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West of Everything the American Frontier in Literature, Film, Painting, and Photography
West of Everything The American Frontier in Literature, Film, Painting, and Photography Course instructor: PD Dr. Stefan Brandt Winter term 2009/10 Bibliography (selection): Adams, Ramon. Western Words: A Dictionary of the Range, Cowcamp, and Trail. 1945. Norman: University of Oklahoma Press, 1968. Allen, Charles W. From Fort Laramie to Wounded Knee: In the West That Was. Lincoln: University of Nebraska Press, 1997. Allmendinger, Blake. The Cowboy: Representations of Labor in an American Work Culture. New York: Oxford Univ. Press, 1992. Aquila, Richard, ed. Wanted Dead or Alive: The American West in Popular Culture. Urbana: Univ. of Illinois Press, 1996. Baigell, Matthew. The Western Art of Frederic Remington. New York: Ballatine Books, 1976. Bartley, Paula. Plains Women: Women in the American West. New York Cambridge University Press, 1991. Bataille, Gretchen M. Images of American Indians on Film: An Annotated Bibliography. New York: Garland, 1985. Bird, Harrison. War for the West, 1790-1813. New York: Oxford University Press, 1972. Blackstone, Sarah J. The Business of Being Buffalo Bill. New York: Praeger, 1988. Bold, Christine. Selling the Wild West: Popular Western Fiction, 1860 to 1960. Bloomington: Indiana Univ. Press, 1987. Bridger, Bobby. Buffalo Bill and Sitting Bull: Inventing the Wild West. Austin: University of Texas Publishing, 2002. Brown, Bill, ed. Reading the West: An Anthology of Dime Westerns. Boston: Bedford Books, 1997. Brown, Dee Alexander. Bury My Heart at Wounded Knee: An Indian History of the American West. New York: Owl Books, 2001. Butler, Anne M., and Michael J. Lansing, eds. The American West: A Concise History. Malden, Mass.: Blackwell Publ. 2008. -
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. -
December-2013-App-File.Pdf
SpeCIal New SubSCrIber offer 33011 r I M arch 2012 $8.90 Australia Q ua dr a nt I Subscribe to Quadrant and Vol.56 No3 renodesign.com.au renodesign.com.au Policy for only $104 for one year! M arch 2012 The Threat to Democracy auley Patrick McC fromJohn O’Sullivan, Global Governance The Fictive World of Rajendra Pachauri Tony Thomas Pax Americana and the Prospect of US Decline Keith Windschuttle Why Africa Still Has a Slave Trade Roger Sandall Quadrant is one of Australia’s leading intellectual magazines, Freedom of Expression in a World of Vanishing Boundariesasluck Nicholas H Meyrick Zerilli, John de and is published ten times a year. ConservativesGiffin, and John Same-Sex Marriage Michael Joe Dolce John Stone On Bob Dylan and Christopher Ricks Stephen Buckle On myths about floating the dollarRoss Barham, On David Hume and Mreligionichael Connor Policy is the only Australian quarterly magazine that explores On the art of acting , I Morris Lurie fiction I Les Murray, Russell Erwin, Janine Fraser, Vivian Smith the world of ideas and policy from a classical liberal perspective. Poetry Ron Pretty, Duncan McIntyre, Leon Trainor I I history Patrick Morgan, Victor Stepien, JanI Owen, Trevor Sykes Reviews freedom ofI speechI first person I environment I film I politics I music Society I chronicle I economics LettersI media philosophy & ideas To take advantage of this offer you can: • subscribe online at www.policymagazine.com • use the subscription card in the middle of this magazine • contact The Centre for Independent Studies: PO Box 92, St Leonards, NSW 1590 p: 02 9438 4377 f: 02 9439 7310 e: [email protected] * This offer is in Australian dollars (incl. -
American Heritage Center
UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO ENTERTAINMENT INDUSTRY RESOURCES Child actress Mary Jane Irving with Bessie Barriscale and Ben Alexander in the 1918 silent film Heart of Rachel. Mary Jane Irving papers, American Heritage Center. Compiled by D. Claudia Thompson and Shaun A. Hayes 2009 PREFACE When the University of Wyoming began collecting the papers of national entertainment figures in the 1970s, it was one of only a handful of repositories actively engaged in the field. Business and industry, science, family history, even print literature were all recognized as legitimate fields of study while prejudice remained against mere entertainment as a source of scholarship. There are two arguments to be made against this narrow vision. In the first place, entertainment is very much an industry. It employs thousands. It requires vast capital expenditure, and it lives or dies on profit. In the second