DOCSLIB.ORG

Man with No Name Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Man with No Name Free FREE MAN WITH NO NAME PDF Laird Barron | 106 pages | 18 Mar 2016 | Journalstone | 9781942712862 | English | United States Dynamite® Man With No Name The image of the man with no name for me speaks of a man on a mission and as we all return from our holidays I want to remind you that we are not living in South Wales just to make up the numbers but we have been called here Man with No Name extend the kingdom of God. As the body of Christ, God has gifted and anointed us to go about doing good and to see all those oppressed by the devil come into healing and freedom. Visualizing the man Man with No Name no name helps me to remember that I am called by God to make a difference where ever I go. I am not here to fight people; on the contrary, God calls me to love people and I do not need to carry a gun as the battle I am in belongs to the Lord. The final thought I would like to share is that the man with no name reminds me that none of this is about us. The name of Jesus is high above any other name and it is this name that breaks every chain. Much Man with No Name that after we have left our mark on the town that people would be pointed toward his Name and when they ask who was that masked man they can simply be told he is a servant of the King of Kings and the Lord of Lords! This site uses Akismet Man with No Name reduce spam. Learn how your comment data is processed. The Man with no Name. No Comments. Post A Comment Cancel Reply. This site uses cookies: Find out more. Okay, thank you. Man With No Name Tickets, Tour Dates & Concerts & – Songkick Connect your Spotify account to your Last. Connect to Spotify. A new version of Last. View all tracks. View all albums. Scrobbling is when Last. Learn Man with No Name. Add event View all events. Add image. Don't want to see ads? Man with No Name Now. Javascript is required to view shouts on this page. Go directly to shout page. View all similar artists. View all trending tracks. Loading player…. Scrobble from Spotify? Connect to Spotify Dismiss. Search Search. Related Tags psytrance goa trance goa trance psychedelic Add tags View all tags. Similar To Blue Planet Corporation. Buy Loading. More Love this track. Albums Sorted by: Most popular Most popular By release date. Play album Buy Loading. Similar Artists Play all. Trending Tracks 1. Features Exploring the local sounds and scenes at Noise Pop Fest. Albums of the latest and loved, and the ones to look out for discover By okspud1 14 Feb pm. All Things Hyped: Last. Play track. Love this track. More Love this track Set track as current obsession Get track Loading. Thursday 23 April Friday 24 April Saturday 25 April Sunday 26 April Monday 27 April Man with No Name Tuesday 28 April Wednesday 29 April Thursday 30 April Friday 1 May Saturday 2 May Man with No Name Sunday 3 May Monday 4 May Tuesday 5 May Wednesday 6 May Thursday 7 May Friday 8 May Saturday 9 May Sunday 10 May Monday 11 May Tuesday 12 May Wednesday 13 May Thursday Man with No Name May Friday 15 May Saturday 16 May Sunday 17 May Monday 18 May Tuesday 19 May Wednesday 20 May Thursday 21 May Friday 22 May Saturday 23 May Sunday 24 May Monday 25 May Tuesday 26 May Wednesday 27 May Thursday 28 May Friday 29 May Saturday 30 May Sunday 31 May Monday 1 June Tuesday 2 June Thursday 4 June Friday 5 June Saturday 6 June Sunday 7 June Monday 8 June Tuesday 9 June Monday 15 June Tuesday 16 June Wednesday 17 June Friday 19 June Saturday 20 June Sunday 21 June Monday 22 June Tuesday 23 June Wednesday 24 June Thursday 25 June Friday 26 June Saturday 27 June Sunday 28 June Monday 29 June Tuesday 30 June Wednesday 1 July Thursday 2 July Friday 3 July Saturday 4 July The Man with No Name (TV Movie ) - IMDb An unidentified bounty hunter best known by nicknames such as " Joe ", " Manco ", and " Blondie " was active as early as the Civil Man with No Name and as late as the following decade. During his career, he retrieved gold buried in Sad Hill Cemeteryhelped apprehend the outlaw El Indioand brought peace to the town of San Miguel. The man claimed to be from Illinois. During his time as a ranch hand, the man was constantly at odds with a fellow ranch hand named Carvell. The two Man with No Name off in a duel, the man victorious. In the early part of his career, he had partnered with "Foot Sick" FeeblyMan with