Download Free Hang Em High Book in PDF and EPUB Free Download. You can read online Hang Em High and write the review.

For more than a century the Western film has proven to be an enduring genre. At the dawn of the 20th century, in the same years that The Great Train Robbery begat a film genre, Owen Wister wrote The Virginian, which began a new literary genre. From the beginning, both literature and film would usually perpetuate the myth of the Old West as a place where justice always triumphed and all concerned (except the villains) pursued the Law. The facts, however, reflect abuses of due process: lynch mobs and hired gunslingers rather than lawmen regularly pursued lawbreakers; vengeance rather than justice was often employed; and even in courts of law justice didn't always prevail. Some films and novels bucked this trend, however. This book discusses the many Western films as well as the novels they are based on, that illustrate distortions of the law in the Old West and the many ways, most of them marked by vengeance, in which its characters pursued justice.
The western is arguably the most iconic and influential genre in American cinema. The solitude of the lone rider, the loyalty of his horse, and the unspoken code of the West render the genre popular yet lead it to offer a view of America's history that is sometimes inaccurate. For many, the western embodies America and its values. In recent years, scholars had declared the western genre dead, but a steady resurgence of western themes in literature, film, and television has reestablished the genre as one of the most important. In The Philosophy of the Western, editors Jennifer L. McMahon and B. Steve Csaki examine philosophical themes in the western genre. Investigating subjects of nature, ethics, identity, gender, environmentalism, and animal rights, the essays draw from a wide range of westerns including the recent popular and critical successes Unforgiven (1992), All the Pretty Horses (2000), 3:10 to Yuma (2007), and No Country for Old Men (2007), as well as literature and television serials such as Deadwood. The Philosophy of the Western reveals the influence of the western on the American psyche, filling a void in the current scholarship of the genre.
Clint Eastwood is one of the world's most popular action stars, who has matured into a fine American producer-director. Entertaining, illuminating and packed with information, up to and including "The Changeling", this is the first book to cover his full life in the movies, from his beginnings in 1950s B-movies and in TV's "Rawhide" to "Gran Torino" showing how as both actor and filmmaker Eastwood aims for the heart of the drama, whatever the story. Howard Hughes follows Eastwood's craft through over 50 movies. He looks at his launch into superstardom in Sergio Leone's 1960s spaghetti westerns. Back in America, he built on his success as western hero with such films as "High Plains Drifter" and "The Outlaw Josey Wales", winning an Oscar for "Unforgiven" in 1992. He blasted his way through the seventies and eighties as Inspector Harry Francis Callahan, the last hope for law enforcement in San Francisco. He also monkeyed around in two phenomenally popular films with Clyde the orang-utan, which brought tough-guy Eastwood to a whole new audience and made him the biggest box office star of his generation. "Aim for the Heart" also looks at Eastwood's more unusual roles, including "The Beguiled", "The Bridges of Madison County" and "Million Dollar Baby". Since 1970, he has enjoyed parallel success as director-producer of his own Malpaso Productions, with "Bird", "Mystic River" and "Letters from Iwo Jima", demonstrating formidable directing credentials. "Aim for the Heart" covers all Eastwood's movies of many genres in detail, and Eastwood's story is illustrated with film stills, glimpses behind the scenes, and rare poster advertising material. "Aim for the Heart" also includes the most comprehensive credits filmography has ever compiled on Eastwood's work, as star and director.
They shot him, they hung him, and they left him to die. But, they made two mistakes: they hanged the wrong man and they didn't finish the job.
For more than a century the Western film has proven to be an enduring genre. At the dawn of the 20th century, in the same years that The Great Train Robbery begat a film genre, Owen Wister wrote The Virginian, which began a new literary genre. From the beginning, both literature and film would usually perpetuate the myth of the Old West as a place where justice always triumphed and all concerned (except the villains) pursued the Law. The facts, however, reflect abuses of due process: lynch mobs and hired gunslingers rather than lawmen regularly pursued lawbreakers; vengeance rather than justice was often employed; and even in courts of law justice didn't always prevail. Some films and novels bucked this trend, however. This book discusses the many Western films as well as the novels they are based on, that illustrate distortions of the law in the Old West and the many ways, most of them marked by vengeance, in which its characters pursued justice.
For many, the Westerns of 1930 to 1955 were a defining part of American culture. Those Westerns were one of the vehicles by which viewers learned the values and norms of a wide range of social relationships and behavior. By 1955, however, Westerns began to include more controversial themes: cowardly citizens, emotionally deranged characters, graphic violence, marital infidelity, racial prejudice, and rape, among other issues. This work examines the manner in which Westerns reflected the substantial social, economic and political changes that shaped American culture in the latter half of the twentieth century. Part One of this work considers shifting themes as the genre reacted to changes unfolding in the broader social landscape of American culture. Part Two examines the manner in which images of cowboys, outlaws, lawmen, American Indians and women changed in Westerns as the viewers were offered new understanding of the frontier experience.
He became a movie star playing The Man With No Name, and today his name is known around the world. Measured by longevity, productivity, and profits, Clint Eastwood is the most successful actor-director-producer in American film history. This book examines the major elements of his career, focusing primarily on his work as a director but also exploring the evolution of his acting style, his long association with screen violence, his interest in jazz, and the political views – sometimes hotly controversial – reflected in his films and public statements. Especially fascinating is the pivotal question that divides critics and moviegoers to this day: is Eastwood a capable director with a photogenic face, a modest acting talent, and a flair for marketing his image? Or is he a true cinematic auteur with a distinctive vision of America's history, traditions, and values? From A Fistful of Dollars and Dirty Harry to Million Dollar Baby and beyond, The Cinema of Clint Eastwood takes a close-up look at one of the screen's most influential and charismatic stars.