ABSTRACT

For nearly two centuries, Americans have embraced the Western like no other artistic genre. Creators and consumers alike have utilized this story form in literature, painting, film, radio and television to explore questions of national identity and purpose. Westerns: The Essential Collection comprises the Journal of Popular Film and Television’s rich and longstanding legacy of scholarship on Westerns with a new special issue devoted exclusively to the genre. This collection examines and analyzes the evolution and significance of the screen Western from its earliest beginnings to its current global reach and relevance in the 21st century.

Westerns: The Essential Collection addresses the rise, fall and durability of the genre, and examines its preoccupation with multicultural matters in its organizational structure. Containing eighteen essays published between 1972 and 2011, this seminal work is divided into six sections covering Silent Westerns, Classic Westerns, Race and Westerns, Gender and Westerns, Revisionist Westerns and Westerns in Global Context. A wide range of international contributors offer original critical perspectives on the intricate relationship between American culture and Western films and television series. Westerns: The Essential Collection places the genre squarely within the broader aesthetic, socio-historical, cultural and political dimensions of life in the United States as well as internationally, where the Western has been reinvigorated and reinvented many times. This groundbreaking anthology illustrates how Western films and television series have been used to define the present and discover the future by looking backwards at America’s imagined past.

chapter |4 pages

Introduction

The JPF&TV Legacy of Western Scholarship

part I|58 pages

Silent Westerns

chapter 1|8 pages

The Earliest Western Films

chapter 2|30 pages

“The Cross-Heart People” *

Race and Inheritance in the Silent Western

chapter 3|18 pages

“Arizona Jim”

part II|55 pages

Classic Westerns

chapter 4|18 pages

Soldiers in Stetsons

B-Westerns Go to War

chapter 5|20 pages

“Be Sure You're Right, Then Go Ahead”

The Early Disney Westerns

chapter 6|15 pages

“Let's Go Home, Debbie”

The Matter of Blood Pollution, Combat Culture, and Cold War Hysteria in The Searchers

part III|50 pages

Race and Westerns

chapter 7|21 pages

Playing at Being Indian

Spectatorship and the Early Western

chapter 8|13 pages

A Fate Worse Than Death

Racism, Transgression, and Westerns

chapter 9|14 pages

A Politically Correct Ethan Edwards

Clint Eastwood's The Outlaw Josey Wales

part IV|45 pages

Gender and Westerns

chapter 10|15 pages

Howard Hughes and His Western

The Maverick and The Outlaw

chapter 11|14 pages

Carrying Concealed Weapons

Gendered Makeover in Calamity Jane

chapter 12|15 pages

Redesigning Pocahontas

Disney, the “White Man's Indian,” and the Marketing of Dreams

part V|52 pages

Revisionist Westerns

chapter 13|16 pages

McCabe and Mrs. Miller

Robert Altman's Anti-Western

chapter 14|16 pages

Blending Genres, Bending Time

Steampunk on the Western Frontier

part VI|80 pages

Westerns in Global Context

chapter 16|19 pages

Shouldering the Weight of the World

The Sensational and Global Appeal of John Wayne's Body

chapter 17|22 pages

The Man With No Home/Musukja

Shane Comes Back in a Korean “Manchurian Western”

chapter 18|15 pages

Hollywood Border Cinema

Westerns with a Vengeance

chapter 19|22 pages

The Western Rides On

Books About Western Movies, 2005–2011