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Introduction: Television and the Depiction of the American West

Introduction: Television and the Depiction of the American West Introduction: Television and the Depiction of the American West Michael K. Johnson Guest Editor Blackfoot author James Welch watches They Died with Their Boots On (1941), a film depicting the life of George Armstrong Custer, starring Errol Flynn. In James Welch, dir. by Matteo Bellinelli, Films for the Humanities and Sciences, 1995. Two strangers walk into a bar. Outside, a wooden sign hanging over the entrance sways slightly in the wind. Inside, a thin layer of dust covers the bar, the scattered tables and chairs. An upright piano is against one wall. Three men are already inside. One of them has been drinking heavily. Another has the bearing—if not the uniform—of a lawman. His gun is holstered on his hip. The strangers are also armed. The v fi e men share a drink. “To better days and new friends,” toasts one of the strangers. As the talk continues, it becomes clear that the two strangers want something from the other men, who aren’t willing to give them what they want. The conversation becomes tense. One of the strangers stands up and leaps over to the other side of the bar. The lawman’s hand falls to his hip. The stranger http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Western American Literature The Western Literature Association

Introduction: Television and the Depiction of the American West

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Publisher
The Western Literature Association
ISSN
1948-7142

Abstract

Introduction: Television and the Depiction of the American West Michael K. Johnson Guest Editor Blackfoot author James Welch watches They Died with Their Boots On (1941), a film depicting the life of George Armstrong Custer, starring Errol Flynn. In James Welch, dir. by Matteo Bellinelli, Films for the Humanities and Sciences, 1995. Two strangers walk into a bar. Outside, a wooden sign hanging over the entrance sways slightly in the wind. Inside, a thin layer of dust covers the bar, the scattered tables and chairs. An upright piano is against one wall. Three men are already inside. One of them has been drinking heavily. Another has the bearing—if not the uniform—of a lawman. His gun is holstered on his hip. The strangers are also armed. The v fi e men share a drink. “To better days and new friends,” toasts one of the strangers. As the talk continues, it becomes clear that the two strangers want something from the other men, who aren’t willing to give them what they want. The conversation becomes tense. One of the strangers stands up and leaps over to the other side of the bar. The lawman’s hand falls to his hip. The stranger

Journal

Western American Literature – The Western Literature Association

Published: Aug 2, 2012

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