Relevant bibliographies by topics / Western films

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Western films'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Western films"

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Siebert, Monika. "East Asian Westerns at/as the Limits of the Western Genre Criticism." Studia Filmoznawcze 38 (June 21, 2017): 17–30. http://dx.doi.org/10.19195/0860-116x.38.2.

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The East Asian Westerns of the twenty-first century have been studied extensively by scholars of East Asian cinema, yet have been largely missing from the conversations animating the Western genre studies, despite the field’s recent transnational turn. This absence might be linked to their unique for­mal feature: their de-coupling of the genre’s most recognizable tropes and props from their presumed location in the American West. By indigenizing the Western, films such as Miike Takashi’s Sukiyaki Western Django 2007 or Kim Jee-woon’s The Good, the Bad, the Weird 2008 have served to consolidate national cinemas in East Asia and refashioned our understanding of globalization by highlight­ing regional, intra-Asian trajectories of influence. Despite their hasty dismissal by some Western film critics, they may still reinvigorate the theoretical conversations at the heart of Western studies as well as pose productive questions about their influence on the practice and reception of the U.S. iterations of the genre. In their deft citations drawing on the global Western vernacular, East Asian Westerns expose the centrality of the American West as the unsurpassable limit of the Western genre studies, while simultaneously revealing the appreciatively transnational tenor of the contemporary practice of the genre in the United States.WSCHODNIOAZJATYCKIE WESTERNY NA GRANICY/JAKO GRANICE KRYTYKI GATUNKU WESTERNUWschodnioazjatyckie westerny są szczegółowo badane przez badaczy azjatyckiego kina, jednak wyraź­nie pomijane w dyskusjach ożywiających studia nad gatunkiem westernu mimo niedawnego pojawie­nia się transnarodowej perspektywy badawczej. Ta nieobecność może mieć związek z ich wyjątkową formalną cechą: odłączenie najbardziej rozpoznawalnych tropów i rekwizytów gatunkowych od ich macierzystej lokalizacji na amerykańskim Zachodzie. Przez akulturację westernu filmy takie, jak Sukiy­aki Western Django 2007 Miike Takashiego czy Dobry, zły i zakręcony 2008 Kima Jee-woona, służą konsolidacji kina narodowego we wschodniej Azji oraz przeformułowują nasze rozumienie globaliza­cji, podkreślając regionalne wewnątrzazjatyckie trajektorie wpływu. Mimo pochopnego lekceważenia przez niektórych zachodnich krytyków filmy te wciąż mają szansę ożywić teoretyczne dyskusje w sercu westernowych badań, jak również stawiać pożyteczne pytania o ich wpływ na praktykę iodbiór amery­kańskich reprodukcji gatunku. W swoich wprawnych cytowaniach obrazowania opartych na globalnym westernowym żargonie wschodnioazjatyckie westerny odsłaniają główne znaczenie amerykańskiego Zachodu jako nieprzekraczalną granicę badań gatunkowych westernu, jednocześnie ujawniając akcep­tująco ponadnarodową tonację współczesnej praktyki w obszarze tego gatunku w USA. Przeł. Kordian Bobowski
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Roberts, Justin J. "The Western through a Monocle: Fritz Lang's Examination of Western Mythology." JCMS: Journal of Cinema and Media Studies 63, no. 1 (September 2023): 80–99. http://dx.doi.org/10.1353/cj.2023.a910939.

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abstract: In his Westerns The Return of Frank James (1940), Western Union (1941), and Rancho Notorious (1952), director Fritz Lang interrogated Western genre tropes. By examining the theatricality of Westerns, the presentation of Native Americans in Westerns, and the frames used by Western storytellers, Lang questioned the nature of Hollywood Westerns. Later filmmakers, particularly Sergio Leone and Clint Eastwood, have shown their debt to Lang's films by alluding to them in their own films.
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Paryż, Marek. "Contemporary Transnational Westerns: Trajectories and Constellations." Studia Filmoznawcze 38 (June 21, 2017): 5–14. http://dx.doi.org/10.19195/0860-116x.38.1.

