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Cowboy Classics : The Roots of the American Western in the Epic Tradition / Kirsten Day.

By: Material type: TextTextSeries: Screening Antiquity : SCANPublisher: Edinburgh : Edinburgh University Press, [2022]Copyright date: ©2016Description: 1 online resource (240 p.) : 20 B/W illustrations 1 B/W tablesContent type:
Media type:
Carrier type:
ISBN:
  • 9781474402460
  • 9781474402477
Subject(s): DDC classification:
  • 791.436278
LOC classification:
  • PN1995.9.W4 D38 2016
  • PN1995.9.W4
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- Contents -- Series Editors' Preface -- Acknowledgments -- Illustrations -- Prologue -- Introduction: Western Film and the Epic Tradition -- 1 Howard Hawks's Red River -- 2 Fred Zinnemann's High Noon -- 3 George Stevens's Shane -- 4 John Ford's The Searchers -- 5 John Ford's The Man Who Shot Liberty Valance -- Conclusion -- Bibliography -- Filmography -- Index
Summary: Compares the ancient epic and the American Western as parallel cultural narrativesCowboy Classics looks at the remarkably intimate connection between Westerns and Greek and Roman epics, each of which focuses on a mythic-historical period from the past where our societal notions of what constitutes heroism, masculinity and honour were first forged. Through her insightful analysis of Red River, High Noon, Shane, The Searchers and The Man Who Shot Liberty Valance, Kirsten Day illustrates the parallels between these seemingly disparate yet closely related genres, allowing us to see each through a new lens while gaining insight into the persistence of these concepts in our world today.Key Features Discusses the recent scholarly interest in classical representations in popular culture Looks at how both Greco-Roman epic and Western film in general help to define foundational ideologies for their respective culturesIncludes case studies of four films - Howard Hawks' Red River (1948), Fred Zinnemann's High Noon (1952), George Stevens' Shane (1953), and John Ford's The Searchers (1956) - which analyze specific affinities with the Homeric epics and Virgil's AeneidExamines John Ford's The Man Who Shot Liberty Valance (1962) as an Oedipal drama, in relation to Greek and Roman epic
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781474402477

Frontmatter -- Contents -- Series Editors' Preface -- Acknowledgments -- Illustrations -- Prologue -- Introduction: Western Film and the Epic Tradition -- 1 Howard Hawks's Red River -- 2 Fred Zinnemann's High Noon -- 3 George Stevens's Shane -- 4 John Ford's The Searchers -- 5 John Ford's The Man Who Shot Liberty Valance -- Conclusion -- Bibliography -- Filmography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Compares the ancient epic and the American Western as parallel cultural narrativesCowboy Classics looks at the remarkably intimate connection between Westerns and Greek and Roman epics, each of which focuses on a mythic-historical period from the past where our societal notions of what constitutes heroism, masculinity and honour were first forged. Through her insightful analysis of Red River, High Noon, Shane, The Searchers and The Man Who Shot Liberty Valance, Kirsten Day illustrates the parallels between these seemingly disparate yet closely related genres, allowing us to see each through a new lens while gaining insight into the persistence of these concepts in our world today.Key Features Discusses the recent scholarly interest in classical representations in popular culture Looks at how both Greco-Roman epic and Western film in general help to define foundational ideologies for their respective culturesIncludes case studies of four films - Howard Hawks' Red River (1948), Fred Zinnemann's High Noon (1952), George Stevens' Shane (1953), and John Ford's The Searchers (1956) - which analyze specific affinities with the Homeric epics and Virgil's AeneidExamines John Ford's The Man Who Shot Liberty Valance (1962) as an Oedipal drama, in relation to Greek and Roman epic

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)