Histoire, légende, imaginaire : nouvelles études sur le western
| , ,Bibliographie
Texte intégral
Abel, Richard, Americanizing the Movies and « Movie-mad » Audiences, 1910-1914, Berkeley, University of California Press, 2006.
— , « “Our Country/Whose Country ?” The “Americanization” Project of Early Westerns », in Edward Buscombe and Roberta Pearson (éd.), Back in the Saddle Again. New Essays on the Western, Londres, BFI, 1998, p. 78.
Agnel, Aimé, L’Homme au tablier. Le jeu des contraires dans les films de Ford, Rennes, La Part Commune, 2e éd. 2006.
Alexander, Bryant Keith, « “West of Everything” : Critical Reflections, Remembrances, and Representations of/on/in Westerns », Cultural Studies-Critical Methodologies, vol. 12, no 6, 2012.
Altman, Rick, Film/Genre, Londres, BFI, 1999.
Auerbach, Jerold, Explorers in Eden. Pueblo Indians and the Promised Land, Albuquerque, University of New Mexico Press, 2008.
Aziza, Claude, et Texier, Jean-Marie, Dictionnaire du Western, Paris, Vendémiaire, 2e éd. 2017.
Bächler, Odile, L’Espace filmique : sur la piste des diligences, Paris, L’Harmattan, 2001.
Barsh, Russel Lawrence, « An American Heart of Darkness : The 1913 Expedition for American Indian Citizenship », Great Plains Quarterly, vol. 13, no 2, 1993, p. 91-115.
Bates, Milton J., The Wars We Took to Vietnam. Cultural Conflict and Storytelling, Berkeley, University of California Press, 1996.
Bazin, André, « Le western ou le cinéma américain par excellence » (1953) et « Évolution du western » (1955), in Qu’est-ce que le cinéma ?, Paris, Les Éditions du Cerf, 1981, p. 217-227, 229-239.
Bentley, Eric, Thinking About the Playwright. Comments from Four Decades, Evanston, Northwestern University Press, 1987.
Berger, Thomas, Little Big Man, The Harvill Press, Londres, 1999.
Bold, Christine, The Frontier Club. Popular Westerns and Cultural Power, 1880-1924, New York, Oxford University Press, 2013.
Borden, Diane M. et Essman, Eric P., « Manifest Landscape/Latent Ideology : Afterimages of Empire in the Western and “Post-Western” Film », in CALIF HIST, vol. 79, no 1, printemps 2000, p. 36.
Bourget, Jean-Loup, Hollywood, la norme et la marge, Paris, Nathan, 1998.
— , « Mélodrame et théorie des modes », in Dominique Nasta, Muriel Andrin et Anne Gailly (dir.), Le Mélodrame filmique revisité/Revisiting Film Melodrama, Repenser le cinéma/Rethinking Cinema, Bruxelles, Peter Lang, 2014.
Bourton, William, Le Western : une histoire parallèle des États-Unis, Paris, PUF, 2008.
Broder, Patrica Janis, Great Paintings of the Old American West, New York, Crown Publisher, 1979.
Brunet, François, L’Amérique des images, Paris, Hazan, 2013.
— , et Griffith, Bronwyn, Visions de l’Ouest. Photographie de l’exploration américaine, 1860-1880, Paris, Éditions de la RMN/Terra Foundation, 2007.
Cameron, Ian A. et Pye, Douglas (éd.), The Book of Westerns, New York, Continuum, 1996.
Chaiken, Michael, et Cronin Paul (éd.), Arthur Penn. Interviews, Jackson, Miss., University Press of Mississippi, 2008.
Chapman, James, et Cull, Nicholas J., Projecting Empire. Imperialism and Popular Cinema, Londres, I. B. Tauris, 2009.
Chartier, Delphine, « L’Ouest revisité par Jim Jarmusch, Dead Man, un western en forme de vanité », in Gilles Menegaldo et Melvin Stokes, Cinéma et Mythes, Poitiers, La Licorne, 2002.
Carter, Matthew, Myth of the Western. New Perspectives on Hollywood’s Frontier Narrative, Édimbourg, Edinburgh University Press, 2014.
Coyne, Michael, The Crowded Prairie. American National Identity in the Hollywood Western, Londres, I. B. Tauris, 1997.
Curtis, Edward S., « Vanishing Indian Types : The Tribes of the Northwest Plains », Scribner’s Magazine, vol. 39, no 6, 1906.
