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that used to be presented in black and white symbolizing the good and the evilare shown in a more complex way. For example the American soldiers are notthoughtless brutes but imperfect human beings. Costner tried to make the film asauthentic as possible and cast only Native Americans as Indians. The Siouxspeak Lakota language and a full wolf is used for Two Socks.ConclusionThe Western represents adventure, achievement, optimism for the future, thebeauty of the land, and the courage of the individuals who won the land. Theclassic western can be an allegory of the fight between good and evil. Americanvalues – individualism, self-reliance and equality of opportunity – were allpresent in both the frontier life and westerns. Movie-makers used westerns tocomment on historical and political events. The analysis of the historicalbackground and the changes of the American society prove there is a connectionbetween the society and the western. Along with the changes of Americansociety the western genre underwent transformations as well. With thedevelopment of new perceptions some issues were presented in a different way.Especially the image of Native Americans was completely revised as Americansbecame more sensitive towards ethnic minorities – the ‘others.’ Behind thesimple plot and the characters there is a hidden message. The function of theWestern is to provide the vehicle for our dreams, since in most cases we havesettled on our realities. (Fenin 1962:341)ReferencesBooksBazin, A. 2004. What is cinema? Vol. II, (translated by Hugh Gray). Berkeley: University ofCalifornia Press.Fenin, G.N. and W.K. Everson 1962. The Western, from Silents to Cinerama. New York: BonanzaBooks.Gobiowski, M. 2004. Dzieje Kultury Stanów Zjednoczonych. Warszawa: Wydawnictwo NaukowePWN.Skwara, J. 1985. Western odrzuca legend. Warszawa: Modzieowa Agencja Wydawnicza.ArticlesGarbowski, Ch. 2006. „John Ford. Cigo i poszukiwanie” [in:] Kino Amerykaskie. Twórcy,E. Durys and K. Klejsy (eds), Kraków: Rabid, pp. 49–72.Kolasiska-Pasterczyk, I. 2007. “Arthur Penn – odkamywanie Ameryki” [in:] Mistrzowie KinaAmerykaskiego, .A. Plesnar and R. Syska (eds), Kraków: Rabid, pp. 185–208.66
Rothman, W. 2003. “Stagecoach and the Quest for Selfhood” [in:] John Ford's Stagecoach, B.K.Grant (ed.) Cambridge: Cambridge University Press, pp. 158–177.Schatz, T. 2003 “Stagecoach and Hollywood's A-Western Renaissance” [in:] John Ford'sStagecoach, B.K. Grant (ed.), Cambridge: Cambridge University Press, pp. 21–47.Telotte, J.P. 2003. “»A Little Bit Savage« Stagecoach and Racial Representation” [in:] JohnFord's Stagecoach, B.K. Grant (ed.), Cambridge: Cambridge University Press, pp. 113–131.Internet ReviewsBerardinelli, J. Review of Dances with Wolveshttp://www.metacritic.com/video/titles/danceswithwolves.htmlVentura, E. 2003. “His So-Called Life” Review of Little Big Manhttp://www.popmatters.com/film/reviews/l/little-big-man.shtml67
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