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This paper examines the star figure, both literally and figuratively, of Jane Russell, a glamorous Hollywood actress, singer, dancer and comedienne who first rose to American public prominence through a promotional censorship scandal surrounding Howard Hughes’ 1943 Billy the Kid narrative, The Outlaw. Whilst Russell starred in a raft of Hollywood westerns throughout the course of her long film career, this paper will examine Russell’s representation, early in that career, particularly in the films and the promotional materials for the 1948 Bob Hope comedy vehicle,  The Paleface , it’s 1952 sequel;  Son of Paleface , and her cameo appearance that same year, in one of the Bob Hope and Bing Crosby's immensely popular 'Road to' films, Road to Bali. This paper will consider the way in which these roles provided ample means for Paramount to exploit Russell’s high profile, scandalous sexpot, pin up persona by deploying humour and deliberately and repeatedly referring back to her infamous film debut for Hughes, but will also consider how in these film’s narratives and promotion, her persona actually develops, admittedly starting with, but ultimately progressing beyond, her Outlaw notoriety, towards a more complex depiction of independent, active and assured womanhood that saw her through the remainder of her career.

‘The Most Famous Outlaw in the Whole USA’: Parody, Performance and the Nuancing of Jane Russell’s Persona in Her Early Western Promotion