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Come Back, Todd

Rehabilitating Shane (George Stevens, 1953) in Soldier (Paul W.S. Anderson 1998)

Bibliographic Data

ID7166004
AuthorsElizabeth Abele (0000-0003-1003-2316)
Year2025
Volume42
Issue8
Pages2064-2082
Publication date2025-11-17
Open AccessYes
TypeARTICLE
VenueQuarterly Review of Film Studies (JOURNAL)
Journal identifiersISSN: 0146-0013 • E-ISSN: 1543-5326
PublisherInforma UK Limited (PUBLISHER • GB)
DOI10.1080/10509208.2023.2284628
OpenAlexW4388939050
LanguageEN
References cited9

Films and theorists throughout the twentieth century noted the dehumanizing required of American men to serve society.Shane (George Stevens 1953) belongs to a group of post-World War II Westerns that addressed the personal sacrifices demanded of the "hero."Despite its bleak message, Shane has resonated in the popular imagination, not only for Shane's single-handed rescue of the Starrett family and their community, but for his subsequent exile -marked by Joey Starrett's plaintive cry.Among the films inspired by Shane is the science-fiction Soldier (Paul W.S. Anderson 1998), a film which presents a significant deepening and revision of the narrative.Todd 3465 (Kurt Russell) belongs to a race of soldiers trained and molded from birth.Unfortunately, he and his kind have been replaced by a new breed of soldiers, who are even closer to manufactured.After being literally discarded, Todd becomes part of a settler family, comparable to the Starrett family's inclusion of the wandering Shane.This retired Soldier faces challenges and limits that parallel the retired gunfighter.Donna Harawa ys "A Cyborg Manifesto" (2016) provides not only an appropriate lens through which to view Soldier but also to examine the Western's gunman: But basically, machines were not self-moving, self-designing, autonomous.They could not achieve man's dream, only mock it.They were not man, an author to himself, but only a caricature of that masculinist reproductive dream

Art · Art history · Cinema and Media Studies · Literature, Film, and Journalism Analysis · Shakespeare, Adaptation, and Literary Criticism

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Highly citedNo

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