, he groups the tribe as one, not seeking out individuals for revenge.
The next violent scene comes when Martin and Ethan find Debbie. Debbie represents the deconstruction of the race binary. Her character is inferior being female, but also has both White and Comanche identities- being raised white, yet identifying with the Comanche tribe following her kidnapping early on in the film.
Debbie approaches Martin and Ethan to tell them she wants to stay with the tribe, that “this is [now] my home”. In this scene, Debbie stands in the center as she is physically between where the tribe is stationed and ultimately approach from, and where Martin and Ethan are camping. In this way, the tribe seems to have gained back some superior status, as they physically appear from atop a hill once again, standing above the Whites and having ‘won’ over Debbie, showing that the Whites can be turned over to the ‘savage’ side. The audience may feel as if this is the climax. But, having been sutured in to the White gaze, the audience feels as though this cannot be the end, with the inferior race winning.
Finally, the final war scene comes as Scar is defeated and the Whites invade the tribe’s camp. The mise-en-scene continuously shows the tribe’s camp as the landscape, emphasizing the White American’s taking control and domination of the Comanche’s home. Debbie ultimately flees the scene, trying to save her own life from Ethan. This is a pivotal moment in the film, Debbie ending up in a cave, being split between her Native American identity and her White identity. The landscape of this scene is Monument Valley and yet no Native Americans are seen in this scene; the Native Americans are ‘eliminated’ from the final scene. She is physically separated by the Native American race when she flees the war scene, and Ethan ultimately shows the Whites as the only relevant race on the land, raising Debbie up and telling her, “It’s time to go home”.
Mise-en-scène reinforces the race binary throughout The Searchers in the war scenes. Through physical positioning and landscapes of the Whites and Comanche, the audience is sutured to respond to the White dominance, and yet the Native American’s savagery keeps them relevant throughout the film. The race binary is ultimately upheld through the film’s intersectional character, Debbie as she ultimately makes the decision of the winning race, choosing to go home with the Whites as she is physically separated from the presence of the tribe. Each one of these elements of mise-en-scène in the film is intentional, all working together to promote the racist agenda of Westerns…while portraying the Whites as the persistent, dominant group that ultimately conquers the Western land and home-front.
Works Cited
Corkin, Stanley. “Cowboys and Free Markets: Post-World War II Westerns and U.S. Hegemony.” Cinema Journal, vol. 39, no. 3, 2000, pp. 66–91. JSTOR, www.jstor.org/stable/1225534.
Ford, John, director. The Searchers. Warner Bros., 1956.
J., Joshua. “Racial Identity Development in T.H.U.G.” Gender and Diversity in Film, 27 Feb. 2019, engl359.home.blog/analytic-blog-posts/racial-identity-development-in-thug/.
L., Gabby. “Clothes (and Colors) Speak Louder than Words.” Gender and Diversity in Film, 27 Feb. 2019, engl359.home.blog/analytic-blog-posts/clothesandcolors/.
Oravec, Emma. “How the Shot and the Cut Give Meaning in ‘Smoke Signals.’” Gender and Diversity in Film, 27 Feb. 2019, engl359.home.blog/analytic-blog-posts/how-the-shot-and-the-cut-give-meaning-in-smoke-signals/.
Shohat, Ella and Robert Stam. “The Imperial Imaginary.” Unthinking Eurocentrism. Routledge, 1994.
Gender and Diversity in Film 
You have really great placement of pictures that are able to catch the readers eye while not being too distracting. I also think that you have a really good closing argument that summarized all of your thesis points up really well. I think that it would be beneficial to add a movie clip to your blog just because of the topic you chose and I think that it would better help the readers understand exactly what it is you are talking about!
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This is a very solid reading of the race binary and its role in The Searchers. My main feedback is that I would consider shifting the placement of your screenshot depicting the scene at the river. This photo is associated with the material in the paragraph above it, but in line with the text of a different paragraph. I think this is a bit confusing for the reader. Because you already have one image in line with the text of paragraph the photo matches up with, I might put the photo of the river scene as a standalone. I hope that makes sense. Great post. Good luck with revising!
