Ride Lonesome1 1959, AEB
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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. -
Budd Boetticher:Programme Notes.Qxd
Decision at Sundown USA | 1957 | 78 minutes Credits In Brief Director Budd Boetticher Bart Allison arrives in Sundown planning to kill Tate Kimbrough. Three years earlier he Screenplay Charles Lang (story by believed Kimbrough was responsible for the death of his wife. He finds Kimbrough and Vernon L. Fluharty) warns him he is going to kill him but gets pinned down in the livery stable with his friend Sam by Kimbrough’s stooge Sheriff and his men. When Sam is shot in the back Photography Burnett Guffey after being told he could leave safely, some of the townsmen change sides and disarm Music Heinz Roemheld the Sheriff’s men forcing him to face Allison alone. Taking care of the Sheriff, Allison injures his gun hand and must now face Kimbrough left-handed. Cast Bart Allison Randolph Scott Tate Kimbrough John Carroll Lucy Summerton Karen Steele Ruby James Valerie French Decision At Sundown is a highly unusual Randolph Scott/Budd Boetticher Western in which Scott's ordinarily driven but heroic persona is tainted, twisted, by an irrational, all-consuming hatred. Boetticher keeps the tension high in this mostly static, action-free chamber Western, in which the emotional and philosophical undercurrents of the story are developed slowly and patiently. Scott plays Bart Allison, a man overwhelmed by a desire for revenge. He arrives in the town of Sundown, along with his pal Sam (Noah Beery), after three years of searching for a man named Tate Kimbrough (John Carroll). It's not clear at first why exactly Bart wants revenge, though it's hinted, with increasing pointedness, that it might have something to do with Bart's wife, Mary — which makes it ironic that when Bart and Sam arrive in town, Kimbrough is getting married later that day to local girl Lucy (Karen Steele). -
IL CINEMA RITROVATO 2008 Cineteca Del Comune Di Bologna
XXXVII Mostra Internazionale del Cinema Libero IL CINEMA RITROVATO 2008 Cineteca del Comune di Bologna XXII edizione / 22nd Edition Sabato 28 giugno - Sabato 5 luglio / Saturday 28 June - Saturday 5 July Questa edizione del festival è dedicata a Vittorio Martinelli This festival’s edition is dedicated to Vittorio Martinelli IL CINEMA RITROVATO 2008 Via Azzo Gardino, 65 - tel. 051 219 48 14 - fax 051 219 48 21 - cine- XXII edizione [email protected] Segreteria aperta dalle 9 alle 18 dal 28 giugno al 5 luglio / Secretariat Con il contributo di / With the financial support of: open June 28th - July 5th -from 9 am to 6 pm Comune di Bologna - Settore Cultura e Rapporti con l'Università •Cinema Lumière - Via Azzo Gardino, 65 - tel. 051 219 53 11 Fondazione Cassa di Risparmio in Bologna •Cinema Arlecchino - Via Lame, 57 - tel. 051 52 21 75 Ministero per i Beni e le Attività Culturali - Direzione Generale per il Cinema Modalità di traduzione / Translation services: Regione Emilia-Romagna - Assessorato alla Cultura Tutti i film delle serate in Piazza Maggiore e le proiezioni presso il Programma MEDIA+ dell’Unione Europea Cinema Arlecchino hanno sottotitoli elettronici in italiano e inglese Tutte le proiezioni e gli incontri presso il Cinema Lumière sono tradot- Con la collaborazione di / In association with: ti in simultanea in italiano e inglese Fondazione Teatro Comunale di Bologna All evening screenings in Piazza Maggiore, as well as screenings at the L’Immagine Ritrovata Cinema Arlecchino, will be translated into Italian -
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. -
ANNUAL REPORT Front Cover Photo Credits (Top): Secret Beyond the Door (1948, D
fiLmmAkers for fiLm preservation 2008 ANNUAL REPORT Front cover photo credits (top): Secret Beyond the door (1948, d. fritz Lang) Photo courtesy of the Margaret Herrick Library, Academy of Motion Picture Arts and Sciences (first row, left to right): Le Amiche (1955, d. michelangelo Antonioni) Photo courtesy of Cineteca di Bologna • the roBe (1953, d. Henry koster) Photo copyright Twentieth Century Fox, All Rights Reserved • rAShomon (1950, d. Akira kurosawa) Photo courtesy of Academy Film Archive (second row, left to right): the Life And deAth of coLoneL BLimp (1943, d. michael Powell & Emeric Pressburger) Photo courtesy of Academy Film Archive • chAfed eLBoWS (1966, d. Robert Downey sr.) Photo courtesy of Anthology Film Archives • the Life And deAth of coLoneL BLimp (1943, d. michael Powell & Emeric Pressburger) Photo courtesy of ITV Global Entertainment • SundAy (1961, d. Daniel Drasin) Photo courtesy of UCLA Film & Television Archive page 1 photo credits (left to right): rAShomon (1950, d. Akira kurosawa) Photo courtesy of Academy Film Archive • the Life And deAth of coLoneL BLimp (1943, d. michael Powell & Emeric Pressburger) Photo courtesy of Academy Film Archive • BABo 73 (1964, d. Robert Downey sr.) Photo courtesy of Anthology Film Archives filmmakers fOr film preservatiOn Chair Martin Scorsese Overview Board of direCtors Woody Allen Paul Thomas Anderson Guided by the expertise and dedication of our board of directors, Wes Anderson Francis Ford Coppola The Film Foundation works with its member archives to preserve our Clint Eastwood cinematic history—title by title, image by image. Over the past 18 years, Curtis Hanson Peter Jackson The Film Foundation has saved over 525 endangered movies of every Ang Lee genre, from major studio releases to independent, documentary, and George Lucas avant-garde films. -
