DOCSLIB.ORG

Colonialism and the US-Mexico Border in American Cold War Film

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Colonialism and the US-Mexico Border in American Cold War Film Romance, Revolution and Regulation: Colonialism and the US-Mexico Border in American Cold War Film Stephanie Fuller Submitted for the degree of Doctor of Philosophy University of East Anglia, School of Film, Television and Media September 2013 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract The 1950s saw perhaps the largest number of American films set on and around the US- Mexico border of any period of the twentieth century. This thesis investigates why this concentration of films appeared at this point in time. It argues that rather than responding to the changes in policy and practice along the borderline that were taking place in the 1950s, these films engage with cold war politics as they explore the relationship between the United States and Mexico through ideas of romance, revolution and regulation. The thesis contributes to the growing field of cultural studies of the Cold War by contending that these movies engage with cold war discourses of colonialism. I argue that through images of the US-Mexico border, colonialism is interrogated and that the international boundary is thus produced as a site through which concerns about the United States’ place in the cold war world are articulated. While much existing scholarship has examined the relationship of specific genres such as science fiction, westerns and film noir to cold war politics, this thesis moves away from such generic constraints to focus on films of different genres which feature representations of the US-Mexico border. The thesis’ central contribution therefore lies in its assertion that a study which is attentive to cinematic space and focused on a particular cinematic location can provide new ways of understanding cold war culture, and that American cinematic engagement with the Cold War is not limited to or defined by generic frameworks. 2 Contents Abstract .............................................................................................................. 2 Contents ............................................................................................................. 3 Acknowledgments .............................................................................................. 4 Introduction ....................................................................................................... 5 PART ONE Romance: Tourists, Lawbreakers and Undercover Cops ............. 30 Chapter One: The Romance of Mexico: Tourists, Fugitives and Escaping the US in Where Danger Lives (1950) ............................................................................. 31 Chapter Two: Masquerades, Mapping and Transformation: Identity and Ethnicity in Borderline (1950) ............................................................................................ 45 Chapter Three: Danger, Disappearance and the Exotic: American Travellers and Mexican Migrants in Wetbacks (1956) ................................................................. 65 PART TWO Revolution: Territory, Nation and Politics .................................. 82 Chapter Four: The Revolutionary Politics of Mexico: Vera Cruz (1954) and Representations of Individualism ......................................................................... 85 Chapter Five: Territory, Colonialism and Gender: Border River (1954) and the American Frontier ................................................................................................ 100 PART THREE Regulation: Criminality, Identity and Mobility....................... 118 Chapter Six: Ethnicity, Imperialism and the Law: Policing Identities in Border Incident (1949) .................................................................................................... 119 Chapter Seven: Border Cities as Contested Space: Postcolonial Resistance and The Tijuana Story (1957) ..................................................................................... 139 Chapter Eight: Imperial Journeys and Travelling Shots: Regulation, Power and Mobility in Touch of Evil (1958) .......................................................................... 156 Conclusion .......................................................................................................... 177 Appendix A: Indicative List of Cold War Border Films .................................. 189 Appendix B: Publications .................................................................................. 193 Bibliography ....................................................................................................... 194 Filmography ....................................................................................................... 