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I love how you talked about the transformation of of the binary a bit while still emphasizing the superiority of “white”. You did a great job of this and even made it chronological in reference to the film. I would just remember to add a caption under your feature image. Good Job
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I like how you have formatted you pictures. It’s not cliche and not distracting. I also like the pictures you have chosen.
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It’s really cool how you connected the way the characters are staged to the race binary. Your analysis is something I didn’t think of when watching the movie and it’s very interesting how you pointed out how the race binary is physically represented in the form of how the characters were staged. Good eye! I’d try to include a clip if you can. Maybe of the one you described in the beginning?
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I really enjoyed how your post worked like a story where your argument was naturally implemented. You do a great job of using the movie to support your argument of “race binary” as well as positioning your scenes to work through the story, rather than have them on top of one another.
I also like how you used Debbie in your final argument. She seems to close the argument nicely when she goes home with the whites.
I would love to see a few more outside resources that can help support the argument. I enjoy reading them and they are fun to interact with.
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I love that you used images to emphasize the importance of mise-en-scene! Your analysis really developed well and provided an awesome insight into the racial binary taking place in the film. Great job!
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I think if you made all your images the same size the post as a whole would appear more organized and look like more of a unit. I also think it would be helpful if you provided a clear definition of mise en scene at the beginning of the post instead of jumping right in. Overall, I like that you chose one specific aspect of film making to focus on. I think it creates a narrow argument that’s easy to follow.
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I really enjoyed reading this! It made me think about the movie in a way I didn’t before. I really don’t have any suggestions because I felt it flowed nicely and was very well written! Good job!
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I think this is a super interesting article! I like that instead of focusing on just one scene, you incorporated multiple to support your argument. You provided the reader (and viewer) with an analytical journey touching on the beginning (the racist agenda), the middle (the “wrong” choice by Debbie), and the end (the “right/white” choice). I think adding a photo of Debbie standing between the Native Americans and Ethan in the middle would be a good addition!
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I thought it was a very good touch to more deeply explore the scene we looked at in class. even though I watched the movie, I really didn’t notice the parallelism between the scenes you referred to. Your mix of movie description and analysis was great. Well done!
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Great post! I think your idea about physical separation of native americans and the white searchers is very interesting and something that I had not thought of before. Loved your analysis where you talked about Debbie and her time with the native americans and how the movie shows how she is inherently “corrupted” and needs white support. Overall great post and definitely hyperlink some more!
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I really like how you talked about the Native Americans having moments of what looked like power due to the mise-en-scene. I never thought about that while watching the film but it makes so much sense when you pointed it out. I also like the one picture you have which goes through part of the text. I think it helps break up the text and add a different flow that I enjoy looking at.
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One of my faults when watching film is to consider these obviously intentional marks that the director chose to or not to include. I would have never considered the white Americans as moving ahead of the Native Americans as a metaphor but is totally such an eye-opening example. It is a very subtle concept, like many others in the film that one might not ever recognize unless asked to do something like this assignment. Then all of the moments you mention with Debbie and her decision making are also very subtle. This idea kind of relates to some of the other posts that I’ve read about how the way the scene is set up can affect the audience’s interpretation of what is taking place on screen. I forget it almost every time but I appreciate your thought process!
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Very powerful analysis. I especially loved your quote, “The landscape of this scene is Monument Valley and yet no Native Americans are seen in this scene; the Native Americans are ‘eliminated’ from the final scene. She is physically separated by the Native American race when she flees the war scene, and Ethan ultimately shows the Whites as the only relevant race on the land, raising Debbie up and telling her, “It’s time to go home”.” The images that you describe are so powerful for viewers and influence how an audience interprets a film consciously as well as unconsciously. Great use of media too.
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I love the header image, Meg! It really effectively establishes the tone of the rest of your post. Furthermore, I found the JSTOR article that you included to be super interesting and really helped your argument. This is a great in-depth analysis of how mis-en-scene contributes to the larger meaning of the film. I think even including a video clip in this instance, if you can find one, would also strengthen your post!
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