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.

Notre mémoire se penche sur un corpus de films spécifique; il s’agit des westerns américains racontant la construction d’un chemin de fer. Nous traitons ces films comme un sous-genre du western que nous intitulons Railroad Building Story. Est proposé dans notre étude que la structure narrative étant à la base de tous les récits du sous-genre provient d’une idéalisation des faits historiques entourant la construction du premier chemin de fer transcontinental aux États-Unis. Dans le premier chapitre, nous présentons une adaptation de la méthode d’analyse de Vladimir Propp, telle que présentée dans la Morphologie du conte, dans le but d’identifier la structure narrative stable des films du corpus et d’en décrire les unités narratives constantes. L’application de la méthode est effectuée dans le second chapitre, où chacune des unités narratives constantes est expliquée. De plus, nous confrontons ces unités narratives à l’histoire du chemin de fer transcontinental afin d’analyser les rapports idéologiques existant entre ces récits fictionnels et leur référent historique. Cette description sémionarrative et historique de la Railroad Building Story met en évidence sa fonction idéologique permanente en tant que mythe cinématographique du chemin de fer américain. Dans le troisième chapitre, les films sont analysés d’après leur contexte sociohistorique de production. Le chapitre est divisé selon les quatre périodes historiques dans lesquels les films du sous-genre furent réalisés, soit les années 1920, la Grande Dépression, l’ère maccarthyste et le début des années 1960. En analysant les films d’après une approche sociocritique, nous démontrons comment ceux-ci traduisent des préoccupations idéologiques liées au climat social de la nation américaine. Nous expliquons donc comment le mythe du chemin de fer américain se voit réapproprié à chaque période historique, et ce, afin de répondre aux exigences idéologiques contemporaines à la production des films de la Railroad Building Story. / This master’s thesis takes a close look at a very specific corpus of films; the westerns that narrate the construction of a railroad. We treat these movies as a sub-genre of the western that we call the Railroad Building Story. Our study proposes that the narrative structure at the basis of all the sub-genre’s stories comes from an idealization of the historical facts surrounding the construction of the first American transcontinental railroad. In the first chapter, we present an adaptation of Vladimir Propp’s method of analysis, as found in his Morphology of the Folktale, in order to identify the stable narrative structure of our corpus and to describe its constant narrative units. The application of said method takes place in the second chapter, in which each constant narrative unit is thoroughly explained. We also confront these narrative units in the history of the transcontinental railroad as to analyze the ideological relations existing between these fictional narratives and their historical referent. This semionarrative and historical description of the Railroad Building Story highlights its permanent ideological function as the cinematographic myth of the American railroad. In our third chapter, we analyze the films in the light of their sociohistorical context of production. The chapter is divided between the four historical periods in which these movies were produced, that to say the 1920’s, the Great Depression, the mcccarthyism era and the early 1960’s. By analyzing these films with a sociocritical stance, we demonstrate how they express ideological concerns linked to the social climate of the American nation. Thus we explain how the American railroad myth is being reappropriated in each historical period in order to address the ideological exigencies that are contemporary to the production of the Railroad Building Story’s films.