Thesis (B.A.(Hons.))--University of Adelaide, Dept. of History, 1973.

Thesis (M.S.)--University of Wisconsin--Madison, 1961. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 82-88).

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Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-06, Section: A, page: 2618. Adviser: Frederick E. Hoxie. Includes bibliographical references (leaves 248-278) Available on microfilm from Pro Quest Information and Learning.

The Western settlement era is only one part of United States national history, but for many Americans it remains the most significant cultural influence. Conversely, the settlement of Canada's western territory is generally treated as a significant phase of national development, but not the defining phase. Because both nations view the frontier experience differently, they also have distinct perceptions of the role violence played in the settlement process, distinctions reflected in the historical record, literature, and films of each country. This study will look at the historical evidence and works of the imagination for both the American and Canadian frontier experience, focusing on the years between 1870 and 1930, and will examine the part that violence played in the development of each national character. The discussion will also illustrate the difference between the historical reality and the mythic version portrayed in popular literature and films by demonstrating the effects of the depiction of violence on the perception of American and Canadian history.

This thesis examines the rise of image culture in the 1920’s and its impact on American national identity. I demonstrate that, perhaps surprisingly, the central figure in these debates was not a past or present prominent American but instead an indeterminate Other which is read in ambivalent ways and for varied purposes. It is the central claim of this project that in order to trace the modern American subject that emerges from the 1920s national rift, one must attend to the ways in which a felt need to view and position oneself in relation to “the Other” was essential to defining the nature and future of the nation. More specifically, I argue that the film Grass: A Nation’s Battle for Life (1925) offers a solution to this national divide by providing viewers a popular culture form of “evidence” of the Westerner’s capacity to exhibit both premodern and modern qualities. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection