Gary Cooper in 'Man of the West,'
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June 20, 2017 Movie Year STAR 351 P Acu Lan E, Bish Op a B Erd
Movie Year STAR 351 Pacu Lane, Bishop Aberdeen Aberdeen Restaurant, Olancha Airflite Diner, Alabama Hills Ranch Anchor Alpenhof Lodge, Mammoth Lakes Benton Crossing Big Pine Bishop Bishop Reservation Paiute Buttermilk Country Carson & Colorado Railroad Gordo Cerro Chalk Bluffs Inyo Convict Lake Coso Junction Cottonwood Canyon Lake Crowley Crystal Crag Darwin Deep Springs Big Pine College, Devil's Postpile Diaz Lake, Lone Pine Eastern Sierra Fish Springs High Sierras High Sierra Mountains Highway 136 Keeler Highway 395 & Gill Station Rd Hoppy Cabin Horseshoe Meadows Rd Hot Creek Independence Inyo County Inyo National Forest June Lake June Mountain Keeler Station Keeler Kennedy Meadows Lake Crowley Lake Mary 2012 Gold Rush Expedition Race 2013 DOCUMENTARY 2013 Gold Rush Expedition Race 2014 DOCUMENTARY 2014 Gold Rush Expedition Race 2015 DOCUMENTARY 26 Men: Incident at Yuma 1957 Tristram Coffin x 3 Bad Men 1926 George O'Brien x 3 Godfathers 1948 John Wayne x x 5 Races, 5 Continents (SHORT) 2011 Kilian Jornet Abandoned: California Water Supply 2016 Rick McCrank x x Above Suspicion 1943 Joan Crawford x Across the Plains 1939 Jack Randall x Adventures in Wild California 2000 Susan Campbell x Adventures of Captain Marvel 1941 Tom Tyler x Adventures of Champion, The 1955-1956 Champion (the horse) Adventures of Champion, The: Andrew and the Deadly Double1956 Champion the Horse x Adventures of Champion, The: Crossroad Trail 1955 Champion the Horse x Adventures of Hajji Baba, The 1954 John Derek x Adventures of Marco Polo, The 1938 Gary Cooper x Adventures of Wild Bill Hickok 1951-1958 Guy Madison Affairs with Bears (SHORT) 2002 Steve Searles Air Mail 1932 Pat O'Brien x Alias Smith and Jones 1971-1973 Ben Murphy x Alien Planet (TV Movie) 2005 Wayne D. -
MASCULINITY AS SPECTACLE REFLECTIONS on MEN and MAINSTREAM CINEMA by STEVE NEALE Downloaded From
MASCULINITY AS SPECTACLE REFLECTIONS ON MEN AND MAINSTREAM CINEMA BY STEVE NEALE Downloaded from http://screen.oxfordjournals.org/ OVER THE PAST ten years or so, numerous books and articles 1 Laura Mulvey, have appeared discussing the images of women produced and circulated 'Visual Pleasure by the cinematic institution. Motivated politically by the development and Narrative Cinema', Screen of the Women's Movement, and concerned therefore with the political Autumn 1975, vol and ideological implications of the representations of women offered by at Illinois University on July 18, 2014 16 no 3, pp 6-18. the cinema, a number of these books and articles have taken as their basis Laura Mulvey's 'Visual Pleasure and Narrative Cinema', first published in Screen in 1975'. Mulvey's article was highly influential in its linking together of psychoanalytic perspectives on the cinema with a feminist perspective on the ways in which images of women figure within main- stream film. She sought to demonstrate the extent to which the psychic mechanisms cinema has basically involved are profoundly patriarchal, and the extent to which the images of women mainstream film has produced lie at the heart of those mechanisms. Inasmuch as there has been discussion of gender, sexuality, represen- tation and the cinema over the past decade then, that discussion has tended overwhelmingly to centre on the representation of women, and to derive many of its basic tenets from Mulvey^'s article. Only within the Gay Movement have there appeared specific discussions of the represen- tation of men. Most of these, as far as I am aware, have centred on the representations and stereotypes of gay men. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Dictionary of Westerns in Cinema
PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas. -
The Man Who Shot Liberty Valance 1962, Donovan’S Reef 1963, and Cheyenne Autumn 1964