place, popular culture is more universal than any other field. Each individual’s experience is unique, but one common thread running throughout humanity is the desire to be taken out of ourselves, to share with our neighbors some story of humor or adventure. This is the basis for entertainment. The Entertainment Industry collections at the American Heritage Center focus on the twentieth century. During the twentieth century, entertainment in the United States changed radically due to advances in communications technology. The development of radio made it possible for the first time for people on both coasts to listen to a performance simultaneously. The delivery of entertainment thus became immensely cheaper and, at the same time, the fame of individual performers grew. -
Red and White on the Silver Screen: the Shifting Meaning and Use of American Indians in Hollywood Films from the 1930S to the 1970S
RED AND WHITE ON THE SILVER SCREEN: THE SHIFTING MEANING AND USE OF AMERICAN INDIANS IN HOLLYWOOD FILMS FROM THE 1930s TO THE 1970s a dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Bryan W. Kvet May, 2016 (c) Copyright All rights reserved Except for previously published materials Dissertation Written by Bryan W. Kvet B.A., Grove City College, 1994 M.A., Kent State University, 1998 Ph.D., Kent State University, 2015 Approved by ___Kenneth Bindas_______________, Chair, Doctoral Dissertation Committee Dr. Kenneth Bindas ___Clarence Wunderlin ___________, Members, Doctoral Dissertation Committee Dr. Clarence Wunderlin ___James Seelye_________________, Dr. James Seelye ___Bob Batchelor________________, Dr. Bob Batchelor ___Paul Haridakis________________, Dr. Paul Haridakis Accepted by ___Kenneth Bindas_______________, Chair, Department of History Dr. Kenneth Bindas ___James L. Blank________________, Dean, College of Arts and Sciences Dr. James L. Blank TABLE OF CONTENTS…………………………………………………………………iv LIST OF FIGURES………………………………………………………………………v ACKNOWLEDGEMENTS……………………………………………………………...vii CHAPTERS Introduction………………………………………………………………………1 Part I: 1930 - 1945 1. "You Haven't Seen Any Indians Yet:" Hollywood's Bloodthirsty Savages……………………………………….26 2. "Don't You Realize this Is a New Empire?" Hollywood's Noble Savages……………………………………………...72 Epilogue for Part I………………………………………………………………..121 Part II: 1945 - 1960 3. "Small Warrior Should Have Father:" The Cold War Family in American Indian Films………………………...136 4. "In a Hundred Years it Might've Worked:" American Indian Films and Civil Rights………………………………....185 Epilogue for Part II……………………………………………………………….244 Part III, 1960 - 1970 5. "If Things Keep Trying to Live, the White Man Will Rub Them Out:" The American Indian Film and the Counterculture………………………260 6. -
The Inventory Ofthe James Warner Bellah Collection
The Inventory ofthe James Warner Bellah Collection #15 Howard Gotlieb Archival Research Center Bellah.JW' BELLAH, JAMES WARNER June, 1965 [Note: Columbia University has mss. of his Civil War stories] "The Bellah Collection(military)" 4 v. Official military correspondence U.S. Army, July 10, 1916-0ct 18, 1957 Box 6 Volume 1, 2 Volume 2 incl: Mountbatten, Louis Printed broadside; TLS 5/2/44; TLS 8/29/44; TLS 10/2/45 Stilwell, Joseph W. TLS 9/17/44; TLS 11/21/44 Wedemeyer, A.C. TLS 10/11/44 Box 7 Volume 3, 4 Volume 3 incl: Mountbatten, Louis TLS 3/3/47 Wedemeyer, A.C. TLS 6/23/49 Box 4,5 Correspondence - 1922-59 fan letters incl: Hughes, Rupert ALS 2/19/51, ~LS, ~~d. Addendum .March, 1965 Box 3 "The Bellah Collection (general)" 4 v. Undergraduate notebooks from Wesleyan University, Columbia and U. of Maine, 1919-23. Portfolios Box 2 1. Photographs (miscellany) of author at different periods of his life, formal and informal glossies - incl. glossies from movie "Fort Apache". 2. Advertising copy. 1923-25 written by author, proofs and printed versions. 3. Army Log Books. World War I, also notebooks used at School of Military Aeronautics, photostats of discharge. Box 1 4. Military writings. Used in troop training World War II and biography of General Pershing published in American Legion Magazine August, 1960. Also 1 Bellah.JW corr. from officers on his Training Guide. Typescripts, carbons, printed articles. Box 9 5. "Problems". JAB, 1941. Mss with maps. "Reviews of Soldiers' Battle Gettysburg" Scrapbook 1962-64, incl. -
The Berkhofer Duality Revealed in the Western Films of John Ford and John Wayne
