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Westerns have featured prominently in films almost since motion pictures were first produced at the end of the nineteenth century and when televisions invaded American homes in the late 1940s and early '50s, Western programs filled the small screen landscape. Throughout the 1950s and well into the 1960s, these shows dominated television with such long-running successes as Bonanza, Wagon Train, and Maverick. And though the genre has fallen on hard times over the years, it has never died, as Hollywood continues to produce films, mini-series, and shows that keep the west alive. In Television Westerns: Six Decades of Sagebrush Sheriffs, Scalawags, and Sidewinders, Alvin H. Marill looks at the genre as it was represented from the beginning of television—from the twenty-year run of Gunsmoke to the brutal revisionist take of Deadwood. This volume encompasses all manifestations of the Western, including such series as Rawhide, The Virginian, and The Wild, Wild West, as well as movies-of the-week, mini-series, failed pilots, animated programs, documentaries, and even Western-themed episodes of non-Western series that provided their own spin on the genre.
This biographical encyclopedia covers every actor and actress who had a regular role in a Western series on American television from 1960 through 1975, with analyses of key players. The entries provide birth and death dates, family information, and accounts of each player's career, with a cross-referenced videography. An appendix gives details about all Western series, network or syndicated, 1960-1975. The book is fully indexed.
This book works to complicate and push against common arguments that the Western from its inception is an anti-feminist genre. By focusing on representations of women professionals in Westerns, it shows that women in cinematic and televisual Westerns sometimes do acquire agency and empowerment in the private and public realms, despite our culture’s tendency to gender the former as feminine and the latter as solely masculine. The study reviews the relationship of these progressive Westerns to both explicit and latent feminist ideologies relevant to their times, as the films evolved from the 1930s to the twenty-first century.
This collection of ground-breaking articles examines problems romance presents in the American Western. Looking a range of films, this book offers readers important and challenging insights into the complicated nature of love and the versatile frontier narrative that address key social, political, and ethical components of the Western genre.
Since Hopalong Cassidy and the Lone Ranger blazed their first trails on television in 1949, Westerns have been the genre of choice for 180 series through 1996. Some (Gunsmoke, Bonanza, and Maverick, for example) were classics; others, such as 26 Men and Shotgun Slade, were quickly forgotten. From Adventures of Briscoe County, Jr., through Zorro and Son, this comprehensive reference work covers all 180 Western series. Each entry opens with a listing of the broadcast history of the series, including original network, day and time. This is followed by a listing of the regular cast members and a brief premise of the series. The individual episodes are then covered, with the title, original air date, leading guest stars and a brief synopsis given. An exhaustive index completes the work.
Modeled after the Mack V. Wright 1920 film version, the 1949 western television series The Lone Ranger made Clayton Moore's masked character one of the most recognized in American popular culture. Other westerns followed and by 1959 there were 32 being shown daily on prime time television. Many of the stars of the nearly 75 westerns went on to become American icons and symbols of the Hollywood West. This encyclopedia includes every actor and actress who had a regular role in a television western from 1949 through 1959. The entries cite biographical and family details, accounts of how the player first broke into show business, and details of roles played, as well as opinions from the actors and their contemporaries. A full accounting of film, serial, and television credits is also included. The appendix lists 84 television westerns, with dates, show times, themes, and stars.
Over 450 entries provide information on cowboy history, culture, and myth of both North and South America.
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.
The Encyclopedia of Television, second edtion is the first major reference work to provide description, history, analysis, and information on more than 1100 subjects related to television in its international context. For a full list of entries, contributors, and more, visit the Encyclo pedia of Television, 2nd edition website.
As business interests have commercialized the American West and publishers and studios have created compelling imagery, the expectations of readers and moviegoers have influenced perceptions of the cowboy as a hero. This book describes the evolution of the cowboy hero as a mythic persona created by dime novels, television and Hollywood. Much of our concept of the cowboy comes to us from movies and the book's main focus is his changing image in cinema. The development of the hero image and the fictional West is traced from early novels and films to the present, along with shifting audience expectations and economic pressures.