March 12, 2002 (V:8) Conversations about great films with Diane Christian and Bruce Jackson JOHN FORD (Sean Aloysius O’Fearna, 1 February 1894, Cape Elizabeth, Maine – 31 August 1973, Palm Desert, California, cancer) directed 146 films, 54 of them westerns. He won four Academy Awards for Best Director (*), two more for best documentary (#), five new York Film Critics Best Director awards (+), the Directors’ Guild of America Life Achievement Award (1954), and the first American Film Institute Life Achievement Award (1973). Some of his films are: The Informer*+ 1935, The Prisoner of Shark Island 1936, Stagecoach 1939+, Drums Along the Mohawk 1939, The Long Voyage Home +1940, The Grapes of Wrath* + 1940, Tobacco Road 1941, How Green Was My Valley+ 1941,* The Battle of Midway # 1942 (which he also photographed and edited), December 7th # 1943, They Were Expendable 1945, My Darling Clementine 1946, Fort Apache 1948, She Wore a Yellow Ribbon 1949, Rio Grande 1950, What Price Glory? 1952, The Quiet Man* 1952, Mogambo 1953, Mister Roberts 1955, The Searchers 1956, The Rising of the Moon 1957, The Last Hurrah 1958, Sergeant Rutledge 1960, The Man Who Shot Liberty Valance 1962, Donovan’s Reef 1963, and Cheyenne Autumn 1964. His older brother Francis started in movies in 1907 and changed his name to Ford. Jack joined him in Hollywood in 1914, acted in a dozen serials T HE MAN WHO SHOT LIBERTY and features, and began directing in 1917. He did three films in 1939, all of them classics: Drums VALANCE (1962)123 minutes Along the Mohawk (starring Henry Fonda and Claudette Colbert), Young Mr. -
Two Concepts of Liberty Valance: John Ford, Isaiah Berlin, and Tragic Choice on the Frontier, 37 Creighton L
UIC School of Law UIC Law Open Access Repository UIC Law Open Access Faculty Scholarship 1-1-2004 Two Concepts of Liberty Valance: John Ford, Isaiah Berlin, and Tragic Choice on the Frontier, 37 Creighton L. Rev. 471 (2004) Timothy P. O'Neill The John Marshall Law School, Chicago, [email protected] Follow this and additional works at: https://repository.law.uic.edu/facpubs Part of the Entertainment, Arts, and Sports Law Commons, and the Legal History Commons Recommended Citation Timothy P. O'Neill, Two Concepts of Liberty Valance: John Ford, Isaiah Berlin, and Tragic Choice on the Frontier, 37 Creighton L. Rev. 471 (2004). https://repository.law.uic.edu/facpubs/124 This Article is brought to you for free and open access by UIC Law Open Access Repository. It has been accepted for inclusion in UIC Law Open Access Faculty Scholarship by an authorized administrator of UIC Law Open Access Repository. For more information, please contact [email protected]. TWO CONCEPTS OF LIBERTY VALANCE: JOHN FORD, ISAIAH BERLIN, AND TRAGIC CHOICE ON THE FRONTIER TIMOTHY P. O'NEILLt "If as I believe, the ends of men are many, and not all of them are in principle compatible with each other, then the possibil- ity of conflict - and of tragedy - can never wholly be elimi- nated from human life, either personal or social. The necessity of choosing between absolute claims is then an ines- capable characteristicof the human condition." - Isaiah Berlin, "Two Concepts of Liberty" in Isaiah Berlin: The Proper Study of Mankind "We are doomed to choose, and every choice may entail an ir- reparableloss." - Isaiah Berlin, "The Pursuit of the Ideal" in The Crooked Timber of Humanity "Nothing's too good for the man who shot Liberty Valance." - Railroad Conductor to Senator Ransom Stoddard in John Ford's The Man Who Shot Liberty Valance INTRODUCTION 1962 was a good year for movies. -
AN ABSTRACT of the THESIS of Brad D. Foster for the Degree of Master of Arts in English Presented on July 16, 2007. Title
AN ABSTRACT OF THE THESIS OF Brad D. Foster for the degree of Master of Arts in English presented on July 16, 2007. Title: Constructing a Heroic Identity: Masculinity and the Western Film Abstract approved: ____________________________________________________________________ Jon Lewis This thesis employs the study of gender to demonstrate how recent Hollywood western films have constructed a hero that is reflective of contemporary beliefs regarding masculinity. Beginning with a New Historicist approach at studying gender, this work first considers the construction of masculinity in post World War II America and traces the evolution of the western hero’s masculinity from its iconic state in the 1950’s through it trial during second wave feminism, its rebuilding during the Reagan years, and its refinement within recent Hollywood films. This thesis considers each period of western films as a representation and reflection of its current culture, and as a result ultimately argues that the western genre has recently endeavored to perpetuate the conservative cultural view that a marital union is the ideal in contemporary American society. In tracing the progression of masculinity in the western hero, through cultural and textual readings, this thesis concludes that today’s paragon of the masculine western hero is more subject to domesticity and as such is more likely than its 1950s predecessors to accept marital living. © Copyright by Brad D. Foster July 16, 2007 All Rights Reserved Constructing Heroic Identities: Masculinity and the Western Film by Brad D. Foster A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented July 16, 2007 Commencement June 2008 Master of Arts thesis of Brad D. -
