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Chapter 13: Settling the West, 1865-1900
The Birth of Modern America 1865–1900 hy It Matters Following the turmoil of the Civil War and W Reconstruction, the United States began its transformation from a rural nation to an indus- trial, urban nation. This change spurred the growth of cities, the development of big busi- ness, and the rise of new technologies such as the railroads. New social pressures, including increased immigration, unionization move- ments, and the Populist movement in politics, characterized the period as well. Understanding this turbulent time will help you understand similar pressures that exist in your life today. The following resources offer more information about this period in American history. Primary Sources Library See pages 1052–1053 for primary source Coat and goggles worn in a readings to accompany Unit 5. horseless carriage Use the American History Primary Source Document Library CD-ROM to find additional primary sources about the begin- nings of the modern United States. Chicago street scene in 1900 410 “The city is the nerve center of our civilization. It is also the storm center.” —Josiah Strong, 1885 Settling the West 1865–1900 Why It Matters After the Civil War, a dynamic period in American history opened—the settlement of the West. The lives of Western miners, farmers, and ranchers were often filled with great hardships, but the wave of American settlers continued. Railroads hastened this migration. During this period, many Native Americans lost their homelands and their way of life. The Impact Today Developments of this period are still evident today. • Native American reservations still exist in the United States. -
American Heritage Day
American Heritage Day DEAR PARENTS, Each year the elementary school students at Valley Christian Academy prepare a speech depicting the life of a great American man or woman. The speech is written in the first person and should include the character’s birth, death, and major accomplishments. Parents should feel free to help their children write these speeches. A good way to write the speech is to find a child’s biography and follow the story line as you construct the speech. This will make for a more interesting speech rather than a mere recitation of facts from the encyclopedia. Students will be awarded extra points for including spiritual application in their speeches. Please adhere to the following time limits. K-1 Speeches must be 1-3 minutes in length with a minimum of 175 words. 2-3 Speeches must be 2-5 minutes in length with a minimum of 350 words. 4-6 Speeches must be 3-10 minutes in length with a minimum of 525 words. Students will give their speeches in class. They should be sure to have their speeches memorized well enough so they do not need any prompts. Please be aware that students who need frequent prompting will receive a low grade. Also, any student with a speech that doesn’t meet the minimum requirement will receive a “D” or “F.” Students must portray a different character each year. One of the goals of this assignment is to help our children learn about different men and women who have made America great. Help your child choose characters from whom they can learn much. -
Have Gun, Will Travel: the Myth of the Frontier in the Hollywood Western John Springhall
Feature Have gun, will travel: The myth of the frontier in the Hollywood Western John Springhall Newspaper editor (bit player): ‘This is the West, sir. When the legend becomes fact, we print the legend’. The Man Who Shot Liberty Valance (dir. John Ford, 1962). Gil Westrum (Randolph Scott): ‘You know what’s on the back of a poor man when he dies? The clothes of pride. And they are not a bit warmer to him dead than they were when he was alive. Is that all you want, Steve?’ Steve Judd (Joel McCrea): ‘All I want is to enter my house justified’. Ride the High Country [a.k.a. Guns in the Afternoon] (dir. Sam Peckinpah, 1962)> J. W. Grant (Ralph Bellamy): ‘You bastard!’ Henry ‘Rico’ Fardan (Lee Marvin): ‘Yes, sir. In my case an accident of birth. But you, you’re a self-made man.’ The Professionals (dir. Richard Brooks, 1966).1 he Western movies that from Taround 1910 until the 1960s made up at least a fifth of all the American film titles on general release signified Lee Marvin, Lee Van Cleef, John Wayne and Strother Martin on the set of The Man Who Shot Liberty Valance escapist entertainment for British directed and produced by John Ford. audiences: an alluring vision of vast © Sunset Boulevard/Corbis open spaces, of cowboys on horseback outlined against an imposing landscape. For Americans themselves, the Western a schoolboy in the 1950s, the Western believed that the western frontier was signified their own turbulent frontier has an undeniable appeal, allowing the closing or had already closed – as the history west of the Mississippi in the cinemagoer to interrogate, from youth U. -
