In his essay “Cowboys and Free Markets,” Stanley Corkin historically situates U.S. imperial discourses in the Western film genre. Popular during a time of post-war U.S. global expansionism, the Western re-elaborates the cultural “need for settlement and nationalism” (68). According to Corkin, this thematic appears in all Westerns. But the post-World War II era in America makes particular use of the genre: “the repressed dimension of westerns is their relationship to imperialism—and it is their indirect means of considering such activity that makes them the genre of the period” (71). During the post-war shift toward an aggressive U.S. expansionism (militarily, economically, and politically), a suitable cultural metaphor for explaining national policy to the larger population was found in the frontier trope of the Western. The geography of the old-west is physically outside socialization and civilization, and it provides a place “in which individuals of magnitude can assert their sense of order