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Journal articles on the topic 'Buffalo Bill's Wild West'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Fees, Paul. "BUFFALO BILL'S: WILD WEST." Sculpture Review 48, no. 4 (1999): 8–11. http://dx.doi.org/10.1002/j.2632-3494.1999.tb00040.x.

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2

Scarangella, Linda. "Fieldwork at Buffalo Bill's Wild West Show." Anthropology News 46, no. 5 (2005): 17–19. http://dx.doi.org/10.1525/an.2005.46.5.17.

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3

Moses, L. G., and Joy S. Kasson. "Buffalo Bill's Wild West: Celebrity, Memory, and Popular History." Journal of American History 88, no. 3 (2001): 1090. http://dx.doi.org/10.2307/2700460.

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4

Warren, Louis S., and Joy S. Kasson. "Buffalo Bill's Wild West: Celebrity, Memory, and Popular History." Western Historical Quarterly 32, no. 4 (2001): 504. http://dx.doi.org/10.2307/3650807.

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5

Reddin, Paul, and Joy S. Kasson. "Buffalo Bill's Wild West: Celebrity, Memory, and Popular History." American Historical Review 106, no. 4 (2001): 1366. http://dx.doi.org/10.2307/2693007.

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6

Meethan, Kevin. "Touring the other: Buffalo Bill's Wild West in Europe." Journal of Tourism History 2, no. 2 (2010): 117–32. http://dx.doi.org/10.1080/1755182x.2010.498588.

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7

Smoak, Gregory E., and Sam A. Maddra. "Hostiles? The Lakota Ghost Dance and Buffalo Bill's Wild West." Western Historical Quarterly 38, no. 3 (2007): 387. http://dx.doi.org/10.2307/25443574.

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8

Leckie, Shirley A. "Buffalo Bill's America: William Cody and the Wild West Show." Western Historical Quarterly 38, no. 2 (2007): 215. http://dx.doi.org/10.1093/whq/38.2.215.

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9

Teague, Alexandra. "Buffalo Bill’s Wild West." Missouri Review 36, no. 4 (2013): 51–52. http://dx.doi.org/10.1353/mis.2013.0098.

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10

Rimer, Graeme. "Buffalo Bill’s Wild West." Royal Armouries Yearbook 4, no. 1 (1999): 14–20. http://dx.doi.org/10.1080/30650682.1999.12426652.

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11

Savage, William W., and Sarah J. Blackstone. "Buckskins, Bullets, and Business: A History of Buffalo Bill's Wild West." American Historical Review 92, no. 4 (1987): 1040. http://dx.doi.org/10.2307/1864114.

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12

Koger, Alicia Kae, and Sarah J. Blackstone. "Buckskins, Bullets, and Business: A History of Buffalo Bill's Wild West." Theatre Journal 39, no. 2 (1987): 264. http://dx.doi.org/10.2307/3207712.

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13

Sherwood, Midge, and Sarah J. Blackstone. "Buckskins, Bullets, and Business: A History of Buffalo Bill's Wild West." Western Historical Quarterly 18, no. 2 (1987): 218. http://dx.doi.org/10.2307/969606.

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14

Turner, Kathleen J., and Sarah J. Blackstone. "Buckskins, Bullets, and Business: A History of Buffalo Bill's Wild West." Journal of American History 74, no. 4 (1988): 1356. http://dx.doi.org/10.2307/1894464.

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15

Reddin, Paul. "Louis S. Warren.Buffalo Bill's America: William Cody and the Wild West Show.:Buffalo Bill's America: William Cody and the Wild West Show." American Historical Review 113, no. 2 (2008): 516–17. http://dx.doi.org/10.1086/ahr.113.2.516.

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16

Hall, Roger A. "Buffalo Bill's Wild West: Celebrity, Memory, and Popular History. By Joy S. Kasson. New York: Hill & Wang, 2000; pp. 319. $26.00 hardcover." Theatre Survey 42, no. 2 (2001): 226–28. http://dx.doi.org/10.1017/s0040557401230129.

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William F. “Buffalo Bill” Cody and his Wild West show have not wanted for ink. There are Cody's own autobiographical accounts of his frontier and his theatrical adventures, Don Russell's well-researched standards on Cody's life and the Wild West shows, Sarah Blackstone's examination of the economic basis of the Wild West show in general, Joseph G. Rosa and Robin May's pictorial biography of Cody, Paul Reddin's overview of Wild West images, and a host of other, related books. In fact, there have been so many books written about “Buffalo Bill” Cody and Wild West shows, it is somewhat remarkable

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17

Winchester, Juti A. "New Western History Doesn't Have to Hurt: Revisionism at the Buffalo Bill Museum." Public Historian 31, no. 4 (2009): 77–79. http://dx.doi.org/10.1525/tph.2009.31.4.77.