225 3 Acknowledgments Firstly, I am extremely grateful to the AHRC for the PhD studentship I was awarded and without which I would have been unable to undertake this research. Many thanks are also due to the University of East Anglia for providing support and training and to my supervisors, Mark Jancovich and Brett Mills who have offered me invaluable advice and guidance throughout the past three years. Thank you also to my MA supervisor Jann Matlock for her support and encouragement with the project proposal. I am grateful to the extremely helpful staff at the British Film Institute library and the British Library for all their assistance with my research. I would like to thank my fellow School of Film, Television and Media PhD students for their collegiality and useful feedback in our work in progress seminars. Thanks are also due to the critical writing workshop group – particularly Kate Jones, Kelvin Knight, Stephen Mitchell, Tim Jones and Ed Clough – for their insightful feedback on early versions of several chapters of the thesis. I am extremely grateful to Nina Mickwitz and Sophie Halliday for their superb work proofreading and providing comments on the whole thesis in its final stages and especially for Thursday night drinks. I must also extend heartfelt thanks to a great many friends and family who have given me their support throughout this process, and I apologise for not being in touch as much as I would have liked. Special thanks to Rachel Eddy, Sarah Ross and Jo Phillips for hosting me in London, coming to visit Norwich and for some brilliant and much-needed holidays from the thesis! I am also hugely grateful to Dr Maria Thomas for her constant encouragement, generous advice on all aspects of academic life and general PhD camaraderie. And here is acknowledgment number two for Mat Croft, Tamar Nissin and Anthony Lloyd for their friendship and support. Special thanks are due to Matt Woody for his continuous support and interest in my project, helpful ideas and for moving to Norwich with me. To Sally, Graham, Carrie and Ellie Fuller, and Val and Roy Muscutt, I will always be grateful for your love and encouragement throughout my university career and for all the wonderful visits to Long Buckby, Lincoln, Heacham and San Felieu. 4 Introduction …they crossed sometime near noon the international boundary line into Mexico, State of Sonora, undifferentiated in its terrain from the country they quit and yet wholly alien and wholly strange.1 The US-Mexico border has been an iconic space in American film ever since movies were invented. As the Ringo Kid and Dallas head across the border into Mexico to start a new life at the end of Stagecoach (John Ford, 1939), the border becomes a space of renewal and hope where their romance can flourish. For South of the Border (George Sherman, 1939) starring Gene Autry’s singing cowboy, the border similarly offers the promise of romance, but while Autry serenades a beautiful senorita one moment, he is captured by Mexican revolutionaries the next. Mexico also became synonymous with ideas of revolution in films such as Vera Cruz (Robert Aldrich, 1954) and The Professionals (Richard Brooks, 1966) as American heroes head south of the border to join the revolution and test their political ambitions against those of the Mexican radicals. Additionally, crossing the US-Mexico border has often served as an escape from the regulations of American law. As Bart and Laurie tear south through the United States in Gun Crazy (Joseph H. Lewis, 1950), the international line harbours an elusive promise of escape from the police on their tail. But the border itself is also regulated, particularly for those seeking to head north into the United States, and films such as Border Incident (Anthony Mann, 1949) dramatise the exploitation and hardships faced by Mexican workers in the American south. Marked variously by barbed wire fences, border posts, rivers, immigration checkpoints, or by nothing at all, the US-Mexico border inhabits different forms in keeping with the different stories these films tell. With their themes of romance, revolution and regulation, this thesis seeks to understand what connects these films and what their relationship might be to the real US-Mexico border. The 1950s saw perhaps the largest number of American films set on and around the US-Mexico border of any period of the twentieth century.2 This thesis investigates why this concentration of films appeared at this time. It argues that rather than responding to the changes in policy and practice along the borderline taking place in the 1950s, these films engage with cold war
Load more

Recommended publications
  • Touch of Evil (Sed De Mal, 1958) Orson Welles
    Especial: Cinema Negre | 13 denovembre de 2014 | Horari: 20.00 i 22.30 h Touch of Evil (Sed de mal, 1958) Orson Welles Sinopsi Un agent de policia, Heston, arriba a la frontera mexicana amb la seva dona, just al moment que explota una bomba. “Vamos, lee mi futuro. Tú no otros virtuosos desplazamien- Fitxa artística tienes ninguno. ¿Qué quieres tos de cámara (...). decir? Su futuro está agota- Welles y su director de foto- do.” Así habla una adivina, grafía, Russell Metty, no que- Charlton Heston ........Mike Vargas interpretada por Marlene Die- rían solo lucirse. Los destinos Janet Leigh .............Susan Vargas trich, al sheriff borracho de de todos los personajes prin- una ciudad fronteriza, inter- Orson Welles ...........Hank Quinlan cipales están enmarañados de pretado por Orson Welles, en principio a fin, y la fotografía Joseph Calleia ..........Pete Menzies Touch of Evil. lo consigue reflejar atrapán- Esas palabras resuenan tristes, dolos en las mismas tomas, o ya que Welles no volvería a conectándolos a través de cor- dirigir en Hollywood después tes que responden y resuenan. de hacer esta historia oscura La historia no avanza en línea y atmosférica de la delincuen- recta, sino como una serie de cia y la corrupción. bucles y espirales. Fitxa tècnica Fue nombrada mejor película Algunos de esos bucles fue- en la Feria Mundial de Bruse- ron retirados cuando Univer- Director . Orson Welles las (Godard y Truffaut estaban sal Studios tomó y reeditó la Guió ................Orson Welles en el jurado) de 1958, pero película de Welles, añadien- Basat en la novel·la Franklin Coen en América se estrenó en un do primeros planos y acortan- Productor ...........Albert Zugsmith programa doble, falló, y puso do escenas, por lo que existía Música original.
