Titlebook: Love in Western Film and Television; Lonely Hearts and Ha Sue Matheson Book 2013 Sue Matheson 2013 film.gender.politics.television

Console

ellagic-acid

Only a Woman After All? Gender Dynamics in the Westerns of Barbara Stanwyck,ble for its diversity, with films ranging from updated takes on mythical Western heroes like Wyatt Earp, Jesse James, and Wild Bill Hickok to narratives that privileged groups the genre had historically been inclined to marginalize, including American Indians, blacks, and women.

他日关税重重

The Melancholy Couple in ,w would be Lola pleading more forcefully with Lin not to risk his life tangling with a psychopath. Instead, however, she offers tactical guidance: “Lin, watch his left hand.” Lin recognizes Lola’s gesture with a very slight smile.

drusen

offers readers important and challenging insights into the complicated nature of love and the versatile frontier narrative that address key social, political, and ethical components of the Western genre.978-1-349-44507-3978-1-137-27294-2

压碎

Virgins, Widows, and Whores: The Bride Pool of the John Wayne Westerns, the West became “more concerned about male suitability than availability […]” (Luchetti, “.” 5). Indeed, the westering women often enjoyed the numerous choices placed before them as prospective marriage partners.

带来的感觉

,“Wild” Women: Interracial Romance on the Western Frontier,“moral,” and “civilized” when their fates become intertwined with Mexican or Native American men bold enough to defy the boundaries of race or ethnicity. These liaisons, full of danger and despair, occur on dual frontiers—one geographic, and the other racial—where notions about civilization and savagery, morality and passion, collide.