The American Western genre in film has spanned the better part of a century, and its attributes have evolved from the classic in the early 1900’s, to the contemporary-revisionist in the late 20th century. Traditionally, the American Western, through its revisionist subgenre born in the 1950’s, has retained the same linear narrative structure of the classic Western as a means to deconstruct the romanticized myth of the American frontier. The revisionist Western subgenre transformed the American Western hero into the anti-hero through revealing his flaws, and the post-revisionist Western of the 1990’s accentuated the anti-hero’s sense of moral ambiguity. The major aim of this study was to use the theme of emergent order in David Milch’s Deadwood as a tool to discuss the deconstruction of the romanticized myth of the American frontier, and the reconstruction of the Western genre through the contemporary-revisionist Western.
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The American Western genre in film has spanned the better part of a century, and its attributes have evolved from the classic in the early 1900’s, to the contemporary-revisionist in the late 20th century. Traditionally, the American Western, through its revisionist subgenre born in the 1950’s, has retained the same linear narrative structure of the classic Western as a means to deconstruct the romanticized myth of the American frontier. The revisionist Western subgenre transformed the American Western hero into the anti-hero through revealing his flaws, and the post-revisionist Western of the 1990’s accentuated the anti-hero’s sense of moral ambiguity. The major aim of this study was to use the theme of emergent order in David Milch’s Deadwood as a tool to discuss the deconstruction of the romanticized myth of the American frontier, and the reconstruction of the Western genre through the contemporary-revisionist Western.
Samantha Seamans completed her Master of Arts degree in English Language and Literature at Central Connecticut State University. She is currently an Adjunct Professor of English at Central Connecticut State University and Westfield State University in Massachusetts.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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Etat : New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. Autor/Autorin: Seamans SamanthaSamantha Seamans completed her Master of Arts degree in English Language and Literature at Central Connecticut State University. She is currently an Adjunct Professor of English at Central Connecticut State Universit. N° de réf. du vendeur 5497437
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Taschenbuch. Etat : Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - The American Western genre in film has spanned the better part of a century, and its attributes have evolved from the classic in the early 1900 s, to the contemporary-revisionist in the late 20th century. Traditionally, the American Western, through its revisionist subgenre born in the 1950 s, has retained the same linear narrative structure of the classic Western as a means to deconstruct the romanticized myth of the American frontier. The revisionist Western subgenre transformed the American Western hero into the anti-hero through revealing his flaws, and the post-revisionist Western of the 1990 s accentuated the anti-hero s sense of moral ambiguity. The major aim of this study was to use the theme of emergent order in David Milch s Deadwood as a tool to discuss the deconstruction of the romanticized myth of the American frontier, and the reconstruction of the Western genre through the contemporary-revisionist Western. N° de réf. du vendeur 9783846536254
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Taschenbuch. Etat : Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -The American Western genre in film has spanned the better part of a century, and its attributes have evolved from the classic in the early 1900 s, to the contemporary-revisionist in the late 20th century. Traditionally, the American Western, through its revisionist subgenre born in the 1950 s, has retained the same linear narrative structure of the classic Western as a means to deconstruct the romanticized myth of the American frontier. The revisionist Western subgenre transformed the American Western hero into the anti-hero through revealing his flaws, and the post-revisionist Western of the 1990 s accentuated the anti-hero s sense of moral ambiguity. The major aim of this study was to use the theme of emergent order in David Milch s Deadwood as a tool to discuss the deconstruction of the romanticized myth of the American frontier, and the reconstruction of the Western genre through the contemporary-revisionist Western. 108 pp. Englisch. N° de réf. du vendeur 9783846536254
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Taschenbuch. Etat : Neu. Neuware -The American Western genre in film has spanned the better part of a century, and its attributes have evolved from the classic in the early 1900¿s, to the contemporary-revisionist in the late 20th century. Traditionally, the American Western, through its revisionist subgenre born in the 1950¿s, has retained the same linear narrative structure of the classic Western as a means to deconstruct the romanticized myth of the American frontier. The revisionist Western subgenre transformed the American Western hero into the anti-hero through revealing his flaws, and the post-revisionist Western of the 1990¿s accentuated the anti-herös sense of moral ambiguity. The major aim of this study was to use the theme of emergent order in David Milch¿s Deadwood as a tool to discuss the deconstruction of the romanticized myth of the American frontier, and the reconstruction of the Western genre through the contemporary-revisionist Western.Books on Demand GmbH, Überseering 33, 22297 Hamburg 108 pp. Englisch. N° de réf. du vendeur 9783846536254
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