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Abstract In early exhibition planning, Buffalo Bill Museum curatorial staff hoped to center a reinstallation around William F. Cody while reflecting thinking influenced by study of New Western History. Gallery planning included consultation with historical experts including a Lakota historian and Wild West Show Indian descendant. One section of the museum was set aside to feature a Lakota point of view concerning Indian participation in Buffalo Bill's Wild West. Visitor studies regarding the plan showed the museum's board and staff that taking a broader approach to Cody's life and including a

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18

Arata, Laura J. "Review: Art and Advertising in Buffalo Bill's Wild West, by Michelle Delaney." Public Historian 42, no. 4 (2020): 201–3. http://dx.doi.org/10.1525/tph.2020.42.4.201.

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19

NICHOLS, ROGER L. "Review of Warren, Buffalo Bill's America: William Cody and the Wild West Show." Pacific Historical Review 76, no. 4 (2007): 656–57. http://dx.doi.org/10.1525/phr.2007.76.4.656.

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20

John R. Haddad. "The Wild West Turns East: Audience, Ritual, and Regeneration in Buffalo Bill's Boxer Uprising." American Studies 49, no. 3-4 (2008): 5–38. http://dx.doi.org/10.1353/ams.2010.0050.

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21

Rulli, Daniel. "Buffalo Bill." Teaching History: A Journal of Methods 31, no. 2 (2006): 90–95. http://dx.doi.org/10.33043/th.31.2.90-95.

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When I was growing up, the most famous and popular building in my hometown of Sheridan, Wyoming, was the Sheridan Inn because it was once owned by William F. "Buffalo Bill" Cody. Nearly everything he was associated with became as well known as he. "Perhaps no popular idol ever lived who is so well known as "Buffalo Bill" reads the document featured in this article, an advertisement for Buffalo Bill's three-reel film biography that appeared in the 1912 issue of The Moving Picture World magazine. With the announcement of the film in May of 1912, The Moving Picture World stated," ... no doubt wit

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22

Kauffman, Ballard. "Bucking Nationalism: Masculinity, Patriotism and the Political Rodeo." Macalester Street Journal 2, no. 1 (2024): 8–37. http://dx.doi.org/10.62543/msj.v2i1.50.

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The rodeo has long been a tool for America to understand nationalism and the American West. The space has been traditionally geared towards masculinity, telling the story of how the men conquered the West and tamed wild beasts. While rodeo remains an essential political tool of American nationalism, it has also served as a space for groups to challenge dominant narratives. Through non-traditional spaces, Black, gay, and other diverse rodeo spaces have created an environment that challenges normative American nationalism. This work studies these spaces and the people associated with the rodeo t

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23

Bank, Rosemarie K. ""Show Indians"/Showing Indians: Buffalo Bill's Wild West, the Bureau of Indian Affairs, and American Anthropology." Journal of Dramatic Theory and Criticism 26, no. 1 (2011): 149–58. http://dx.doi.org/10.1353/dtc.2011.0016.

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24

Gibb, Andrew. ""'A GROUP OF MEXICANS . . . will illustrate the use of the lasso': Charreada Performance in Buffalo Bill's Wild West"." Journal of Dramatic Theory and Criticism 26, no. 1 (2011): 141–47. http://dx.doi.org/10.1353/dtc.2011.0013.

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25

David, Emmanuel, and Yumi Janairo Roth. "Playing Filipino: Racial Display, Resistance, and the Filipino Rough Riders in Buffalo Bill’s Wild West." Journal of Asian American Studies 27, no. 1 (2024): 1–34. http://dx.doi.org/10.1353/jaas.2024.a926982.

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Abstract: This article examines the intersection of empire, national identity, performance, and cultural representation through an analysis of the Filipino Rough Riders in Buffalo Bill’s Wild West . Drawing on historical material—including newspaper articles and illustrations, photographs, and Wild West ephemera—this article explores how and why Filipino performers were included in Buffalo Bill’s Wild West and how they were represented by the exposition, the press, and the performers themselves. It develops the concept of “playing Filipino,” a phrase that adapts and alters the notion of “playi

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26

Warren, Louis S. "Cody's Last Stand: Masculine Anxiety, the Custer Myth, and the Frontier of Domesticity in Buffalo Bill's Wild West." Western Historical Quarterly 34, no. 1 (2003): 49. http://dx.doi.org/10.2307/25047208.