    [Show full text]
  • Boxoffice Records: Season 1937-1938 (1938)
    ' zm. v<W SELZNICK INTERNATIONAL JANET DOUGLAS PAULETTE GAYNOR FAIRBANKS, JR. GODDARD in "THE YOUNG IN HEART” with Roland Young ' Billie Burke and introducing Richard Carlson and Minnie Dupree Screen Play by Paul Osborn Adaptation by Charles Bennett Directed by Richard Wallace CAROLE LOMBARD and JAMES STEWART in "MADE FOR EACH OTHER ” Story and Screen Play by Jo Swerling Directed by John Cromwell IN PREPARATION: “GONE WITH THE WIND ” Screen Play by Sidney Howard Director, George Cukor Producer DAVID O. SELZNICK /x/HAT price personality? That question is everlastingly applied in the evaluation of the prime fac- tors in the making of motion pictures. It is applied to the star, the producer, the director, the writer and the other human ingredients that combine in the production of a motion picture. • And for all alike there is a common denominator—the boxoffice. • It has often been stated that each per- sonality is as good as his or her last picture. But it is unfair to make an evaluation on such a basis. The average for a season, based on intakes at the boxoffices throughout the land, is the more reliable measuring stick. • To render a service heretofore lacking, the publishers of BOXOFFICE have surveyed the field of the motion picture theatre and herein present BOXOFFICE RECORDS that tell their own important story. BEN SHLYEN, Publisher MAURICE KANN, Editor Records is published annually by Associated Publica- tions at Ninth and Van Brunt, Kansas City, Mo. PRICE TWO DOLLARS Hollywood Office: 6404 Hollywood Blvd., Ivan Spear, Manager. New York Office: 9 Rockefeller Plaza, J.
    [Show full text]
  • Film Noir Timeline Compiled from Data from the Internet Movie Database—412 Films
    Film Noir Timeline Compiled from data from The Internet Movie Database—412 films. 1927 Underworld 1944 Double Indemnity 1928 Racket, The 1944 Guest in the House 1929 Thunderbolt 1945 Leave Her to Heaven 1931 City Streets 1945 Scarlet Street 1932 Beast of the City, The 1945 Spellbound 1932 I Am a Fugitive from a Chain Gang 1945 Strange Affair of Uncle Harry, The 1934 Midnight 1945 Strange Illusion 1935 Scoundrel, The 1945 Lost Weekend, The 1935 Bordertown 1945 Woman in the Window, The 1935 Glass Key, The 1945 Mildred Pierce 1936 Fury 1945 My Name Is Julia Ross 1937 You Only Live Once 1945 Lady on a Train 1940 Letter, The 1945 Woman in the Window, The 1940 Stranger on the Third Floor 1945 Conflict 1940 City for Conquest 1945 Cornered 1940 City of Chance 1945 Danger Signal 1940 Girl in 313 1945 Detour 1941 Shanghai Gesture, The 1945 Bewitched 1941 Suspicion 1945 Escape in the Fog 1941 Maltese Falcon, The 1945 Fallen Angel 1941 Out of the Fog 1945 Apology for Murder 1941 High Sierra 1945 House on 92nd Street, The 1941 Among the Living 1945 Johnny Angel 1941 I Wake Up Screaming 1946 Shadow of a Woman 1942 Sealed Lips 1946 Shock 1942 Street of Chance 1946 So Dark the Night 1942 This Gun for Hire 1946 Somewhere in the Night 1942 Fingers at the Window 1946 Locket, The 1942 Glass Key, The 1946 Strange Love of Martha Ivers, The 1942 Grand Central Murder 1946 Strange Triangle 1942 Johnny Eager 1946 Stranger, The 1942 Journey Into Fear 1946 Suspense 1943 Shadow of a Doubt 1946 Tomorrow Is Forever 1943 Fallen Sparrow, The 1946 Undercurrent 1944 When
    [Show full text]
  • 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.