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This introductory article maps out the main directions to be observed in contemporary transnational Westerns. It looks specifically at three areas beyond the United States where the films in the Western genre have assumed the most symptomatic forms: Europe, Australia and Japan. European Westerns seem to comprise awider scope of artistic possibilities offered by the genre than elsewhere, as they subscribe to one of the following models: apopular action/sensational formula, an artistic engagement with the convention, or aparody. The Australian Western is related to the American genre primarily through historical analogies, while the Japanese Western has developed thanks to the similarity of the archetypal plots of U.S. Westerns and Japanese samurai films. WSPÓŁCZESNE WESTERNY TRANSNARODOWE: TRAJEKTORIE I KONSTELACJEArtykuł omawia pokrótce główne tendencje we współczesnych westernach transnarodowych. Szczególną uwagę zwrócono na trzy obszary geograficzne, gdzie gatunek przybrał w ostatnich kilkunastu latach najbardziej symptomatyczne formy: Europę, Australię i Japonię. Westerny europejskie dają najszerszy przegląd możliwości kreacyjnych i oscylują między trzema modelami: film akcji, parodia i artystyczny dialog z konwencją. Westerny australijskie korespondują z amerykańskimi przede wszystkim z uwagi na analogie historyczne, a produkcje japońskie — z racji podobieństw archetypów obecnych w westernach i filmach samurajskich. przeł. Kordian Bobowski
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Hamilton, Emma. "Such Is Western: An Overview of the Australian Western via Ned Kelly Films." Studia Filmoznawcze 38 (June 21, 2017): 31–43. http://dx.doi.org/10.19195/0860-116x.38.3.

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The very existence of such athing as the “Australian Western” has been the subject of scholarly debate. This article utilizes the lens of Ned Kelly filmic representations to explore the development of the Western genre in Australia, and especially the ways in which historical consonances and dissonances, and processes of transatlantic cultural exchange have led to the development of films that can be reasonably recognized as both distinctly Western and distinctly Australian. Thus, this article gives consideration to the history, production and themes of Ned Kelly filmic representation in order to illu­minate the development of the Western in Australia. Such consideration highlights the ways in which the Western genre functions as alanguage through which to explore the meaning of settlement in occupied spaces, but whose dialectic differences reflect particular national contexts and relationships to Hollywood soft power.„TAKI JEST WESTERN” — PRZEGLĄD AUSTRALIJSKIEGO WESTERNU NA PODSTAWIE FILMÓW O NEDZIE KELLYMSamo istnienie czegoś takiego jak „australijski western” jest tematem akademickiej dyskusji. Niniej­szy artykuł wykorzystuje pryzmat filmowych reprezentacji słynnego australijskiego bandyty Neda Kelly w celu zbadania rozwoju gatunku westernu w Australii, a w szczególności sposobów, w jakich historyczne harmonie i dysharmonie oraz procesy transatlantyckiej wymiany kulturowej doprowadziły do rozwoju filmy mogące być słusznie postrzegane zarówno jako wyraźnie westernowe, jak i wyraź­nie australijskie. Tak więc esej ten poddaje pod rozwagę historię, produkcję i tematykę filmowych interpretacji postaci Neda Kelly'ego, żeby rzucić światło na rozwój gatunku westernu w Australii. Taki wzgląd uwydatnia sposoby, w jakich gatunek westernu funkcjonuje jako język, przez który można badać znaczenie osadnictwa na kolonizowanych terenach, ale którego dialektalne różnice odzwiercie­dlają konkretne narodowe konteksty i powiązania z „miękką siłą” soft power Hollywoodu. Przeł. Kordian Bobowski]]>
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Mintz, Steven. "Western Films: A Bibliography." Film & History: An Interdisciplinary Journal of Film and Television Studies 26, no. 1-4 (1996): 78–80. http://dx.doi.org/10.1353/flm.1996.a395960.

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서은미. "Understanding Western Culture Through Films." English & American Cultural Studies 7, no. 1 (April 2007): 123–42. http://dx.doi.org/10.15839/eacs.7.1.200704.123.

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González, Jesús Ángel. "National identity in Italian westerns and post-westerns." Journal of Italian Cinema & Media Studies 12, no. 3 (July 1, 2024): 361–77. http://dx.doi.org/10.1386/jicms_00265_1.

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Since Schatz defined the western genre as America’s foundation ritual, several film critics have emphasized the role of the western as a foundational fiction. Interestingly enough, just like American westerns deal with American identity and its foundational myth, one can find westerns and post-westerns made in other countries that are also concerned with these countries’ national identities. This article analyses how spaghetti westerns set in the United States deal metaphorically with Italian identity and foundational myths, and how post-western films set in Italy approach similar topics more directly. The article considers several films, by directors like Pietro Germi, Sergio Sollima, Florestano Vancini or Pasquale Squitieri, from the perspective of transnational post-westerns in order to scrutinize the way they deal with the difficulties of integration of the North and the South of Italy and present different perspectives on the Italian foundational myth of Risorgimento.
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NICHOLS, ROGER L. "Western Attractions." Pacific Historical Review 74, no. 1 (February 1, 2005): 1–18. http://dx.doi.org/10.1525/phr.2005.74.1.1.

