In the article "The Thematic Paradigm" from his book, A Certain Tendency in Hollywood Cinema, Robert Ray provides a description of the two types of heroes represented in American cinema . : the outlaw hero and the official hero. Although the outlaw hero is riskier and lonelier, he cherishes freedom and sovereignty. The official hero, for his part, generally embodies the role of an ordinary person, claiming an image of a “civilized person”. While the outlaw hero creates the image of a rough character likely to commit a crime, the official hero has the perception of a legend. In this essay, I will reflect on Ray's work, while demonstrating where I observe ideologies and themes. John Ford's classic American western, Stagecoach (1939), shows many examples of political life and social behavior during this era. The plot concerns about nine travelers aboard a stagecoach from Tonto, Arizona, to Lordsburg, New Mexico Territory. At first, the Stagecoach passengers do not know each other. However, their relationships develop as they get to know each other during their journey. Each character claims a different social position. The image created for the outlaw hero is that of the “natural man.” They are adventurous but also wanderers and loners. Outlaw heroes are more likely to commit crime, use weapons, and carry guns. The outlaw hero represents self-determination and freedom from conflict. On the other hand, the official hero is presented as the “civilized man”. He often follows society's norms and plays typical roles such as lawyer, teacher, and father. Because of the definitive elements of the outlaw hero, society identifies more with this myth. Ray said: "...the scarcity of mature heroes in America...... middle of paper ...... on, Walt discovers Hmong culture, and eventually he establishes a grumpy fatherly connection with Thao. Walt develops a relationship with the Vang Lor family and stops the Hmong gang from raping Thao's sister. Although Walt is dying of lung cancer, the gang kills him. Vang Lor family and, more importantly, Thao inherited the valuable 1972 Gran Torino. Works Cited Eastwood, C. (producer) and Eastwood, C. (director) (2008) Gran Torino [Cinema film]. of America: Warner Brothers Productions. Ford, J. (producer) and Wagner, D. (director). hulu.com/watch/249577Ray, R. (1985)..