The Berkhofer Duality Revealed in the Western Films of John Ford and John Wayne John T. Nelson University of Toledo 1 Robert F. Berkhofer, Jr. argues that the United States has categorized Native Americans in polarized stereotypes of noble savage or vicious heathen. He contends that scholarly interest in Indian culture has risen and subsided in tandem with its emphasis in popular culture. Since motion pictures represent a significant component of popular culture, this paper proposes to examine the representation of Native Americans in Western film. The research focuses on the major works of John Ford and John Wayne, dominant contributors to the genre in direction and acting, respectively. The investigation assesses the portrayal of aboriginal peoples as a means of studying American perceptions of their culture. These secondary sources inform the study. Berkhofer notes the legacy and depth of the Western genre for Americans.1 In Six Guns and Society, Will Wright examines its popularity stating: 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.2 Cultural historian Russel Nye describes the popular arts as works of humanistic form reflecting the tastes and values of the public in the preface to his study.3 The monograph by Ralph Brauer researches the television format of Western imagery.4 John G. -
The John Ford Collection
The John Ford Collection The John Ford collection of manuscripts at the Lilly Library offers a view of Ford's entire motion picture career, from the silent era to his last movie in 1966. The material in this collection was acquired from Ford's children and grandson after his death . It was used extensively, but not exhaustively, by Ford's grandson Dan Ford in writing his biography Pappy: The Life of John Ford and includes much of the research material accumulated by Dan Ford for his book. The collection covers the years from 1906 to 1976 and contains approximately seven thousand items, of which twenty-five hundred are correspondence. John Ford was born Sean Aloysius Feeney in Portland, Maine, in 1895. He changed his name after joining his older brother Fran cis, who had taken the name of Ford, in Hollywood in 1913. He began his career as a prop man, stunt man, and actor, moving to directing in 1917 with a two-reeler entitled The Tornado. He spent the rest of his life directing films, through the transition from silents to sound, making over 130 in all and winning six Academy Awards. From 1917 until 1930 Ford directed at least 66 films, a great many of which were westerns starring the cowboy actor Harry Carey. Early in his career Ford was most often associated with Universal Studio but by the early twenties he was under contract to the Fox Film Corporation (later the Twentieth Century-Fox Film Corporation) until after World War II. It was at Fox that he had his first major success, with The Iron Horse in 1924. -
Western E História: a Nostalgia De Um Mundo Findo*
José Eugenio Guimarães Western e história: a nostalgia de um mundo findo* Há pouco mais de 20 anos, num 31 de agosto de 1973, o cinema perdia John Ford, diretor radicado nos Estados Unidos que conferiu status de arte ao western. Fixou as diretrizes básicas do gênero no paradigmático No Tempo das Diligências (Stagecoach, 1939) e cantou a lenda de Wyatt Earp e o duelo de Ok Corral em Paixão dos Fortes (My Darling Clementine, 1946). Foi o primeiro a elevar o índio à condição de membro da humanidade e a criticar, ainda que veladamente, o mito de herói do General Custer em Sangue de Heróis (Fort Apache, 1948). Até então o índio aparecia no cinema como parte da natureza, um acidente geográfico que, como o rio e os vales, precisava ser vencido. Crepúsculo de uma Raça (Cheyenne Autumn, 1964), seu derradeiro western, é praticamente uma expiação, um mea culpa, um pedido de desculpas honesto e sincero que o velho diretor - em ação no cinema de 1914 a 1966 - pedia ao índio, recapitulando os derradeiros momentos da nação Cheyenne através da reconstituição da longa e penosa marcha desenvolvida pelos últimos remanescentes da tribo, desde a fuga da reserva árida na qual foram acantonados, até reencontrarem a terra natal de Yellowstone. Foram 1000 quilômetros que jovens, velhos, mulheres e * Originalmente publicado como Western, História e Amargura: O Testamento de John Ford em Cadernos da Democracia (n. 2, abril de 1994), editado por Adriana de Arezzo para o Núcleo de Estudos Antonio Gramsci, Niterói, RJ. 41 crianças venceram a pé, fustigados pelo exército, carentes de água e alimentos. -
' James Warner. Bellah and Hugh C. Mcdonald 406 Wilshire Boulevard Suite 203 About 30,000 Words Santa Monica, California