6 Buffalo Bill in the Big City, Part 2
BUFFALO BILL HISTORICAL CENTER n CODY, WYOMING n FALL 2011 n Buffalofalo BillBill inin thethe big city, part 2 n Firearms in the arartsts n Summer field wworkork To the point ©2011 Buffalo Bill Historical Center (BBHC). Written permission is required to copy, reprint, or distribute Points West materials omething extra you in any medium or format. All photographs in Points West are BBHC photos unless otherwise noted. Questions about image will notice throughout rights and reproduction should be directed to Rights and this issue of Points Reproductions, [email protected]. Bibliographies, works cited, and footnotes, etc. are purposely omitted to conserve WestS is the new gift icon. space. However, such information is available by contacting the Our hope is that whenever editor. Address correspondence to Editor, Points West, BBHC, 720 Sheridan Avenue, Cody, Wyoming 82414, or [email protected]. you see it, you will recognize Managing Editor: that a particular story, object, Ms. Marguerite House activity, or program came Assistant Editor: Ms. Nancy McClure about due to the generosity Designer: of a donor. By Bruce Eldredge Ms. Lindsay Lohrenz Executive Director Contributing Staff Photographers: The icon serves as a kind of Ms. Chris Gimmeson, Ms. Nancy McClure Historic Photographs/Rights and Reproductions: visual cue to alert you to just how much of what we do Mr. Sean Campbell at the Buffalo Bill Historical Center is made possible Credits and Permissions: through gifts. In fact, as I read the magazine, even I was Ms. Ann Marie Donoghue amazed to see all those “gifts”! It is wonderful to realize Advisory Team: Marguerite House, Public Relations & Managing Editor how committed our supporters are to preserving the Nancy McClure, Public Relations & Assistant Editor Lindsay Lohrenz, Designer Spirit of the American West for generations to come. -
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University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/35234 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Melancholy in Hollywood Westerns, 1939-1962 Peter Falconer A thesis submitted in fulfilment of the requirement for the degree of Doctor of Philosophy in Film and Television Studies University of Warwick Department of Film and Television Studies September 2010 i Contents List of Illustrations iv Acknowledgements vii Declaration x Abstract xi Introduction 1 Review of Literature 13 Introduction to Melancholy 59 Chapter 1: Violence 81 Colt .45 – Establishing the “Right” Relationship to the Gun 82 The Problem of Meaningful Violence 93 The Violent World 97 The Justifying Outrage 108 Violence, Genre and Tone 119 Picking up Guns 123 ii Monstrosity and Melancholy 134 Control and Honour 141 The Fair Fight 147 Chapter 2: Western Towns at Night 160 The Implicit Standard of the Gunfight 162 The Shooting in the Night-time Town, version 1: Pursued 164 The Shooting in the Night-time Town, version 2: Rio Bravo 170 The Shooting in the Night-time Town, version 3: The Man Who Shot Liberty Valance 178 Stagecoach – a melancholy sense of possibility 185 Chapter 3: Old Men 196 The Old Man and the Western -
Lincoln's Ghosts
