By Peter C. Rollins
Hollywood’s West examines renowned perceptions of the frontier as a defining function of yank identification and heritage. Seventeen essays through in demand movie students light up the attract of existence at the fringe of civilization and learn how this zone has been represented on immense and small monitors. Differing characterizations of the frontier in glossy pop culture display a number of truths approximately American awareness and supply insights into many vintage Western motion pictures and tv courses, from RKO’s 1931 vintage Cimarron to Turner community Television’s contemporary made-for-TV video clips.
Covering issues resembling the portrayal of race, girls, fantasy, and nostalgia, Hollywood’s West makes an important contribution to the certainty of ways Westerns have formed our nation’s reviews and beliefs—often utilizing the frontier as metaphor for modern concerns.
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Hollywood’s West examines well known perceptions of the frontier as a defining function of yankee identification and historical past. Seventeen essays by means of in demand movie students light up the attract of existence at the fringe of civilization and examine how this zone has been represented on substantial and small displays. Differing characterizations of the frontier in smooth pop culture exhibit quite a few truths approximately American realization and supply insights into many vintage Western movies and tv courses, from RKO’s 1931 vintage Cimarron to Turner community Television’s contemporary made-for-TV videos.
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Additional resources for Hollywood's West: The American Frontier in Film, Television, and History
What has become known as “sexual politics” has been an integral part of the Western as gender representations have evolved and changed both inside and outside the theater. Even international politics and policy have a place in our study of this popular culture form—how Native Americans, Mexicans, and other minorities are treated gives clues to the pendulum swings of the nation’s mood between isolationism and internationalism. The pervasive violence—indeed, the increase of it from the traditional Westerns to the balletic treatments by director Sam Peckinpah in the late 1960s to what might be called “the banality of evil” approach of HBO’s Deadwood (2004), where a customer’s head is calmly dispatched like a dirty towel to the local laundry for disposal—says volumes about the nation’s declining respect for human life and perhaps its increased voyeurism in a media age.
Potter, David M. People of Plenty: Abundance and the American Character. Chicago: University of Chicago Press, 1957. , and John E. O’Connor, eds. Hollywood’s White House: The American Presidency in Film and History. Lexington: University Press of Kentucky, 2003. , Jr. A Life in the Twentieth Century: Innocent Beginnings, 1918–1950. New York: Houghton Mifflin, 2000. 34 o INTRODUCTION Sklar, Robert. ” In American History/ American Film: Interpreting the Hollywood Image, edited by John E. O’Connor and Martin A.
The community of Edward Dmytryk’s Warlock is a mining town terrorized by a gang of rustlers and murderers. The town hires a vigilante (again Henry Fonda) to restore order. On one level the film presents Dmytryk’s allegory for the experience of HUAC and the Hollywood Ten. ) On another level it undoes the lesson of High Noon as the Fonda character, having tutored the town’s young sheriff into a capable law man and then personally killing the town’s chief desperado, decides to move on rather than face off against his protégé.
Hollywood's West: The American Frontier in Film, Television, and History by Peter C. Rollins