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North America,and in particular the United States, has fascinated Europeans as the place of the "exotic other " for at least the last two centuries. This article surveys American and European art, novels,radio programs, Western films, and television Westerns from the 1820s to the present. It posits that the presence of Indians, fictional Western heroes,gunmen,and a perceived general level of violence made frontier and Western America more colorful and exciting than similar circumstances and native people in other parts of the world. This resulted in a continuing interest in the fictional aspect of the American frontier and Western historical experiences.
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Wallin, Zoë, and Nicholas Godfrey. "‘The Boys Can Kill’." Film Studies 20, no. 1 (May 2019): 1–20. http://dx.doi.org/10.7227/fs.20.0001.

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In the late 1960s, Hollywood had the youth demographic in its sights. In 1969 Butch Cassidy and the Sundance Kid proved that Westerns could appeal to this market, and sparked a cycle of youth Westerns. The cycle framework provides a new lens to refocus this group of Westerns. When the films are situated alongside the other production trends and cycles of the period, as they were in the contemporary trade discourses, they emerge as part of a short-lived strategy for financing Western films that targeted the youth market. An industrial and discursive analysis of the marketing and reception of the youth Western cycle contributes to a more nuanced understanding of the New Hollywood period.
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Kim, Daekeun. "Discourse Analysis of Manchurian Western Films." Journal of Humanities and Social sciences 21 12, no. 6 (December 30, 2021): 2139–54. http://dx.doi.org/10.22143/hss21.12.6.151.

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Dissertations / Theses on the topic "Western films"

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Moser, Evelyn Christine Busch. "Heroines in western films /." abstract and full text PDF (free order & download UNR users only), 2005. http://0-wwwlib.umi.com.innopac.library.unr.edu/dissertations/fullcit/3209133.

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Thesis (Ph. D.)--University of Nevada, Reno, 2005.
"August 2005." Includes bibliographical references (leaves 237-246). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2005]. 1 microfilm reel ; 35 mm.
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Tse, Wing-cheung, and 謝詠章. "The representations of angels in western films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B22200836.

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Tse, Wing-cheung. "The representations of angels in western films." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22200836.

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Robertson, Robert Philip. "Ghostwriting Hong Kong : post-colonial documentary and the western tradition /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20007450.

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Lee, Ji Yeon. "Travelling films : western criticism, the labelling practice and self-orientalised East Asian films." Thesis, Goldsmiths College (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423030.

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This thesis analyses western criticism, labelling practices and the politics of European international film festivals. In particular, this thesis focuses on the impact of western criticism on East Asian films as they attempt to travel to the west and when they travel back to their home countries. This thesis draws on the critical arguments by Edward Said's Orientalism: Western Conceptions of the Orient (1978) and self-Orientalism, as articulated by Rey Chow, which is developed upon Mary Louise Pratt's conceptual tools such as 'contact zone' and 'autoethnography'. This thesis deals with three East Asian directors: Kitano Takeshi (Japanese director), Zhang Yimou (Chinese director) and 1m Kwon-Taek (Korean director). Dealing with Japanese, Chinese and Korean cinema is designed to show different historical and cultural configurations in which each cinema draws western attention. This thesis also illuminates different ways each cinema is appropriated and articulated in the west. This thesis scrutinises how three directors from the region have responded to this Orientalist discourse and investigates the unequal power relationship that controls the international circulation of films. Each director's response largely depends on the particular national and historical contexts of each country and each national cinema. The processes that characterise films' travelling are interrelated: the western conception of Japanese, Chinese or Korean cinema draws upon western Orientalism, but is at the same time corroborated by directors' responses. Through self-Orientalism, these directors, as 'Orientals', participate in forming and confirming the premises of western Orientalism. This thesis thus brings out how 'Orientals' participate in the formation and maintenance of Orientalism via selfOrientalism or self-Orientalising strategies. As Edward Said (1978; 1985) remarks, 'Orientals' adopt the terms and premises of Orientalism and use them in exactly the same way, or reverse them. Vis-a-vis this point, this thesis shows that self-Orientalism, as a response to Orientalism, is mediated by its relationship with the national and historical contexts of a particular society. Western Orientalism does not fully determine how 'Orientals' define their own culture and respond to Oriental ism. This thesis shows that a national film industry can more easily break into the international film market if internationally recognised auteur directors from the particular country have been recognised at international film festivals. This thesis elucidates the practice of labelling foreign films categorised as 'national cinema' and 'art cinema'. While Hollywood films are assumed to possess 'universality', the international art-house circuit and film festival circuits label films from other countries by their specific nationality or national culture, which is assumed to be reflected in high/traditional art. In this circuit, the names of 'auteur' directors from each country act as brand names, moulding audiences' expectations of films from a specific country. Film festivals, meanwhile, seek to become sites for 'discovering' supposedly unknown auteur directors and national cinemas.
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Nelson, Andrew Patrick. "Revision and regeneration in the American Western, 1969-1980." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3029.

