A round-up of favorite westerns from "Aces and Eights" to "River of No Return," from "Colorado Sundown" to "Under California Stars," from "Big Calibre" to "The Yodellin' Kid from Pine Ridge." Featured stars include Gene Autry, Roy Rogers, Bill Boyd, Charles Starrett, Buck Jones, Hoot Gibson, Bob Steele, Rex Bell, Tex Ritter, Ken Maynard, Tim McCoy, Jack Perrin, Johnny Mack Brown, Robert Mitchum, Randolph Scott.

Westerns are one of the oldest, most enduring, and most typically American of film genres. Set on the American frontier during the last part of the 19th century, they portray the conquest of the wilderness and the taming of nature, in the name of civilization. Hollywood sold its stories about the West to an eager American public, from the series westerns of Gene Autry and Roy Rogers with their clean-cut stars, fun-loving sidekicks, and guitar-strumming sing-alongs, to the obsessed, revenge-bent heroes of Anthony Mann’s majestic 1950s westerns. Western myths, legends, and heroes have entered American popular culture – from clothes (denim jackets, jeans, and cowboy boots) to children’s toys (cap guns, rubber-tipped arrows, and tom toms) and its vocabulary has entered the English language (such as “round up,” and “bury the hatchet”). It created a “code of honor” by which all mid-20th-century children wanted to live, and it made household names of a myriad of actors. Clint Eastwood, John Wayne, and Tom Mix were among the heroes doing battle with the American Indians who were, rightly or wrongly, portrayed as the enemy. The western seemed likely to fade away in the face of post-war cynicism, and it was only when movies such as Kevin Costner’s Dances With Wolves and Clint Eastwood’s Unforgiven repositioned the genre in the 1990s that it once again seemed possible that the western could survive as a modern art form. This lavishly illustrated, fact-packed publication traces the history of the Hollywood western and the influence it has had on individuals and society, looking behind the scenes to tell the story both on and off screen.

Once by far Hollywood's largest category of popular movies, Westerns are now out of fashion with the movie-going public, but they still hold a commanding presence on DVD. Until recently, Westerns were one of the most popular DVD categories, third only to action and science fiction. Many, many titles from the 1930s and 1940s were made by small, independent companies that no longer exist. A huge number of westerns are therefore in the public domain and are now available on DVD from outlets like Alpha and Grapevine. In fact, there are currently so many titles on DVD, that guides like "World's Worst Westerns" are not a luxury or an addenda, but an absolute necessity for collectors who wish to spend their money wisely by buying titles they will enjoy! In fact, for western fans like myself, a book like "World's Worst Westerns" is not just a novelty, but an absolute necessity!

200 films reviewed and rated, covering all genres of movie comedy from slapstick to sardonic, from madness to manners. Featured comedians include Bud Abbott and Lou Costello, Stan Laurel and Oliver Hardy, Bert Wheeler and Robert Woolsey, W.C. Fields, Will Rogers, Bob Hope, Buster Keaton, Harold Lloyd, Bing Crosby, The Three Stooges, Eddie Cantor, Charlie Chaplin, Jacques Tati, Sid Field, The Crazy Gang, George Burns and Gracie Allen, Jack Hulbert, Joe E. Brown, Ole Olsen and Chic Johnson, Clifton Webb, Red Skelton, Ronald Shiner, Cecil Kellaway, Norman Wisdom, Frankie Howerd, Toto, Arthur Askey, Katharine Hepburn, Cary Grant, Claudette Colbert, Fred Astaire, Ginger Rogers, Joan Davis, Marjorie Main, Percy Kilbride, Stanley Holloway, Penny Singleton and Arthur Lake.

