which needs to see heroes in literature and films rather than the writers and film-makers themselves. Film-makers in particular understand the need for heroes, and therefore make sure to emphasise it in their films. It was the two world wars which marked a change in the presentation of the hero. For example, after World War II there was a “marked move to make the hero a less idealized character” as “the war had destroyed too many illusions.” 110 The public had lived through the war and understand more about it than ever before, and did not want to see unrealistic films. Which painted the situation out as one that was easily won by one person, rather than the husbands, sons and brothers who had fought and often died in the wars. Ethan’s character in The Searchers could therefore be seen as a kind of hero who has been changed by his experience in the Confederate Army. It can be seen as following Homer’s heroic template and Martin Winkler agrees that the “Greek heroic myth” is “an archetypal precursor of the American Western film in general and of John Ford’s The Searchers in particular.” 111 He goes on to add that, “Ford’s understanding of heroism places es pecially the figure of Ethan Edwards and the film’s ending in the cultural tradition of Homeric epic.” 112 The Searchers can be seen as following homer’s idea of the hero, despite it being filmed post -World War II and understanding the collective effort that it was. Even with somewhat more realistic representations of war and ‘the hero’ developing after World War II, it co ntinues to be a popular theme. Representations of war are important, especially, for example, in American culture, as “the war movie was central to the global propaganda campaigns during World War I and World War II.” 113 By 110 Fenin and Everson, The Western: From Silents to the Seventies , p. 27 111 Winkler, ‘Homer’s Iliad and John Ford’s The Searchers ,’ p. 145 112 Ibid., p. 145 113 Guy Westwell, War Cinema: Hollywood on the Front Line (London: Wallflower Press, 2006), p. 1
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