No Name possessed a fetish for womens' shoes. After the man happened upon Feebly indulging in that fetish, he preferred to work alone. Sometime in or after, the Man with No Name arrived in the small town of San Miguelwhich was being run by two rival gangs: the Baxters and the Rojos. The man made friends with the town's saloon owner Silvanito and undertaker Piriperowho nicknamed the man "Joe. He earned the interest of Don Miguel Rojo by gunning down four of the Baxters' members who had earlier spooked his horse when he first rode into town. Joe soon took notice of a young woman named Marisol living at the Rojos' home, but was warned to stay away from her. Joe later took two dead soldiers' bodies to a cemetery to pose as survivors and drew both the Rojos and Baxters to the cemetery while he searched the Rojos' house for the gold that Ramon had stolen from the soldiers. Though he eventually found the gold, Joe was interrupted when he accidentally knocked Marisol unconscious and he took her to the Baxters' house. Man with No Name Baxters were then able to return Marisol the following day to the Rojos in exchange for their captured son Antonio Baxter. After learning from Silvanito that Ramon had been keeping Marisol as his mistress under the threat of killing her husband and son, Joe decided to help free the poor family from their situation that night. However, he was soon after uncovered by Ramon for his deception and beaten by his Man with No Name. Joe eventually managed to escape from the Rojos thanks to Piripero's help and witnessed the Rojos massacre the entire Baxter gang under the impression that they were hiding Joe. After spending the next few days recovering from his injuries in an abandoned silver mine, Joe learned from Piripero that Silvanito had been captured by the Rojos and was being beaten for information on Joe's whereabouts. Joe then returned to town to confront the Rojos. Though Ramon shot Joe several times in the heart, Joe mysteriously kept getting back on his feet. After getting close enough to the gang, Joe revealed that he was wearing a steel plate underneath his poncho and then gunned down the gang, leaving Ramon for last. Unknown to Joe, Esteban Rojo was hiding in an upstairs perch and took aim at Joe, but was shot down by Silvanito before he could fire. With the town now free from the Rojos, Joe gathered his belongings, bid farewell to Silvanito and rode off. At another point in time, the man began using his left arm for everything Man with No Name shooting, thus earning him the nickname "Manco. Man with No Name soon reached El Pasowhere he encountered Douglas Mortimera fellow bounty hunter also on the trail of Indio. The two decided to work together and Mortimer convinced Manco to join Indio's gang in order to "get him between two fires. He was sent along with three others to Santa Cruz to rob a bank. While there, Manco killed the other men and sent a false alarm to El Paso to summon the sheriff of El Paso. When Manco returned to Indio alone, Indio accepted his account of the events that took place, despite his ally Man with No Name 's suspicion. Manco and the gang made their way to Agua Calientewhere Mortimer waited. Man with No Name and Mortimer broke into the strongbox Indio and his gang took from an El Paso bank and hid the money, securing the strongbox before they are caught and taken prisoner by the gang. Indio's gang pursued Manco and Mortimer, and were killed by the men, Mortimer requesting Manco leave Indio for him. Man with No Name bounty hunters alone with Indio, Manco observed Man with No Name duel Indio, killing him with Manco's pistol. Manco compared a pocketwatch belonging to Mortimer and one in Indio's possession, Man with No Name the resemblance between Mortimer and the photos of a young woman within the two pocketwatches. Mortimer confirmed that the photos were of his sister, who had committed suicide while being raped by Indio some time before. Feeling satisfied in avenging his late sister, Mortimer declined his share of the bounty and left Manco, who loaded up the bodies of Indio and his men into a wagon and rode away along with the money they had hidden. As Tuco was about to be hanged, Blondie shot the rope, Man with No Name it, and the two escaped on horseback. Following one more escape, Blondie grew weary of his partnership with Tuco, believing the price on his head would not go up any further.
