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Le cinéma naît alors que l'épopée de l'Ouest touche à sa fin. En 1895, on déclare la fin de la Frontière et le cinéma prend la relève du mouvement de conquête. Les fondateurs de Hollywood ne manqueront pas de faire eux-mêmes le parallèle. Dès qu'il y eut cinéma aux États-Unis, il y eut western… Ce rapport de proximité entre l'époque et l'invention d'un nouveau mode de création nourrit une intimité sur laquelle fait fond le western classique américain. Au fil des contributions ici rassemblées, les angles d'approches se multiplient : esthétique, anthropologie philosophique, philosophie sociale et politique, philosophie de l'histoire, histoire de l'art et études cinématographiques. En mobilisant essentiellement des compétences et des références philosophiques, mais aussi les vertus de l'interdisciplinarité, ce collectif se propose de poser les jalons d'une étude approfondie de l'image westernienne en traitant les enjeux des limites et frontières, de la justice sans cesse réinterrogée, de l'étranger, du lointain, du vivre ensemble, de la persécution, de l'imaginaire culturel et social et de l'invention historique.
Western films --- Westerns --- Philosophy --- cinéma --- esthétique --- altérité --- frontière --- mythe --- héros --- western
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Drehort. --- Ecology in motion pictures. --- Ecology in motion pictures. --- Ekologi på film. --- Environmental protection and motion pictures. --- Environmental protection and motion pictures. --- Film. --- Landschaft. --- Naturdarstellung. --- Nature in motion pictures. --- Nature in motion pictures. --- Naturen på film. --- Umweltschutz. --- Västernfilm. --- Western films --- Western films. --- Westernfilm. --- History and criticism. --- USA.
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In Native Recognition, Joanna Hearne persuasively argues for the central role of Indigenous image-making in the history of American cinema. Across the twentieth and into the twenty-first centuries, Indigenous peoples have been involved in cinema as performers, directors, writers, consultants, crews, and audiences, yet both the specificity and range of this Native participation have often been obscured by the on-screen, larger-than-life images of Indians in the Western. Not only have Indigenous images mattered to the Western, but Westerns have also mattered to Indigenous filmmakers as they subvert mass culture images of supposedly "vanishing" Indians, repurposing the commodity forms of Hollywood films to envision Native intergenerational continuity. Through their interventions in forms of seeing and being seen in public culture, Native filmmakers have effectively marshaled the power of visual media to take part in national discussions of social justice and political sovereignty for North American Indigenous peoples.Native Recognition brings together a wide range of little-known productions, from the silent films of James Young Deer, to recovered prints of the 1928 Ramona and the 1972 House Made of Dawn, to the experimental and feature films of Victor Masayesva and Chris Eyre. Using international archival research and close visual analysis, Hearne expands our understanding of the complexity of Native presence in cinema both on screen and through the circuits of film production and consumption.
Western films --- Indigenous films --- Indians in motion pictures. --- Westerns --- Motion pictures --- Indians of Central America in motion pictures --- Indians of Mexico in motion pictures --- Indians of North America in motion pictures --- Indians of South America in motion pictures --- Indians of the West Indies in motion pictures
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This comprehensive study of the Western covers its history from the early silent era to recent spins on the genre in films such as No Country for Old Men, There Will Be Blood, True Grit, and Cowboys & Aliens. While providing fresh perspectives on landmarks such as Stagecoach, Red River, The Searchers, The Man Who Shot Liberty Valance, and The Wild Bunch, the authors also pay tribute to many under-appreciated Westerns. Ride, Boldly Ride explores major phases of the Western's development, including silent era oaters, A-production classics of the 1930's and early 1940's, and the more psychologically complex portrayals of the Westerner that emerged after World War II. The authors also examine various forms of genre-revival and genre-revisionism that have recurred over the past half-century, culminating especially in the masterworks of Clint Eastwood. They consider themes such as the inner life of the Western hero, the importance of the natural landscape, the roles played by women, the tension between myth and history, the depiction of the Native American, and the juxtaposing of comedy and tragedy. Written in clear, engaging prose, this is the only survey that encompasses the entire history of this long-lived and much-loved genre.
Western films --- Cowboys --- Bronco busters --- Broncobusters --- Buckaroos --- Buckeroos --- Stockmen (Animal industry) --- Vaqueiros --- Vaqueros --- Cattle herders --- Horsemen and horsewomen --- Gauchos --- History and criticism. --- 20th century film production. --- american culture. --- american history. --- books about movie production. --- books for movie lovers. --- clint eastwood fans. --- educational books. --- film and cinema. --- film studies. --- filmmaking. --- history of western genre. --- how to write a western film. --- learning while reading. --- leisure reads. --- media studies. --- myth and history. --- nonfiction books. --- old western productions. --- performing arts. --- postwar movies. --- true grit. --- western movie genre. --- wild west culture. --- wild west development.
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