Diss. Ph. D.--Columbus--Graduate college of Ohio university, 1967. / Bibliogr. p. 210-215.

The HBO television series The Wire ran for five seasons from 2002 to 2008. The series, which garnered much critical acclaim, depicts the lives and complex intersections of the police, drug gangs, political, and educational systems in Baltimore. This project seeks to examine the criteria and implications of re-imagining this television series as a work of narrative fiction belonging to the Western genre. The critical framework for these tasks is provided by John G. Cawelti’s text The Six Gun Mystique along with examples drawn from the films The Man Who Shot Liberty Valence and The Wild Bunch as well as the series itself.

Dissertation--Universität Wien, 2004. / Bibliogr. p. 253-260.

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In this paper, I argue that novels of the same genre may communicate with each other, spanning time and space to recontextualize the realities of books that both preceeded and came after one another. I use Cormac McCarthy's Blood Meridian (1985) and Hernan Diaz' In the Distance (2018) to illustrate my theory, focusing on the issues of masculinity presentet in both novels. While In the Distance cannot rectify the issues reader may have with Blood Meridian, the connections they share may assist in "filling in the blanks".

Excerpt: Towards the end of Ethan and Joel Coen's Academy-Award winning No Country for Old Men (2007), Carla Jean Moss's life depends on the toss of a coin. Heads or tails will decide whether she lives or dies.

Cinemascape: Durango is a portrait of “cinema” from the ethnographic perspective of Durango, a state in northern Mexico whose identity as Tierra del Cine is based on its history as a "location" for both Hollywood Westerns and the low-budget, Mexican action films known as churros. From the globally "marginal" vantage of Durango, it looks at how "cinema," as a mobile signifier transects and transforms seemingly disparate topics and spaces and becomes part of new cultural configurations and flows. These flows are both concretely economic, as in the transnational traffic in media products, and imaginary, as in changing senses of meaning and identity. It addresses cinema's manifestations and meanings in a variety of institutions and practices locally regarded as cinema-related. It includes chapters on everyday space and imagination; genre and "authoritarian" visual form; national and regional ideologies; and the specific careers and artistic production of two Durango filmmakers. Although production has diminished since the mid 1980s, due to the waning popularity of movie Westerns and the rise of video, "cinema" remains a powerful presence in Durango, palpable in discourses of nostalgia, hope and patrimony, as well as in material artifacts. It "exists" in bumper stickers that say "Durango, Tierra del Cine" and movie sets of Old West towns in various states of decay. One set has become a "real" town, with people living and working behind facades that say "Saloon" and "General Store." Another is now an amusement park. Others stand as decaying ghost towns. John Wayne had a ranch in Durango, and his image appears everywhere. The state tourist office is called "The Office of Tourism and Cinema." The particularity of Durango's cinematic terrain is evoked through a representational strategy of montage, organized by piling up "scenes" from everyday life, films and film history. Its aim is to show "cinema" as a point of connection within a broad social imaginary, working at different levels of specificity, and also "leaking." The dissertation is interdisciplinary in that it links culture to imagination (thus philosophy), media, art and literature (thus art history, cultural/film studies) and global capitalism (thus political economy, history, area studies). / text

Thesis (M.M.)--Bowling Green State University, 2008. / Document formatted into pages; contains x, 103 p. : ill., music. Includes bibliographical references.

Ce mémoire comporte deux parties. En premier lieu, on retrouvera dans la partie création, les différentes étapes du processus créatif qui ont mené à la réalisation du film intitulé St-Placide, y compris le scénario. En second lieu, nous tentons de définir l’antihéros québécois en le comparant au héros utilisé dans le genre western.