Raoul Walsh to Attend Opening of Retrospective Tribute at Museum
The Museum of Modern Art jl west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart NO. 34 FOR IMMEDIATE RELEASE RAOUL WALSH TO ATTEND OPENING OF RETROSPECTIVE TRIBUTE AT MUSEUM Raoul Walsh, 87-year-old film director whose career in motion pictures spanned more than five decades, will come to New York for the opening of a three-month retrospective of his films beginning Thursday, April 18, at The Museum of Modern Art. In a rare public appearance Mr. Walsh will attend the 8 pm screening of "Gentleman Jim," his 1942 film in which Errol Flynn portrays the boxing champion James J. Corbett. One of the giants of American filmdom, Walsh has worked in all genres — Westerns, gangster films, war pictures, adventure films, musicals — and with many of Hollywood's greatest stars — Victor McLaglen, Gloria Swanson, Douglas Fair banks, Mae West, James Cagney, Humphrey Bogart, Marlene Dietrich and Edward G. Robinson, to name just a few. It is ultimately as a director of action pictures that Walsh is best known and a growing body of critical opinion places him in the front rank with directors like Ford, Hawks, Curtiz and Wellman. Richard Schickel has called him "one of the best action directors...we've ever had" and British film critic Julian Fox has written: "Raoul Walsh, more than any other legendary figure from Hollywood's golden past, has truly lived up to the early cinema's reputation for 'action all the way'...." Walsh's penchant for action is not surprising considering he began his career more than 60 years ago as a stunt-rider in early "westerns" filmed in the New Jersey hills. -
The Walsh Brothers in Hollywood
Volume XXXX, No. 11 • January (Eanáir), 2015 The Walsh Brothers in Hollywood .........................................................................................................Raoul and George Walsh got their start wrote. The movie starred silent cinema jackrabbit jumped through a windshield as in New York City, born not to the stage superstar Anna Q. Nilsson as a society he was driving. He gave up the part (but and screen, but both made their marks woman turned social worker who aids the not the directing job), and never acted upon both - Raoul as an actor, director, and regeneration of a Bowery gang leader. again. Warner Baxter won an Oscar for the founding member of the Academy of role Walsh was originally slated to play. Walsh later directed The Thief of Motion Picture Arts and Sciences, George Bagdad (1924) starring Douglas Fairbanks Walsh would wear an eye patch for the rest as an actor. and Anna May Wong, and What Price of his life. Raoul Walsh was born in New York as Glory? (1926) starring Victor McLaglen In the early days of sound with Fox, Albert Edward Walsh to Elizabeth T. and Dolores del Río. Walsh directed the first widescreen Bruff, the daughter of Irish Catholic spectacle, The Big Trail (1930), an epic immigrants, and Thomas W. Walsh, an wagon train western shot on location Englishman of Irish descent. Like his across the West. The movie starred then younger brother, he was part of Omega unknown John Wayne, whom Walsh Gamma Delta during his high school discovered as prop-boy Marion Morrison. days. Growing up in New York, Raoul Walsh renamed Morrison after Revolu- Walsh was also a friend of the Barrymore tionary War general Mad Anthony Wayne, family. -
Handout - Excerpt from Life and Adventures of Nat Love Nat Love Was Born Into Slavery in 1854 in Davidson, Tennessee
Handout - Excerpt from Life and Adventures of Nat Love Nat Love was born into slavery in 1854 in Davidson, Tennessee. After the Civil War, he was released from slavery and worked on a family farm before moving to Dodge City, Kansas, to become a cowboy. Love’s time driving cattle made him into a folk legend, and he became known as “Deadwood Dick.” The following excerpt comes from Chapter 6 of Love’s memoir, entitled Life and Adventures of Nat Love. We were compelled to finish our journey home almost on foot, as there were only six horses left to fourteen of us. Our friend and companion who was shot in the fight, we buried on the plains, wrapped in his blanket with stones piled over his grave. After this engagement with the Indians I seemed to lose all sense as to what fear was and thereafter during my whole life on the range I never experienced the least feeling of fear, no matter how trying the ordeal or how desperate my position. The home ranch was located on the Palo Duro river in the western part of the Pan Handle, Texas, which we reached in the latter part of May, it taking us considerably over a month Nat Love to make the return journey home from Dodge City. I remained in the employ of the Duval outfit for three years, making regular trips to Dodge City every season and to many other places in the surrounding states with herds of horses and cattle for market and to be delivered to other ranch owners all over Texas, Wyoming and the Dakotas. -
A Distant Trumpet
A Distant Trumpet Music by Max Steiner (1964) [movie***] [music ****] https://www.wbshop.com/products/distant-trumpet-a-mod [NOTE: This manuscript was cut & pasted from my large DVD Collection analyses paper] This “picture” (as Max would normally call a “movie”) scored by Steiner is still available at Warner Archive (see the link immediately above). It is beautifully shot in terms of locales (New Mexico and Arizona), usually very bright and desert dry scenes (except for a rainy night sequence with the Suzanne Pleshette character (Kitty) holed up in a cave with the Troy Donahue character (Lt. Matt Hazard). This is located 19 minutes into the movie. It’s an enjoyable picture to watch now and then but it certainly is no classic western (despite being directed by Raoul Walsh)! The first half of the movie kept me interested but it got to be rather tiresome afterward, especially that long, drawn-out Indian battle about an half and a half into the movie! I primarily purchased the dvd because of the music score by Max Steiner, one of his very last assignments. I researched the written full score 1 at USC-Warner Brothers Archives in the Research Annex just off-campus at 3716 S. Hope on March 11, 2005. How time flies. That was nearly six years ago. I do not plan to do an official “rundown” on the music since I worked very little on the score (not enough time). I managed to touch upon (hand- copy) segments of the first two or three reels of cues. While not a top drawer Steiner score, it is nevertheless still characteristically vibrant and energetic. -
Nat Love 1854 – 1921 Story: R. Alan Brooks Art: Cody Kuehl Discussion Questions: 3-5Th Grade
Nat Love 1854 – 1921 Story: R. Alan Brooks Art: Cody Kuehl Discussion Questions: 3-5th Grade • When you think of a cowboy, what do you see in your mind? What do they wear? What do they do with their day? • What do you want to be when you grow up? What would you do if someone told you that you are not allowed to do that? • Why did the members of the Pima Tribe let Nat go when they caught him? What does it mean to have respect for another person? • How does the comic make Nat’s experiences come to life? Which pictures show him engaging in an exciting activity? MS • Nat Love was born a slave and, as such, was not allowed to learn to read. Why do you suppose that law existed? • In the second panel of the first page, Nat says “a lot of folks dispute the facts of my life, saying it’s all too incredible to be true.” Are there any parts of this story that you find hard to believe? • Nat Love took the name “Deadwood Dick.” What would your cowboy name be if you could choose it for yourself? • In both the fifth panel of the first page and the second panel of the second page, Nat is shown firing his gun from horseback. How does including two images that are so similar to one another enhance your understanding of the character? HS • The artwork of this comic contains a lot of thick lines and an abundance of deep shading. How does this style inform the tone of the story being told here? • Why do you suppose that people today do not believe, as Nat points out in the comic, that there were any African American cowboys? • Not only was Nat literate, he wrote a book about his life. -
Nat Love's Autobiography, 1907
When I arrived the town was full of cowboys Life and Adventures of Nat Love from the surrounding ranches, and from Texas (Nat Love’s Autobiography, 1907) and other parts of the west. Kansas was a great Chapter 6 excerpt- Becoming a Cowboy cattle center and market, with many wild cowboys, prancing horses of which I was very fond, and the wild life generally. They all had It was on the tenth day of February, 1869, that I left the old home, near Nashville, their attractions for me, and I decided to try for a Tennessee. I was at that time about fifteen years place with them. Although it seemed to me I had old, and though while young in years the hard met with a bad outfit, at least some of them, I work and farm life had made me strong and watched my chances to get to speak with them. I hearty, much beyond my years, and I had full wanted to find someone whom I thought would confidence in myself as being able to take care of give me a civil answer to the questions I wanted myself and making my way. to ask, but they all seemed too wild around town, so the next day I went out where they I at once struck out for Kansas of which I had were in camp. heard something. And I believed it was a good Approaching a party who were eating their place in which to seek employment. It was in the breakfast, I got to speak with them. -
Disjointed War: Military Operations in Kosovo, 1999