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This is an analysis of the Western genre between 1969 and 1980, a period characterized by the release of a select number of 'revisionist' Westerns like The Wild Bunch (1969), Little Big Man (1970) and McCabe & Mrs. Miller (1971). Made by filmmakers associated with the Hollywood Renaissance, these Westerns are celebrated for openly critiquing the ethos of the mythic American West and appropriating the genre’s conventions for social commentary. This study argues that the veneration of this canon of films has resulted in a distorted and incomplete picture of the Western at the time, which has consequences for cultural histories that read Westerns as a reflection of American society. Drawing on an extensive viewing of Westerns released in and around the period in question, this project seeks to uncover the complexity and multiplicity of the Western of the time. It reconsiders the genre’s relationship with American history and politics, including the plight of the American Indian and America’s military involvement in Vietnam; examines the changing representations of frontier heroes Wyatt Earp and Jesse James; draws attention to a number of neglected or misinterpreted movies and trends, including the later Westerns of actor John Wayne; and dispels the idea that the disastrous Heaven’s Gate (1980) was responsible for “killing” the Western. These analyses reveal not only connections between canonical and lesser-known works, but also continuities between these and older Westerns – an ongoing, cyclical process of regeneration that transcends established divisions in the genre’s history. In doing so, the project works revise our understanding of the Western of this period, and to add to our knowledge of the genre as a whole.
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Goulden, Jan. "The western, the buddy movie and noir : lesbian re-readings of the American action movie." n.p, 1999. http://library7.open.ac.uk/abstracts/page.php?thesisid=13.

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Smith, Travis W. "Place images of the American West in Western films." Diss., Kansas State University, 2016. http://hdl.handle.net/2097/34453.

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Doctor of Philosophy
Department of Geography
Kevin Blake
Jeffrey S. Smith
Hollywood Westerns have informed popular images of the American West for well over a century. This study of cultural, cinematic, regional, and historical geography examines place imagery in the Western. Echoing Blake’s (1995) examination of the novels of Zane Grey, the research questions analyze one hundred major Westerns to identify (1) the spatial settings (where the plot of the Western transpires), (2) the temporal settings (what date[s] in history the Western takes place), and (3) the filming locations. The results of these three questions illuminate significant place images of the West and the geography of the Western. I selected a filmography of one hundred major Westerns based upon twenty different Western film credentials. My content analysis involved multiple viewings of each Western and cross-referencing film content like narrative titles, American Indian homelands, fort names, and tombstone dates with scholarly and popular publications. The Western spatially favors Apachería, the Borderlands and Mexico, and the High Plains rather than the Pacific Northwest. Also, California serves more as a destination than a spatial setting. Temporally, the heart of the Western beats during the 1870s and 1880s, but it also lives well into the twentieth century. The five major filming location clusters are the Los Angeles / Hollywood area and its studio backlots, Old Tucson Studios and southeastern Arizona, the Alabama Hills in California, Monument Valley in Utah and Arizona, and the Santa Fe region in New Mexico. The filming locations spotlight majestic mountain backgrounds, impressive rock formations, dangerous deserts, sweeping plains, and place-less urban backlots. The quintessential Western is spatially set in southeastern Arizona in the 1880s and is filmed in Monument Valley. Utilizing Meinig’s (1965) Core-Domain-Sphere concept, the genre’s place-image core resides in southeastern Arizona. The Western domain includes the Borderlands, High Plains, Sierra Nevada, Slickrock Country, and central New Mexico. The sphere of Western imagery extends outward to Los Angeles, Dodge City, Mexico, Canada, and Spain. Following Wright (2014), the Western’s typical boundaries are the Missouri Breaks (north), Indian Territory (east), the Borderlands (south) and gold mining in the Sierra Nevada (west).
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Hall, Kenneth E. "Commandos on the Frontier: The Professionals, Elite Squads, and the Western Film." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/5446.

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Robinson, Scott E. (Scott Elmon) 1961. "Dichotomy in American Western Mythology." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500528/.

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The fundamental dichotomy between savage and civilized man is examined within the archetypal Western myth of American culture. The roots of the dichotomy are explored through images produced between 1888 and 1909 by artists Frederic Remington and Charles Russell. Four John Ford films are then used as a basis for the "dichotomous archetype" approach to understanding Western myth in film. Next, twenty-nine "historical" and "contemporary" Western movies are discussed chronologically, from The Virginian (1929) to Dances with Wolves (1990), in terms of the savage/civilized schema as it is personified by the roles of archetypal characters. The conclusion proposes a potential resolution of the savage/civilized conflict through an ecumenical mythology that recognizes a universal reverence for nature.
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Books on the topic "Western films"

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1955-, Walker Janet, ed. Westerns: Films through history. New York: Routledge, 2001.

