Notes on Contributors

Lara Cox is a Lectrice at Université de Jules Verne Picardie. Her doctoral research focused on the Theatre of the Absurd and aimed to reinvigorate crit- ical considerations of this theatrical genre with the aid of French postmodern and psychoanalytic theory. Her wider research interests include French visual cultures, French theory (in particular, considerations of this body of thought as an Anglo-American phenomenon), and star culture.

Debra B. Cutshaw is a part-time Adjunct Lecturer in English at Western Nevada College. Since retiring as a prison caseworker in 2007, she has helped inmates with GEDs, besides presenting Black literature symposiums at Carson City prisons. Debbie has recently ﬁnished a chick lit novel, a Shakespearean time travel screenplay, and a Theresienstadt screenplay.

Andrea Gazzaniga is an Assistant Professor at Northern Kentucky University. When she is not working in the area of Victorian literature, she specializes in ﬁlm and women writers.

Pete Falconer is a Lecturer in ﬁlm studies at the University of Bristol. His main research interests lie in the forms and genres of popular cinema. He com- pleted his PhD in 2011 and has published work on Westerns, horror movies, and ﬁlm adaptation.

Stella Hockenhull is a Senior Lecturer in film studies at the University of Wolverhampton, UK. Her first degree, Bachelor of Arts (Hons.), in His- tory of Design and the Visual Arts was followed by a Master of Arts degree in Screen Studies at Manchester University. She gained her PhD in 2006 titled Neo-Romantic Landscapes: An Aesthetic Approach to the Films of Powell and Pressburger—published 2008. She has researched extensively on British Cinema, which is evidenced in her latest book titled Aesthetics and Neo- Romanticism in Film: Landscapes in Contemporary British Cinema (2012). Currently, she is researching the role of horses in film.

Zhenya Kiperman is a Professor of film at Drexel University, where he teaches film production and cinema studies courses. He is also an award-winning film- maker and founder of Kiperfilms (www.kiperfilms.com). Mr. Kiperman holds a Master’s degree in filmmaking from Columbia University and has taught at 240 Notes on Contributors

NYU, New School, Fordham, and St. John’s universities. He is the author of numerous essays on ﬁlm and literature published in the United States, Europe, and Russia, and the editor and one of the authors of the textbook European Cinema: The Deﬁning Figures, Movements, Films, published in 2012.

Helen M. Lewis teaches English and humanities at Western Iowa Tech Community College, Sioux City, Iowa. She earned her BA from Wilkes College, and MA and ABD in English Literature from the University of Maryland, College Park. Using the Chautauqua method of presenting liv- ing history, she has portrayed Jane Addams since 1999, from Oklahoma to North Dakota, with Grace Abbott as a more recent addition. Since 2002, she has served as Area Chair of Westerns and the West for the Popular Culture Association/American Culture Association.

Sue Matheson is an Associate Professor at the University College of the North in Manitoba, Canada. She specializes in American popular culture and ﬁlm, Children’s Literature, and American and Canadian Literature.

Cynthia J. Miller is a cultural anthropologist, specializing in popular culture and visual media. Her writing has appeared in a wide range of journals and anthologies, including Post Script, The Journal of Popular Film and Television, and Film & History. She is the editor of the forthcoming Too Bold for the Box Ofﬁce: A Study in Mockumentary (Wayne State UP), and Cadets, Rangers, and Junior Space Men: Televised “Rocketman” Series of the 1950s and Their Fans, coedited with A. Bowdoin Van Riper (Palgrave-MacMillan). Cynthia is also the series editor for Scarecrow Press’s Film and History book series.

Erin Lee Mock is a PhD Candidate at the City University of New York Grad- uate Center. Her dissertation explores postwar masculinity across a variety of media and a related article appears in Film and History. Another article on television history is forthcoming in Camera Obscura.

Andrew Patrick Nelson is an Instructor of ﬁlm studies at the University of Calgary. He holds a PhD from the University of Exeter.

Frances Pheasant-Kelly is MA Award Leader and a Senior Lecturer in ﬁlm studies at the University of Wolverhampton, UK. Her research areas include abjection and space, which form the basis for her book Abject Spaces in American Cinema: Institutional Settings, Identity, and Psychoanalysis in Film, I.B Tauris (2011). Her other main research area is 9/11 with publications including a forthcoming book Fantasy Film Post 9/11 (Palgrave Macmillan). Recent publications include “Authenticating the Reel: Realism, Simulation and Trauma in United 93” in Bragard, V., C. Dony, and W. Rosenberg (eds.) Portraying 9/11: Essays on Representations of 9/11 in Comic Books, Litera- ture, Film and Theatre, McFarland Press (2011); “Ghosts of Ground Zero” Notes on Contributors 241 in P. Hammond (ed.) Screens of Terror (2011); and “The Ecstasy of Chaos: Mediations of 9/11, Terrorism and Traumatic Memory in The Dark Knight,” Journal of War and Culture Studies (2011).

