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-- This book redefines American productions of the Western genre as an expression of a transnational ideology and culture of imperialism. Reviewers agree that this collection offers the most impressive sampling of the vast number of global Westerns produced from the silent era to the present day, compared to other publications in recent years on the Western. -- IUP is a leading publisher in areas of film and media studies related to this book including early and silent film, national cinemas, and Italian and French film. This fulfills a goal outlined in IUP's strategic plan to bring an international scope to the discipline. -- The audience is scholarly and the book is highly likely to be recommended as a library purchase. It will reach scholars and students studying the Western genre, critical film theory, and the cultural history of colonialism and imperialism.
List of contents
Acknowledgments
Introduction, by Hervé Mayer and David Roche
Part I: US-American Westerns from a Transnational Perspective
1. Transnationalism on the Transcontinental Railroad: John Ford's
The Iron Horse (1924), by Patrick Adamson
2. John Ford's
Cavalry Trilogy (1948-1950): Caught Between US-American Imperialism and Irish Republicanism, by Costanza Salvi
3. Decentering the National in Hollywood: Transnational Storytelling in the Mexico Western
Vera Cruz (Robert Aldrich, 1954), by Hervé Mayer
4. Transnational
Identity on the Contemporary Texan-Mexican Border in Tejano (David Blue Garcia, 2018), by Marine Soubeille
Part II: European Westerns and the Critique of Imperialism
5. A Yugoslav "Lemon Tree in Siberia": The Partisan Western
Kapetan Leši (Živorad Mitrovic, 1960), by Dragan Batancev
6.
Lawrence of Arabia (David Lean, 1962) and the Western: Reframing the Imperialist Hero, by Hadrien Fontanaud
7. Unwanted Salvation: The Use of the Savior Formula in
The Dark Valley (Andreas Prochaska, 2014), by Marek Paryz
8. Transnational Post-Westerns in French Cinema:
Adieu Gary (Nassim Amaouche, 2009) and
Les Cowboys (Thomas Bidegain, 2015), by Jesús Ángel González
Spotlight on the Italian Western
9. Silent Westerns Made in Italy: The Dawn of a Transnational Genre between US Imperial Narratives and Nationalistic Appropriations, by Alessandra Magrin Haas
10. Where the Classical, the Transnational and the Acid Western Meet:
Matalo! (Cesare Canevari, 1970), Violence and Cultural Resistance on the Spaghetti Western Frontier, by Lee Broughton
Part III: Westerns in a Post-Colonial or Post-Empire Context
11. West by Northeast: The Western in Brazil, by Mike Phillips
12. (Not) John Wayne & (Not) the US-American West:
Jauja (Lisandro Alonso, 2014), by Jenny Barrett
13. Remaking the Western in Japanese Cinema:
East Meets West (Kihachi Okamoto, 1995),
Sukiyaki Western Django (Takashi Miike, 2007), and
Unforgiven (San-il Lee, 2013), by Vivian P. Y. Lee
14. The South African Frontier in
Five Fingers for Marseilles (Michael Matthews, 2017), by Claire Dutriaux and Annael Le Poullennec
Spotlight on the Australian Western
15. "They like all pictures which remind them of their own": The 'Entangled' Development of Australian Westerns, by Emma Hamilton
16. Westerns from an Aboriginal Point of View or Why the Australian Western (Still) Matters:
The Tracker (Rolf de Heer, 2002) and
Sweet Country (Warwick Thornton, 2017), by David Roche
Coda: We Will Not Ride Off into the Sunset, by Hervé Mayer and David Roche
Index
About the author
Hervé Mayer, David Roche, with contributions by Patrick Adamson, Costanza Salvi, Marine Soubeille, Dragan Batan¿ev, Hadrien Fontanaud, Marek Pary¿, Jesús Ángel González, Alessandra Magrin Haas, Lee Broughton, Mike Phillips, Jenny Barrett, Vivian P. Y. Lee, Claire Dutriaux