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Lucci, Gabriele. Western. Milano: Electa, 2005.

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Kevin, Mulroy, and Autry Museum of Western Heritage., eds. Western amerykański: Polish poster art and the Western. Los Angeles: Autry Museum of Western Heritage in asssociation with the University of Washington Press, 1999.

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Cesare, Graziosi Maurizio, ed. Il western all'italiana. Milano: F. Motta, 2005.

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Ildikó, Berkes. A western. Budapest: Gondolat, 1986.

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David, Carter. The western. Harpenden, Herts: Kamera Books, 2008.

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Western Washington University. Audio-Visual Center. WWU films: A collection of films owned by WWU. [Bellingham, Wash: The Center, 1986.

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Hardy, Phil. The Western. 2nd ed. London: Aurum, 1995.

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Hardy, Phil. The Western. 2nd ed. New York: Overlook Press, 1994.

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Farinotti, Pino. Dizionario dei film western. Carnago, Varese, Italia: SugarCo, 1993.

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Book chapters on the topic "Western films"

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Bennesved, Peter, and Casper Sylvest. "Embedding Preparedness, Assigning Responsibility: The Role of Film in Sociotechnical Imaginaries of Civil Defence." In Cold War Civil Defence in Western Europe, 103–28. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84281-9_5.

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AbstractThis chapter examines the role of film and television in embedding sociotechnical imaginaries of civil defence during the early nuclear age (c. 1949–1965) by zooming in on Sweden and Denmark, two neighbouring countries that differed both in terms of their political position in the Cold War and in the scale of their civil defence efforts. Following a theoretical discussion of the psychosocial effects of films and their manner of circulation, we analyse Swedish and Danish films in two periods demarcated by the thermonuclear disruption of civil defence during the mid-1950s. The analysis highlights how films were used to frame technologies and script and perform social norms. We argue that films constitute an important source for understanding the difficulties of embedding sociotechnical imaginaries of civil defence.
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Wildermuth, Mark E. "Women and Western Films in the Cold War." In Feminism and the Western in Film and Television, 75–110. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77001-7_4.

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Lee, Vivian P. Y. "Staging the “Wild Wild East”: Decoding the Western in East Asian Films." In The Post-2000 Film Western, 147–64. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137531285_9.

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Wildermuth, Mark E. "Women and Westerns in the Films of the 1940s." In Feminism and the Western in Film and Television, 47–73. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77001-7_3.

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Navitski, Rielle. "Anachronism and Dislocation: Tiempo de morir (1965) Between the Nuevo Cine Mexicano and the Global Western." In The Films of Arturo Ripstein, 35–64. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22956-6_3.

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Bellan, Monique, and Julia Drost. "Films." In Surrealism in North Africa and Western Asia, 262. Ergon – ein Verlag in der Nomos Verlagsgesellschaft, 2021. http://dx.doi.org/10.5771/9783956508592-262.

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White, John. "The Anchorless Postmodern Experience within an Ahistorical Filmic Space: Django Unchained (2012)." In The Contemporary Western, 109–30. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474427920.003.0007.

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This chapter considers the way in which Django Unchained (2012) is specifically positioned by the director within a well-defined historical period but is then constructed very clearly as a cinematic fantasy. It is argued that this film, despite genuine concerns on the part of those involved in its making for the ramifications of slavery, does not look to exist in relation to a real space and time but instead within an intense matrix of film references. The relationship of this film to Hollywood classics, such as Gone with the Wind (1939), as well as to spaghetti Westerns and blaxploitation (and sexploitation) movies is examined with reference to specific details from the films. The intense background historical research undertaken by Tarantino is acknowledged. Ultimately, however, the film is seen as a postmodernist text, which because of its ahistorical form is able to escape the need to fully address historical reality.
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Smith, Iain Robert. "Cowboys and Indians: Transnational Borrowings in the Indian Masala Western." In Spaghetti Westerns at the Crossroads. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748695454.003.0010.

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This chapter investigates the cultural politics of transnational borrowings through an analysis of the ‘Masala Western’ — a cycle of Indian films that began in the early 1970s which borrowed and recombined tropes from American Westerns, Italian Westerns, Japanese sword films, and the South Asian ‘dacoit’ (bandit) films, among other inflences. While the genre is more often referred to as the ‘Curry Western’, Masala — the South Asian term for spice mix — more clearly evokes the cultural mixing and blending at the heart of this phenomenon. The chapter will examine the Masala Western utilising a memetic model of cultural hybridization.
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"Films and Patrick White." In Patrick White Within the Western Literary Tradition, 112–16. Sydney University Press, 2010. http://dx.doi.org/10.2307/j.ctv1sr6kdh.14.

