A comprehensive biography of the legendary creator of The Wild Bunch, Straw Dogs and The Getaway, taking an aptly no-holds-barred look at his life, his vision and his influence on modern cinema. Famed and reviled in equal measure for his no-frills approach to violent realism, Peckinpah refused to compromise his ideas for his producers, with the result that his films were decried for their apparent amoralism as much as lauded for their groundbreaking style and savage intensity. A complete look at the life and work of a modern seer.

Fifteen-year-old Ben Buck and his family spent four years clearing the wilderness to build a new home in Pennsylvania. They fought the Indians and the British, and they made sacrifices most people wouldn't have been strong enough to make, all so they could be independent and free. Now someone's trying to take everything away from them—their land, their home, even Ben's best friend, Joe. But the Bucks won't give up without a fight, and Ben knows his family will have to win a war to stay free. But what he doesn't know is that wars sometimes last a very long time. And even if you win in the end, you can lose almost everything along the way.

This is the amazing story of Ben Johnson, the cowboy who grew up in the tall grass prairie of Oklahoma, rode to Hollywood in a boxcar full of horses and became an Oscar-winning actor. Johnson co-starred in some of Hollywood's greatest Western movies of all time, alongside John Wayne, Clint Eastwood, Steve McQueen, Marlon Brando, Henry Fonda, Charles Bronson, Burt Reynolds, Alan Ladd, and many more. Known as "Son" to his family and friends, Johnson was the son of a three-time world champion rodeo cowboy also named Ben Johnson. Dividing his time between the world of movies and the world of rodeo, "Son" Johnson became one of the greatest rodeo cowboys of all time, winning the 1953 RCA World Championship for team roping. A man of principle who believed in the value of "honesty, realism and respect," Johnson managed to forge a successful career in the film industry without becoming a part of the excesses of Hollywood. He often paid dearly for his integrity, enduring a blacklist by famed Western director John Ford for refusing to allow Ford to verbally abuse him. Johnson's career lasted more than 50 years, with many highs and lows, but through it all he always stayed true to the cowboy code. When he won his Oscar for The Last Picture Show in 1972, Johnson took the stage and, in his typical "aw shucks" way, said, "This couldn't have happened to a nicer fella." The Nicest Fella is a must read for fans of Ben Johnson, rodeo fans, Western movie buffs, Hollywood fanatics, and anyone who still believes in the American dream! With 30 pages of never-before-seen photographs from the Johnson family collection and a complete filmography.

The work of Sam Peckinpah represents a high point in American cinema. This text is the first theoretical and critical attempt to place Peckinpah within the 2,000-year-old tradition of western tragedy. The tradition, enfolding the Greeks, Shakespeare and modern tragedians, is represented in Peckinpah's art in numerous ways, and the fact that he worked in the mode throughout his career distinguishes him from most American film directors. Films covered include Ride the High Country, Noon Wine, The Wild Bunch, Pat Garrett and Billy the Kid, and Bring Me the Head of Alfredo Garcia.

With the publication in English in 1930 of Civilization and its Discontents and its thesis that instinct – and, ultimately: nature – had been and must be forever subordinated in order that civilization might thrive and endure, Freud contributed what some contemporaries saw to the central debate of his era – a debate which had long preoccupied both official American pundits and the American populace at large. At the beginning of the new Millennium, evidence abounds that an American debate still rages over the meaning of “nature,” the rightful weight of instinct, and the status of civilization. The Millennium itself has appeared in popular and official discourses as an appropriate marker of an age in which nature is close to the edge of radical extinction and has also become more and more unreliable as a paradigm for representation and debate. At the same time, the contemporary tailoring of nature to postmodern needs and expectations inevitably reveals the conceptual difficulty of any possible, simple opposition between nature and culture as if they were clearly distinguishable domains. If nature, then, can clearly be seen as a discursive concept, it may also be a timeless concept insofar that it has been shaped, created, and used at all times. Every epoch, age and era had “its own nature,” with myth, history and ideology as its dominant shaping forces. From the Frontier to Cyberia, nature has been suffering the “agony of the real,” resurfacing in discursive strategies and demonstrating a powerful impact on American society, culture and self-definition. The essays in this collection “speak critically of the natural” and examine the American debate in the many guises it has assumed over the last century within the context of major critical approaches, psychoanalytical concepts, and postmodern theorizing.

Treasure State stars Gary Cooper and Myrna Loy found unparalleled success during the Golden Age of Hollywood. For more than a century, Montana has supplied a rich vein of entertainment and personality--from daredevils to dancers and even mimes. Born in Miles City in 1895, comedian Gilbert "Pee Wee" Holmes played sidekick to such stars as Tom Mix. One-time Butte resident Julian Eltinge went on to become America's first famous female impersonator. There was Taylor Gordon, whose golden voice propelled the son of a slave from White Sulphur Springs to Harlem Renaissance fame. From the little-known Robyn Adair to the ever-popular Michelle Williams, author Brian D'Ambrosio marks Big Sky Country's long-standing connections with America's performing arts.

Although Americans are no longer compelled to learn Greek and Latin, classical ideals remain embedded in American law and politics, philosophy, oratory, history and especially popular culture. In the Western genre, many film and television directors (such as John Ford, Raoul Walsh, Howard Hawks, Anthony Mann and Sam Peckinpah) have drawn inspiration from antiquity, and the classical values and influences in their work have shaped our conceptions of the West for years. This thought-provoking, first-of-its-kind collection of essays celebrates, affirms and critiques the West's relationship with the classical world. Explored are films like Cheyenne Autumn, The Wild Bunch, The Track of the Cat, Trooper Hook, The Furies, Heaven's Gate, and Slow West, as well as serials like Gunsmoke and Lonesome Dove.