Vincent Piturro is an Assistant Professor of cinema studies at Metropolitan State College of Denver. He teaches courses on ﬁlm history, Westerns, science ﬁction, European cinema, and global cinema. He holds a PhD in Comparative Literature from the University of Colorado.

Robert Spindler was born in Germany in 1984 and moved to Austria in 1988, where he lives today. He has studied English and American Stud- ies at Innsbruck University, Austria, ﬁnishing his thesis on Recent Westerns: Deconstruction and Nostalgia in Contemporary Western Film in 2008. He is currently doing research on the Sir Gawain character in modern literature and ﬁlm. Index

100 Riﬂes, 71, 83, 84 Jimmy Bond, 98 3:10 To Yuma, 117 Live and Let Die,97 Brokeback Mountain, 141, 158, 162, affection, 11–14, 135–6, 161–3, 182 166–7, 168–9, 181, 199, 213, Broken Arrow,81 235 Brooks, Richard, 83 deep, 163, 169 Bucking Broadway, 180 parody of, 136 buddy ﬁlm, 152–5, 217, 219, agency, 25, 28, 29, 55–6, 58, 59, 223 ff 85, 188–9, 192 Butch Cassidy and the Sundance Kid, All The Pretty Horses, 72, 86 142, 152–3, 155, 159 Ambush At Cimarron Pass,77 Among Vultures,10ff Angel and the Badman,11 Calamity Jane, 148–50, 152, 154, antifeminist, 218 156, 158, 160 captivity narrative, 72, 80–1 bachelor, 7, 9, 93, 104, 212, Cattle Queen of Montana, 23, 26–7, 213 31 Ballad of Little Jo, The, 19, 20, Cheyenne Warrior,84 112–15, 117, 121–2 Bandit Queen,77 Cold War, 3, 94, 98, 106 ff Baudrillard, Jean, 107 ff, 183, Comancheros,12 191 Cooper, James Fenimore, 82, 134, Bazin, Andre, 57, 58 218 Bend of the River, 36, 44, 49, 129, Costner, Kevin, 17, 84 133 cowboy, 2, 10, 13, 25, 31, 32, 37, Big Jake,9 66, 71, 72, 78, 161–3, 167, Big Stakes, 180 169, 172, 175, 181, 185, Big Valley, The, 21, 23, 29, 31 197–8, 201–2, 206, 210, Bond, James, 98, 106 ff 219 Casino Royale, 97, 98 courtship, 7–8 Climax!,98 Cowboys and Aliens,86 244 Index

