In this pathbreaking book one of America’s most distinguished philosophers brilliantly explores the status and authority of law and the nature of political allegiance through close readings of three classic Hollywood Westerns: Howard Hawks’ Red River and John Ford’s The Man Who Shot Liberty Valance and The Searchers.Robert Pippin treats these films as sophisticated mythic accounts of a key moment in American history: its “second founding,” or the western expansion. His central question concerns how these films explore classical problems in political psychology, especially how the virtues of a commercial republic gained some hold on individuals at a time when the heroic and martial virtues were so important. Westerns, Pippin shows, raise central questions about the difference between private violence and revenge and the state’s claim to a legitimate monopoly on violence, and they show how these claims come to be experienced and accepted or rejected.Pippin’s account of the best Hollywood Westerns brings this genre into the center of the tradition of political thought, and his readings raise questions about political psychology and the political passions that have been neglected in contemporary political thought in favor of a limited concern with the question of legitimacy.
In this pathbreaking book one of America’s most distinguished philosophers brilliantly explores the status and authority of law and the nature of political allegiance through close readings of three classic Hollywood Westerns: Howard ...
This book reveals the ways in which American film noir explore the declining credibility of individuals as causal centers of agency, and how we live with the acknowledgment of such limitations.
With its clear analyses of and intellectual challenges to the film scholarship that has developed around the Western over a 65-year period, this book adds new depth to our understanding of specific film texts and of the genre as a whole - a ...
“ His mind is clear , ” the harlequin photographer ( Dennis Hopper ) desperately explains to Willard , “ but his soul is mad . " Like that of his archetypes on the mythic frontier , Kurtz's own “ horror " can be cured only by the great ...
In Print the Legend: Politics, Culture, and Civic Virtue in the Films of John Ford, a collection of writers explore Ford's view of politics, popular culture, and civic virtue in some of his best films: Drums Along the Mohawk, The Searchers, ...
Prendergast, Alan. “They Died with Their Boots On: The Decline of the Western.” Rocky Mountain Magazine (March 1982): 37–40. Pye, Douglas. ... E. O'Connor, eds. Hollywood's West: The American Frontier in Film, Television, and History.
Stam, R., and R. Pearson. 1986. “Hitchcock's Rear Window: Reflexivity and the Critique of Voyeurism.” In A Hitchcock Reader, edited by M. Deutelbaum and L. Poague. Ames: Iowa State University Press. Strawson, P. F. 1974.
Devil's Doorway ( 1950 ) : Men watch a saloon fistfight ( 55a ) ; and “ Broken Lance ” Poole ( Robert Taylor ... Broken Arrow , Mann's first produced Western looks like a transition from his late - 1940s criminallife noirs and remains ...
In 2006 Alex Cox, British director of the “punk” Westerns Straight to Hell and Walker, and his reinterpretation of The Searchers, Searchers 2.0 (2007), wrote, “This genre ... has, to all intents and purposes, died.
This book examines how Hollywood has promoted the myth of the American White male savior and the way in which this myth has negatively affected people of color throughout U.S. history.