"Eastmancolor incorporated automatic color masking. A principle already used successfully in Kodacolor still photography to enhance the clarity and brilliance of the final print (p. 388). " This was one the genre which seemed to survive the widescreen transformation where the landscape which provided a very natural component to film. In films other than Westerns, Lawrence of Arabia used the wide frame shooting style to allow panning. This anamorphic lens allowed the process to create an image that was twice as wide as the previous process. John Ford was known for making his films directed at the heroism and idealization of the main protagonist. In his film The Searchers, John Wayne portrays a father who returns home to find his family slaughtered by Native Americans. Ford gives his character heroic outer motivation, while at the same time, insinuating an inner motivation led by a dark revengeful force. He also used the widescreen to his advantage as John Wayne's character leaves his house into the desert in the very last scene. Eventually this style diminished and a genre called "adult westerns " began. Instead of focusing on the protagonist as an iconic hero; whom much of the audience assumes, he concentrates on the psychological conflicts, which the hero might be struggling with inside himself. Anthony Mann explained a more troubling side to the protagonist in The Furies. The patriarchal father wants his rebellious daughter to beg him for her lover's life. Her love decides that he will die in order to save his love from humiliation. While John Ford danced around darkness, Anthony Mann dwelled in it. Another example would be John Stewart, whom Anthony Mann favored, in The Naked Spur. His character would make seeking revenge an obsession. He eventually becomes a bounty hunter and goes after the people who have stolen his ranch while he was out fighting in war. This obsession would consume and nearly destroy him.