Thematic Analysis: AMC’s Hell on Wheels

Andre Charbonneau

Oct. 9, 2013

100849284

Dr. Danielle Kinsey

AMC’s neo-western style television show Hell on Wheels tells the tale of Cullen

Bohannon, a gunslinging ex-confederate soldier looking to avenge the murder of his wife and
son. Bohannon eventually finds himself in the American Mid-West at the frontier of the

construction of the Union Pacific Railroad. As he works to track down and kill the last living

associate involved in the murders, he takes a position working on the rail to allow him to stay in

the area. The story progresses from there, outlining Cullen’s contribution and that of many others

involved in the railroad’s construction. Hell on Wheels refers to the traveling village, which

moved along as the railroad progressed serving the needs of the workers on the front.

The series itself is an interesting hybrid between the realities of life during this period as

well as pure entertainment, including the necessary amount of plot twists and action to make it a

popular drama. What makes it an example of American imperialism and colonialism is its focus

on conflicts with the Cheyenne people, who fought back against the destruction of their land.

The construction of the train itself is also relevant in this paper, as it was an incredibly symbolic

example of success in the early stages of the American Empire. The use of tropes such as the

noble savage, as well as the white woman in peril are clear but what is unique about this show is

it also gives their characters different dimensions which contradict these traditional roles. After

analyzing Hell on Wheels it is quite clear that the show recognizes the immense complexity of

colonization and imperialism in the American Mid-West.

Starting with the use of generic tropes this show starts out expressing some of the

standard portrayals of imperialism in past. This includes a couple of examples of the presence of

a noble savage, a strong noble side kick of ethnic background who dutifully serves his white

master. The first example of this is that of Cullen Bohannon, a white man, and an emancipated

slave named Elam Ferguson. The duo, who initially seem to be enemies, become partners as they

work together to stay alive in the extreme environment of their situation. However, the

circumstances of this example make it not as clear as a traditional illustration of this trope.
Ferguson is clearly less skilled than Bohannon and he needs Bohannon to teach him the basic

techniques of combat. In the majority of examples, Bohannon swings in to save the life of

Ferguson after he speaks out against the unjust social hierarchy. Ferguson consequently becomes

indebted to Bohannon and helps him in order to repay this debt. However, as the show

progresses, the dynamics change; Ferguson learns to fight for himself and begins to rival

Bohannon as the dominant hero. Although I am not at a point where he has fully reached this

position, it is certainly something to acknowledge.

A more accurate example of the same trope is in Joseph Black Moon, a Cheyenne

Christian convert who works for a reverend, attempting to bring morality and God to the amoral

residents of the traveling village. Black Moon struggles to fit into the new culture but is quite

determined to hold on to his newfound beliefs. His appearance is very simple and innocent,

someone yet to be corrupted by the unruly ways of the lower class settlers. One moment where

he really seems to exemplify this convention, the noble savage, is when he is asked to go search

for his old tribe who have been attacking the workers and surveyors. Instead of using a rifle and

wearing his usual western style clothing, he dons his traditional war garments and rides out with

his western counterparts carrying a traditional Cheyenne bow. This shows a distinct separation

being maintained between the natives and the westerners.

What is unique about these examples however is that they both end up engaging in sexual

relations with a white woman. These relationships do transcend the traditional conventions

portrayed in earlier accounts of North American settlement. Although this does show the true

nature of what probably was happening in these circumstances, as explained before, the series is

not totally free from historical portrayals of this trope. The authors are making some concessions

for the true nature of colonial circumstances but there are still elements of past impressions.
 Cultural appropriation is interestingly not very well documented in this series. There is

definitely a distinctive divide between the cultures of the Cheyenne and the American settlers.

The Cheyenne’s fighting technique is displayed as chaotic and weak. American combat with the

Cheyenne is over quickly as they kill endless hordes of the approaching natives who mindlessly

run straight into American fire. The reality was that the Cheyenne has lived in these areas for

centuries; they had developed a system of warfare, which worked and adapted to their

surroundings. It seems to me quite unlikely that, for example Elam Ferguson, who had no formal

military or combat training, would be able to fight off trained warriors who had fought and

hunted their entire lives. They completely ignore the fact that it was the Americans who

developed their style of fighting based somewhat on aboriginal techniques. Traditional European

fighting was very structured, as the two sides would face off square against each other. It was the

introduction of guerilla warfare, from the aboriginals, which made American combat so

effective. The series falsely depicts the Cheyenne as almost militarily incompetent, which by no

means is true. This was most likely done for dramatic purposes because in reality no one wants

to watch a show where the protagonists lose every fight.

This series does have an interesting take on the trope of the white woman in peril. The

main example of this is the character Lily Bell, the fiance of a surveyor, who was attacked and

killed by a raiding group of Cheyenne. She survives by killing the man who killed her husband;

somewhat giving off an impression she’s not as weak as she appears. As a person of aristocracy,

the beginning of the show certainly depicts her as snobbish and unaccustomed to labour. Later

on, as the series progresses, she decides to attempt to survive alone in the extreme conditions of

camp. It is quite a challenge for her at first but eventually she is able to successfully establish

herself in camp. The show does seem to do a good job of putting women in a light where they
are able to make a living on their own. Even with the restrictions society still had in place, at the

time, it shows the early stages of what might be considered somewhat of a feminist movement,

but still the culture is incredibly chauvinistic. The accuracy of this example is questionable

though because I don’t know any person, man or woman, who would give up their social status

and immense wealth to live in what in an essence was a slum.

A theme that is very interesting in this series is how the Americans use the train and the

railroad itself as a technology of rule. One scene particularly stands out where there is a mile race

between a Cheyenne on horseback and the train. The race was used to express the power of

western technology and its ability to overpass traditionally superior methods of transport. The

race is close but the train in the end defeats the Cheyenne rider. The symbolism in this example

is very powerful. The train seems to represent American progression and its ability to

continuously move forward. As the race ends the train clearly could have kept traveling at the

same pace where as the horse collapses at the finish line. This example seems to express an idea

of total technological dominance over the natives. The point in which this scene takes place is

also just as interesting. It is just after rogue members of the Cheyenne had taken out a significant

portion of the track causing a train to derail which killed quite a few on board. In order to smooth

things over, the Cheyenne chief and Thomas Durant, the main oversight of the railroads

construction, meet to discuss a treaty. The race certainly represents the psychological defeat of

the Cheyenne and their general motive for resistance. The train is both a physical and

psychological technology of rule. Essentially in this moment they express the idea that either the

Cheyenne could join American progression or get left behind.

Overall, this series seems to be a mostly accurate representation of the life during the

railroad’s construction. The blurring of lines between the colonized and the colonizer seems to
certainly represent the reality that the distinction between the two was not as concrete as what is

originally portrayed. From interracial sexual relationships to coloured minorities rivaling the

power of traditional white protagonists, on the whole, Hell on Wheels is fairly progressive.

Simplistic portrayals of racial purity and cultural segregation, for the most part, are not present.

The major critique, which the show does not properly address, is the strength and cultural

complexity of the Cheyenne. The show on this aspect still represents the American position that

they were barbaric savages killing at random in some seriously grotesque manors. They seem to

have no regard for their own well being as they wildly ride into the line of fire to what is clearly

certain death. The reality is that no one in any combat situation would die in such a futile manor.

The show in this regard, still has a tone of American propagandism; portraying those who did not

support American progress as inferior. This one issue aside, the show is clearly a modern

portrayal of what life in “Hell on Wheels” really was like.