Briefly describes life in the West, and discusses the ephemeral nature of the region, western towns, the tourist industry, agriculture, fiction, and the ecology movement.

The Sagebrush Trail is a history of Western movies but also a history of twentieth-century America. Richard Aquila’s fast-paced narrative covers both the silent and sound eras, and includes classic westerns such as Stagecoach, A Fistful of Dollars, and Unforgiven, as well as B-Westerns that starred film cowboys like Tom Mix, Gene Autry, and Hopalong Cassidy. The book is divided into three parts. Part 1 traces the birth and growth of Westerns from 1900 through the end of World War II. Part 2 focuses on a transitional period in Western movie history during the two decades following World War II. Finally, part 3 shows how Western movies reflected the rapid political, social, and cultural changes that transformed America in the 1960s and the last decades of the twentieth century. The Sagebrush Trail explains how Westerns evolved throughout the twentieth century in response to changing times, and it provides new evidence and fresh interpretations about both Westerns and American history. These films offer perspectives on the past that historians might otherwise miss. They reveal how Americans reacted to political and social movements, war, and cultural change. The result is the definitive story of Western movies, which contributes to our understanding of not just movie history but also the mythic West and American history. Because of its subject matter and unique approach that blends movies and history, The Sagebrush Trail should appeal to anyone interested in Western movies, pop culture, the American West, and recent American history and culture. The mythic West beckons but eludes. Yet glimpses of its utopian potential can always be found, even if just for a few hours in the realm of Western movies. There on the silver screen, the mythic West continues to ride tall in the saddle along a “sagebrush trail” that reveals valuable clues about American life and thought.

Now a major motion picture starring Nicolas Cage and directed by Gabe Polsky. In his National Book Award–winning novel Augustus, John Williams uncovered the secrets of ancient Rome. With Butcher’s Crossing, his fiercely intelligent, beautifully written western, Williams dismantles the myths of modern America. It is the 1870s, and Will Andrews, fired up by Emerson to seek “an original relation to nature,” drops out of Harvard and heads west. He washes up in Butcher’s Crossing, a small Kansas town on the outskirts of nowhere. Butcher’s Crossing is full of restless men looking for ways to make money and ways to waste it. Before long Andrews strikes up a friendship with one of them, a man who regales Andrews with tales of immense herds of buffalo, ready for the taking, hidden away in a beautiful valley deep in the Colorado Rockies. He convinces Andrews to join in an expedition to track the animals down. The journey out is grueling, but at the end is a place of paradisal richness. Once there, however, the three men abandon themselves to an orgy of slaughter, so caught up in killing buffalo that they lose all sense of time. Winter soon overtakes them: they are snowed in. Next spring, half-insane with cabin fever, cold, and hunger, they stagger back to Butcher’s Crossing to find a world as irremediably changed as they have been.

The West is popularly perceived as America's last outpost of unfettered opportunity, but twentieth-century corporate tourism has transformed it into America's "land of opportunism." From Sun Valley to Santa Fe, towns throughout the West have been turned over to outsiders—and not just to those who visit and move on, but to those who stay and control. Although tourism has been a blessing for many, bringing economic and cultural prosperity to communities without obvious means of support or allowing towns on the brink of extinction to renew themselves; the costs on more intangible levels may be said to outweigh the benefits and be a devil's bargain in the making. Hal Rothman examines the effect of twentieth-century tourism on the West and exposes that industry's darker side. He tells how tourism evolved from Grand Canyon rail trips to Sun Valley ski weekends and Disneyland vacations, and how the post-World War II boom in air travel and luxury hotels capitalized on a surge in discretionary income for many Americans, combined with newfound leisure time. From major destinations like Las Vegas to revitalized towns like Aspen and Moab, Rothman reveals how the introduction of tourism into a community may seem innocuous, but residents gradually realize, as they seek to preserve the authenticity of their communities, that decision-making power has subtly shifted from the community itself to the newly arrived corporate financiers. And because tourism often results in a redistribution of wealth and power to "outsiders," observes Rothman, it represents a new form of colonialism for the region. By depicting the nature of tourism in the American West through true stories of places and individuals that have felt its grasp, Rothman doesn't just document the effects of tourism but provides us with an enlightened explanation of the shape these changes take. Deftly balancing historical perspective with an eye for what's happening in the region right now, his book sets new standards for the study of tourism and is one that no citizen of the West whose life is touched by that industry can afford to ignore.

Who owns the West? -- Buffalo Bill and Karl May : the origins of German Western fandom -- A wall runs through it : western fans in the two Germanies -- Little houses on the prairie -- "And then the American Indians came over" : fan responses to indigenous resurgence and political change -- Indians into Confederates : historical fiction fans, reenactors, and living history.

In Mythic Galveston: Reinventing America's Third Coast, Susan Wiley Hardwick examines Galveston's rapid rise and the myth created by immigrants and boosters of an abundant island with a highly temperate, even tropical, climate, ideal for settlement. Hardwick's historical analysis focuses on immigrant settlement patterns and the important contributions to Galveston's evolving sense of place made by diverse ethnic and racial groups."--BOOK JACKET.

And in a series of exhaustive appendixes, he documents their contributions to each medium they worked in. Testifying to both the breadth and the longevity of their careers, the book includes radio logs, discographies, filmographies, and comicographies that will delight historians and collectors alike."--Jacket.

What is the nature of the relationship between the Hollywood Western and American frontier mythology? How have Western films helped develop cultural and historical perceptions, attitudes and beliefs towards the frontier? Is there still a place for the genre in light of revisionist histories of the American West?Myth of the Western re-invigorates the debate surrounding the relationship between the Western and frontier mythology, arguing for the importance of the genre's socio-cultural, historical and political dimensions. Taking a number of critical-theoretical and philosophical approaches, Matthew Carter applies them to prominent forms of frontier historiography. He also considers the historiographic element of the Western by exploring the different ways in which the genre has responded to the issues raised by the frontier. Carter skilfully argues that the genre has - and continues to reveal - the complexities and contradictions at the heart of US society. With its clear analyses of and intellectual challenges to the film scholarship that has developed around the Western over a 65-year period, this book adds new depth to our understanding of specific film texts and of the genre as a whole - a welcome resource for students and scholars in both Film Studies and American Studies.

Six myths lie at the heart of the American experience. Taken as aspirational, four of those myths remind us of our noblest ideals, challenging us to realize our nation's promise while galvanizing the sense of hope and unity we need to reach our goals. Misused, these myths allow for illusions of innocence that fly in the face of white supremacy, the primal American myth that stands at the heart of all the others.