A video essay by Catherine Russell
Journal of Videographic Film & Moving Image Studies, 8.3, 2021
The essay examines Stanwyck’s dedication to her craft, which often led her to endure injuries and physical demands, reflecting the invisible labor behind her iconic roles. By compiling decades of her performances, the analysis traces patterns in her star image and her nuanced relationship with horses as both a narrative device and a personal passion. However, Stanwyck’s cinematic triumphs are often juxtaposed with scenes of vulnerability—such as her characters falling from horses to be saved by men—mirroring the constraints placed on her power by traditional gender roles and romantic resolutions. This duality aligns with feminist critiques, such as Sara Ahmed’s concept of the “feminist killjoy,” to uncover the tensions between Stanwyck’s independence and the limitations imposed by her industry.
Stanwyck’s affinity for horses and the Western genre became crucial to her longevity as an actor, especially in the 1950s, allowing her to navigate the evolving demands of Hollywood. The archival analysis reveals her pioneering spirit in blending performance, cultural labor, and industrial pressures to create a unique legacy. While she shied away from directing, her influence on productions like The Big Valley underscored her agency within limits set by the era’s gender norms. Stanwyck’s final riding scene in The Thornbirds epitomizes her enduring elegance and authority, symbolizing a feminist icon who redefined women’s representation in film. Her work invites reflection on the hidden struggles within Hollywood’s dreamscape and celebrates her as a dynamic force in cinematic history.