    [Show full text]
  • Cuaderno Colombia Según El Cine Extranjero
    cuadernos de de cine colombiano Colombia según el cine extranjero Sergio Becerra Introducción: Ver y ser vistos. Notas introductorias sobre cine, diáspora y geo-estética Oswaldo Mejía y Roberto Fiesco La construcción de un imaginario común. Coproducciones colombo-mexicanas Anne Burkhardt Películas europeas filmadas en Colombia – Imaginarios de Colombia desde el “viejo” continente (1967 – 2009) 18.2013 Hugo Chaparro Valderrama Las imágenes del exotismo 18.2013 Nueva época 09> Libertad y Orden 9 770001 692665 cuadernos de cine colombiano cubCuaderno18.indd 1-3 14/11/13 12:09 ALCALDÍA MAYOR DE BOGOTÁ D.C. Gustavo Petro Urrego ALCALDE MAYOR DE BOGOTÁ D.C. Clarisa Ruiz Correal SECRETARIA DE CULTURA, RECREACIÓN Y DEPORTE INSTITUTO DISTRITAL DE LAS ARTES - IDARTES Santiago Trujillo Escobar DIRECTOR GENERAL – INSTITUTO DISTRITAL DE LAS ARTES - IDARTES Sergio Becerra Anne Burkhardt Bertha Quintero Medina Crítico e investigador colombiano. Realiza una licenciatura Investigadora alemana. En 2002 comienza su carrera de Estudios SUBDIRECTORA DE LAS ARTES en la Universidad Lumière Lyon 2 y estudios de master Cinematográficos y Teatrales en la Universidad Johannes Julián David Correa Restrepo GERENTE DE ARTES AUDIOVISUALES – IDARTES en la Universidad Sorbonne Nouvelle París 3 en Estudios Gutenberg de Mainz. Se gradúa como “Magistra Artium”, con Cinematográficos y Audiovisuales. Profesor de la Facultad una tesis sobre el cine colombiano contemporáneo. En agosto MINISTERIO DE CULTURA de Artes de la Universidad de los Andes de 1999 a 2012. Ha de 2009 comienza un doctorado en Estudios Cinematográficos, Mariana Garcés Mora MINISTRA DE CULTURA colaborado con El Espectador, Kinetoskopio y la revista Número. en la Universidad Eberhard Karl en Tübingen, también dedicada al Director de la Cinemateca Distrital de 2008 a 2012, donde co- cine colombiano.
    [Show full text]
  • El Cid and the Circumfixion of Cinematic History: Stereotypology/ Phantomimesis/ Cryptomorphoses
    9780230601253ts04.qxd 03/11/2010 08:03 AM Page 75 Chapter 2 The Passion of El Cid and the Circumfixion of Cinematic History: Stereotypology/ Phantomimesis/ Cryptomorphoses I started with the final scene. This lifeless knight who is strapped into the saddle of his horse ...it’s an inspirational scene. The film flowed from this source. —Anthony Mann, “Conversation with Anthony Man,” Framework 15/16/27 (Summer 1981), 191 In order, therefore, to find an analogy, we must take flight into the misty realm of religion. —Karl Marx, Capital, 165 It is precisely visions of the frenzy of destruction, in which all earthly things col- lapse into a heap of ruins, which reveal the limit set upon allegorical contempla- tion, rather than its ideal quality. The bleak confusion of Golgotha, which can be recognized as the schema underlying the engravings and descriptions of the [Baroque] period, is not just a symbol of the desolation of human existence. In it transitoriness is not signified or allegorically represented, so much as, in its own significance, displayed as allegory. As the allegory of resurrection. —Walter Benjamin, The Origin of German Tragic Drama, 232 The allegorical form appears purely mechanical, an abstraction whose original meaning is even more devoid of substance than its “phantom proxy” the allegor- ical representative; it is an immaterial shape that represents a sheer phantom devoid of shape and substance. —Paul de Man, Blindness and Insight, 191–92 Destiny Rides Again The medieval film epic El Cid is widely regarded as a liberal film about the Cold War, in favor of détente, and in support of civil rights and racial 9780230601253ts04.qxd 03/11/2010 08:03 AM Page 76 76 Medieval and Early Modern Film and Media equality in the United States.2 This reading of the film depends on binary oppositions between good and bad Arabs, and good and bad kings, with El Cid as a bourgeois male subject who puts common good above duty.