Load more

Recommended publications
  • Leone-Trilogi.Pdf
    " " " " " R E P L I Q U E Replique, 1. årgang 2011 Redaktion: Rasmus Pedersen (ansvh.), Christian H. Skov, Anders Orris. Skriftet er sat med Book antiqua, Myriad pro Udgives af forlaget Munch & Lorenzen www.critique.ksaa.dk/replique ISSN: 2245-0165 © Munch & Lorenzen cho og med en cigarstump i munden. Han siger ikke meget, men byens to ban- der finder hurtigt ud af, at han er hurtig på aftrækkeren. San Miguel er ikke ste- det, hvor man taler om tingene. Joe øjner chancen for at score kassen ved at tage Af Peter Nørgaard arbejde for begge bander på samme tid, hvilket ikke overraskende bringer ham ud i en del problemer. Samme ide blev EN FREMMED KOMMER TIL BYEN senere brugt i filmen Last Man Standing Der blev skabt filmhistorie da den mysti- (1996), hvor Bruce Willis var manden, der ske fremmed uden andet navn end det forsøgte at spille på begge heste i et opgør anonyme ”Joe” kommer til San Miguel i mellem rivaliserende smuglerbander. Sergio Leones film A Fistful of Dollars fra Joe er ikke nogen ridder på en hvid hest. 1964. Filmen blev første led af det, der Helt konkret kommer han da også riden- senere blev kendt som Dollar-trilogien . De de på et muldyr. Motivet er ikke at skabe to senere film For a Few Dollars More lov og orden, men at score kassen på by- (1965) og The Good, the Bad and the Ugly ens i forvejen dybt korrumperede moral. (1966) skulle ligeledes vise sig at gå over i Med filmen skabte Sergio Leone for alvor filmhistorien.
    [Show full text]
  • Twisted Trails of the Wold West by Matthew Baugh © 2006
    Twisted Trails of the Wold West By Matthew Baugh © 2006 The Old West was an interesting place, and even more so in the Wold- Newton Universe. Until fairly recently only a few of the heroes and villains who inhabited the early western United States had been confirmed through crossover stories as existing in the WNU. Several comic book miniseries have done a lot to change this, and though there are some problems fitting each into the tapestry of the WNU, it has been worth the effort. Marvel Comics’ miniseries, Rawhide Kid: Slap Leather was a humorous storyline, parodying the Kid’s established image and lampooning westerns in general. It is best known for ‘outing’ the Kid as a homosexual. While that assertion remains an open issue with fans, it isn’t what causes the problems with incorporating the story into the WNU. What is of more concern are the blatant anachronisms and impossibilities the story offers. We can accept it, but only with the caveat that some of the details have been distorted for comic effect. When the Rawhide Kid is established as a character in the Wold-Newton Universe he provides links to a number of other western characters, both from the Marvel Universe and from classic western novels and movies. It draws in the Marvel Comics series’ Blaze of Glory, Apache Skies, and Sunset Riders as wall as DC Comics’ The Kents. As with most Marvel and DC characters there is the problem with bringing in the mammoth superhero continuities of the Marvel and DC universes, though this is not insurmountable.
    [Show full text]
  • Sublime Moments 12/28/07 10:21 PM
    Sublime Moments 12/28/07 10:21 PM contents great directors cteq annotations top tens about us links archive search Sublime Moments by Paul Coughlin The Wages of Fear (Henri-Georges Clouzot, 1952) Paul Coughlin recently graduated from Monash University (Melbourne) and will begin postgraduate research next year in the Literary, Visual and Cultural Studies Department at Monash University. Martin Heidegger labels it the moment of vision, Walter Benjamin the shock of sensation, Jean Epstein categorises it as photogenie, Paul Willeman suggests it is cinephilia and Walter Pater simply calls it the sublime moment. The it that each of these theorists is referring to is that indefinable moment in modern life or art when sensation consumes the spectator with an overwhelming and indescribably profound intensity. The overriding effect of this experience is the inability to verbalise or rationalise the encounter with any certitude. The sublime moment is individual, personal, and subjective, suggesting that it cannot be defined absolutely or resolved conclusively. The theorists who try to talk about it concede to merely 'pointing' at something which they cannot categorically argue even exists. Some commentators tend to apply properties to the sublime moment in an attempt to offer tangible insights into moments that at once seem both empty of understanding yet full of emotion. The purpose here is to bring these theories together and examine their distinctive properties - to look at what Willeman means when he talks of cinephilia being informed by excess, or Epstein theorising photogenie by relating it to issues of defamiliarisation, or Benjamin's concept of shock, or Tom Gunning's theories on the cinema of attractions.
