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Fred Zinnemann and the Cinema of Resistance$
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J.E. Smyth

Print publication date: 2014

Print ISBN-13: 9781617039645

Published to University Press of Mississippi: September 2014

DOI: 10.14325/mississippi/9781617039645.001.0001

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PRINTED FROM Mississippi SCHOLARSHIP ONLINE (www.mississippi.universitypressscholarship.com). (c) Copyright University Press of Mississippi, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSSO for personal use.date: 04 August 2020

The Un-American Western

The Un-American Western

Chapter:
(p.95) Chapter Three The Un-American Western
Source:
Fred Zinnemann and the Cinema of Resistance
Author(s):

J. E. Smyth

Publisher:
University Press of Mississippi
DOI:10.14325/mississippi/9781617039645.003.0004

This chapter explores Zinnemann's involvement in High Noon (1952), a modestly budgeted story of a Western sheriff left alone to face his enemies that would go on to be one of the most controversial Westerns and stinging critiques of American politics and culture. Although the film's resonance with the Hollywood blacklist has impacted its critical status as a “true Western,” the European-born, Jewish director, perhaps even more than the screenwriter, is the “outsider” in this American Western debate and the key to understanding much of the critical unease surrounding High Noon for sixty years. The chapter focuses not only on Zinnemann's revisioning of the genre through the harsh cinematography and edited close-ups, but also on his unique collaboration with Gary Cooper that resulted in aging, vulnerable Western hero who was nevertheless unafraid to show his fear.

Keywords:   High Noon (1952), Carl Foreman, Gary Cooper, Westerns, Floyd Crosby

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