American historians such as Frederick Jackson Turner have argued that the West has been the region that most clearly defines American democracy and the national ethos. Throughout the twentieth century, the "frontier thesis" influenced film and television producers who used the West as a backdrop for an array of dramatic explorations of America's history and the evolution of its culture and values. The common themes found in Westerns distinguish the genre as a quintessentially American form of dramatic art. In Hollywood's West, Peter C. Rollins, John E. O'Connor, and the nation's leading film scholars analyze popular conceptions of the frontier as a fundamental element of American history and culture. This volume examines classic Western films and programs that span nearly a century, from Cimarron (1931) to Turner Network Television's recent made-for-TV movies. Many of the films discussed here are considered among the greatest cinematic landmarks of all time. The essays highlight the ways in which Westerns have both shaped and reflected the dominant social and political concerns of their respective eras. While Cimarron challenged audiences with an innovative, complex narrative, other Westerns of the early sound era such as The Great Meadow (1931) frequently presented nostalgic visions of a simpler frontier era as a temporary diversion from the hardships of the Great Depression. Westerns of the 1950s reveal the profound uncertainty cast by the cold war, whereas later Westerns display heightened violence and cynicism, products of a society marred by wars, assassinations, riots, and political scandals. The volume concludes with a comprehensive filmography and an informative bibliography of scholarly writings on the Western genre. This collection will prove useful to film scholars, historians, and both devoted and casual fans of the Western genre. Hollywood's West makes a significant contribution to the understanding of both the historic American frontier and its innumerable popular representations.

Brings into focus the most influential characters and themes of the Hollywood Western.

In the early part of the twentieth century, migrants made their way from rural homes to cities in record numbers and many traveled west. Los Angeles became a destination. Women flocked to the growing town to join the film industry as workers and spectators, creating a "New Woman." Their efforts transformed filmmaking from a marginal business to a cosmopolitan, glamorous, and bohemian one. By 1920, Los Angeles had become the only western city where women outnumbered men. In Go West, Young Women, Hilary A. Hallett explores these relatively unknown new western women and their role in the development of Los Angeles and the nascent film industry. From Mary Pickford’s rise to become perhaps the most powerful woman of her age, to the racist moral panics of the post–World War I years that culminated in Hollywood’s first sex scandal, Hallett describes how the path through early Hollywood presaged the struggles over modern gender roles that animated the century to come.

Hollywood’s West examines popular perceptions of the frontier as a defining feature of American identity and history. Seventeen essays by prominent film scholars illuminate the allure of life on the edge of civilization and analyze how this region has been represented on big and small screens. Differing characterizations of the frontier in modern popular culture reveal numerous truths about American consciousness and provide insights into many classic Western films and television programs, from RKO’s 1931 classic Cimarron to Turner Network Television’s recent made-for-TV movies. Covering topics such as the portrayal of race, women, myth, and nostalgia, Hollywood’s West makes a significant contribution to the understanding of how Westerns have shaped our nation’s opinions and beliefs—often using the frontier as metaphor for contemporary issues.

For many years, movie audiences have carried on a love affair with the American West, believing Westerns are escapist entertainment of the best kind, harkening back to the days of the frontier. This work compares the reality of the Old West to its portrayal in movies, taking an historical approach to its consideration of the cowboys, Indians, gunmen, lawmen and others who populated the Old West in real life and on the silver screen. Starting with the Westerns of the early 1900s, it follows the evolution in look, style, and content as the films matured from short vignettes of good-versus-bad into modern plots.

West of Eden is the definitive story of Hollywood, told, in their own words, by the people on the inside: Lauren Bacall, Arthur Miller, Dennis Hopper, Frank Gehry, Ring Lardner, Joan Didion, Stephen Sondheim – all interviewed by Jean Stein, who grew up in the Forties in a fairytale mansion in the Hollywood Hills. The book takes us from the discovery of oil in the Twenties with the story of the tycoon Edward Doheny (There Will Be Blood) and traces the growth of corruption through the syndicates, the mob, and the movie studios – from the beginnings of the film industry to the end, with News Corp. and Rupert Murdoch (who bought the Stein mansion in 1985). West of Eden is about money, power, fame and terrible secrets: the doomed Hollywood of the late Fifties, early Sixties – ‘the rotten heart of paradise’. Like her last book, the best-selling Edie, this is an oral history told through brilliantly edited interviews. As this is Hollywood, it’s a book full of sex, drugs and celebrity glamour; but because it’s built from the firsthand accounts of people who were actually there, many of them writers, actors and artists, it’s also strangely claustrophobic, seductive, and completely compelling.

What chance does a small-town girl have with a world-famous rock star? Two years after his wife’s death, rock star Garrett Hayes hasn’t moved on. But he has moved out of L.A. Where better to escape his past than a small town in the northern California mountains? If only he could get the townsfolk of Wildwood to leave him the hell alone. Ani Bennet returned to her hometown for some much-needed serenity. The last thing she needs is a grumpy, too hot for his own good, rich and famous rock star living next door—and rent-free in her brain. She set her fangirl tendencies aside and deleted his photo from her cell when they became neighbors. But when Garrett asks for help, she can’t say no. The problem is, spending time together is making those fangirl feelings resurface—and bringing them to a whole new level. What chance does a small-town girl have with world-famous rock star? It’s time for Ani to set her fears aside and find out.

In this pathbreaking book one of America’s most distinguished philosophers brilliantly explores the status and authority of law and the nature of political allegiance through close readings of three classic Hollywood Westerns: Howard Hawks’ Red River and John Ford’s The Man Who Shot Liberty Valance and The Searchers.Robert Pippin treats these films as sophisticated mythic accounts of a key moment in American history: its “second founding,” or the western expansion. His central question concerns how these films explore classical problems in political psychology, especially how the virtues of a commercial republic gained some hold on individuals at a time when the heroic and martial virtues were so important. Westerns, Pippin shows, raise central questions about the difference between private violence and revenge and the state’s claim to a legitimate monopoly on violence, and they show how these claims come to be experienced and accepted or rejected.Pippin’s account of the best Hollywood Westerns brings this genre into the center of the tradition of political thought, and his readings raise questions about political psychology and the political passions that have been neglected in contemporary political thought in favor of a limited concern with the question of legitimacy.

Billy the Kid, Wild Bill Hickok, Belle Starr, Wyatt Earp, the Younger Gang, the Dalton-Doolin Gang and Bat Masterson--these real-life lawmen and lawbreakers have been the basis of so many Hollywood Westerns that it has become difficult to discover where the truth ends and the legend begins. All actually became larger-than-life characters during their lifetimes, as contemporary newspapers and books embellished their deeds for their own purposes. But it was in Hollywood that the line between reality and myth was completely blurred. Each chapter-length entry here first focuses on the known facts of the people's lives and how each became truly legendary during their lifetimes. The reality is then compared to how they have been portrayed in the movies.

In the early days of the twentieth century, movies weren't made in California. As America's film pioneers traveled westward, Colorado became a beacon to them, contributing to the early motion picture business with all the relish and gusto of a western saga. The gorgeous natural scenery was perfect for the country's (and the world's) growing infatuation with the West, turning Colorado itself into a bigger star of the early cinema than any particular actor. Using rare photos and contemporary accounts, writer and filmmaker Michael J. Spencer explores the little-known filmmaking industry that flourished in the Rocky Mountains between 1895 and 1915--west of New York but east of Hollywood.