| Abstract: | The Western drama High Noon introduces political considerations deeper than the maelstrom of American anticommunism of the 1950s against which it is most often viewed. It presents the central problems of modern political obligation as arising out of an encounter between Aristotelian and Lockean ideas about marriage, friendship, consent and coercion, and religious obligation. The marshal Kane, representing the altered vestige of Aristotelian ideals, desperately seeks help from the Lockean-like community of Hadleyville. The resulting tension lays bare the political ambiguity many find inherent in American political life. |