    [Show full text]
  • The Cinematic City
    5 URBAN CONFIDENTIAL the lurid city of the 1950s Will Straw INTRODUCTION The first few minutes of New Orleans After Dark (1957) offer one of the most glaringly inept opening sequences in the American cinema of the 1950s. As the film begins, prior to the appearance of its credits, we are shown a woman in a nightclub, singing at a piano. As she sings—a song whose lyrics inventory the range of human types to be found along New Orleans’ Bourbon Street—we see a montage of images plucked from the narrative which follows, most of them involving violence against female burlesque dancers. Before the song’s conclusion, the film shifts to an oddly flat, stagy interior tableau in which a policeman bids farewell to his wife and son before heading off to the night shift. A voice-over notes that “[t]his film could be about dedicated police officers anywhere.” Brief, on-location images of downtown New Orleans follow, themselves succeeded by scenes of brief banter between patrolmen and a streetwalker; already our sense of chronology has become confused. Over more scenes of the street, the words of the film’s title and credits are superimposed, in lettering which recalls the typescripts used in scandal magazines of the time. As the credits conclude, we move into a burlesque club, and into what we may assume is the beginning of the film’s narrative. The generic threads interwoven here suggest, simultaneously, the traditions of the semi-illicit stag film, the police procedural, the semi-documentary instruction film, the vice expose movie and the low-budget mystery.
    [Show full text]
  • Códigotítulo Do Filme
    CódigoTítulo do Filme Elenco Idioma 1163 ...E Chamaram Gringo para Matar Luke Askew, Luigi Pistilli, Magda Konopka Legendado 1214 ...E Deus disse a Caim Klaus Kinski, Peter Carsten, Marcella Michelangeli Dublado e Legendado 1241 ...E dos Inimigos Me Livro Eu Charles Southwood, Julián Mateos, Alida Chelli Legendado 872 10 Homens do Oeste Anthony Steffen, Fernando Sancho, Gillian Hills Dublado 1216 10.000 Dólares para Django Gianni Garko, Fidel Gonzáles, Loredana Nusciak, Fernando Sancho Dublado e Legendado 1695 100 Melhores Trilhas de Faroeste Coletânea com 06 CD´s de Áudio 1 100 Rifles Jim Brown, Raquel Welch, Burt Reynolds Legendado 5 100.000 Dólares para Sartana Zachary Hatcher, Mimmo Palmara, Rubén Rojo Legendado 962 15 Fôrcas para os Assassinos Craig Hill, Susy Andersen, George Martin, Tomás Blanco Dublado 1257 20.000 Dólares para Gringo Roberto Miali, Aurora Bautista, Adriano Micantoni Legendado 2 3 Balas para Ringo Gordon Mitchell, Mickey Hargitay, Milla Sannoner Legendado 1320 3 Horas para Matar Dana Andrews, Donna Reed, Dianne Foster Legendado 571 3 Horas para Matar Charles Bronson, Jill Ireland, Douglas Fowley Dublado e Legendado 6 30 Winchesters para El Diablo Carl Mohner, Topsy Collins, John Heston Legendado 2001 4 Dólares de Vingança Robert Woods, Dana Ghia, Angelo Infanti Legendado 1960 4 Pistoleiros e um Homem Dale Robertson, Brian Keith, Rossana Rory Legendado 1010 4 Velas para um Cadáver Robert Woods, Chris Huerta, Julia Kaplan Legendado 180 5 Revólveres Mercenários John Lund, Dorothy Malone, Mike Connors Legendado 10 5.000 Dólares de Recompensa Claudio Brook, Jorge Luke, Pedro Armendáriz Jr. Legendado 1307 7 Homens Enfurecidos Raymond Massey, Debra Paget, Jeffrey Hunter Legendado 963 7 Winchester para um Massacre Edd Byrnes, Guy Madison, Ennio Girolami Legendado 23 A Águia e o Gavião John Payne, Rhonda Fleming, Mrs.
