The articles in this section focus on the issues of race and gender representations in films of the Western genre.
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Cinematic Indians
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Landscape, Vitality, and Desire
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Framing Race
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Silver Screen Savages
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Whores and Other Feminists
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Cynthia-Lou Coleman. "Framing Cinematic Indians within the Social Construction of Place." American Studies 46, No. 3/4 (Fall/Winter 2005): 275-293.
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Laura Horak. "Landscape, Vitality, and Desire: Cross-Dressed Frontier Girls in Transitional-Era American Cinema." Cinema Journal 52, No. 4 (Summer 2013): 74-98.
Abstract from Project Muse: Cross-dressed frontier women allowed moving pictures to capitalize on cherished American frontier mythologies while offering new, uniquely cinematic attractions. These figures provided the spectacle of a triumphant white body navigating the American landscape, while fixing both the neurasthenic middle-class family and the sexual dilemma of the gender-imbalanced frontier. |
Jennifer L. Jenkins. "Framing Race in the Arizona Borderlands: The Western Ways Apache Scouts and Sells Indian Rodeo Films." The Moving Image: The Journal of the Association of Moving Image Archivists 14, No. 2 (Fall 2014): 68-95.
Abstract from ResearchGate: In 1940, the Tucson-based Western Ways Features Service filmed Last of the Indian Scouts, a short feature about Apache Scouts at the Buffalo Soldier army post at Fort Huachuca, Arizona. This depiction of a multicultural borderlands post captures surprising performances of indigeneity that were part of the Scouts' regular duties on post. A second Western Ways film records Native veterans at the 1945 Papago Rodeo in Sells, Arizona. The two films serve as bookends to Native Arizonans' involvement in World War II and depict notably different aspects of indigenous representation in the pre- and postwar eras, separated as they are by five years, 130 miles of Arizona terrain, and distinct cultural differences between their subjects. The Apache Scouts film is anchored in at least a century's worth of inherited tropes of Indian performance, displayed with some irony to the camera; the Papago Rodeo film reveals a postwar world in which horsemanship and military service are foregrounded and ethnicity is present but normative in the visual narrative. |
Janne Lahti. "Silver Screen Savages: Images of Apaches in Motion Pictures." The Journal of Arizona History 54, No. 1 (Spring 2013): 51-84.
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Anne Helen Petersen. "'Whores and Other Feminists': Recovering 'Deadwood's' Unlikely Feminisms." Great Plains Quarterly Vol. 27, No. 4 (Fall 2007): 267-282.
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Cowboys and Indians
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Latino Acting on Screen
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JoEllen Shively. "Cowboys and Indians: Perceptions of Western Films Among American Indians and Anglos." American Sociological Review 57, No. 6 (December 1992): 725-734.
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Dolores Tierney. "Latino Acting on Screen: Pedro Armendáriz Performs Mexicanness in Three John Ford Films." Revista Canadiense de Estudios Hispánicos 37, No. 1, CRUZANDO FRONTERAS E IDENTIDADES EN LOS CINES HISPÁNICOS (Otoño 2012): 111-133
More about Pedro Armendáriz. |