This paper aims to present a visually documented brand history of Winchester Repeating Arms through a cultural analysis of iconic Western images featuring its lever action rifles.
Abstract
Purpose
This paper aims to present a visually documented brand history of Winchester Repeating Arms through a cultural analysis of iconic Western images featuring its lever action rifles.
Design/methodology/approach
The study applies visual culture perspectives and methods to the research and writing of brand history. Iconic Western images featuring Winchester rifles have been selected, examined, and used as points of departure for gathering and interpreting additional data about the brand. The primary sources consist chiefly of photographs from the nineteenth century and films and television shows from the twentieth century. Most visual source materials were obtained from the US Library of Congress, the Smithsonian Institution, the Buffalo Bill Center of the West and the Internet Movie Firearms Database. These have been augmented by written sources.
Findings
Within a few years of the launch of the Winchester brand in 1866, visual images outside company control associated its repeating rifles with the settlement of the American West and with the colorful people involved. Some of these images were reproduced in books and others sold to consumers in the form of cartes de visite, cabinet cards and stereographs made from albumen prints. Starting in the 1880s, the live Wild West shows of William F. Cody and his stars entertained audiences with a heroic narrative of the period that included numerous Winchesters. During the twentieth century and into the present, Winchesters have been featured in motion pictures and television series with Western themes.
Research limitations/implications
Historical research is an ongoing process. The discovery of new primary data, both written and visual, may lead to a revised interpretation of the selected images.
Originality/value
Based largely on images as primary data sources, this study approaches brand history from the perspective of visual culture theory and data. The research shows how brands acquire meaning not just from the companies that own them but also from consumers, the media and other producers of popular culture.
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Anatomy of a Murder, a beloved, highly influential, seemingly liberal 1959 classic law-film seems to appropriate some of the fading western genre’s features and social functions…
Abstract
Anatomy of a Murder, a beloved, highly influential, seemingly liberal 1959 classic law-film seems to appropriate some of the fading western genre’s features and social functions, intertwining the professional-plot western formula with a hero-lawyer variation on the classic western hero character, America’s 19th century archetypal True Man. In so doing, Anatomy revives the western genre’s honor code, embracing it into the hero-lawyer law-film. Concurrently, it accommodates the development of cinematic imagery of the emerging, professional elite groups, offering the public the notion of the professional super-lawyer, integrating legal professionalism with natural justice. In the course of establishing its Herculean lawyer, the film constitutes its female protagonist as a potential threat, subjecting her to a cinematic judgment of her sexual character and reinforcing the honor-based notion of woman’s sexual-guilt.
Christian Democracy as an ideology and as a political movement has been ascendant in Western European states for half a century, forming the governing party or a major part of the…
Abstract
Christian Democracy as an ideology and as a political movement has been ascendant in Western European states for half a century, forming the governing party or a major part of the governing coalition of parties in many of them over numerous decades up to the present. Yet the study of Christian Democracy, its general ideology and general programmatic elements across Western Europe, has been singularly lacking. Centrist establishment parties and economic programmes seem not to have the same appeal to academic investigators as the more exciting and ideologically demarcated ones. Also the future seems bleak for some Christian Democratic parties in Western Europe. The focuses are on the general ideology of the movement and the shared programmatic commonalities among the parties. Advances a consideration of the future for CD parties in the short term and the problems confronting Christian Democracy in the future. Also assesses the role and prospects for Christian Democracy in the European Union, particularly as they relate to the European People’s Party (EPP) in the European Parliament.
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‘WHY MUST EVERYBODY IN IRELAND’, says Sean O'Faolain, in one of his recent flashes of inspiration, ‘live like an express train that starts off for heaven full of beautiful dreams…
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‘WHY MUST EVERYBODY IN IRELAND’, says Sean O'Faolain, in one of his recent flashes of inspiration, ‘live like an express train that starts off for heaven full of beautiful dreams, and marvellous ambitions and, halfway, Bejasus, you switch off the bloody track down some sideline that brings you to exactly where you began?’ Such highly coloured comment might equally well be applied to the characters and situations we find in the plays of that Dublin genius—the centenary of whose birth we are commemorating this year—John Millington Synge. The writings of both authors, incidentally, are characterized by a rueful, amusing, gently self‐mocking tone about Ireland and the Irish. Both adopt a wider, detached, almost continental view of their country. Synge, in particular, refers to Ireland as the furthermost corner of Western Europe and himself as an Irish European.