"Through the heart of Hollywood cinema runs a surprising current of progressive politics. Sports movies, a genre that has flourished since the mid-seventies, evoke the American dream and represent the nation to itself. Once considered mere credos for Reaganism, on closer view, movies from Rocky (1976) to Ali (2001) dream of democratic participation and recognition more than individual success. In every case, off-field relationships take precedence over on-field competition. Arranged chronologically, this critical study of six major sports films also tells the story of multiculturalism's gradual adoption. The mainstream's first minority heroes are paradoxically white ethnic, rural, working-class men, exemplified by Rocky, Slap Shot (1977) and The Natural (1984); Black, brown, and women characters follow in White Men Can't Jump (1992), A League of Their Own (1992), and Ali. But despite their insistence on community and diversity these popular dramas show limited faith in civic institutions. Hannah Arendt, Jeffrey Alexander, and others inform original analysis and commentary on the political significance of popular culture. Reading these familiar movies from another angle paints a fresh picture of how the United States has imagined democracy since its bicentennial"--

In this pathbreaking book one of America’s most distinguished philosophers brilliantly explores the status and authority of law and the nature of political allegiance through close readings of three classic Hollywood Westerns: Howard Hawks’ Red River and John Ford’s The Man Who Shot Liberty Valance and The Searchers.Robert Pippin treats these films as sophisticated mythic accounts of a key moment in American history: its “second founding,” or the western expansion. His central question concerns how these films explore classical problems in political psychology, especially how the virtues of a commercial republic gained some hold on individuals at a time when the heroic and martial virtues were so important. Westerns, Pippin shows, raise central questions about the difference between private violence and revenge and the state’s claim to a legitimate monopoly on violence, and they show how these claims come to be experienced and accepted or rejected.Pippin’s account of the best Hollywood Westerns brings this genre into the center of the tradition of political thought, and his readings raise questions about political psychology and the political passions that have been neglected in contemporary political thought in favor of a limited concern with the question of legitimacy.

Robert Mitchum was--and still is--one of Hollywood's defining stars of Western film. For more than 30 years, the actor played the weary and cynical cowboy, and his rough-and-tough presence on-screen was no different than his one off-screen. With a personality fit for western-noir, Robert Mitchum dominated the genre during the mid-20th century, and returned as the anti-hero again during the 1990s before his death. This book lays down the life of Mitchum and the films that established him as one of Hollywood's strongest and smartest horsemen. Going through early classics like Pursued (1947) and Blood on the Moon (1948) to more recent cult favorites like Tombstone (1993) and Dead Man (1995), Freese shows how Mitchum's nuanced portrayals of the iconic anti-hero of the West earned him his spot in the Cowboy Hall of Fame.

What links Italian neorealism to Django Unchained, French comic books to Third-World insurgency, and Bollywood song-and-dance to Eastern Bloc film distribution? As this volume illustrates, the answers lie in the Spaghetti Western genre.As the reference points of American popular culture became ever more prominent in post-war Europe, the hundreds of films that make up the Italian (or 'Spaghetti') Western documented profound shifts in their home country's cultural outlook, while at the same time denying specifically national discourses. An object of fascination and great affection for fans, filmmakers and academics alike, the Western allitaliana arose from a diverse confluence of cultural strands, and would become a pivotal moment in cinematic history.Reappraising a diverse selection of films, from the internationally famed works of Sergio Leone to the cult cachet of Sergio Corbucci and the more obscure outputs of such directors as Giuseppe Colizzi and Ferdinando Baldi, this comprehensive study brings together leading international scholars in a variety of disciplines to both revisit the genre's cultural significance and consider its on-going influence on international film industries.

Award-winning films and movies, plus those motion pictures that were critically acclaimed, plus some purely personal picks (or should I say, "pix"?) figure in this new movie book by acclaimed (but also disparaged) critic, John Howard Reid. (You can't win them all!)

When the earliest filmgoers watched The Great Train Robbery in 1903, many of them shrieked in terror at the very last clip when one of the outlaws turns directly toward the camera and fires a gun, seemingly, directly at the audience. The puff of smoke was sudden and it was hand colored so that it looked real. Today, we can look back at that primitive movie and see all the elements of what would evolve into the Western genre. Perhaps it is the Western's early origins_The Great Train Robbery was the first narrative, commercial movie_or its formulaic yet entertaining structure that has made the Western so popular. Whatever the case may be, with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the western is told in The A to Z of Westerns in Cinema through a chronology, a bibliography, and an introductory essay. However, it is the hundreds of cross-referenced dictionary entries on cinematographers; composers; producers; films like Butch Cassidy and the Sundance Kid, Dances With Wolves, The Good, The Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; such actors as Gene Autry, Kirk Douglas, Clint Eastwood, Henry Fonda, James Stewart, and John Wayne; and directors like John Ford and Sergio Leone that will have you reaching for this book again and again.