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27

Bank, Rosemarie K. "Introduction: Journal of Dramatic Theory and Criticism's Special Praxis Section on William F. Cody/"Buffalo Bill"/Buffalo Bill's Wild West." Journal of Dramatic Theory and Criticism 26, no. 1 (2011): 127–28. http://dx.doi.org/10.1353/dtc.2011.0007.

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28

Martin, J. D. ""The Grandest and Most Cosmopolitan Object Teacher": Buffalo Bill's Wild West and the Politics of American Identity, 1883-1899." Radical History Review 1996, no. 66 (1996): 92–123. http://dx.doi.org/10.1215/01636545-1996-66-92.

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29

Martin, J. D. ""The Grandest and Most Cosmopolitan Object Teacher": Buffalo Bill's Wild West and the Politics of American Identity, 1883-1899." Radical History Review 1996, no. 66 (1996): 93–123. http://dx.doi.org/10.1215/01636545-1996-66-93.

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30

Smeller, Carl. "The Popular Frontier: Buffalo Bill’s Wild West and Transnational Mass Culture." Terrae Incognitae 51, no. 2 (2019): 174–75. http://dx.doi.org/10.1080/00822884.2019.1633591.

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31

Baraniecka-Olszewska, Kamila. "Buffalo Bill and Patriotism: Criticism of the Wild West Show in the Polish-Language Press in Austrian Galicia in 1906." East Central Europe 47, no. 2-3 (2020): 313–33. http://dx.doi.org/10.30965/18763308-04702007.

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Abstract The article juxtaposes two perspectives guiding the perception of ethnographic shows, namely, a contemporary and an earlier one. The article uses the example of Buffalo Bill’s Wild West shows, staged in 1906 in the Polish territories under Austrian rule. Deriving from present criticisms of ethnographic shows and their interpretation through the prism of colonial studies, the author examines the types of reception of such performances met in places in which the inhabitants did not identify with colonialism. Analyzing reactions to the Wild West shows published in the Polish-language dai

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32

Linda Scarangella McNenly. "Foe, Friend, or Critic: Native Performers with Buffalo Bill's Wild West Show and Discourses of Conquest and Friendship in Newspaper Reports." American Indian Quarterly 38, no. 2 (2014): 143. http://dx.doi.org/10.5250/amerindiquar.38.2.0143.

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33

Mattox, Jake. "Buffalo Bill’s Wild West: Celebrity, Memory, and Popular History by Joy S. Kasson." Western American Literature 38, no. 1 (2003): 88–90. http://dx.doi.org/10.1353/wal.2003.0043.

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34

Behrens, Roy R. "The Popular Frontier: Buffalo Bill’s Wild West and Transnational Mass Culture ed. by Frank Christianson." Great Plains Quarterly 39, no. 1 (2019): 98. http://dx.doi.org/10.1353/gpq.2019.0014.

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35

Lovell, Jane, and Sam Hitchmough. "Simulated authenticity: Storytelling and mythic space on the hyper-frontier in Buffalo Bill’s Wild West and Westworld." Tourist Studies 20, no. 4 (2020): 409–28. http://dx.doi.org/10.1177/1468797620937912.

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This article explores how the mythic, nineteenth-century American frontier is authenticated by postmodern forms of storytelling. The study examines accounts of William Cody’s extensive 1902–1903 Buffalo Bill’ s Wild West tours in the United Kingdom and the futuristic television series, HBO’s Westworld (2016–), which is set in an android-hosted theme park. Comparing the semiotics of the two examples indicates how over a century apart, the authentication of the myth involves repeating motifs of setting, action and character central to tourist fantasies. The research illustrates how some elements

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36

Hlebowicz, Bartosz. "“They Stepped on Their Toes”. Reception of the Buffalo Bill's Wild West and Congress of Rough Riders of the World in Polish Press of Galicia, 1906." Acta Ethnographica Hungarica 64, no. 1 (2019): 153–75. http://dx.doi.org/10.1556/022.2019.64.1.9.

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37

Etulain, R. W. "Buffalo Bill's America: William Cody and the Wild West Show. By Louis S. Warren. (New York: Knopf, 2005. xvi, 652 pp. $30.00, ISBN 0-375-41216-6.)." Journal of American History 94, no. 4 (2008): 1287–88. http://dx.doi.org/10.2307/25095402.

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38

Whissel, Kristen. "Placing the Spectator on the Scene of History: The battle re-enactment at the turn of the century, from Buffalo Bill's Wild West to the Early Cinema." Historical Journal of Film, Radio and Television 22, no. 3 (2002): 225–43. http://dx.doi.org/10.1080/01439680220148679.

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39

Bank, Rosemarie K. "What Space Is This Time? Historiography in the Space of History." Pamiętnik Teatralny 70, no. 4 (2021): 25–40. http://dx.doi.org/10.36744/pt.980.