Randolph Scott Hangman's Knot Mp4 Download Hangman's Knot
randolph scott hangman's knot mp4 download Hangman's knot. The hangman's knot [3] or hangman's noose (also known as a collar during the Elizabethan era) is a knot most often associated with its use in hanging a person. For a hanging, the knot of the rope is typically placed under or just behind the left ear, although the most effective position is just ahead of the ear, beneath the angle of the left lower jaw. The pull on the knot at the end of the drop levers the jaw and head violently up and to the right, which combines with the jerk of the rope becoming taut to wrench the upper neck vertebrae apart. This produces very rapid death, whereas the traditional position beneath the ear was intended to result in the mass of the knot crushing closed (occluding) neck arteries, causing cessation of brain circulation. The knot is non-jamming but tends to resist attempts to loosen it. Contents. Number of coils See also References Further reading External links. Number of coils. Surviving nooses in the United Kingdom show simple slipknots that were superseded in the late 19th century with a metal eye spliced into one end of the rope, the noose being formed by passing the other end through it. The classic hangman's knot was largely developed in the United States, the heavy mass of the knot intended to crush blood vessels in the neck and if tightened beneath the jaw, to lever the head to one side. Filmed hangings of war criminals in Europe after World War II, conducted under US jurisdiction, show such knots placed in various places, including at the back of the neck. -
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. -
Ian Tyson Ian Tyson
WINTER 2010 Ian Tyson The singer/songwriter shares his life and music in The Long Trail Mojave Desert Trail Ride Steve Thornton’s Winter Portfolio The Living Words of the Constitution Part 13 Display until March 15 www.paragonfoundation.org $5.95 US The Journal of the PARAGON Foundationion,, Inc.Inc. OUR MISSION The PARAGON Foundation provides for education, research and the exchange of ideas in an effort to promote and support Constitutional principles, individual freedoms, private property rights and the continuation of rural customs and culture – all with the intent of celebrating and continuing our Founding Fathers vision for America. The PARAGON Foundation, Inc. • To Educate and Empower We invit e you to join us. www.paragonfoundation.org photo by Steve Thornton IN THIS ISSUE 12 88 Of Note Charreria Current Events and Culture The Forerunner of from Out West American Rodeo By Guy de Galard 40 The Cowboy Way Profile 92 Don Edwards Riding the Mojave By Darrell Arnold An Out Back Adventure By Mark Bedor 45 R-CALF USA 96 Special Section Ranch Living Life on the Ranch with Thea Marx 53 American Agri-Women 101 Special Section Great White Western Shirts A Portfolio 55 Photography byWilliam Reynolds Big Doin’s in Cow Town The Legendary Fort Worth 109 Stock Show The Magnificent Seven at 50 By Mark Bedor A Remembrance By T.X. “Tex” Brown 59 FFA 114 Special Section Range Writing Cowboy Poetry from 66 All Over the West Your Rights By Daniel Martinez 116 Recommended Reading 70 Old and New Books The Living Words Worthy of Your Nightstand of the Constitution By Nicole Krebs 119 PARAGON Memorials 73 Winter in the West 120 A Steve Thornton Portfolio Out There 83 America: Where the Power Resides Cover photograph of Ian Tyson Best Overall Part One: Common Law Courtesy Ian Tyson and Mascioli Publication 2009 Entertainment photo photo by Steve Thornton By Marilyn Fisher WINTER 2010 VOLuME 6 NO. -
WESTERN FILMS Page 1 of 20
WESTERN FILMS Page 1 of 20 WESTERN FILMS Western Films or Westerns are the major defining genre of the American film industry, a nostaligic eulogy to the early days of the expansive, untamed American frontier (the borderline between civilization and the wilderness). They are one of the oldest, most enduring and flexible genres and one of the most characteristically American genres in their mythic origins. [The popularity of westerns has waxed and waned over the years. Their most prolific era was in the 1930s to the 1960s, and most recently in the 90s, there was a resurgence of the genre. This indigenous American art form focuses on the frontier West that existed in North America. Westerns are often set on the American frontier during the last part of the 19th century (1865-1900) following the Civil War, in a geographically western (trans-Mississippi) setting with romantic, sweeping frontier landscapes or rugged rural terrain. However, Westerns may extend back to the time of America's colonial period or forward to the mid-20th century, or as far geographically as Mexico. A number of westerns use the Civil War, the Battle of the Alamo (1836) or the Mexican Revolution (1910) as a backdrop. The western film genre often portrays the conquest of the wilderness and the subordination of nature, in the name of civilization, or the confiscation of the territorial rights of the original inhabitants of the frontier. Specific settings include lonely isolated forts, ranch houses, the isolated homestead, the saloon, the jail, the livery stable, the small-town main street, or small frontier towns that are forming at the edges of civilization. -