    [Show full text]
  • Las Sereas, Un Yacimiento Único, De 5 Kilómetros De Huellas De Dinosaurios
    000 Jeff Wilson 8 Paleontólogo “Los rastros el Joven año 2016 - EjEmpLar gratUIto pueden indicar PAleontólogo opinión cuál era el 8 la gran aventura José José Carlos Juan Luis comportamiento africana de la Ignacio Martínez Arsuaga de los paleontología imperial Canudo García-Ramos Codirector de los dinosaurios” ilustraciones: eloy luna 10 Universidad de Zaragoza Director del equipo científico del MUJA Yacimientos de Atapuerca 4 . t . s novaer y cenieh , cas : fotos Panorámica parcial de las sereas, con el afloramiento de sereas 8 en primer término. Plano medio: imagen fotogramétrica de sereas 8. póster central A la izquierda, rastros saurópodos de sereas 7. Dinosaurio: Demandasaurus darwini. Paisaje de la comarca de salas de los infantes hace 130 m. a. La ilustración “Dinosaurs of Burgos”, de Sergey Krasovskiy Las Sereas, un yacimiento (Ucrania), ha sido la ganadora del VII Concurso de Ilustracio- nes Científicas de Dinosaurios 2015, convocado por la Funda- ción Dinosaurios. único, de 5 kilómetros un hallazgo singular Acorazados En la Sierra de la Demanda bur- de huellas de dinosaurios galesa, desde 1983, se han des- cubierto varios restos de dino- saurios tireóforos (portadores de escudos). erca de Salas de los In - y en el que se han realizado di- 11 Cfantes, desde Cubillejo Cuarenta años de impulso versas actuaciones dirigidas a excursión de Lara hasta Mambrillas de al patrimonio cultural su conservación, protección y Lara, casi se puede ir andando El CAS: difusión. “el BUeno, el “de huella en huella” cruzan- Desde 2009, el Colectivo feo Y el MAlo” do un afloramiento de pisadas Arqueológico y Paleontoló- cUMPle 50 Años fósiles tras otro.
    [Show full text]
  • Augmented Reality As a Tool for Promoting the Tourist Value of The
    Geoheritage (2020) 12:34 https://doi.org/10.1007/s12371-020-00457-4 REVIEW ARTICLE Augmented Reality as a Tool for Promoting the Tourist Value of the Geological Heritage Around Natural Filming Locations: a Case Study in “Sad Hill” (The Good, the Bad and the Ugly Movie, Burgos, Spain) José Ángel González-Delgado1 & Antonio Martínez-Graña1 & Marina Holgado1 & Juan Carlos Gonzalo1 & Paulo Legoinha2 Received: 7 May 2019 /Accepted: 24 March 2020 # The European Association for Conservation of the Geological Heritage 2020 Abstract Some natural scenes of films shooting contain landscapes and other elements that are part of the geological heritage, representing an added value for the growing cultural tourism that visits them. In the SE of Burgos province (Spain), near some filming locations of the classic western movie directed by Sergio Leone (1966), “The Good, the Bad and the Ugly”, we have assessed the Geological Heritage of 6 selected sites: (1) Dinosaur tracks; (2) Paleo-river structures preserved; (3) Fossil trees; (4) Sad Hill; (5) Marine Cretaceous fossils; and (6) La Yecla Gorge. Their tourist-cultural, scientific and educational values range from 775 points in La Yecla Gorge site to 450 in Marine Cretaceous fossils site. A virtual tour is presented implementing Augmented Reality on Google Earth with detailed but easily understanding descriptive information of each site, suggested activities for tourism and a free geoapp. The proposed technologies can enhance geotourism, favouring sustainable development and fostering attitudes and skills related to the tourist’s respect for nature. Keywords Digital geotourism . Palaeontology and geomorphology . Filming location Sad Hill . Burgos-Spain Introduction Electronic supplementary material The online version of this article There is a general consensus on the fact that tourism (https://doi.org/10.1007/s12371-020-00457-4) contains supplementary specialised in nature (landscape, geology, biodiversity, fossils) material, which is available to authorized users.