' James Warner. Bellah and Hugh C. McDonald 406 Wilshire Boulevard Suite 203 Santa Monica, California About 30,000 words THIS MAN REALLY KILLED KENNEDY A Study in Conspiracy Prepared by James Warner Bellah From the Investigative Data of Hugh C. McDonald The Becinninos My telephone rang at 10 in the morning of January 3, 1972. Hugh McDonald asking me to drop by his office. I have known Hugh for well over a quarter of a century-- since we were on intelligence duty together in the Army.. After the war when he was Chief of Detectives of the Los Angeles Sheriff's Department (with 600 detective sergeants under his command) we worked in team for several weeks on a special projeCt:— I know Hugh McDonald. Across his desk he said, "Do you know who killed Jack Kennedy?" _ • We. • • 4 4•6•4.4.•■■ • --- • • 4. ••••••••■ THIS MAN REALLY KILLED KENNEDY I said, "A fellow named Oswald." Hugh said, "No he didn't. Not one of his shots struck the President." "Whose shots did then?" Hugh said, "First, let's put it this way, were you entirely satisfied about the investigation and the conclusions at the time? .Did you buy the whole thing? Or did you hold some reservations?" I remember it seemed a little too well put together--a little too pat in places." "Tell me what places." "Well, a character stands in a window with a .rifle and with a couple of Well placed shots blows the head off the President of the United States ridinc in .a . moving car. -
De James Warner Bellah À John Ford Quelques Réflexions Fragmentaires
De James Warner Bellah à John Ford Quelques réflexions fragmentaires sur une traduction cinématographique War Party/ She wore a yellow ribbon (La charge héroïque) Entre 1947 et 1950 John Ford réalise trois films qui constituent une entité originale connue sous le nom de cycle de la cavalerie. Les trois Westerns formant ce triptyque Fort Apache (Le Massacre de Fort Apache, 1947), She Wore a Yellow Ribbon (La Charge Héroïque, 1948), Rio Grande (1950), célèbrent la cavalerie américaine et son rôle dans la conquête de l’Ouest. L’impression d’unité est encore renforcée par le fait que ces œuvres sont la traduction cinématographique de trois nouvelles de James Warner Bellah publiées pour la première fois dans le Saturday Evening Post en 1947 et 1948 : Massacre, War Party et Mission with no record. Cette trilogie répond à une quinzaine d’années d’intervalle à celle exaltant l’armée britannique aux Indes : Black Watch (1929), Wee Willie Winkie (1937) et Four Men and a Prayer (1938) en utilisant le même type de rituel et Victor Mc Lagen dans les mêmes rôles de sergent fort en gueule mais au cœur d’or. La collaboration entre John Ford et James Warner Bellah ne devait d’ailleurs pas s’arrêter là puisque c’est à lui que l’on doit le scénario de Sergeant Rutledge (Le Sergent Noir, 1960) qui s’apparente aussi au cycle de la cavalerie par sa célébration sur le mode épique de ces régiments qui devaient assurer la conquête militaire de l’Ouest. Jean-Loup Bourget rappelle que les films de la trilogie westernienne « sont à la croisée de deux genres, ou -
John Kennedy and Vietnam
Chapter 15 The Indochina Bind: John Kennedy and Vietnam Albert I. Berger Recently, when thinking about JFK and Vietnam, it occurred to me that I might offer a few observations from some frequently overlooked sources instead of a formal research paper. The sources are rather old; but they still seem instructive. The first is the late novelist Norman Mailer whose article entitled “Superman Comes to the Supermarket” appeared in Esquire magazine in the fall of 1960. The second is Daniel Ellsberg who included “The Quagmire Myth and the Stalemate Machine” in his 1972 collection of essays, Papers on the War. Finally, I want to draw on some insights developed in quite another context by James Warner Bellah and Willis Goldbeck. Mailer’s article, like so much of what he wrote, was a synthesis of his genuine capacity for cultural insight broader and deeper than the usual run of journalism and his very considerable ego; but he captured a useful truth about John Kennedy nonetheless. “[H]e was,” Mailer wrote, “like an actor who had been cast as the candidate.” He was a good actor, but not a great one, according to Mailer. He said it was too easy to see the gap between the role and the man, the aloof detachment that many others noted about Kennedy; but he attributed that quality to “the remote and private air of a man who has traversed some lonely terrain of experience, of loss and gain, of nearness to death, which leaves him isolated from the mass of others.”1 Yet Kennedy was not Mailer’s man, not at first.