Darby, William, « Musical Links in Young Mister Lincoln, My Darling Clementine and The Man Who Shot Liberty Valance », Cinema Journal, University of Texas Press, vol. 31, 1991.
Daisuke, Miyao, Sessue Hayakawa. Silent Cinema and Transnational Stardom, Durham – Londres, Duke University Press, 2007.
Denzin, Norman K., Indians on Display. Global Commodification of Native America in Performance, Art, and Museums, Abingdon (R.-U.), Taylor and Francis, 2013.
Dixon, Joseph K. The Vanishing Race. The Last Great Indian Council, New York, Doubleday, 1914.
Doss, Erika, Benton, Pollock, and the Politics of Modernism. From Regionalism to Abstract Expressionism, Chicago, The University of Chicago Press, 1991.
Dyer, Richard, White, Londres-New York, Routledge, 1997.
Eyman, Scott, Empire of Dreams. The Epic Life of Cecil B. DeMille, New York, Simon & Schuster, 2010.
French, Philip, Westerns. Aspects of a Movie Genre [1973], Manchester, Carcanet Press, 2005.
Frye, Northrop, Anatomy of Criticism. Four Essays, Princeton, Princeton University Press, 1957.
Gaberscek, Carlo, Il West di John Ford, Tavagnacco (Udine), Arti Grafiche Friulani, 1994.
Gallagher, Tag, John Ford. The Man and His Films, Berkeley-Los Angeles, University of California Press, 1986.
Gates, Henry Louis, Jr. (éd.), « Race », Writing, and Difference, Chicago, The University of Chicago Press, 1986.
Gauthier, Philippe et Barnard, Timothy, « The Movie Theater as an Institutional Space and Framework of Signification : Hale’s Tours and Film Historiography », Film History. An International Journal, vol. 21, no 4, 2009.
Gidley, Mick (éd.), Edward S. Curtis and the North American Indian Project in the Field, Lincoln, University of Nebraska Press, 2003.
— , « Manifest Destiny and Visual Culture. Photographing American Indians : Repression and Revision », in David Holloway et John Beck (éd.), American Visual Cultures, Londres-New York, Continuum, 2005.
Goimard, Jacques, « À demain l’Amérique », Cahiers du cinéma, no 150-151, décembre 1963-janvier 1964, p. 191-199.
Gornet, Cécile, L’Écriture de l’histoire au miroir du cinéma. Les westerns de John Ford, Paris, Classiques Garnier, 2017.
Griffiths, Alison, « Playing at Being Indian : Spectatorship and the Early Western », Journal of Popular Film & Television, vol. 29, no 3, automne 2001.
Gruber, Jacob W., « Ethnographic Salvage and the Shaping of Anthropology », American Anthropologist, New Series, vol. 72, no 6, 1970, p. 1289-1299.
Habermas, Jurgen, Legitimation Crisis, Boston, Beacon, 1975.
Hearne, Joanna, « “The Cross-Heart People.” Race and Inheritance in the Silent Western », Journal of Popular Film & Television, vol. 30, no 4, hiver 2003.
Hutchinson, Elizabeth, The Indian Craze. Primitivism, Modernism, and Transculturation in American Art 1890-1915, Durham, Duke University Press, 2009.
Käsebier, Gertrude, « Some Indian Portraits », Everybody’s Magazine, vol. 4, no 17, 1901.
Kasson, Joy, Buffalo Bill’s Wild West Show. Celebrity, Memory and Popular History, New York, Hill and Wang, 2000.
Kellner, Douglas, « Culture Industries », in Toby Miller et Robert Stam (éd.), A Companion to Film Theory, Malden, Blackwell, 2004.
Kitses, Jim, Horizons West. Anthony Mann, Budd Boetticher, Sam Peckinpah, Studies of Authorship within the Western, Londres, Thames and Hudson, 1969.
— et Rickman, Gregg (éd.), The Western Reader, New York, Limelight Editions, 1998.
Kollin, Susan, « Genre and the Geographies of Violence : Cormac McCarthy and the Contemporary Western », Contemporary Literature, vol. 42, no 3, automne 2001.
Lacoue-Labarthe Mathieu, Les Indiens dans le western américain, Paris, Presses de l’Université Paris-Sorbonne, 2013.
Lacoste, Yves, « Westerns et géopolitique », in Jean Mottet (éd.), Les Paysages du cinéma, Seyssel, Champ Vallon, 1999.
Lang Sabine, « Traveling Woman : Conducting a Fieldwork Project on Gender Variance and Homosexuality among North American Indians », in Ellen Lewin et William Leap, Out in the Field. Reflections of Gay and Lesbian Anthropologists, Urbana et Chicago University, of Illinois Press, 1996.
