Description : With this collection of reviews, fans of western movies can enjoy taking another special look at some of our favorites with western author Chuck Lewis as he offers us insight and a unique view of the films we like or even those we don
Description : From the Preface: The purpose of this book is to explain the Western's popularity. While the Western itself may seem simple (it isn't quite), an explanation of its popularity cannot be; for the Western, like any myth, stands between individual human consciousness and society. If a myth is popular, it must somehow appeal to or reinforce the individuals who view it by communicating a symbolic meaning to them. This meaning must, in turn, reflect the particular social institutions and attitudes that have created and continue to nourish the myth. Thus, a myth must tell its viewers about themselves and their society. This study, which takes up the question of the Western as an American myth, will lead us into abstract structural theory as well as economic and political history. Mostly, however, it will take us into the movies, the spectacular and not-so-spectacular sagebrush of the cinema. Unlike most works of social science, the data on which my analysis is based is available to all of my readers, either at the local theater or, more likely, on the late, late show. I hope you will take the opportunity, whenever it is offered, to check my findings and test my interpretations; the effort is small and the rewards are many. And if your wife, husband, mother, or child asks you why you are wasting your time staring at Westerns on TV in the middle of the night, tell them firmly—as I often did—that you are doing research in social science.
Description : Offers plot summaries, cast, and credits for hundreds of westerns, and looks at trends in western films from the thirties to the present
Description : Analyzes the Western movies of actors such as John Wayne, Gary Cooper, Gene Autry, and Ronald Reagan and discusses television Westerns
Description : "A comprehensive reference volume detailing nearly 5300 of the most popular, enduring film genre: feature-length (over 40 minutes) Westerns, including 16mm, 8mm, Super 8mm, videocassettes and videodiscs. Each entry has film title, release company and year, running time, b&w/color notation, cast listing, plot synopsis, brief critical review. It is illustrated with more than 100 photographs"--Provided by publisher.
Description : By the end of the 1960s, the Hollywood West of Tom Mix, Randolph Scott, and even John Wayne was passé—or so the story goes. Many film historians and critics have argued that movies portraying a mythic American West gave way to revisionist films that influential filmmakers such as Sam Peckinpah and Robert Altman made as violent critiques of the Western’s “golden years.” Yet rumors surrounding the death of the Western have been greatly exaggerated, says film historian Andrew Patrick Nelson. Even as the Wild Bunch and John McCabe rode forth, John Wayne remained the Western’s number one box office draw. How, then, could there have been a revisionist reckoning at a time when the Duke was still in the saddle? In Still in the Saddle, Nelson offers readers a new history of the Hollywood Western in the 1970s, a time when filmmakers tried to revive the genre by appealing to a diverse audience that included a new generation of socially conscious viewers. Nelson considers a comprehensive filmography of releases from 1969 to 1980 in light of the visual tropes and narratives developed and reworked in the genre from the 1930s to the present. In so doing, he reveals the complexity of what is probably the most interesting period in Western movie history. His incisive reevaluations of such celebrated (or infamous) films as The Wild Bunch and Heaven’s Gate and examinations of dozens of forgotten and neglected Westerns, including the final films of John Wayne, demonstrate that there was more to the 1970s Western than simple revision. Instead, we see not only important connections between canonical and lesser-known films of the period, but also continuities between these and older Westerns. Nelson believes an ongoing, cyclical process of regeneration thus transcends established divisions in the genre’s history. Among the books currently challenging the prevailing “evolutionary” account of the Western, Still in the Saddle thoroughly revises our understanding of this exciting and misunderstood period in the Western’s history and adds innovatively and substantially to our knowledge of the genre as a whole.
Description : Westerns is the classic account of the emergence, growth and flowering of one of the most perennially popular film genres. When it was first published thirty years ago it was welcomed by reviewers in Europe and the United States as a major work. In this new edition, fully revised and updated, with a new introduction, both movie buffs and general readers have the opportunity to engage again with one of the sharpest film critics of our time. The book focuses on the political, historical and cultural forces that shaped the western, dealing especially with the thirty years after World War II. It considers the treatment of Indians and Blacks, women and children, the role of violence, landscape and pokerplaying, and it advances the theory that most westerns of those years fit into four principal categories that reflect the styles and ideologies of four leading politicians of the era: John F. Kennedy, Barry Goldwater, Lyndon Johnson and William Buckley. Since the book was first revised in 1977, there has been, as the author predicted there would be, a steady decline in the number of westerns made for TV and the cinema, but the genre remains highly influential and reflects the social and psychological currents in American life. In the 1990s Academy Awards for best movie went to Kevin Costner's Dances with Wolves and Clint Eastwood's Unforgiven, the first time that westerns were so honoured since Cimarron won an Oscar in 1930. French takes in these and other films, such as Heaven's Gate, the costly failure that brought down the studio that produced it, and brings the story of the western into the twenty-first century as the genre that was renewed in Cold Mountain, Open Range, Hidalgo and The Alamo.