Wayne’s screen masculinity was an explicitly imperialist white male ideal.

Evidence

To begin with, Wayne’s masculinity was unapologetically imperialist. All of Wayne’s greatest hits involved valiant white men battling (and usually subduing) nonwhite populations—the Japanese, Native Americans, or Mexicans. Like Teddy Roosevelt, Wayne’s rugged masculinity was realized through violence, and it was a distinctly white male ideal. — Kristin Kobes Du Mez, Jesus and John Wayne, 133

Categorization

• XREF: connects to: By the 1960s Wayne’s retrograde masculinity had become a political identity marker — Kristin Kobes Du Mez, Jesus and John Wayne: How White…, 137; John Wayne functioned as a political icon tying militant masculinity to conservatism. — Kristin Kobes Du Mez, Jesus and John Wayne: How White…, 127; Evangelical masculinity literature centered John Wayne’s model of manhood — Kristin Kobes Du Mez, Jesus and John Wayne: How White…, 546 (+2 more)
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: By the 1960s Wayne’s retrograde masculinity had become a political identity marker — Kristin Kobes Du Mez, Jesus and John Wayne: How White…, 137; John Wayne functioned as a political icon tying militant masculinity to conservatism. — Kristin Kobes Du Mez, Jesus and John Wayne: How White…, 127; Evangelical masculinity literature centered John Wayne’s model of manhood — Kristin Kobes Du Mez, Jesus and John Wayne: How White…, 546 (+2 more)