Langford, Barry, « Revisiting the “Revisionist” Western », Film & History, vol. 33, no 2, 2003.
Le Bris, Louis, Le Western : grandeur ou décadence d’un mythe ?, Paris, L’Harmattan, 2012.
Lenihan, John H., Showdown. Confronting Modern America in the Western Film, Urbana, University of Illinois Press, 1980.
Leutrat, Jean-Louis, Le Cinéma en perspective : une histoire, Paris, Nathan, 1992.
— , L’Homme qui tua Liberty Valance, Synopsis, Nathan Université, Paris, 1995.
— , et Liandrat-Guigues, Suzanne, Les Cartes de l’Ouest, Paris, Armand Colin, 1990.
Lindsay, Vachel, The Art of the Moving Picture, The Macmillan Company, New York, 1915.
Lottini, Irene, « When Buffalo Bill Crossed the Ocean : Native American Scenes in Early Twentieth Century European Culture », European Journal of American Culture, vol. 31, no 3, octobre 2012.
Lucie-Smith, Edward, Le Réalisme américain, Paris, Thames & Hudson, 2002.
Macaulay, Scott, « End of the Road », Filmmaker, no 4, 1996.
Mayer, Hervé, « Guerre sauvage et empire de la liberté : prolongements du mythe de la Frontière dans le cinéma américain post-western », Thèse de doctorat, Université de Paris Ouest Nanterre, 2016.
— , La Construction de l’Ouest américain dans le cinéma hollywoodien, Neuilly-sur-Seine, Atlande, 2017.
Mcbride, Joseph, Searching for John Ford, Jackson, University Press of Mississippi, 2001.
Mcveigh, Steven, The American Western, Édimbourg, Edinburgh University Press, 2007.
Meeuf, Russel, John Wayne’s World. Transnational Masculinity in the Fifties, Austin, University of Texas Press, 2013.
Menegaldo, Gilles, et Guillaud, Lauric (éd), Le Western et les mythes de l’Ouest : littérature et arts de l’image, Rennes, Presses universitaires de Rennes, 2015.
Metz, Christian, Le Signifiant imaginaire : psychanalyse et cinéma, Paris, Union générale d’éditions, 1977.
Miyao, Daisuke, Sessue Hayakawa. Silent Cinema and Transnational Stardom, Durham, Duke University Press, 2007.
Miller, Cynthia J., et Bowdoin van Riper, A. (éd), International Westerns. Re-Locating the Frontier, Lanham, Scarecrow Press, 2014.
Mohs, Clinton, « “The Man Was Forever Looking for That Which He Never Found” : The Western and Automotive Tourism in the Early wentieth Century », Western American Literature, vol. L, no 3, 2015, p. 225-249.
Morin, Edgar, Le Cinéma ou l’homme imaginaire, Paris, Éditions de minuit, 1956.
Moos, Dan, Outside America. Race, Ethnicity, and the Role of the American West in National Belonging, Lebanon, University Press of New England, 2005.
Mottet, Jean, L’Invention de la scène américaine : cinéma et paysage, Paris, L’Harmattan, 1998.
— (dir.), Griffith, Paris, L’Harmattan, 1984.
Murillo, Céline, « High-Angles, Souls, Spirit and Bodies : AFilmic Hike in Jim Jarmusch’s Cinema », in Esther Eboyan (éd.), Les Variations Jarmusch, Arras, Presses universitaires d’Artois, 2017.
Musser, Charles, « Filmer Buffalo Bill et les Indiens. Commentaires sur deux films Edison pour le kinétoscope, réalisés le 24 septembre 1894 », traduit par Alexa Gutowski, Revue d’histoire du cinéma, 1895.
Nash, Roderick, « The Cultural Significance of the American Wilderness », in Maxime E. McCloskey et James P. Gilligan (dir.), Wilderness and the Quality of Life, Sierra Club, San Francisco, 1969.
Natali, Maurizia, L’Image-paysage, Iconologie et cinéma, Saint-Denis, Presses universitaires de Vincennes, 1996.
Nolley, Ken, « The Representation of Conquest. John Ford and the Hollywood Indian, 1939-1964 », in Peter Rollins et John O’Connor (éd.), Hollywood’s Indian. The Portrayal of the Native American in Film, Lexington, The University Press of Kentucky, 2003.
Peary, Gerald, John Ford. Interviews (Conversations with Filmmakers), Jackson, University Press of Mississippi, 2001.