Randolph Scott
NOVEMBER/DECEMBER 2013 VOLUME 3, ISSUE 8 CLICK HERE TO DOWNLOAD PDF VERSION Photo by Nadine Levin HIGH NOON Smoke Signals IN THIS ISSUE Page WesTern American AnTiques of the FuTure From a CulTure of Mass Manufacturing .....................................................4 Bits & Pieces: From Theresa.............................................................................................................................................5 Show Dealer Spotlight: Milo Marks..................................................................................................................................6 Linda’s Feedbag: Snickerdoodle Bread ............................................................................................................................8 Empty Saddle.....................................................................................................................................................................9 TCAA Tells Us “It Ain’t Dead Folks” ..............................................................................................................................10 From Our Readers ...........................................................................................................................................................11 The Curious Career of “MysTerious Dave” MaTher ........................................................................................................12 Reel Cowboys of Western Cinema: Randolph ScoTT ......................................................................................................14 -
Budd Boetticher ̘͙” ˪…˶€ (Ìž'í'ˆìœ¼ë¡Œ)
Budd Boetticher ì˜í ™” 명부 (작품으로) The Cimarron Kid https://ko.listvote.com/lists/film/movies/the-cimarron-kid-1026484/actors Red Ball Express https://ko.listvote.com/lists/film/movies/red-ball-express-1026650/actors The Man from the Alamo https://ko.listvote.com/lists/film/movies/the-man-from-the-alamo-1026724/actors City Beneath the Sea https://ko.listvote.com/lists/film/movies/city-beneath-the-sea-1216441/actors Decision at Sundown https://ko.listvote.com/lists/film/movies/decision-at-sundown-1392420/actors Bronco Buster https://ko.listvote.com/lists/film/movies/bronco-buster-15628598/actors Comanche Station https://ko.listvote.com/lists/film/movies/comanche-station-1754488/actors The Tall T https://ko.listvote.com/lists/film/movies/the-tall-t-2037090/actors Seminole https://ko.listvote.com/lists/film/movies/seminole-2756846/actors A Guy, a Gal and a Pal https://ko.listvote.com/lists/film/movies/a-guy%2C-a-gal-and-a-pal-2819762/actors Arruza https://ko.listvote.com/lists/film/movies/arruza-2864242/actors Assigned to Danger https://ko.listvote.com/lists/film/movies/assigned-to-danger-2867169/actors Behind Locked Doors https://ko.listvote.com/lists/film/movies/behind-locked-doors-2893895/actors Black Midnight https://ko.listvote.com/lists/film/movies/black-midnight-2905416/actors Escape in the Fog https://ko.listvote.com/lists/film/movies/escape-in-the-fog-3057869/actors Killer Shark https://ko.listvote.com/lists/film/movies/killer-shark-3196638/actors Buchanan Rides Alone https://ko.listvote.com/lists/film/movies/buchanan-rides-alone-3202739/actors -
Place Images of the American West in Western Films
PLACE IMAGES OF THE AMERICAN WEST IN WESTERN FILMS by TRAVIS W. SMITH B.S., Kansas State University, 2003 M.A., Kansas State University, 2005 AN ABSTRACT OF A DISSERTATION submitted in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY Department of Geography College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2016 Abstract Hollywood Westerns have informed popular images of the American West for well over a century. This study of cultural, cinematic, regional, and historical geography examines place imagery in the Western. Echoing Blake’s (1995) examination of the novels of Zane Grey, the research questions analyze one hundred major Westerns to identify (1) the spatial settings (where the plot of the Western transpires), (2) the temporal settings (what date[s] in history the Western takes place), and (3) the filming locations. The results of these three questions illuminate significant place images of the West and the geography of the Western. I selected a filmography of one hundred major Westerns based upon twenty different Western film credentials. My content analysis involved multiple viewings of each Western and cross-referencing film content like narrative titles, American Indian homelands, fort names, and tombstone dates with scholarly and popular publications. The Western spatially favors Apachería, the Borderlands and Mexico, and the High Plains rather than the Pacific Northwest. Also, California serves more as a destination than a spatial setting. Temporally, the heart of the Western beats during the 1870s and 1880s, but it also lives well into the twentieth century. The five major filming location clusters are the Los Angeles / Hollywood area and its studio backlots, Old Tucson Studios and southeastern Arizona, the Alabama Hills in California, Monument Valley in Utah and Arizona, and the Santa Fe region in New Mexico.