![]() ![]() ![]() I’ll mention the three times we see Trixie, Alma, and the orphan child as a framework for a deeper dive into the mechanics of the middle scene. However, the sympathy built for Trixie in the scene I’m examining differs from the way Browne suggests it’s built for Dallas, most obviously by the more complex portrayal of Trixie’s interiority. ![]() Similarly, Deadwood 1:5 makes use of Alma’s interiority and perspective to advance the viewer’s regard for Trixie, another sex worker in a western drama who takes care of a child while negotiating tension between classes with an upper-class woman. To hone in on a single piece of that discussion, my scrutiny blog post provides a reading of a sequence in Deadwood 1:5 beginning at 34:20 that has parallels to Nick Browne’s analysis in “The Spectator-In-The-Text.” Browne offers an interpretation here of the crucial table scene at Dry Fork’s station that elucidates the way the “implied spectator” (132) sympathy for Dallas is built from two competing camera setups: Lucy’s gaze and the representation of her perspective. The juxtaposition of viewings this week naturally lends itself to a discussion of genre and form in Stagecoach and Deadwood. ![]()
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