Morta Las Vegas reveals nuanced issues characterizing the emergence of a postregional West, moving back and forth between a geographical and a procedural site and into a place both in between and beyond Western identity.
Author: Nathaniel Lewis
Publisher: U of Nebraska Press
Through all its transformations and reinventions over the past century, "Sin City" has consistently been regarded by artists and cultural critics as expressing in purest form, for better or worse, an aesthetic and social order spawned by neon signs and institutionalized indulgence. In other words, Las Vegas provides a codex with which to confront the problems of the West and to track the people, materials, ideas, and virtual images that constitute postregional space. Morta Las Vegas considers Las Vegas and the problem of regional identity in the American West through a case study of a single episode of the television crime drama CSI: Crime Scene Investigation. Delving deep into the interwoven events of the episode titled "4 × 4," but resisting a linear, logical case-study approach, the authors draw connections between the city--a layered and complex world--and the violent, uncanny mysteries of a crime scene. Morta Las Vegas reveals nuanced issues characterizing the emergence of a postregional West, moving back and forth between a geographical and a procedural site and into a place both in between and beyond Western identity.
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Literary West: Authenticity and Authorship Nathaniel Lewis Morta Las Vegas: csi
Author: Lee Clark Mitchell
Publisher: University of Nebraska Press
For more than a century the cinematic Western has been America’s most familiar genre, always teetering on the verge of exhaustion and yet regularly revived in new forms. Why does this outmoded vehicle—with the most narrowly based historical setting of any popular genre—maintain its appeal? In Late Westerns Lee Clark Mitchell takes a position against those critics looking to attach “post” to the all-too-familiar genre. For though the frontier disappeared long ago, though men on horseback have become commonplace, and though films of all sorts have always, necessarily, defied generic patterns, the Western continues to enthrall audiences. It does so by engaging narrative expectations stamped on our collective consciousness so firmly as to integrate materials that might not seem obviously “Western” at all. Through plot cues, narrative reminders, and even cinematic frameworks, recent films shape interpretive understanding by triggering a long-standing familiarity audiences have with the genre. Mitchell’s critical analysis reveals how these films engage a thematic and cinematic border-crossing in which their formal innovations and odd plots succeed deconstructively, encouraging by allusion, implication, and citation the evocation of generic meaning from ingredients that otherwise might be interpreted quite differently. Applying genre theory with close cinematic readings, Mitchell posits that the Western has essentially been “post” all along.
Author: Alice Eichholz
"Whether you are looking for your ancestors in the northeastern states, the South, the West, or somewhere in the middle, Red Book has information on records and holdings for every county in the United States, as well as excellent maps. In short, the Red Book is simply the book that no genealogist can afford not to have."--Description from Amazon.com.