The Border Bandits

The southern frontier is one of the most emotionally charged zones in the United States, second only to its historical predecessor and partner, the western frontier. Though they span many genres, border films share common themes, trace the mood swings of public policy, and shape our cultural agenda. In this examination, Camilla Fojas studies how major Hollywood films exploit the border between Mexico and the United States to tell a story about U.S. dominance in the American hemisphere. She charts the shift from the mythos of the open western frontier to that of the embattled southern frontier by offering in-depth analyses of particular border films, from post-World War II Westerns to drug-trafficking films to contemporary Latino/a cinema, within their historical and political contexts. Fojas argues that Hollywood border films do important social work by offering a cinematic space through which viewers can manage traumatic and undesirable histories and ultimately reaffirm core "American" values. At the same time, these border narratives delineate opposing values and ideas. Latino border films offer a critical vantage onto these topics; they challenge the presumptions of U.S. nationalism and subsequent cultural attitudes about immigrants and immigration, and often critically reconstruct their Hollywood kin. By analyzing films such as Duel in the Sun, The Wild Bunch, El Norte, The Border, Traffic, and Brokeback Mountain, Fojas demands that we reexamine the powerful mythology of the Hollywood borderlands. This detailed scrutiny recognizes that these films are part of a national narrative comprised of many texts and symbols that create the myth of the United States as capital of the Americas.

The Border Bandits is a fascinating history of Frank and Jesse James.

The Border Bandits: An Authentic and Thrilling History of the Noted Outlaws, Jesse and Frank James, and Their Bands of Highwaymen is an account of the James brothers, using complied sources, first published in 1881.

Reprint of the original, first published in 1881.

Winner of the 2014 Albert Corey Prize from the American Historical Association Winner of the 2013 Hal Rothman Award from the Western History Association Winner of the 2013 John Lyman Book Award in the Naval and Maritime Science and Technology category from the North American Society for Oceanic History For centuries, borders have been central to salmon management customs on the Salish Sea, but how those borders were drawn has had very different effects on the Northwest salmon fishery. Native peoples who fished the Salish Sea--which includes Puget Sound in Washington State, the Strait of Georgia in British Columbia, and the Strait of Juan de Fuca--drew social and cultural borders around salmon fishing locations and found ways to administer the resource in a sustainable way. Nineteenth-century Euro-Americans, who drew the Anglo-American border along the forty-ninth parallel, took a very different approach and ignored the salmon's patterns and life cycle. As the canned salmon industry grew and more people moved into the region, class and ethnic relations changed. Soon illegal fishing, broken contracts, and fish piracy were endemic--conditions that contributed to rampant overfishing, social tensions, and international mistrust. The Nature of Borders is about the ecological effects of imposing cultural and political borders on this critical West Coast salmon fishery. This transnational history provides an understanding of the modern Pacific salmon crisis and is particularly instructive as salmon conservation practices increasingly approximate those of the pre-contact Native past. The Nature of Borders reorients borderlands studies toward the Canada-U.S. border and also provides a new view of how borders influenced fishing practices and related management efforts over time. Watch the book trailer: http://www.youtube.com/watch?v=7ffLPgtCYHA&feature=channel_video_title

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.