Pedrono, Yves, Et Dieu créa l’Amérique !, Paris, Éditions Kimé, 2010.
Prats, Armando José, Invisible Natives. Myth and identity in the American western, Ithaca, Cornell University Press, 2002.
— , « His Master’s Voice (over) : Revisionist Ethos and Narrative Dependence from Broken Arrow (1950) to Geronimo : An American Legend (1993) », ANQ : A Quarterly Journal of Short Articles, Notes and Reviews, vol. 9, no 3, 1996, p. 15-29.
Quiring, Loren, « Dead Men Walking : Consumption and Agency in the Western », Film & History, vol. 33, no 1, 2003, p. 41-46.
Ray, Robert B., A Certain Tendency of the Hollywood Cinema, 1930-1980, Princeton, Princeton University Press, 1985.
Richardsonfleming, Paula, Native American Photography at the Smithsonian. The Shindler Catalogue, Washington, Smithsonian Books, 2003.
Rieupeyrout, Jean-Louis, Le Western ou Le cinéma américain par excellence, Paris, Éditions du Cerf, 1953.
Robinsonforrest G., Having It Both Ways. Self-Subversion in Western Popular Classics, Albuquerque, University of New Mexico Press, 1996.
Rollins, Peter C. et O’Connor, John E. (éd.), Hollywood’s Indian. The Portrayal of the Native American in Film, Lexington, The University Press of Kentucky, 2003.
Rydell, Robert W. et Kroesrob (éd.), Buffalo Bill in Bologna. The Americanization of the World, 1869-1922, Chicago, The University of Chicago Press, 2005.
Salmon, Stéphanie, Pathé à la conquête du cinéma, 1896-1929, Paris, Taillandier, 2014.
Sandweiss, Martha A., Print the Legend. Photography and the American West, New Haven, Yale University Press, 2002.
Schatz, Thomas Gerard, Hollywood Genres. Formulas, Filmmaking, and the Studio System, Boston, McGraw-Hill, 1981.
Sekula, Allan, « The Body and the Archive », October, vol. 39, hiver 1986, p. 3-69.
Simmon, Scott, The Invention of the Western Film, Cambridge, Cambridge University Press, 2003.
Slotkin, Richard, Gunfighter Nation. The Myth of the Frontier in Twentieth-Century America, Minneapolis, University of Oklahoma Press, 1998.
Smith, Andrew Brodie, Shooting Cowboys and Indians. Silent Western Films, American Culture, and the Birth of Hollywood, Boulder, University Press of Colorado, 2003.
— , Henry Nash, Virgin Land. The American West as Symbol and Myth, Cambridge, Mass., Harvard University Press, 1950.
— , Sherry L., Reimagining Indians. Native Americans through Anglo Eyes, 1880-1940, New York, Oxford University Press, 2000.
Sontag, Susan, Styles of Radical Will, New York, Farrar, Straus and Giroux, 1969.
Thomas, Tony, The West that Never Was, Londres, Virgin Books, 1990.
Thoreau, Henry David, Walden, Princeton, Princeton University Press, 2004.
Trachtenberg, Alan, « Wanamaker Indians », The Yale Review, vol. 86, no 2, 1998, p. 1-24.
Turner, Frederick Jackson, « The Significance of the Frontier in American History » (1893), in George Rogers Taylor (éd.), The Turner Thesis. Concerning the Role of the Frontier in American History, Lexington, Heath, 1956.
— , John, « Little Big Man, The Novel and the Film : A Study of Narrative Structure », Literature/Film Quarterly, vol. 5, no 2, printemps 1977, p. 157.
Viola, Herman J. AHistory of Indian Delegations in Washington City, Blufton, South Carolina, Rivilo Books, 1995.
Walker, Janet (éd.), Westerns. Films through History, New York, Routledge, 2001.
Warshow, Robert, The Immediate Experience. Movies, Comics, Theatre & Other Aspects of Popular Culture, New York, Atheneum, 1971.
Wexler, Laura, Tender Violence. Domestic Visions in the Age of USImperialism, Chapel Hill, The University of North Carolina Press, 2000.
Williams, Carol, Framing the West. Race, Gender and the Photographic Frontier in the Pacific Northwest, Oxford, Oxford University Press, 2003.
Wood, Robin, « “Shall we gather at the river ?” The Late Films of John Ford » (1971), in John Caughie (éd.), Theories of Authorship, New York, Routledge, 1981.
© Éditions Rue d’Ulm, 2018