LINCOLN’S GHOSTS: THE POSTHUMOUS CAREER OF AN AMERICAN ICON Kimberly N. Kutz A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History. Chapel Hill 2013 Approved by: John F. Kasson W. Fitzhugh Brundage Bernard Herman David Morgan Heather A. Williams ©2013 Kimberly N. Kutz ALL RIGHTS RESERVED ii ABSTRACT KIMBERLY NOELLE KUTZ: Lincoln’s Ghosts: The Posthumous Career of an American Icon (Under the direction of Professor John F. Kasson) American cultural productions repeatedly have depicted Abraham Lincoln as “living on” as a spirit after his assassination in 1865. The unprecedented death toll of the Civil War coupled with the uncertain future of African American citizenship in the years after the war led Americans, both black and white, to imagine and reimagine how a living Lincoln would have responded to contemporary issues in the United States. As they grappled with Lincoln’s legacy for American race relations, artists, writers, and other creators of American culture did not simply remember Lincoln but envisioned him as an ongoing spiritual presence in everyday life. Immediately after the Civil War, when the American Spiritualist movement encouraged the bereaved to believe that departed loved ones watched over and comforted the living, popular prints and spirit photography depicted Lincoln’s ghost remaining to guide the American people. In the late nineteenth and early twentieth century, actors who played Lincoln on the American stage presented themselves as embodied forms of his spirit, in the process eschewing Lincoln’s political achievement of Emancipation in favor of sentimental portrayals of his boyhood and family life. -
Enjoy the Magic of Walt Disney World All Year Long with Celebrations Magazine! Receive 6 Issues for $29.99* (Save More Than 15% Off the Cover Price!) *U.S
Enjoy the magic of Walt Disney World all year long with Celebrations magazine! Receive 6 issues for $29.99* (save more than 15% off the cover price!) *U.S. residents only. To order outside the United States, please visit www.celebrationspress.com. To subscribe to Celebrations magazine, clip or copy the coupon below. Send check or money order for $29.99 to: YES! Celebrations Press Please send me 6 issues of PO Box 584 Celebrations magazine Uwchland, PA 19480 Name Confirmation email address Address City State Zip You can also subscribe online at www.celebrationspress.com. Cover Photography © Tim Foster Issue 34 Exploring the Great Outdoors at the 42 Contents Fort Wilderness Calendar of Events ............................................................ 8 Campground Disney News & Updates................................................10 MOUSE VIEWS ......................................................... 15 Guide to the Magic by Tim Foster............................................................................16 Streetmosphere: Hidden Mickeys by Steve Barrett .....................................................................20 Citizens of Hollywood 48 Photography Tips & Tricks by Tim Devine .........................................................................22 Disney Legends by Jamie Hecker ....................................................................24 Disney Cuisine by Allison Jones ......................................................................26 Disney Secrets by Jamie Hecker ....................................................................28 -
The Hero and Villain Binary in the Western Film Genre
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. The Hero and Villain Binary in the Western Film Genre A thesis presented in partial fulfilment of the requirements for the Masters of Arts In Media Studies At Massey University Palmerston North, New Zealand Christine Maria Cook 2012 i Abstract The Western hero has been an established film icon since the early 1900s and the particular brand of masculinity he embodies has represented a set of values and beliefs around what it means to be a man in American society. These resonated into other countries such as New Zealand where this representation also became an accepted view of manhood. Based on a colonialist ideology, the cowboy hero’s original role in the frontier of the Hollywood Western was to protect the new settlers and to remove any barriers to their settlement. The first of these was the Native American who was presented as an uncivilised savage to justify conquest. Conflicts such as these created the use of binary oppositions that became an established part of the Western narrative as they provided a contrast between civilisation and wilderness, and good and evil. These oppositions could also take the form of a villain or ideological perspective that didn’t fit the ethos of the frontier life the hero was protecting. Throughout its history, there have been many adaptations and changes made to Western film genre to keep its relevance but the white male figure of the hero has remained a constant presence.