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As with all crafts, they had their big men—the masters, as it were—whose deeds they emulated, whose feats of skill and divination they spoke of with awe, whose names they worshipped. Of such were Kit Carson, Wild Bill, Jim Clarke, Buffalo Bill, Slade, and the three men with whom we have to deal—Jim Buckley, Alfred, and Billy Knapp. Billy Knapp was dark, tall, broad-shouldered, long-haired, wearing a bristly mustache and goatee. A stranger might have remarked his frowning, beetling brow with a little uneasiness, but would have taken heart from the energetic kindliness of the eyes beneath. In fact, eager, autocratic energy was the dominant note in Billy's character. He succeeded because this energy carried him through—with some to spare. Jim Buckley was also tall and large, but he gave one less the idea of nervous force than of a certain static power. He was a mass which moved slowly but irresistibly. His seal-brown beard, his broad forehead, the distance between his wide, steady eyes strengthened this impression. One felt that his decisions would be hardly come at, but stubbornly held. Success was inevitable, but it would be the result of slow thinking, deep purpose, and a quiet tenacity of grip that never let go. As for Alfred—everybody has heard of him. His place in the annals of the West is assured, and his peculiarities of person and character have been many times described. Surely no one is unfamiliar with his short, bandy legs, his narrow, sloping little shoulders, his contracted chest, his queer pink and white face, with its bashful smile, his high bald head. Everybody knows his fear of women. Everybody knows, too, that he never had an opinion of his own on any subject. His speciality was making the best of other people's, no matter how bad they were; and competent judges say he could accomplish a more gloriously perfect best out of some tenderfoot's fool notion than another man with the advice of experts. Some people even maintain that Alfred was the best scout the plains ever produced, only he was so bashful that it took an expert to appreciate the fact.
American moviegoers have long turned to the Hollywood Western for reassurance in times of crisis. During the genre's heyday, the films of John Ford, Howard Hawks and Henry Hathaway reflected a grand patriotism that resonated with audiences at the end of World War II. The tried-and-true Western was questioned by Ford and George Stevens during the Cold War, and in the 1960s directors like Sam Peckinpah and George Roy Hill retooled the genre as a commentary on American ethics during the Vietnam War. Between the mid-1970s and early 1990s, the Western faded from view--until the Gulf War, when Kevin Costner's Dances with Wolves (1990) and Clint Eastwood's Unforgiven (1992) brought it back, with moral complexities. Since 9/11, the Western has seen a resurgence, blending its patriotic narrative with criticism of America's place in the global community. Exploring such films as True Grit (2010) and Brokeback Mountain (2005), along with television series like Deadwood and Firefly, this collection of new essays explores how the Western today captures the dichotomy of our times and remains important to the American psyche.
Actors, writers, directors and producers who helped define the genre offer unique insight about western movies from the early talkies to the present. Interviewed here are Glenn Ford, Warren Oates, Virginia Mayo, Andrew V. McLaglen, Harry Carey, Jr., Julie Adams, A.C. Lyles, Burt Kennedy, Edward Faulkner, Aldo Sambrell, Jack Elam, Andrew J. Fenady, and Elmore Leonard. Movies they discuss include Red River, The Searchers, 3:10 to Yuma, High Noon, Bend of the River, Rio Bravo, The Wild Bunch, and The Good, the Bad, and the Ugly, among many others.
Western films are often considered sprawling reflections of the American spirit. This book analyzes the archetypes, themes, and figures within the mythology of the western frontier. Western themes are interpreted as expressions of cultural needs that perform specific psychological functions for the audience. Chapters are devoted to the frontier hero character, the roles of women and Native Americans, and the work of the genre's most prolific directors, Anthony Mann and John Ford. The book includes a filmography and movie stills. Instructors considering this book for use in a course may request an examination copy here.
What is the nature of the relationship between the Hollywood Western and American frontier mythology? How have Western films helped develop cultural and historical perceptions, attitudes and beliefs towards the frontier? Is there still a place for the genre in light of revisionist histories of the American West?Myth of the Western re-invigorates the debate surrounding the relationship between the Western and frontier mythology, arguing for the importance of the genre's socio-cultural, historical and political dimensions. Taking a number of critical-theoretical and philosophical approaches, Matthew Carter applies them to prominent forms of frontier historiography. He also considers the historiographic element of the Western by exploring the different ways in which the genre has responded to the issues raised by the frontier. Carter skilfully argues that the genre has - and continues to reveal - the complexities and contradictions at the heart of US society. 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 welcome resource for students and scholars in both Film Studies and American Studies.
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.
On December 23, 1852, the first train on the first railroad west of the Mississippi River steamed proudly from St. Louis to Cheltenham?the immense distance of five miles. In that moment of exaltation, writes Robert Edgar Riegel, "flags waved, bands played, and orators prophesied the flowering of the West under the beneficent influence of the steam locomotive. For once the orators were right. An epoch was marked. Twenty-five years earlier the musical whistle of the locomotive was as yet unheard in the United States. Twenty-five years later steel tracks spanned the continent from New York to San Francisco." In this account of the railroad conquest of the United States, the author is primarily concerned with the western phase of the story. He follows the Iron Horse west through Indian trouble, labor difficulties, civil war, and farmer disillusionment to the completion of the western railroad net. All aspects of the subject?financial, industrial, engineering, as well as the development of railroad regulation?are covered in this classic work.
Describes transcendalism as it moves West and settles in the Ohio River Valley where it did not capture the sensibilities of frontier people. Its intellectualism and its ties to nature were at some distance from these hardworking pioneers and it failed to transform them in the nineteenth century.
The Western Genre: From Lordsburg to Big Whiskey offers close readings of the definitive American film movement as represented by such leading exponents as John Ford, Howard Hawks, and Sam Peckinpah. In his consideration of such iconic motifs as the Outlaw Hero and the Lone Rider, John Saunders traces the development of perennial aspects of the genre, its continuity and, importantly, its change. Representations of morality and masculinity are also foregrounded in consideration of the genre's major stars John Wayne and Clint Eastwood, and such films as Shane, Rio Bravo, The Wild Bunch, and Unforgiven.
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