By Kathryn Kalinak
Music within the Western: Notes from the Frontier offers essays from either movie stories students and musicologists on center concerns in western movie ratings: their historical past, their ordinary conventions, their operation as a part of a story procedure, their functioning inside of person filmic texts and their ideological import, in particular when it comes to the western’s development of gender, sexuality, race and ethnicity. The Hollywood western is marked as uniquely American by way of its geographic surroundings, prototypical male protagonist and center American values. Music within the Western examines those conventions and the rankings that experience formed them. however the western additionally had a powerful foreign effect, from Europe to Asia, and this quantity distinguishes itself by means of its cautious attention of track in non-Hollywood westerns, equivalent to Ravenous and The Good, the undesirable, and the Ugly and within the “easterns” which encouraged them, reminiscent of Yojimbo. different motion pictures mentioned comprise Wagon grasp, excessive midday, Calamity Jane, the massive nation, The Unforgiven, useless guy, Wild invoice, there'll be Blood and No kingdom for previous Men.
Contributors
Ross Care
Corey ok. Creekmur
Yuna de Lannoy
K. J. Donnelly
Caryl Flinn
Claudia Gorbman
Kathryn Kalinak
Charles Leinberger
Matthew McDonald
Peter Stanfield
Mariana Whitmer
Ben Winters
The Routledge tune and monitor Media sequence deals edited collections of unique essays on tune particularly genres of cinema, tv, games and new media. those edited essay collections are written for an interdisciplinary viewers of scholars and students of song and picture and media studies.
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Extra resources for Music in the Western: Notes from the Frontier
Example text
While many other films dramatize this historical and even mythic event, most do not announce it in their titles. K. Corral” makes sitting through the film, at least for the satisfaction of narrative resolution, rather unnecessary. —motivating a carefully, enjoyably delayed response. But as a western, a genre film, its producers could assume not only that its conclusion would come as no surprise, but also that aficionados would already know the specific story being told here, already told in many previous films.
Nonetheless, the musical similarity between Disney and Ford remains largely unexplored in the literature of film music4 and has much to tell us about the evolution of the western film score at a key moment in its development. 38 Ross Care Ford and Music When John Ford directed his silent epic, The Iron Horse (1924), it was already his forty-ninth film and fortieth western. In this formative era, some true-life western characters such as Buffalo Bill Cody, and even veteran soldiers and Indians who had actually participated in the last of the Indian wars, performed before the silent cameras.
In some cases the musical contributors to the new television westerns were familiar Hollywood talent: Dimitri Tiomkin and Ned Washington wrote “Rawhide,” sung with manly vigor by Frankie Laine, for the CBS television program (1959–66) that featured rising star Clint Eastwood. The innovative hour-long Warner Bros. series Cheyenne (ABC, 1955–63) relied on a booming all-male chorus for its title song, while The Life and Legend of Wyatt Earp (ABC, 1955–61) featured a quieter, frequently humming barbershop quartet.