Dances With Wolves, 2, 3, 19, 84, patriarchal, 42 122, 193 values, 48, 49, 57, 175 Dark Command, The,12 Far Country, The,36–8, 47–8, 50, Dawn Rider, The,11 131 Deleuze, Gilles, 183, 188 feminine, 53, 56, 65, 77, 147, 149, Desert Trail, 11, 14 162, 167, 169, 210 desire, 23, 24, 37, 42, 43, 47, autonomy, 186 66, 74, 81, 88, 98, 106, 113, behavior, 56 122, 131, 137, 142, 143, 144, characteristics, 56 150, 151, 162, 170, 200, 217 inﬂuence, 57 of the author, 214 performance, 56 to be an adult, 66 side, 169 for children, 150 subordination, 180, 186 heterosexual, 151, 158 Flame of the Barbary Coast,13 lesbian, 113, 144 Ford, John, 25, 26, 64, 180, 198 same-sex, 151 Forty Guns,23–5, 27–8, 31, 33 trajectory of, 188 Foucault, 183, 191 valorizations of, 184 voyeuristic, 155 freedom, 9, 57, 77, 85, 99, 167, 175, 185, 187–9 for women, 182 Desperados, The, 181 friendship, 4, 77, 152, 160, 162, Devil’s Doorway,36 166, 198–9, 201, 207, 213–14, dialectical materialism, 180 217–18, 219–20, 222, 227, domesticity, 44, 45, 48, 64, 65–6, 230 117, 119, 134, 135, 136, male, 213, 218–20, 227 175 partner(s), 7, 24, 37, 38, 85, Duel In The Sun, 72, 74 119 Dust, 180 partnership, 38, 180, 181, 213 From Dawn Til Dusk: The Hangman’s Daughter,86 Eastwood, Clint, 68 ff Eco, Umberto, 212, 221 ff effeminate, 143, 167, 214, 221 gender, 3, 4, 28–9, 55–6, 58, 63, Electric Horseman, The, 172 65–7, 73–4, 77–9, 81, 85, 98, emasculation, 121, 171, 176 105, 115, 121, 124, 142–5, eros, 4, 231–2 147–8, 151, 159, 167, 171, exceptionalism, 115 186 expansionism, 115 identity, 27 Geronimo: An American Legend,3, family, 4, 11, 13, 15, 36, 48, 50, 31, 122, 193 57, 59, 60, 61, 64, 92, 94, Greenwald, Maggie, 19, 122 95, 96, 98, 105, 106 ff, 113, Gries, Tom, 83 115, 134, 166, 185, 188, Guattari, Félix, 183, 188 198, 199, 215, 230, 230, gunﬁghter, 12, 15, 68, 86, 92, 98, 231 106–7, 139, 162, 166, 175, extended, 231 226–7 Index 245 gunslinger, 62, 63, 85, 102, 113, idealism, 184 118 idealization, 186 gunslinging, 59, 60, 68, 98, independence, 25, 28, 54, 66, 79, 118 85, 114, 117, 135 Gunsmoke, 4, 94, 95, 97, 103, 105 jealousy, 102, 171, 230, 232 The Premier,94 Johnny Guitar, 27, 29, 30 Johnson, Jeremiah, 84 Have Gun, Will Travel, 92, 95, 97, John Wayne, 8, 26, 64, 94, 112 99, 103, 104 character, 8–12 Heaven’s Gate,5,180–6, 189, Westerns, 8, 15 191–4 Hefner, Hugh, 103 Kaplan, Jonathan, 19, 44, 47, 48 hero kinship, 231 Kitses, Jim, 20, 36, 112, 113, 115, individualist(s), 54, 58, 119 118, 126, 130, 136, 137, 185, knight, 91 193, 194, 235 lonely male, 58, 68 solitary, 66, 106, 115, 117–18 Lacan, 183, 188, 191, 194 ff Western, 19, 56, 57, 63–4, 67, landscape, 28, 65, 75, 78, 98, 103, 68, 79, 95, 115, 117, 119, 118, 130, 149, 152, 157, 121–2, 126, 167 164–5, 172 heroine, 12, 24–7, 31, 77, 79, 126, Fordian, 64 129, 134–5, 182, 187 Last of the Mohicans, The, 72, 77, 82, heteronormative, 159, 185, 191 84 love, 193 Lawless Nineties, The,11 Hidalgo,86 Leatherstocking tales, 218 homoeroticism, 117, 142, 152, 182, Leone, Sergio, 51, 54, 67 ff, 68 ff, 214 220 ff, 223 ff, 236 ff homoerotic, 133, 142, 145, 149, lesbian, 2, 113, 142, 143, 144, 146, 150–2, 156, 158, 182, 214 158, 159 homosexuality, 20, 116–17, 142, liberalism, 180, 184–9, 192 145, 154, 158, 214, 217 Little Big Man, 3, 71, 82 cross-dressing, 20, 142–4, 150, loneliness, 117, 200, 202 151, 158, 159 Lonely Are The Brave, 163, 173 dude, 115 Lone Ranger, The, 94, 95 gay types, 142, 143 loss, 55, 58, 68 ff, 72, 152, 165, homosocial, 2, 5, 142, 152, 156, 181, 185, 198, 227, 232 182, 230 of agency, 28 male bonding, 162, 218, 220 love triangle, 170, 180–3, 190, 192 male group, 235 Hondo,12–14 Madame Bovary, 187 Hopalong Cassidy, 94, 95 Major Dundee, 235 Hud, 201 male gaze, 40, 41, 121, 148 humor, 133, 150, 151, 153, 157, Manifest Destiny, 194 159, 198 Man From Laramie, The, 36, 45, 50 246 Index

