The Thematic Paradigm

In the article’ The Thematic Paradigm’ Robert Ray brings into focus two distinct heroes, the outlaw, and official hero. According to Ray, the official hero possesses typical values and traditional beliefs while the outlaw hero has a clear perception of what entails right and wrong but chooses to defy the law (Ray). Ray claims that an outlaw hero has a range of personalities. Often, the society tends to identify with the outlaw hero because of their pronounced traits. Primarily, most people fall under the outlaw hero than the official hero. The outlaw hero possesses childlike traits and seems to live in a fantasy world.
Research Evidence
The outlaw hero and the official hero have distinct traits in the American cinema, but they play the similar roles of a heroic character. The film presents the outlaw hero as strong and persistent. Robert Ray’s article views the outlaw hero an explorer, fighter, itinerant and an outsider. The outlaw hero, in this case, stands for an American imagination that values self-determination and sovereignty. In addition, Ray characterizes the outlaw hero as uncivilized; a person that triggers violence to solve conflicts unmindfully. Hollywood compares civilization to the outlaw hero with a woman and marriage. Two factors that compel a man to settle down in life are woman and marriage.
The legend defines the female outlaw heroes as those that do not hold back their men from achieving their heroism. Law plays a major significance in shaping and defining the theme embraced by the outlaw hero. Since individual persons develop most of the laws, the outlaw hero is often against them. On the contrary, the official hero portrays the contemporary man with civilized personalities. Ray compares the official hero with a teacher, advocate, politician and so forth. The official hero portrays the American customs in a collective manner. The society, particularly, the parents and guardians want their children to embrace the traits of an official hero.
In the film, “The Man Who Shot Liberty Valance”¸ Ransom Stoddard is the protagonist who encounters with Liberty Valance portrayed as the (outlaw hero). The two characters set the theme for the film. The protagonist is fighting against the western legend ideologies or rather the ideas portrayed by the outlaw hero. It is important to note that, the outlaw hero operates on the doctrine of self-determination. Therefore, as an official hero, Ransom Stoddard faces austere hostility from Liberty Valance. Another controversial character in the film is Hallie, who accepts and admires the traits portrayed by Ransom. Hallie perceives Ransom’s traits as exceptional throughout the entire region of Shinbone. Hallie values the qualities possessed by Ransom and is ready to embrace some of them, such as sound judgment and rationality. By opening an educational institution in Shinbone as well as teaching the values of being a good citizen, Ransom succeeds in being an official hero. Ray describes the teaching profession as a trait that identifies an official hero. Robert Ray compares the attributes of Ransom Stoddard with several official heroic characters or American legends, such as George Washington, Jefferson, Lincoln, Lee among others. For instance, Ransoms’ dressing code and the implementation of law and order is similar to the traits exhibited by George Washington.
However, to indicate his existence, Liberty Valance triggers a fight with Ransom, who must fight to isolate evil out of the society. Often, maintaining law and order comes with a price, and Valance has to die for peace to exist. Doniphon kills Liberty, but the society believes Ransom did it at the expense of ensuring smooth running of the town. In summation, Ransom represents the ideologies that Robert Ray believes identifies an official hero. In this case, the legend is credible because it focuses on both the heroes and espouses their adversities and victories.

Works Cited
Ray, Robert B. “The Thematic Paradigm.” Signs of Life in the U.S.A. ed. Sonia Maasik and Jack Solomon. Boston: Bedford Books, 1997. Print.