When the earliest filmgoers watched The Great Train Robbery in 1903, many of them shrieked in terror at the very last clip when one of the outlaws turns directly toward the camera and fires a gun, seemingly, directly at the audience. The puff of smoke was sudden and it was hand colored so that it looked real. Today, we can look back at that primitive movie and see all the elements of what would evolve into the Western genre. Perhaps it is the Western's early origins_The Great Train Robbery was the first narrative, commercial movie_or its formulaic yet entertaining structure that has made the Western so popular. Whatever the case may be, with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the western is told in The A to Z of Westerns in Cinema through a chronology, a bibliography, and an introductory essay. However, it is the hundreds of cross-referenced dictionary entries on cinematographers; composers; producers; films like Butch Cassidy and the Sundance Kid, Dances With Wolves, The Good, The Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; such actors as Gene Autry, Kirk Douglas, Clint Eastwood, Henry Fonda, James Stewart, and John Wayne; and directors like John Ford and Sergio Leone that will have you reaching for this book again and again.
Written by a host of leading historians and literary critics, this book offers readers insight into the West as a site that sustains canonical and emerging authors alike, and as a region that exceeds national boundaries in addressing long ...
This collection examines and analyzes the evolution and significance of the screen Western from its earliest beginnings to its current global reach and relevance in the 21st century.
Drawing on previously untapped caches of letters and personal documents, Nancy Schoenberger dramatically narrates a complicated, poignant, and iconic friendship and the lasting legacy of that friendship on American culture.
He was allowed to film the boxing sequences for a minute at a time and claimed to have suffered a mild heart attack while making this film. Because of the star's physical restrictions, Freddie Steele, a middleweight champ reputed to be ...
Paul Varner, The A to Z of Westerns in Cinema (Plymouth, UK: Scarecrow Press, 2008), 5. 17. Brent Strang, “'I Am Not the Fine Man You Take Me For': The Postmortem Western from Unforgiven to No Country for Old Men,” masters thesis, ...
Asian movies, both those films/filmmakers he cites and those he lends his name to in 'presenting' their new films, ... 'x (Spaghetti Western) + y ([another] B movie genre) + z (unconventional embodiment of hero)' (Perry 2014: 211).
10,000 Ways to Die: A Director's Take on the Spaghetti Western ( Harpenden : Kamera Books ). Coyne, M. 1997. The Crowded Prairie: American National Identity in the Hollywood Western ( London : I.B.Tauris ). Cracroft, R. H. 1967.
This text employs the Western as a vital medium for examining the many tensions - political, racial, sexual, social and religious - which have beset modern America from Stagecoach and...
In The West in Early Cinema gaat Nanna Verhoeff op zoek naar de nog onbekende beginjaren van het westerngenre tijdens de eerste twee decennia van het medium film 1895-1915).
El (The Year of the Lights) Q antiquity 8, Z anti—racist French films ... m; and Rigolboche Q; and Reinhold Schiinzel B; and Soviet popular cinema Q; and spaghetti westerns A—Z, ...