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Structures and Relations of a Border Town
In the film Lone Star by writer, director John Sayles, a human penchant for white superiority reign over a small border town in Texas. The town simulates a family connation patriarchy as in biblical terms, “No longer shall your name be called Abram, but your name shall be Abraham, for I have made you the father of a multitude of nations.” (Genesis 17:5) The film set on a fictitious town, Frontera where white supremacy applies subjective injustice, inferiority upon it’s inhabits of a diverse collective of families and individuals. Its patriarchs control the ambiance in the town, unwelcome change to protect its ideology. For a small town it is perhaps necessary for daily life to replicate that “family” pleasantry feel but the inevitability of patriarchy dominance imposes on the general advancement of its society consequently forming complex social issues, as it does in Lone Star, with past secrets, indifference immorality, social design, and generation differences.

In every family it is inevitable that there are secrets, untold instances, that if told can bring consequences to them. Thus, a small town simulating as a family holds the same perspectives of untold secrets. For instance, the film takes the story to the 1990s where a 40-year secret surfaces that is a murder on the town’s patriarch, Charlie Wade whose style of law turned corrupt on his fellow man heaping benefits, then shot by a adoring deputy. Reality of small border-town family secrets exist such as, in 1993 horrifying news of 300 women slain discovered in the desert between El Paso, Texas and Juarez, Mexico. New of this remain silent in the town’s major newspaper the El Paso Times however in 2007 14 years later the news airs in national cable television. (Wikipedia article under “Female homicides in Ciudad Juarez.”) In a family whether it be a town, state, or a nation, secrets remain unspoken of for many years, especially those that invoke social emotions to rise. Sayles depicts the issue of immorality behavior in the movie. He presents Wades shooting as a decision of right and wrong. The new patriarch responsibility falls on Buddy Deed, who also advances in status from deputy to sheriff. Thus, the decision makes Wade’s death the mystery plot of a 40-year secret. Though in reality the benefit of a small town to hide such horrific events, according to Frederic Bastiat, an economist of the 1850s wrote, That Which is Seen, and That Which is Not Seen, it describes how an act gives birth not only to one effect, but also to a series of effects. He explains how the immediate effect is the cause – (it is seen) while the other effects unfold in succession (they are not seen), because those unseen are acceptable, as economics plays a role on decisions affecting a community. He mentions that when a community sees a financial benefit members will turn a blind eye to reap the benefit; however when there are no benefits members acknowledge the unlawful event to avoid economic consequences. Such as in the film, many individuals benefit from the 1950s death of Sherriff Charlie Wade, hence making it the cause (it is seen), thus making the first effect the 40-year town secret (it is not seen), and any effects to follow (they are not seen). The 1950s Deputy Sheriff Buddy Deed, out of county funds grants his mistress with child a restaurant, using the murder of her husband’s death caused by Wade as rational reasoning. Otis the 1950s victim of Wade’s brutality and death threat, survives during an era of national civil conflicts, however with the act of silence becomes an influential protector of others. Alas, 1950 Deputy Sheriff Hollis who shot Wade becomes Major in the 1990s. The town itself act of silence is not judge or persecuted with National, State exposure of trials since the new town patriarchs made a beneficial decision on the foreseeable event’s of consequences to the town’s economic demeanor, and...
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