    [Show full text]
  • Círculo, Topografía Y Tiempo: Una Reflexión Sobre Una Secuencia Formal
    20 20 É LÍNEA DE TIERRA 23 EDITORIAL UNIVERSIDAD DE SEVILLA AÑO 2020. ISSN 2171–6897 – ISSNe 2173–1616 / DOI http://dx.doi.org/10.12795/ppa LÍNEA DE TIERRA 23 EDITORIAL UNIVERSIDAD DE SEVILLA AÑO 2019. ISSN 2171–6897 ISSNe 2173–1616 DOI: http://dx.doi.org/10.12795/ppa REVISTA PROYECTO PROGRESO ARQUITECTURA N23 línea de tierra PROYECTO PROGRESO ARQUITECTURA GI HUM–632 UNIVERSIDAD DE SEVILLA EDITORIAL UNIVERSIDAD DE SEVILLA AÑO 2020. ISSN 2171–6897 ISSNe 2173–1616 DOI: http://dx.doi.org/10.12795/ppa PROYECTO, PROGRESO, ARQUITECTURA. N23 NOVIEMBRE 2020 (AÑO XI) línea de tierra DIRECCIÓN COORDINACION CONTENIDOS CIENTÍFICOS DEL NÚMERO Dr. Amadeo Ramos Carranza. Escuela Técnica Superior de Juan José López de la Cruz, arquitecto. Escuela Técnica Superior de Arquitectura. Universidad de Sevilla. España Arquitectura. Universidad de Sevilla. España. SECRETARÍA COMITÉ CIÉNTIFICO Dra. Rosa María Añón Abajas. Escuela Técnica Superior de Dr. Gonzalo Díaz Recaséns. Catedrático Proyectos Arquitectónicos. Escuela Arquitectura. Universidad de Sevilla. España Técnica Superior de Arquitectura. Universidad de Sevilla. España. EQUIPO EDITORIAL Dr. José Manuel López Peláez. Catedrático Proyectos Arquitectónicos. Edición: Escuela Técnica Superior de Arquitectura. Universidad Politécnica de Madrid. Dr. Amadeo Ramos Carranza. Escuela Técnica Superior de España. Arquitectura. Universidad de Sevilla. España. Dr. Víctor Pérez Escolano. Catedrático Historia, Teoría y Composición Dra. Rosa María Añón Abajas. Escuela Técnica Superior de Arquitectónicas. Escuela Técnica Superior de Arquitectura. Universidad de Arquitectura. Universidad de Sevilla. España. Sevilla. España. Dr. Francisco Javier Montero Fernández. Escuela Técnica Superior de Dr. Jorge Torres Cueco. Catedrático Proyectos Arquitectónicos. Escuela Arquitectura. Universidad de Sevilla. España. Técnica Superior de Arquitectura.
    [Show full text]
  • Eg Phd, Mphil, Dclinpsychol
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Deleuzean Hybridity in the Films of Leone and Argento Keith Hennessey Brown PhD Film Studies University of Edinburgh 2012 Acknowledgements I would first like to thank my supervisors, Professor Martine Beugnet, Dr Daniel Yacavone, and the late Professor John Orr. I would then like to thank my parents, Alex and Mary Brown; all my friends, but especially Li-hsin Hsu, John Neilson and Tracey Rosenberg; and my cats, Bebert and Lucia. Table of Contents Introduction ..................................................................................................... 5-20 Theory ............................................................................................................. 21-62
    [Show full text]
  • "The Go Bueno, Ood, Th , El Feo He Bad Oy El Md and Th Malo" He Ugly Y"
    50 Anviversario "El bueno,, el feo y el malo" (1966-2016) (Burgos, España) Simposio Conmemorativo Internacional Del 20 al 24th de Julio 2016 50th Anniversary "The Good, the Bad and the Uglyy" (1966-2016) (Burgos, Spain) International Commemorative Symposium From the 20th to the 24th July 2016 Simposio Conmemorativo Internacional International Commemorative Symposium Durante el caluroso verano de 1966 parte de la comarca burgalesa de Salas de los Infantes se transformó en el lejano oeste americano para acoger el rodaje de la película "El bueno, el feo y el malo" del director italiano Sergio Leone. Los paisajes de sabinares agrestes y calizos de la Peña de Carazo y el Valle de Arlanza cautivaron al director para convertirlos por su similitud en escenarios naturales de Nuevo México durante la Guerra de Secesión (1861-1865). Estas Jornadas conmemorativas tratan de celebrar esta importante efeméride y sirven de encuentro a especialistas y aficionados al mundo del western europeo y a la investigación y profundización en este tipo de cine. During the very hot summer back in 1966, part of the region near Salas de Los Infantes became the American Far West in order to host the filming of movie “The Good, The Bad and The Ugly” by the Italian film director Sergio Leone. The limestone and rough juniper grove landscapes at Peña de Carazo (hillock) and Arlanza Valley captivated the film director to transform, them due to their similitude, into the natural landscapes at New Mexico during U.S. Civil War (1861-1865). These commemorative days try to celebrate this important ephemerid and also serve as a meeting for specialists and enthusiastic fans of the world of European western, helping to the research and in-depth study of this type of films.
