Viewed at a distance, Dances With Wolves might seem like an instance of the White Savior trope. But while Dunbar’s process of learning Lakota language and culture does parallel what happens in many white-savior stories, it’s an unavoidable fact that he does not save them. (To the contrary, they literally save him.)
In the middle of the film he does bring in rifles that allow the Lakota to fight off a Pawnee attack, but this is not the main story, and the Pawnee are never the true threat. This is one battle in a long, long inter-tribal conflict, and it makes a huge difference on one particular day, but soon enough the Pawnee will acquire rifles and the sides will again be more evenly matched. Dunbar only gives this group of Lakota advance access to a technology that we know, historically, radically altered the Plains cultures.
The true threat in the film is white encroachment—not merely the army and their forts, or white hunters and trappers, but more than anything white settlements. And before the final credits of the movie begin, in case we didn’t already know it from history, there’s a paragraph of text on the screen informing us that thirteen years later everything was over and the last of the Lakota surrendered. The film deliberately tells us that Dunbar/Dances With Wolves does not save them and that his efforts will not be enough.
Dances with Wolves is a 1990 western film produced, directed and starring Kevin Costner.
The film, based on the novel of the same name by Michael Blake, who also wrote the screenplay, won seven Oscars, including best film and best director. In 2007 it was chosen to be preserved in the National Film Registry of the United States Library of Congress. In 1998 the American Film Institute placed it in 75th place in the ranking of the best one hundred American films of all time.
In 1863, during the Civil War, Lieutenant John Dunbar is an officer of the Union Army garrisoned at St. David's Field, Tennessee. The man, following a serious wound that would condemn him to the amputation of a leg, seeks death in front of the Confederate lines, but his extreme gesture breaks the stalemate between the two armies facing each other a few dozen meters away, resolving the battle in favor of the Northerners. His act being recognized as that of a brave man, he is treated, receives a commendation and is granted the possibility of choosing the place of his future destination; the lieutenant asks to be sent to a garrison on the western frontier, on the edge of the Nebraska prairies.
Arriving at Fort Hays, Kansas, Dunbar is sent by the mad commander of the garrison, Major Fambrough, to Fort Sedgwick, the most remote outpost. The suicide of Major Fambrough, committed just after Dunbar's departure, and the assassination of Timmons by a group of Pawnee Indians, which occurred on the way back, determined the subsequent oblivion of Fort Sedgwick by the rest of the army. John spends the first month working to get the outpost back up and running and writing his diary, in which he records everything that happens to him; only his horse Cisco and a wolf with whom he becomes familiar day after day keep him company and to whom he gives the name Two Socks because of his white paws.
There’s something about loners that just seems to sit well with Kevin Costner. In several of his films, he plays the type of character who might be described as a “lone wolf,” particularly in movies like Waterworld, Dances with Wolves, and The Postman. The last one, in particular, featured Costner as a loner in a post-apocalyptic world. At the time of The Postman’s release, Costner acknowledged playing those types of roles a lot, but he didn’t think it was really part of a pattern.
One thing I’m missing in Dances With Wolves, in either theatrical or extended version, is somehow Smiles a Lot communicating “I found this at the place we fought the soldiers” when he hands over the diary at the end, so Dunbar isn’t left to wonder if this kid had the diary the whole time and he never needed to go back to the fort in the first place. I know poor Smiles a Lot is too emotional to speak, but this issue shouldn’t be left to doubt.
Originally, my history BA thesis was going to be deconstructing the Starz/Sky TV collaboration Penny Dreadful.
I changed it.
I had been forcing my way through the show to make notes for my work, but then one day I started thinking about Bill Gunn’s ‘Ganja and Hess’ way too much and it changed my whole concept.
Now, I’ll be writing my thesis on linguistic violence against women and the monstrous feminine in horror, examining terminology used against women and how those words are contextualized historically within horror as a genre.
There’s a lot of material to cover in this paper, as I already have over 50 sources, but to give an idea of what I’m looking at, the following are the movies I’ll be using for the paper:
Am I Quiet Enough For You Yet?
Audition (1999)
Last Night in Soho (2021)
...Will Still Become a Wolf When the Autumn Moon is Bright
Ginger Snaps (2000)
The Company of Wolves (1984)
I Drank All the Blood That I Could
Ganja and Hess (1973)
A Girl Walks Home Alone at Night (2014)
Holy Water Cannot Help You Now
Def By Temptation (1990)
Possession (1981)
They Come to Drink, They Come to Dance, to Sacrifice a Human Heart
The Lure (2015)
She-Creature (2001)
Burned But Not Buried This Time
The Craft (1996)
The VVitch (2015)
So stay tuned for ‘At Least You’ll Sanctify Me When I’m Dead: A History of Linguistic Violence Against Women and the Monstrous Feminine Within Horror’.