American historians such as Frederick Jackson Turner have argued that the West has been the region that most clearly defines American democracy and the national ethos. Throughout the twentieth century, the "frontier thesis" influenced film and television producers who used the West as a backdrop for an array of dramatic explorations of America's history and the evolution of its culture and values. The common themes found in Westerns distinguish the genre as a quintessentially American form of dramatic art. In Hollywood's West, Peter C. Rollins, John E. O'Connor, and the nation's leading film scholars analyze popular conceptions of the frontier as a fundamental element of American history and culture. This volume examines classic Western films and programs that span nearly a century, from Cimarron (1931) to Turner Network Television's recent made-for-TV movies. Many of the films discussed here are considered among the greatest cinematic landmarks of all time. The essays highlight the ways in which Westerns have both shaped and reflected the dominant social and political concerns of their respective eras. While Cimarron challenged audiences with an innovative, complex narrative, other Westerns of the early sound era such as The Great Meadow (1931) frequently presented nostalgic visions of a simpler frontier era as a temporary diversion from the hardships of the Great Depression. Westerns of the 1950s reveal the profound uncertainty cast by the cold war, whereas later Westerns display heightened violence and cynicism, products of a society marred by wars, assassinations, riots, and political scandals. The volume concludes with a comprehensive filmography and an informative bibliography of scholarly writings on the Western genre. This collection will prove useful to film scholars, historians, and both devoted and casual fans of the Western genre. Hollywood's West makes a significant contribution to the understanding of both the historic American frontier and its innumerable popular representations.

Brings into focus the most influential characters and themes of the Hollywood Western.

In the early part of the twentieth century, migrants made their way from rural homes to cities in record numbers and many traveled west. Los Angeles became a destination. Women flocked to the growing town to join the film industry as workers and spectators, creating a "New Woman." Their efforts transformed filmmaking from a marginal business to a cosmopolitan, glamorous, and bohemian one. By 1920, Los Angeles had become the only western city where women outnumbered men. In Go West, Young Women, Hilary A. Hallett explores these relatively unknown new western women and their role in the development of Los Angeles and the nascent film industry. From Mary Pickford’s rise to become perhaps the most powerful woman of her age, to the racist moral panics of the post–World War I years that culminated in Hollywood’s first sex scandal, Hallett describes how the path through early Hollywood presaged the struggles over modern gender roles that animated the century to come.

In the early days of the twentieth century, movies weren't made in California. As America's film pioneers traveled westward, Colorado became a beacon to them, contributing to the early motion picture business with all the relish and gusto of a western saga. The gorgeous natural scenery was perfect for the country's (and the world's) growing infatuation with the West, turning Colorado itself into a bigger star of the early cinema than any particular actor. Using rare photos and contemporary accounts, writer and filmmaker Michael J. Spencer explores the little-known filmmaking industry that flourished in the Rocky Mountains between 1895 and 1915--west of New York but east of Hollywood.

West Hollywood, which began as Sherman, a rail yard town, played an integral role in creating the "Hollywood" film industry while it grew up alongside the fashionable Beverly Hills to house the service industries needed by these wealthy neighbors. During Prohibition, the still unincorporated area was the site of the entertainment industry's watering holes and gambling parlors, and nicknames such as the "Sinful Drag," "The Adult Playground," and "Hollywood's Soul" were bestowed upon West Hollywood's world-famous Sunset Strip, where today's visitors can still dance in the footsteps of legends like Charlie Chaplin, Mary Pickford, and Douglas Fairbanks Sr. As time marched on, the predominantly renter, Jewish, gay, and senior citizen residents of the progressive-minded area determined to step out of the shadows of nearby communities and create a city of their own, an effort that caused some controversy but resulted in the incorporation of West Hollywood in 1984. Since incorporation West Hollywood has been a beacon of hope, drawing refugees from Russia and around the world to its tolerant streets.

West of Eden is the definitive story of Hollywood, told, in their own words, by the people on the inside: Lauren Bacall, Arthur Miller, Dennis Hopper, Frank Gehry, Ring Lardner, Joan Didion, Stephen Sondheim – all interviewed by Jean Stein, who grew up in the Forties in a fairytale mansion in the Hollywood Hills. The book takes us from the discovery of oil in the Twenties with the story of the tycoon Edward Doheny (There Will Be Blood) and traces the growth of corruption through the syndicates, the mob, and the movie studios – from the beginnings of the film industry to the end, with News Corp. and Rupert Murdoch (who bought the Stein mansion in 1985). West of Eden is about money, power, fame and terrible secrets: the doomed Hollywood of the late Fifties, early Sixties – ‘the rotten heart of paradise’. Like her last book, the best-selling Edie, this is an oral history told through brilliantly edited interviews. As this is Hollywood, it’s a book full of sex, drugs and celebrity glamour; but because it’s built from the firsthand accounts of people who were actually there, many of them writers, actors and artists, it’s also strangely claustrophobic, seductive, and completely compelling.

For many years, movie audiences have carried on a love affair with the American West, believing Westerns are escapist entertainment of the best kind, harkening back to the days of the frontier. This work compares the reality of the Old West to its portrayal in movies, taking an historical approach to its consideration of the cowboys, Indians, gunmen, lawmen and others who populated the Old West in real life and on the silver screen. Starting with the Westerns of the early 1900s, it follows the evolution in look, style, and content as the films matured from short vignettes of good-versus-bad into modern plots.