In this innovative take on a neglected chapter of film history, Peter
Stanfield challenges the commonly held view of the singing cowboy as an
ephemeral figure of fun and argues instead that he was one of the most
important cultural figures to emerge out of the Great Depression.
The rural or newly urban working-class families who flocked to see the
latest exploits of Gene Autry, Roy Rogers, Tex Ritter, and
other singing cowboys were an audience largely ignored by mainstream
Hollywood film. Hard hit by the depression, faced with the threat--and
often the reality--of dispossession and dislocation, pressured to adapt
to new ways of living, these small-town filmgoers saw their ambitions,
fantasies, and desires embodied in the singing cowboy and their social
and political circumstances dramatized in "B" Westerns.
Stanfield traces the singing cowboy's previously uncharted roots in the
performance tradition of blackface minstrelsy and its literary
antecedents in dime novels, magazine fiction, and the novels of B. M.
Bower, showing how silent cinema conventions, the developing commercial
music media, and the prevailing conditions of film production shaped the
"horse opera" of the 1930s. Cowboy songs offered an alternative to the
disruptive modern effects of jazz music, while the series
Western--tapping into aesthetic principles shunned by the aspiring
middle class--emphasized stunts, fist fights, slapstick comedy,
disguises, and hidden identities over narrative logic and character
psychology. Singing cowboys also linked recording, radio, publishing,
live performance, and film media.
Entertaining and thought-provoking, Horse Opera recovers not only the
forgotten cowboys of the 1930s but also their forgotten audiences: the
ordinary men and women