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Matheson, Sue. "Delmer Daves, Authenticity, and Auteur Elements: Celebrating the Ordinary in Cowboy." In ReFocus: The Films of Delmer Daves. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474403016.003.0006.

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Sue Matheson engages with the common perception that Delmar Daves is a competent but conventional studio man. She argues that his work with the ‘adult’ Western is actually that of an auteur film-maker. Placing Cowboy within the context of the director’s 1950s Westerns, she interprets it as his scalding critique of the coming-of-age Western. In what she sees as a radical departure from the ‘classical’ Western, Matheson details how Cowboy critically interrogates classical notions of frontier manhood, deconstructs the celebration of individualism, and empties the Western landscape of its usual symbolic significance. In short, she forwards Cowboy as a an example of genre critique, suggesting that it gleans mythic images and styles from films like Howard Hawks’ Red River and John Ford’s Stagecoach only to contrast them with its presentations of a more ‘authentic’ West. Overall, Matheson forwards Daves as a mythoclast who examined the darker, more selfish side and appetites of the national character.
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Conference papers on the topic "Western films"

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Qin, Ke. "Aesthetic Comparison of Chinese and Western Disaster Films." In 2022 International Conference on Comprehensive Art and Cultural Communication (CACC 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220502.049.

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Tingting, Feng, and Kuo-Kuang Fan. "A brief analysis of Chinese and Western cultural differences in animated films featuring Chinese elements." In 2016 International Conference on Advanced Materials for Science and Engineering (ICAMSE). IEEE, 2016. http://dx.doi.org/10.1109/icamse.2016.7840250.

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Tang, Wenjia. "Research on the Balance of Local Cultural Imprint and Western Centralism in Films in the Background of Intercultural Communication: A Case Analysis of a World Cinema Baraka." In Proceedings of the 2018 International Symposium on Humanities and Social Sciences, Management and Education Engineering (HSSMEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/hssmee-18.2018.70.

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Shiraishi, Toshihiko, and Akitoshi Nishijima. "A Study of a Mechanism of Cell Proliferation Promotion of Cultured Osteoblasts by Mechanical Vibration." In ASME 2018 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/imece2018-87364.

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This paper describes a mechanism of cell proliferation promotion of cultured osteoblasts by mechanical vibration focusing on β-catenin. 12.5 Hz and 0.5 G mechanical vibration was reported to promote the cell proliferation of cultured osteoblasts in plane culture. That is because the mechanical vibration weakens cell-cell adhesion, promotes to pile up cells, and allows cells to form multilayer structure. However, it has not been clarified why cells continue cell division after their monolayer confluent state. Here we show that mechanical vibration not only weakens cell-cell adhesion bound by β-catenin but also promotes to move β-catenin from the cytoplasm to the nuclei, where β-catenin associates with DNA-binding members of the Tcf/LEF family and other associated transcription factors including cell division. After osteoblastic cells were cultured under 12.5 Hz and 0.5 G mechanical vibration, cells were fractionated into nuclear and cytoplasmic fractions using a centrifugation method. β-catenin in each fraction was detected by a western blot experiment. The protein bands from western blot films were quantified with an image processing and analysis software, ImageJ. As a result, the vibration group gave higher expression of β-catenin in nuclear fraction than the non-vibration group just after the vibration group reached the saturated cell density. It indicates that 12.5 Hz and 0.5 G mechanical vibration may promote to move β-catenin into the nuclei and the cell division.
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Patzek, Tad W., and Patrick J. Sullivan. "Statistical Characterization of Metal-Contaminated Fills." In SPE Western Regional Meeting. Society of Petroleum Engineers, 1997. http://dx.doi.org/10.2118/38307-ms.

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Shajani, Nafiseh. "MILLENNIAL REPRESENTATIONS OF MEDIEVAL RELIGIOUS SCHISM IN WESTERN MEDIA: An Iconographic Analysis of Dante�s Inferno 28 and the Twenty-First Century Films Dracula Untold and Kingdom of Heaven." In 8th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH Proceedings 2021. SGEM World Science, 2021. http://dx.doi.org/10.35603/sws.iscah.f2021/s06.11.

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Miyazaki, Kumiko. "Optoelectronics-related competence building in Japanese and Western firms." In Rochester - DL tentative, edited by Ernest Sternberg, Allen J. Krisiloff, and Roland R. Schindler. SPIE, 1992. http://dx.doi.org/10.1117/12.58911.

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Jia, Qifan. "Cultural Difference: Ancient China in Western Film Mulan (1998)." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.078.