“Since films attract an audience of millions, the need and appetite for information about them is enormous.” So said Harold Leonard in his introduction to The Film Index published…
Abstract
“Since films attract an audience of millions, the need and appetite for information about them is enormous.” So said Harold Leonard in his introduction to The Film Index published in 1941. The 1970's has produced more than enough — too much — food to satisfy that appetite. In the past five years the number of reference books, in this context defined as encyclopedias, handbooks, directories, dictionaries, indexes and bibliographies, and the astounding number of volumes on individual directors, complete histories, genre history and analysis, published screenplays, critics' anthologies, biographies of actors and actresses, film theory, film technique and production and nostalgia, that have been published is overwhelming. The problem in film scholarship is not too little material but the senseless duplication of materials that already exist and the embarrassing output of items that are poorly or haphazardly researched, or perhaps should not have been written at all.
In my book, Rural Rebels, I examined the nature of two protest movements in Kenya and discussed their determinants. Here I will attempt a more general explanation of protest…
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In my book, Rural Rebels, I examined the nature of two protest movements in Kenya and discussed their determinants. Here I will attempt a more general explanation of protest movements in colonial Kenya addressing the question of why they clustered among certain tribes and in certain areas and not in others. The fact that movements were not randomly distributed throughout the country but clustered, suggests that any explanation of causation that focuses merely on culture contact, or on colonialism or one of its aspects, is inadequate because these are not sufficient causes in themselves. The questions that need to be answered are, under what conditions does colonialism or culture contact lead to the occurrence of protest movements? Any adequate explanation should be able to account for their appearance in one area, and absence in another, within a particular country. Secondly, within tribes and particular areas, what are some of the factors involved in support for, and opposition to, colonialism? Third, why was the protest movement such a common response? The following analysis tries to answer these questions, however tentatively.
Cangaço was a form of banditry that occurred in the North-East of Brazil between 1870 and 1940. The movement has inspired many films over the years. This chapter explores the…
Abstract
Cangaço was a form of banditry that occurred in the North-East of Brazil between 1870 and 1940. The movement has inspired many films over the years. This chapter explores the contribution of Cangaço-inspired productions to Brazilian cinema, as well as the particular characteristics of what constitutes the Cangaço genre.
Following a historical survey of the Cangaço, the films were divided into different categories and ranked in terms of relevance. Only the most important are discussed in this chapter.
The Cangaço has been portrayed in Brazilian cinema through the decades in diverse ways, dating back to the 1920s. After becoming a consolidated film genre in the 1950s, then known as Nordestern, the Cangaço finally acquired a proper structure, featuring multiple Western references among its common characteristics. In the 1960s, Glauber Rocha, one of the most prominent filmmakers of the Cinema Novo avant-garde movement, added his own symbolism to the genre. Eventually, the Cangaço was also revisited by directors who combined it with other genres such as comedy, documentary, and erotic films. Another relevant reinterpretation came in the 1990s, when filmmakers of the so-called New Brazilian Cinema offered a new view on the subject.
Despite its strong association with Brazil, the Cangaço has not been thoroughly investigated by researchers. This chapter presents a historical survey and analysis of Cangaço films, highlighting their relevance to Brazilian cinema.
Aila Khan, John Stanton and Syed Rahman
This study examines employees of Australian firms engaged in sports sponsorship activity. Where theemployee is aware of that sponsorship, we consider the ways in which the general…
Abstract
This study examines employees of Australian firms engaged in sports sponsorship activity. Where the employee is aware of that sponsorship, we consider the ways in which the general beliefs and attitudes of employees towards sponsorship link to their specific attitudes towards the sponsorship activity of their employer and whether these attitudes may influence their behaviour within the organisation. A model linking employees' attitudes towards their employers' sponsorship activity, the creation of favourable attitudes towards working for that employer and behaviours that can benefit the employing organisation is tested and supported. Implications of results include: a stronger focus on using sports sponsorship for internal marketing purposes; involvement of employees in determining the sponsored activity or organisation; and reassessing the overall benefits that derive from sports sponsorship.
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This paper presents case studies of three student teachers negotiating the demands of the National Council of the Social Studies' (NCSS) five characteristics of powerful teaching…
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This paper presents case studies of three student teachers negotiating the demands of the National Council of the Social Studies' (NCSS) five characteristics of powerful teaching and learning (meaningful, integrative, value-based, challenging, and active instruction) while engaged in the context-specific tasks of student teaching. For these three student teachers, the context of both their teaching and beliefs about teaching combined to help them focus on two of the five characteristics more deeply than the others. These case studies suggest that social studies pre-service teachers can constructively use their student teaching semester to focus on developing strengths in those characteristics most appropriate to their beliefs about teaching and their teaching contexts, and that social studies methods courses can aid in this process by helping student teachers to reflect on these factors prior to their student teaching semester.