There is no analogy to Xaviera Hollander.
You are correct, however, that art is not about authenticity, but when the art is ABOUT a specific time and place and experience, authenticity helps. Authenticity grounds a western in to the earth so that actors can build on it. Ask any actor who's been there and done that. Authenticity may not be everything, but it is definitely a virtue and at the very least, an enhancement. Look at how hard Leone worked to make Once Upon a Time In the West authentic; look at how hard he worked to make Once Upon a Time In America authentic. Leone understood the value of authenticity.
I was just pointing out where Peckinpah was coming from so that you wouldn't think he was coming from nowhere.
Peckinpah knew what he was doing.
His films were emotionally authentic to the time and place, but his talent was not limited to his cultural roots.
His accomplishments as a director and a storyteller are unassailable.
His westerns remain vital, relevant, individual, highly original masterpieces.
Very few film directors have roots in the American west. I don't insist that they do. But those who do are as legitimate as those who don't. Those who do were less pre-occupied with mythology and more pre-occupied with dramatizing how people actually lived. William S. Hart's films, for example, straddle both worlds. I find both approaches satisfying, and both approaches have resulted in significant films, some of which are made across the pond.
I don't want to see the "roots discussion" used to marginalize the accomplishments of those who have the roots in the west and who worked from the roots so that those who don't are somehow exalted because they're someone's favorite. Sergio Leone did not have roots in the American west, but he did have empathy and a kind of schooling, and I have the highest regard for his films, especially Once Upon a Time in the West, which I have expressed many times here and elsewhere, but to say Sam Peckinpah is "not in the league of Ford and Leone" is patently ridiculous.