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Heath, Garett, Temi Okesanya, and Simon Levey. "A Practical Study of the Influence of Drill Solids on the Corrosion of Downhole Tubulars When Using Brine Based Drilling Fluids." In SPE Western Regional Meeting. SPE, 2021. http://dx.doi.org/10.2118/200886-ms.

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Abstract The proliferation of highly concentrated brine drilling fluids systems due to their enhanced performance benefits has instigated a plethora of technical studies on the mechanisms and control of their induced corrosion on downhole drilling tools and tubulars. The majority of these studies often overlook the effect of drill solids on corrosion rates. Therefore, a pragmatic and experimental study was conducted to investigate the effects of various factors on the corrosion rates of downhole tubulars with a streamlined focus on the obscure role of the understudied drill solids; which have not been fully elucidated. Drill pipe corrosion coupons and drilling fluids/solids obtained from 5 similar wells (located in Grande Prairie, Alberta, Canada) were utilized for experimental analysis. Wells 1 to 4 were on the same pad (surface drilling location) drilling the same formation with the same fluid properties, while the 5th well was on a different pad but drilled the same formation with the same fluid properties to exclude disparity. Industry-standard measurement was carried out on the live used corrosion coupon rings, drilling fluids and solids obtained from these wells to determine selected properties. The total solids content analysis was carried out using an OFITE API (American Petroleum Institute) filter press. Weight loss tests on drill pipe corrosion coupons were used to determine field corrosion rates which were bolstered with the Parr Hastelloy autoclave test in the Laboratory. The oxygen content was monitored using Hach 2100Q dissolved oxygen meter. Field data, images and experimental results showed that a rapid and minuscule increase of drill solids (as little as 1% v/v) in the active system can impact corrosion rates greater than chemical additives and even oxygen content. It was discovered that low concentration of solids can produce significant damage and a high corrosion potential in non-viscosified fluids thereby making live monitoring of drilling fluids’ properties a priority to mitigate corrosion. This study fills an important technical gap in corrosion study that is indispensable for the optimization of corrosion control in drilling operations. By carrying out a controlled and investigative study backed up with drilling field data and images, the effects of the less understood drill solids have been partially demystified.
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Kamal, Muhammad Shahzad, Hafiz Mudaser Ahmad, Mobeen Murtaza, Azeem Rana, Syed Muhammad Shakil Hussain, Shirish Patil, Mohamed Mahmoud, and Dhafer Al Shehri. "Smart Drilling Fluids Formulations for Sensitive Shale Formations Using Surfactants and Nanoparticles." In SPE Western Regional Meeting. SPE, 2023. http://dx.doi.org/10.2118/212966-ms.

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Abstract The demand for oil and gas is continuing to rise with a growing population and worldwide industrialization. Surfactants are considered excellent additives for drilling formulations because of their unique properties and chemical structure. The surface-modified nanoparticles in the drilling fluids (DFs) help to improve the rheological and filtration properties of water-sensitive shale formations. The water-sensitive shale formations in the wellbore often result in swelling after interacting with water-based DFs. The swelling of shale formation impacts the rheological and filtration properties of DFs. The aim of this study is to formulate DFs with cationic surfactants and surface-modified nanoparticles to minimize shale swelling and improve the rheological and filtration properties. Various drilling fluid formulations were prepared with bentonite as a basic constituent of DFs while Gemini surfactant and graphene nanoparticles were added with concentrations of 0.5%. The rheological and filtration properties were determined at room temperature. The shale inhibition tests were performed to analyze the swelling inhibition properties of DFs. The surface-modified nanoparticles along with the cationic surfactant make a stable dispersion of DFs. The presence of nanoparticles in the DFs enhances the rheological and filtration properties. The filtrate loss has been significantly reduced by incorporating graphene nanoparticles and Gemini surfactant-modified graphene nanoparticles. The rheological properties such as plastic viscosity, yield stress, and gel strengths have been improved by the combined addition of surfactant-modified nanoparticles. The reduction of filtrate loss was due to the clogging effect of small passages in the filter cake while long alkyl chains of surfactant molecules spread over the filter cake making a hydrophobic film that minimizes the contact of water with the filter cake. Moreover, the swelling inhibition test such as the linear swelling test showed that the presence of nanoparticles and cationic surfactants significantly enhanced the shale swelling inhibition and reduced the percentage of swelling compared to the DI water. The cationic surfactant interacts with the negatively charged clay particles through electrostatic forces and surfactant along alkyl chains wraps around the clay particles which leads to the minimum swelling of shale formations. This study reveals that the formulations based on surface-modified nanoparticles and surfactants in water-based DFs can inhibit shale swelling and improves the borehole stability for water-sensitive shale formations.
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Reports on the topic "Western films"

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Burns, L. E. Plot files of the airborne geophysical survey data of the Liberty Bell area, western Bonnifield mining district, central Alaska. Alaska Division of Geological & Geophysical Surveys, March 2002. http://dx.doi.org/10.14509/2793.