    [Show full text]
  • Filmindex Lxxvi
    Al Taylor, Jack Rockwell, Charles King, George Chesebro, Tracy Lane, Chuck Baldra, Sam Flint, Film index lx x v i Tom London, Lew Meehan. D-prm .: 11. 10. 1937. JO H N W AY N E II. (1935-1939) King of the pecos (Texas konge). Republic 1936. I.: Joseph Kane. M .: Bernard McConville. F .: Ber­ nard McConville, Dorrell & Stuart McGowan. K .: AF JANUS BARFOED Jack Marta. K l.: Lester Orlebeck. Medv.: John Wayne, Muriel Evans, Cy Kendall, Jack Clifford, 5 = Serial Arthur Aylesworth, Herbert Heywood, Frank Glendon, Edward Hearn, John Beck, Mary Mc F = Forfatter (af originalfortælling) Laren, Bradley Metcalfe, Yakima Canutt. D-prm.: K = Kamera 22. 11. 1937. The oregon trail (Præriens blå drenge). Republic 1936. Kl= Klip I.: Scott Pembroke. M .: Jack Natteford, Robert Emmett, Lindsley Parsons. F .: Robert Emmett, The lawless fromier (Præriens blodhunde). Monogram Lindsley Parsons. K . : Gus Peterson. K l.: Carl 1935. I .: Robert N . Bradbury. M. & F . : Robert Pierson. Medv.: John Wayne, Ann Rutherford, N . Bradbury. K . : Archie Stout. K l.: Carl Pier­ Joseph Girard, Yakima Canutt, Frank Rice, E. H. son. Medv. : John Wayne, Sheila Terry, George Calvert, Ben Hendricks, Harry Harvey, Fern Em­ Hayes, Earl Dwire, Yakima Canutt, Jack Rock­ mett, Jack Rutherford, Marian Farrell, Roland well, Gordon D. Woods. D-prm .: 9. 12. 1935. Ray, Edward Le Saint, Gino Corrado, Octavio Girand, James Burke, Frances Grant, Dave Rainbow valley (Seksløberhelten). Monogram 1935. O'Brien, Tom Curran, Julia Griffith, Arnold I . : Robert N . Bradbury. M. & F . : Lindsley Par­ Gray, Frank Melton. D-prm.: 20. 12. 1936. sons. K . : W illiam Hyer. K l.: Carl Pierson.
    [Show full text]
  • 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.
    [Show full text]
  • Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G
    Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense.
    [Show full text]
  • Maltese Immigrants in Detroit and Toronto, 1919-1960
    Graduate Theses, Dissertations, and Problem Reports 2018 Britishers in Two Worlds: Maltese Immigrants in Detroit and Toronto, 1919-1960 Marc Anthony Sanko Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Sanko, Marc Anthony, "Britishers in Two Worlds: Maltese Immigrants in Detroit and Toronto, 1919-1960" (2018). Graduate Theses, Dissertations, and Problem Reports. 6565. https://researchrepository.wvu.edu/etd/6565 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Britishers in Two Worlds: Maltese Immigrants in Detroit and Toronto, 1919-1960 Marc Anthony Sanko Dissertation submitted to the Eberly College of Arts and Sciences at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History Kenneth Fones-Wolf, Ph.D., Chair James Siekmeier, Ph.D. Joseph Hodge, Ph.D. Melissa Bingmann, Ph.D. Mary Durfee, Ph.D. Department of History Morgantown, West Virginia 2018 Keywords: Immigration History, U.S.
    [Show full text]