Mann, Anthony, 26, 33, 36, 112, No Country For Old Men,86 126 noir, 35–7, 39, 42, 48, 68 ff, 87 ff Man From Utah,11 antihero, 99, 107 ff ManoftheWest, 63, 214 femme fatales, 47 Man Who Shot Liberty Valance, The, male melodrama, 49 116 redeemer, 45 marriage, 7–9, 11–15, 38, 41–2, 47, women, 43–4, 50 49, 82, 84, 99, 131, 142, 145, North to Alaska,13 150–1, 159, 162, 170, 176, North West Mounted Police, 71, 76, 181, 184, 190, 211, 213, 218 78, 86 ff bride, 4, 8, 9, 11, 13–15, 17 partners, 7 Oedipal, 180, 181 trap, 170 Old California,13 masculinity, 54, 56, 99, 100, Old Surehand, 213 105, 106, 113, 131, 139, 142, Ölprinz, Der, 223 ff 143, 145–9, 151–2, 154, Once Upon a Time in the West,54–6, 156–8, 162–3, 166–7, 169, 58, 60, 64, 67, 68, 204 172, 175, 182, 189, 201, 206, outlaw, 3, 8, 23, 41–2, 48–9, 50, 214 80, 83, 142, 152, 158, 167, traditional codes, 163 171, 175, 204, 226–7, 229, Maverick, 99, 103, 105 235 Maverick Queen, The, 22, 23–5, 27, Outlaw, The, 80, 167, 169, 171, 30–1 173 May, Karl, 5, 210, 214–22 Owens, McKubin T., 227 McClintock!, 44–5, 48–9 melancholy, 4, 126, 128–9, 131–4, Paladin, 92–3, 95–107 137–9, 191 Papillon, 153–5, 157 men parcifalism, 212 bachelor, 7, 9, 93, 104, 212, 213 Peckinpah, Sam, 26, 114, 226–31, playboy, 93, 97, 99 233, 235, 236 Midnight Cowboy, 198, 207 Philadelphia, 158 military ethos, 228 philia, 5, 227, 229–32, 234–5 miscegenation, 14, 72, 73, 76, Piano Teacher, The, 187 80–1 Playboy, 93, 98, 99, 233 misogyny, 14, 54, 186 plot Missing, The,84 episodic, 92 Motion Picture Production Code, erotic, 92, 97 134 love, 210, 215, 216, 218, 219–20 Hays Production Code, 141 revenge, 60 Mulvey, Laura, 121 romantic, 92, 97 My Darling Clementine, 71, 113 Posse, 194 Professionals, The,83 Naked Spur, The, 36, 49 prostitute, 7, 13–15, 56, 80, 112, ‘Neath Arizona Skies,11 117–18, 180–3, 186, 188, noble savage, 210 191–2, 229, 231, 232 Index 247

Quick and The Dead, The,19 Tombstone,3,122 Tompkins, Jane, 48, 126 Raimi, Sam, 19 Trail Beyond, The,11 Rainbow Valley,11 Train Robbers,14–15 Rango,86 transvestitism, 4, 144, 146 rape, 81, 134, 155, 170, 189 Treasure of Silver Lake, 210, 211, Rawhide, 103 215, 216, 218, 220 regeneration, 117 True Grit, 2, 3, 14, 181, 203 through violence, 113, 120 Two Flags West,26 repression, 119 revenge, 2, 3, 37, 42, 46, 59, 60, Unforgiven, 2, 19, 68 ff, 122 77, 201, 215, 232–4 Ride the High Country, 181, Vietnam, 14, 152, 184, 226, 236 235 Riﬂeman, The, 4, 103 Wagon Train, 103 Rio Bravo,13 Western Rio Grande,9 adult, 92, 94, 96–7, 105–7 Rooster Cogburn, 14, 15 juvenile, 94, 95 revisionist, 54, 58, 68, 80, 84, 86, Schuh des Manitu, 221 112 Searchers, The, 2, 64, 65, 72, 77, When Legends Must Die,84 80–1, 112 Wild Bunch, The, 2, 23, 25, 30, Seitz, George, 82, 87 226–33, 235–6 sex appeal, 202 Wild, Wild West, The,86 sexuality, 37, 44, 47, 72–3, 75, Winchester ’35–7, 40, 50, 73, 83–4, 92–3, 96–7, 99, 105–7, 126, 128–31, 133–6, 116–17, 120, 131, 148, 155, 138 159 Winds of the Wasteland,11 male, 97, 105 Winnetou I, 211, 216, 217, 219, Shane, 57, 66, 94, 112–13, 118, 222 ff 165–7, 181 Winnetou II, 211, 219 Shay, Jonathan, 228–32, 234 Winnetou III, 211, 219 Shootist, The, 8, 14, 15, 118 Winnetou und das Halbbut slavery, 190 Apanatschi, 216 Slotkin, Richard, 14, 113, 226 Winnetou und sein Freund Old space Firehand, 223 ff domestic, 64, 92, 95 Women erotic, 95 angel in the house, 57 private, 104, 106 avenging angel, 86 Spoilers, The,13 butch, 142, 145, 146, 159 Stagecoach, 2, 3, 13, 26, 103, cattle queen, 23, 24, 28, 29 112–14, 116, 123, 132, 134, Celluloid Princess, 75 138, 148, 198 dark heroine, 77 femme attrape, 42, 43–6 Three Godfathers,11 femme fatale, 21, 37, 39, 43, 45, Tin Star, The,26 75, 216 248 Index

Women—continued soiled dove, 10, 77, 79, 80 frontierswoman, 183 virgin, 7, 10–12, 15, 126, 145, lesbian, 2, 113, 142–4, 146, 181 158–9 whore, 15, 20–1, 44, 60–1, 65–7, Madonna, 56, 65 113, 121, 171, 232 nymphomaniac, 199 wild, 76, 77 saloon girl, 13, 26, 32, 66, 77, Wyatt Earp, 122 132 Sexualized Maiden, 75, 79 Young Guns,84