LEADER 03986nam 2200589 a 450 001 9910955533303321 005 20240417232650.0 010 $a9780814336601 010 $a0814336604 035 $a(CKB)3170000000046155 035 $a(OCoLC)794004363 035 $a(CaPaEBR)ebrary10561883 035 $a(SSID)ssj0000585483 035 $a(PQKBManifestationID)11369802 035 $a(PQKBTitleCode)TC0000585483 035 $a(PQKBWorkID)10569785 035 $a(PQKB)11462093 035 $a(MiAaPQ)EBC3416467 035 $a(MdBmJHUP)muse15869 035 $a(Au-PeEL)EBL3416467 035 $a(CaPaEBR)ebr10561883 035 $a(MiAaPQ)EBC31349287 035 $a(Au-PeEL)EBL31349287 035 $a(Perlego)4160534 035 $a(EXLCZ)993170000000046155 100 $a20110729d2012 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aDeadwood /$fIna Rae Hark 205 $a1st ed. 210 $aDetroit $cWayne State University Press$dc2012 215 $a1 online resource (129 p.) 225 1 $aTV milestones series 300 $aBibliographic Level Mode of Issuance: Monograph 311 08$a9780814334492 311 08$a0814334490 320 $aIncludes bibliographical references (p. 115-117) and index. 327 $aIntroduction -- It's not a western-it's an HBO western -- David Milch's Deadwood -- Language, decent and otherwise -- The social dynamics of violence and alliance -- Deadwood's political economic narrative -- Women and power -- Dirt worshippers and celestials and niggers- oh, my! -- Conclusion. 330 8 $aConsiders the HBO series Deadwood in the context of the television Western genre and the intersection of capital and violence in American history. By dramatizing the intersection of self-interested capitalism and foundational violence in a mining camp in 1870s South Dakota, the HBO series Deadwood reinvented the television Western. In this volume, Ina Rae Hark examines the groundbreaking series from a variety of angles: its relationship to past iterations of the genre on the small screen; its production context, both within the HBO paradigm and as part of the oeuvre of its creator and showrunner David Milch; and its thematics. Hark's comprehensive analysis also takes into account the series' trademark use of language: both its unrelenting and ferocious obscenity and the brilliant complexity of its dialogue. Hark argues that Deadwood dissolves several traditional binaries of the Western genre. She demonstrates that while the show appears to pit individuality, savagery, lawlessness, social regulation, and civilization against each other, its narrative shows that apparent opposites are often analogues, and these forces can morph into allies very quickly. Indeed, perhaps the show's biggest paradox and most profound revelation is that self-interest and communitarianism cannot survive without each other. Hark closely analyzes Al Swearengen (as played by Ian McShane), the character who most embodies this paradox. A brutal cutthroat and purveyor of any vice that can turn him a profit, Swearengen nevertheless becomes the figure who forges connections among the camp's disparate individuals and shepherds their growth into a community. Deadwood is quintessentially, if unflatteringly, American in what it reveals about the dark underpinnings of national success rooted not in some renewed Eden but in a town that is, in the apt words of one of its promotional taglines, "a hell of a place to make your fortune." Fans of the show and scholars of television history will enjoy Hark's analysis of Deadwood. 410 0$aContemporary approaches to film and television series.$pTV milestones. 676 $a791.45/72 700 $aHark$b Ina Rae$01794562 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910955533303321 996 $aDeadwood$94363180 997 $aUNINA