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In asking the question embedded in the title, this article explores the tension between inertia and change in cultural historical studies. Inertia in this context does not mean inactive or inert (i.e., without active properties), but the structural constraints that are revealed when codes, forms, practices, roles, etc., contest. What kinds and forms of socio-cultural knowledge, values, or structures are maintained, developed, or abandoned across geographies and throughout a system’s history? Rather than thinking in terms of core and margin and related binaries of difference and “othering,” ine

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40

Teague, Alexandra. "Buffalo Bill’s Wild West, and: Repeater, and: Sand Creek Testimony, and: Sarah Winchester Reads Great Expectations, and: My Mother Reads to Her Daughters: Great Expectations." Missouri Review 36, no. 4 (2013): 51–57. http://dx.doi.org/10.1353/mis.2013.0086.

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41

Magrin, Alessandra. "Rough riders in the cradle of civilization: Buffalo Bill’s Wild West show in Italy and the challenge of American cultural scarcity at the fin-de-siècle." European Journal of American Culture 36, no. 1 (2017): 23–38. http://dx.doi.org/10.1386/ejac.36.1.23_1.

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42

Welch, Christina. "Savagery on show: The popular visual representation of Native American peoples and their lifeways at the World’s Fairs (1851–1904) and in Buffalo Bill’s Wild West (1884–1904)." Early Popular Visual Culture 9, no. 4 (2011): 337–52. http://dx.doi.org/10.1080/17460654.2011.621314.

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43

Winchester, Juti A. "The Popular Frontier: Buffalo Bill’s Wild West and Transnational Mass Culture. The William F. Cody Series on the History and Culture of the American West. Edited by Frank Christianson. Foreword by Jeremy Johnston, Frank Christianson, and Douglas Seefeldt." Western Historical Quarterly 49, no. 4 (2018): 490–91. http://dx.doi.org/10.1093/whq/why107.

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44

Berger, Jason. "Buffalo Bill' Wild West and John M. Burke." Journal of Promotion Management 7, no. 1-2 (2001): 225–52. http://dx.doi.org/10.1300/j057v07n01_14.

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45

Hedren, Paul L., and Bobby Bridger. "Buffalo Bill and Sitting Bull: Inventing the Wild West." Western Historical Quarterly 35, no. 1 (2004): 101. http://dx.doi.org/10.2307/25442958.

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46

Hedren, Paul L. "Buffalo Bill and His Wild West: A Pictorial Biography." Utah Historical Quarterly 58, no. 2 (1990): 211. http://dx.doi.org/10.2307/45061924.

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47

Orr, Stanley. "“I Wonder Which of You is Real”." Studies in American Humor 7, no. 2 (2021): 329–46. http://dx.doi.org/10.5325/studamerhumor.7.2.329.

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Abstract In response to Judith Yaross Lee's introduction of a framework designed to probe the relationship between empire and American humor, this article analyzes John Kneubuhl's “The Night of the Two-Legged Buffalo,” a 1966 episode of The Wild Wild West (1965-69). Kneubuhl (1920-92) was a Samoan American playwright who wrote for theater, television, and film. Like Mark Twain, he demonstrated a lifelong interest in the trope of the confidence man. In “The Night of the Two-Legged Buffalo” he depicts protagonists and antagonists alike in the US borderlands as con artists contending for power. W

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48

Wills, John. "Pixel Cowboys and Silicon Gold Mines: Videogames of the American West." Pacific Historical Review 77, no. 2 (2008): 273–303. http://dx.doi.org/10.1525/phr.2008.77.2.273.

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This article explores representations of the American West in computer and videogames from the late 1970s through 2006. The article reveals how several titles, including the early Boot Hill (1977), invoked classic nineteenth-century western motifs, employing the six-shooter, wagon train, and iron horse to sell late twentieth-century entertainment technology to a global audience. Such games allowed players, typically adolescent males, to recreate a version of history and to participate actively in the more violent aspects of the ““Wild West.”” The arcade Western emerged as a subgenre within com

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49

Butler, Anne M. ":Law and Order in Buffalo Bill's Country: Legal Culture and Community on the Great Plains, 1867–1910.(Law in the American West.)." American Historical Review 113, no. 4 (2008): 1171–72. http://dx.doi.org/10.1086/ahr.113.4.1171.

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50

MCPHERSON, ROBERT S. "NATIVE PERFORMERS IN WILD WEST SHOWS: From Buffalo Bill to Euro Disney." Utah Historical Quarterly 82, no. 3 (2014): 240–41. http://dx.doi.org/10.2307/45063072.

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