Disjointed War Military Operations in Kosovo, 1999 Bruce R. Nardulli, Walter L. Perry, Bruce Pirnie John Gordon IV, John G. McGinn Prepared for the United States Army Approved for public release; distribution unlimited R Arroyo Center The research described in this report was sponsored by the United States Army under contract number DASW01-01-C-0003. Library of Congress Cataloging-in-Publication Data Disjointed war : military operations in Kosovo, 1999 / Bruce R. Nardulli ... [et al.]. p. cm. “MR-1406.” Includes bibliographical references. ISBN 0-8330-3096-5 1. Kosovo (Serbia)—History—Civil War, 1998—Campaigns. 2. North Atlantic Treaty Organization—Armed Forces—Yugoslavia. I. Nardulli, Bruce R. DR2087.5 .D57 2002 949.703—dc21 2002024817 Cover photos courtesy of U.S. Air Force Link (B2) at www.af.mil, and NATO Media Library (Round table Meeting) at www.nato.int. RAND is a nonprofit institution that helps improve policy and decisionmaking through research and analysis. RAND® is a registered trademark. RAND’s publications do not necessarily reflect the opinions or policies of its research sponsors. Cover design by Stephen Bloodsworth © Copyright 2002 RAND All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from RAND. Published 2002 by RAND 1700 Main Street, P.O. Box 2138, Santa Monica, CA 90407-2138 1200 South Hayes Street, Arlington, VA 22202-5050 201 North Craig Street, Suite 102, Pittsburgh, PA 15213 RAND URL: http://www.rand.org/ To order RAND documents or to obtain additional information, contact Distribution Services: Telephone: (310) 451-7002; Fax: (310) 451-6915; Email: [email protected] PREFACE Following the 1999 Kosovo conflict, the Army asked RAND Arroyo Center to prepare an authoritative and detailed account of military operations with a focus on ground operations, especially Task Force Hawk. -
Am AMERICAN HERITAGE
AMERICANAm HERITAGE DAY DEAR PARENTS, Each year the elementary school students at Valley Christian Academy prepare a speech depicting the life of a great American man or woman. The speech is written in the first person and should include the character’s birth, death, and major accomplishments. Parents should feel free to help their children write these speeches. A good way to write the speech is to find a child’s biography and follow the story line as you construct the speech. This will make for a more interesting speech rather than a mere recitation of facts from the encyclopedia. Students will be awarded extra points for including spiritual application in their speeches. Please adhere to the following time limits. K-1 Speeches must be 1-3 minutes in length with a minimum of 175 words. 2-3 Speeches must be 2-5 minutes in length with a minimum of 350 words. 4-6 Speeches must be 3-10 minutes in length with a minimum of 525 words. Students will give their speeches in class. They should be sure to have their speeches memorized well enough so they do not need any prompts. Please be aware that students who need frequent prompting will receive a low grade. Also, any student with a speech that doesn’t meet the minimum requirement will receive a “D” or “F.” Students must portray a different character each year. One of the goals of this assignment is to help our children learn about different men and women who have made America great. Help your child choose characters from whom they can learn much, and look for spiritual applications that can be learned from the person’s life. -
The American Indian in the American Film
THE AMERICAN INDIAN IN THE AMERICAN FILM Thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in American Studies in the University of Canterbury by Michael J. Brathwaite 1981 ABSTRACT This thesis is a chronological examination of the ways in which American Indians have been portrayed in American 1 f.ilms and the factors influencing these portrayals. B eginning with the literary precedents, the effects of three wars and other social upheavals and changes are considered. In addition t-0 being the first objective detailed examination of the subj�ct in English, it is the first work to cover the last decade. It concludes that because of psychological factors it is unlikely that film-makers are - capable of advancing far beyond the basic stereotypes, and that the failure of Indians to appreciate this has repeatedly caused ill-feeling between themselves and the film-makers, making the latter abandon their attempts at a fair treatment of the Indians. ii TABLE OF CONTENTS Preface iii Chapter I: The Background of the Problem c.1630 to c.1900. 1 Chapter II: The Birth of the Cinema and Its Aftermath: 1889 to 1939. 21 Chapter III: World War II and Its Effects: 1940 to 1955. 42 Chapter IV: Assimilation of Separatism?: 1953 to 1965. 65 Chapter V: The Accuracy Question. 80 Chapter VI: Catch-22: 1965 to 1972. 105 Chapter VII: Back to the Beginning: 1973 to 1981. 136 Chapter VIII: Conclusion. 153 Bibliography 156 iii PREFACE The aim of this the.sis is to examine the ways in which the American Indians have been portrayed in American films, the influences on their portrayals, and whether or not they have changed.