    [Show full text]
  • Rock Around Sad Hill Cemetery*
    ROCK AROUND SAD HILL CEMETERY* The Good, The Bad, and The Ugly in Burgos Wes Gibbons 2018 Sergio Leone’s classic “Spaghetti Western” film The Good, The Bad, and The Ugly was shot in 1966 on location in Spain, mostly in the Tabernas Desert and other nearby places in the province of Almeria. However Leone also used a few other locations in Spain, notably in the province of Burgos where two of the most memorable scenes in the film were staged: the Civil War Battle of Langstone Bridge, and the climactic gunfight in Sad Hill Cemetery. Leone needed an area resembling New Mexico, complete with river, a requirement clearly unsuited to the desert lands of Almeria. It was the Spanish producer Josep Antón Pérez Giner who suggested using the area drained by the River Arlanza in Burgos province. Pérez Giner had worked in the Arlanza River area with director Xavier Seto as a production manager in the 1962 film The Castilian (El Valle de las Espadas), and later worked with Leone as line producer in The Good, The Bad, and The Ugly. In this Holiday Geology Guide we take The Traveller 560km west from Barcelona to visit the scenic and remote countryside around Leone’s film locations in southeast Burgos province. These days, over 50 years since the shooting of The Good, The Bad, and The Ugly, very little remains of the film sets, with the notable exception of Sad Hill Cemetery which has been rescued from oblivion by volunteers dedicated to recreate the original. Their work has been rewarded by a steady flow of visitors from all over the world who enjoy paying homage to the late, great Leone.
    [Show full text]
  • And the Resurrected Graveyard
    Section:GDN BE PaGe:25 Edition Date:170623 Edition:01 Zone: Sent at 22/6/2017 17:20 cYanmaGentaYellowblack The Guardian | Friday 23 June 2017 * 25 International The good, New Zealand paper shames the bad, drink-drivers the ugly … E l e a n o r A i n g e R o y Dunedin A newspaper in New Zealand has printed and the the names of 100 drink-drivers on its front page in response to what it describes as an epidemic of the crime . The Mountain Scene is a weekly news- resurrected paper for the small but booming South Island town of Queenstown, which has about 30,000 permanent residents and graveyard up to 2 million tourists every year. Yesterday it f lled its front page with the names of 100 people convicted of drink-driving in the first six months of S a m J o n e s Madrid the year, in the hope that naming and shaming of enders would help to reduce After more than 50 years, several f st- the problem. fuls of euros and countless wheel barrow “Around New Zealand drink-driving journeys, one of the most famous rates have been declining, but in Queens- graveyards in cinema history has been town they are still going up,” said Moun- rescued from oblivion and is to be tain Scene’s editor, David Williams . honoured in a new documentary. “There are horrendous levels of drink- Sad Hill cemetery is the setting for the climax of The Good, the Bad and the Ugly, when Clint Eastwood, Lee Van ‘If the front page deters Cleef and Eli Wallach face of against one drunk person from each other to the strains of Ennio Morricone’s soundtrack.
    [Show full text]
  • A Fistful of Drama: Musical Form in the Dollars Trilogy
    A FISTFUL OF DRAMA: MUSICAL FORM IN THE DOLLARS TRILOGY Emily Anne Kausalik A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTERS OF MUSIC August 2008 Committee: Per F. Broman, Advisor Nora A. Engebretsen © 2008 Emily Anne Kausalik All Rights Reserved iii ABSTRACT Per F. Broman, Advisor In 1964, Italian film director Sergio Leone forever influenced the western genre with his landmark film Per un pugno di dollari (A Fistful of Dollars). With its stylized violence, barren landscapes, endless deserts, crafty villains, and rogue hero with no name, this film established a new kind of western: austere, stylish, cynical, and violent. Complementing this new style was an eclectic and abrasive music track by composer Ennio Morricone. His unique orchestration, timbres, and pacing defined a style of film composition that would influence innumerable films to come. A Fistful of Dollars grossed over $4.3 million in its domestic run, and acted as the launching point for two more immensely successful spaghetti Westerns, Per qualche dollaro in più (For a Few Dollars More, 1965), and Il buono, il brutto, il cattivo (The Good, the Bad and the Ugly, 1966). These films also featured scores by Morricone, and all three together are frequently referred to as the Dollars trilogy. In his Dollars trilogy, Leone emphasizes dramatic episodes through careful musical placement. The cues created by Morricone and utilized by Leone help accentuate the plot line of each film by using material developed in the main title theme throughout the movie.
    [Show full text]