Suchergebnisse

Conflicts between career and family are commonly assumed, in social science and popular culture, to be women's problems. Recognition that men might have similar problems has been slower in coming, perhaps because we assume that the superior power men often have in domestic and work situations can resolve or mitigate them. John Ford's 1950 Western Rio Grande presents a male-role conflict that neither institutional power nor violent physical action can resolve. The struggle must be waged within rigid institutional constraints, a pattern commonly seen in 1950s melodrama and soap opera. These films gave us a preview of the Women's Movement of the 1960s. This article investigates the film Rio Grande qua male soap opera as a possible preview of men's concerns.

O artigo analisa o percurso do western de John Ford a partir de No tempo das diligências (1939), Rastros de ódio (1956) e O homem que matou o facínora (1962), obras que compõem uma trilogia voltada para distintas etapas da conquista do Oeste, ensejando a discussão sobre a relação do cineasta com a mitologia do gênero; de filme a filme, o estatuto do herói se desloca em consonância com uma crescente reflexividade que interroga os pressupostos da formação nacional.

The article focuses on some of the comparisons between China and the West on the pages of John Bell's travel account. Regardless of how neutral or non-judgmental John Bell strives to be, his travel account contains a number of such comparisons. The majority of these are implicit and deserving of examination as well, but in this article I discuss some of those that are direct because they are the most striking and indicative of the British author's attitude towards the East.

International audience ; Western. West. The western is the American cinematic genre, the only one to exist in itself, defined by its geographical location (west of the United States) to turn the land in a real character. In history, since the pilgrim fathers, this wild and far west may have been condemned to be conquered by this « Manifest Destiny », this American Profress which drives the American culture and can be found nowadays in the USA's international policy. The concept of wilderness as inherited from the Holy Bible gives the wild and not yed civilized territories the power of the sublime, between Inferno and lost Paradise. The western is thus a space understood in the movement of the traveller, the searcher or the wanderer. This article will study three examples drawn from John Ford's prolific career (STAGECOACH, FORT APACHE and THE SEARCHERS) as to embody the man of the West and represent the landscape to go forward and beyond. ; Western. West. L'Ouest. Le western est le genre cinématographique américain par excellence, le seul peut-être à pouvoir exister par lui-même, déterminé par sa localisation géographique (« l'ouest » des Etats-Unis) et l'espace sous ses formes les plus diverses est un personnage à part entière. Historiquement, depuis les pilgrim fathers, il semble condamné à être conquis par cette Destinée Manifeste qui irrigue la culture américaine et se retrouve encore aujourd'hui dans leur politique internationale. Le concept de wilderness, hérité de La Bible, donne aux territoires sauvages non encore colonisés et civilisés, la puissance du sublime, entre l'enfer et le paradis perdu. Le western est donc un espace saisi dans le mouvement de celui qui le parcourt, en quêteou en errance. Cet article s'appuiera sur trois exemples puisés dans la prolifique carrière de John Ford : LA CHEVAUCHEE FANTASTIQUE, LE MASSACRE DE FORT APACHE et LA PRISONNIERE DU DESERT. Trois films à même d'incarner l'homme de la frontière et de représenter le paysage qu'il traverse.

From German immigrant to self-made man -- Beer baron life -- Beer baron business -- The second generation -- World War I and Prohibition -- The Hauck legacy -- Epilogue -- Appendix A: George M. Herancourt -- Appendix B: Friedrich Billiods -- Appendix C: Johann Ulrich Windisch -- Appendix D: Illustrations.