Roach proposes an inventive reconsideration of the film’s two stars, John Wayne and Jimmy Stewart that is premised fervently on post-structural deconstructions of masculinity and the politics of the body. Through gestural analyses and close attention to the ways in which both men occupy the filmic space, the article establishes a rigorous interpretation of Richard Dyer’s theories of stardom that is premised upon relational aesthetics: of not only its leads’ interactions with each other, but also an ethic of genre-based intertextuality
"He Looks Mighty Pretty When He Gets Mad: Relationships of Face versus Body in The Man Who Shot Liberty Valance,"
Kino: The Western Undergraduate Journal of Film Studies:
1, Article 5.
Available at: http://ir.lib.uwo.ca/kino/vol5/iss1/5