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This series collects the complete scripts of 100 selected, previously unpublished plays by 19th-century American playwrights. Volume 8 features "The Great Diamond Robbery," by Edward M Alfriend and A C Wheeler; "A Royal Slave," by Clarence Bennett; "From Rags to Riches," by Charles A Taylor; "No Mother to Guide Her," by Lillian Mortimer; and "Billy the Kid," by Walter Woods.
Frontier dramas were among the most popular and successful of early-twentieth-century Broadway type plays. The long runs of contemporary dramas not only indicate the popularity of these plays but also tell us that these plays offered views about the frontier that original audiences could and did embrace.
A comprehensive filmography, this book is composed of lengthy entries on about 75 films depicting legendary New Mexico outlaw Billy the Kid--from the lost Billy the Kid (1911) to the blockbuster Young Guns (1988) to the direct-to-video 1313: Billy the Kid(2012) and everything in between. Each entry gives a synopsis, cast and credits, critical reception, and a discussion of the events of the films compared to the historical record. Among the entries are made-for-TV and direct-to-video films, foreign movies, and continuing television series in which Billy the Kid made an appearance.
This book provides needed information on the collaborations between filmmakers and theater personnel before 1930 and completes our understanding of how two art forms influenced each other. It begins with the vaudeville and "faerie" dramas captured in brief films by the Edison and Biograph companies; follows the development of feature-length Sarah Bernhardt and James O'Neill films after 1912; examines the formation of theater/film combination companies in 1914-15; and details later collaborations during the talking picture revolution of 1927. Includes detailed analyses of important theatrical films like The Count of Monte Cristo, The Virginian, Coquette, and Paramount on Parade.
Drawing on traditional archival research, reception theory, cultural histories of slumming, and recent work in critical theory on literary representations of poverty, Westgate argues that the productions of slum plays served as enactments of the emergent definitions of the slum and the corresponding ethical obligations involved therein.
A brilliant comic, Fanny Brice had a significant impact on a field that had been predominantly male, proving that the term "funny womanwas not an oxymoron.
Cultural Secrets as Narrative Form: Storytelling in Nineteenth-Century America examines the interplay between the familiar and the forgotten in tales of America's first century as a nation. By studying both the common concerns and the rising tensions between the known and the unknown, the told and the untold, this book offers readers new insight into the making of a nation through stories. Here, identity is built not so much through the winnowing competition of perspectives as through the cumulative layering of stories, derived from sources as diverse as rumors circulating in early patriot newspapers and the highest achievements of aesthetic culture. And yet this is not a source study: the interaction of texts is reciprocal, and the texts studied are not simply complementary but often jarring in their interrelations. The result is a new model of just how some of America's central episodes of self-definition -- the Puritan legacy, the Revolutionary War, and the Western frontier -- have achieved near mythic force in the national imagination. The most powerful myths of national identity, this author argues, are not those that erase historical facts but those able to transform such facts into their own deep resources. Book jacket.