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Pana, D. I., T. P. Poulton, and L. M. Heaman. U-Pb zircon ages of volcanic ashes integrated with ammonite biostratigraphy, Fernie Formation (Jurassic), Western Canada: supplementary data files. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2018. http://dx.doi.org/10.4095/313116.

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Safer, Adam, Noor Kazi, James Onorevole, John Carter Roberson, and Rachel Werz. Spokes of the Same Wheel: How Collaboration Between Resource Providers Impacts Outcomes for Female Small Business Owners in Western North Carolina. Carolina Small Business Development Fund, 2023. http://dx.doi.org/10.46712/n6yj2dksdh.

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Female small business owners face numerous hurdles to maintaining and growing their firms and these barriers have become increasingly difficult to surmount in the wake of the Covid-19 pandemic. While small business resource providers deliver needed funding and technical assistance, the perspectives and experiences of female small business owners are often missing from dialogues regarding the efficacy of local small business ecosystems. Interviews reveal that while female clients of the Western Women’s Business Center (WWBC) benefit from the program’s services – including business coaching, community events, and access to capital – some of the BIPOC and Spanish-speaking small business owners that were interviewed feel alienated from the resource provider community more broadly. Although collaboration between resource providers maximizes available services, increases their quality, and minimizes redundant offerings, organizations must employ a culturally competent, linguistically accessible approach to effectively serve marginalized populations.
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Burns, L. E. Total field magnetics and electromagnetic anomalies of selected areas near Ketchikan, southeastern Alaska, Map D - western and eastern parts, Gravina Island (diazo film version). Alaska Division of Geological & Geophysical Surveys, 1999. http://dx.doi.org/10.14509/289.

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Burns, L. E. Line, grid, and vector data, plot files, and descriptive project report for the airborne geophysical survey of part of the western Fortymile mining district, east-central Alaska. Alaska Division of Geological & Geophysical Surveys, January 2008. http://dx.doi.org/10.14509/15961.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.

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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.
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McQuinn, Kieran, Conor O'Toole, Eoin Kenny, and Lea Hauser. Quarterly Economic Commentary, Winter 2023. ESRI, December 2023. http://dx.doi.org/10.26504/qec2023win.

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Forecast Overview: While the underlying Irish economy as measured by modified domestic demand (MDD) continues to grow, it is clear that external sources of growth are slowing somewhat. Global conditions continue to moderate as households and firms in most Western economies are facing elevated costs of finance through higher interest rates. This has implications for the domestic economy given its small and open nature. However, the moderating impact on the Irish economy is compounded by the slowdown in growth rates experienced by sectors which have been central to the recent strong growth performance. Exports and investment levels in the domestic economy, for example, have registered negative growth rates in recent quarters principally due to the slowdown in multinational-related activities. Despite this, MDD is still growing at a consistent rate of approximately 0.6 per cent, and other indicators such as Exchequer receipts and the labour market variables all indicate resilient domestic growth. We expect MDD to grow at an average of 2 per cent in 2024. The recent Budget was a sizeable package with an additional expenditure level of approximately €14 billion being outlined for the coming year. While there were elements in the Budget which were laudable, overall the package was quite stimulatory and would have benefitted from being more targeted in nature. This is particularly the case given the persistence observed in the rates of CPI inflation. We now forecast that inflation will be 6.4 per cent in 2023 before falling to a still elevated rate of 2.9 per cent in 2024. A Special Article to the Commentary by Doorley et al. presents the annual distributional review of the impacts of the Budget. Doorley et al. conclude that the Budget left households across the income distribution better off by just over 2 per cent, with the lowest income quintile benefitting the most by 5 to 6 per cent of disposable income. They also note that policymakers should move away from the use of temporary measures to compensate households for the presence of inflation.
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State Savings Bank of Western Australia - Perth (Head Office) - Staff Records - Staff Files - Davis, J.F. - 1903-1931. Reserve Bank of Australia, September 2023. http://dx.doi.org/10.47688/rba_archives_2006/20864.

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State Savings Bank of Western Australia - Perth (Head Office) - Staff Records - Staff Files - Smith, A.F. - 1905-1931. Reserve Bank of Australia, September 2023. http://dx.doi.org/10.47688/rba_archives_2006/20875.

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State Savings Bank of Western Australia - Perth (Head Office) - Staff Records - Staff Files - Smith, F.W. - 1916-1930. Reserve Bank of Australia, September 2023. http://dx.doi.org/10.47688/rba_archives_2006/20876.

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