The articles in this section focus on the actors and directors that contributed to making the Western an iconic genre of filmmaking.
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Commercial Advertising
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John Wayne in Sophiatown
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John Wayne on the Zambezi
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Gene Autry
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William Boyd
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"Televising Motion Pictures as Commercial Advertising." Columbia Law Review Vol. 52, No. 6 (June 1952): 801-803.
More about Roy Rogers. |
Troy Blacklaws. "John Wayne in Sophiatown: The Wild West Motif in Apartheid Pride." English in Africa 41, No. 1 (May 2014): 127-142.
More about John Wayne. |
James Burns. "John Wayne on the Zambezi: Cinema, Empire, and the American Western in British Central Africa." The International Journal of African Historical Studies 35, No. 1 (2002): 103-117.
More about John Wayne. |
Blair Davis. "Singing Sci-Fi Cowboys: Gene Autry and Genre Amalgamation in The Phantom Empire (1935). Historical Journal of Film, Radio, and Television Vol. 33, No. 4 (2013): 552-575.
Abstract from Taylor & Francis Online: This essay examines how The Phantom Empire (1935) – a twelve-part Poverty Row serial starring Gene Autry – combines the musical, western and science fiction genres. While several attempts were made at amalgamating the musical with science-fiction in 1930s Hollywood, such efforts did not ultimately lead to a sustained sub-genre. Comparisons are drawn with the major studio musical/sci-fi efforts Just Imagine (1930) and It’s Great to Be Alive (1933) as a way of contrasting how the musical intersects with science-fiction between Poverty Row and the major studios, as well as how the additional genre of the western affects the dynamic between generic categories in The Phantom Empire. By examining how these films used particular generic elements within their narratives, how they were positioned for exhibitors and audiences at the time, and how film scholarship has subsequently understood the theoretical functions of various generic elements in these films, this essay attempts to find new perspectives on how the generic conventions of the musical, science-fiction, and western genres affected one another in 1930s cinema. More about Gene Autry. |
Michael Kackman. "Nothing on but Hoppy Badges: "Hopalong Cassidy," William Boyd Enterprises, and Emergent Media Globalization." Cinema Journal Vol. 47, No. 4 (Summer 2008): 76-101.
More about William Boyd. |
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Televising Old Films
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New Deal Cowboy
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Lavender Cowboy
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Arizona Jim
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Herbert T. Silverberg. "Televising Old Films. Some New Legal Questions about Performers' and Proprietors' Rights." Virginia Law Review Vol. 38, No. 5 (June 1952): 615-651.
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Lynette Tan. "The New Deal Cowboy: Gene Autry and the Antimodern Resolution." Film History Vol. 13, No. 1 (2001): 89-101.
More about Gene Autry. |
Stephanie Vander Wel. "The Lavender Cowboy and 'The She Buckaroo': Gene Autry, Patsy Montana, and Depression-Era Gender Roles." The Musical Quarterly, Vol. 95, No. 2-3 (December 1, 2012): 207-251.
More about Gene Autry. More about Patsy Montana. |
John C. Tibbetts. " 'Arizona Jim': The Westerns of Douglas Fairbanks, Sr.," Journal of Popular Film and Television 39, No. 2 (2011): 41-49.
Abstract from Taylor & Francis Online: Although relatively neglected today in scholarly studies, the Western films of Douglas Fairbanks, Sr. revealed the American West of the Progressive Era as a vital geography, an ironic compound of “eastern” experience and “western” hopes. Coupled with Fairbanks's athletic exuberance, they influenced Hollywood Westerns' representations of masculinity for decades to come. More about Douglas Fairbanks, Sr. |