Bonanza aired on NBC from September 12, 1959, to January 16, 1973, playing to 480,000,000 viewers in over 97 countries. It was the second longest running western series, surpassed only by Gunsmoke, and continues to provide wholesome entertainment to old and new fans via syndication. This book provides an in-depth chronicle of the series and its stars. A history of the show from its inception to the current made-for-television movies is provided, and an episode guide includes a synopsis of each show and lists such details as the main characters of each episode and the actors who portrayed them, the dates they stayed with the show, date and time of original broadcast, writer, director, producer, executive producer, and supporting cast. Also provided are character sketches for each of the major recurring characters, career biographies of Lorne Green, Pernell Roberts, Dan Blocker, and Michael Landon, brief biographical sketches of the supporting cast, a discography of recordings of the Bonanza theme and recordings of the four major stars, and information on Bonanza television movies.

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.

This exhaustive reference provides a comprehensive accounting, covering more than nine decades, of Western and frontier movies and television shows, and the creative talents who brought them to life. Part I is a full listing of Western and frontier credits for actors and actresses, with year of production and role played, and a listing of television credits in the genre, giving the series title, episode title, original air date, and role played. Birth dates (and death dates when appropriate) are given for each performer. Part II gives directors, producers, screenwriters, and original authors, along with the Western films they were involved in. Part III is an alphabetical listing of films, including silents, serials, and made-for-television features, with date and country of release, alternate titles, and the cast and production credits. The final section is a television listing, providing series title, original air date and cast and credits. This film book is published as a set of two volumes. Replacement volumes can be obtained individually under ISBN 0-7864-0217-2 (for Volume 1) and ISBN 0-7864-0218-0 (for Volume 2).

When the earliest filmgoers watched The Great Train Robbery in 1903, many of them shrieked in terror at the very last clip when one of the outlaws turns directly toward the camera and fires a gun, seemingly, directly at the audience. The puff of smoke was sudden and it was hand colored so that it looked real. Today, we can look back at that primitive movie and see all the elements of what would evolve into the Western genre. Perhaps it is the Western's early origins_The Great Train Robbery was the first narrative, commercial movie_or its formulaic yet entertaining structure that has made the Western so popular. Whatever the case may be, with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the western is told in The A to Z of Westerns in Cinema through a chronology, a bibliography, and an introductory essay. However, it is the hundreds of cross-referenced dictionary entries on cinematographers; composers; producers; films like Butch Cassidy and the Sundance Kid, Dances With Wolves, The Good, The Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; such actors as Gene Autry, Kirk Douglas, Clint Eastwood, Henry Fonda, James Stewart, and John Wayne; and directors like John Ford and Sergio Leone that will have you reaching for this book again and again.

This exhaustive reference provides a comprehensive accounting, covering more than nine decades, of Western and frontier movies and television shows, and the creative talents who brought them to life. Part I is a full listing of Western and frontier credits for actors and actresses, with year of production and role played, and a listing of television credits in the genre, giving the series title, episode title, original air date, and role played. Birth dates (and death dates when appropriate) are given for each performer. Part II gives directors, producers, screenwriters, and original authors, along with the Western films they were involved in. Part III is an alphabetical listing of films, including silents, serials, and made-for-television features, with date and country of release, alternate titles, and the cast and production credits. The final section is a television listing, providing series title, original air date and cast and credits. This film book is published as a set of two volumes. Replacement volumes can be obtained individually under ISBN 0-7864-0217-2 (for Volume 1) and ISBN 0-7864-0218-0 (for Volume 2).

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.

Offering both in-depth analyses of specific films and overviews of the industry's output, Hollywood's Indian provides insightful characterizations of the depiction of the Native Americans in film. This updated edition includes a new chapter on Smoke Signals, the groundbreaking independent film written by Sherman Alexie and directed by Chris Eyre. Taken as a whole the essays explore the many ways in which these portrayals have made an impact on our collective cultural life.

A great writer's journey of exploration in an American place that is both strange and deeply familiar. In Ian Frazier's bestselling Great Plains, he described meeting a man in New York City named Le War Lance, "an Oglala Sioux Indian from Oglala, South Dakota." In On the Rez, Frazier returns to the plains and focuses on a place at their center-the Pine Ridge Reservation in the prairie and badlands of South Dakota, home of the Oglala Sioux. Frazier drives around "the rez" with Le War Lance and other Oglalas as they tell stories, visit relatives, go to powwows and rodeos and package stores, and try to find parts to fix one or another of their on-the-verge-of-working cars. On the Rez considers Indian ideas of freedom and community and equality that are basic to how we view ourselves. Most of all, he examines the Indian idea of heroism-its suffering and its pulse-quickening, public-spirited glory. On the Rez portrays the survival, through toughness and humor, of a great people whose culture has shaped our American identity.