With fresh appraisals of popular Westerns, this book examines the history of the genre with a focus on definitional aspects of canon, adaptation and hybridity. The author covers a range of largely unexplored topics, including the role of ""heroines"" in a male-oriented system of film production, and the function of the celluloid Indians.
With fresh appraisals of popular Westerns, this book examines the history of the genre with a focus on definitional aspects of canon, adaptation and hybridity. The author covers a range of largely unexplored topics, including the role of ""heroines"" in a male-oriented system of film production, and the function of the celluloid Indians.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Flavia Brizio-Skov is a professor in the department of modern foreign languages and literatures at the University of Tennessee, Knoxville. She has written several books and articles on contemporary writers, popular culture and cinema.
Inhaltsangabe
Table of Contents Acknowledgments Introduction: Why the Western? 1. Transnational Adaptation, Transculturation and Indigenization: Dashiell Hammett's Red Harvest, Carlo Goldoni's The Servant of Two Masters, Akira Kurosawa's Yojimbo and Sergio Leone's A Fistful of Dollars Prologue The National The Origins: Local and Translocal The Transnational Conclusion 2. Celluloid Indians, 1950s Westerns and the Termination Act: Broken Arrow, White Feather, The Battle of Apache Pass, Devil's Doorway, The Last Wagon and The Last Hunt Prologue Broken Arrow (1950) White Feather (1955) and The Battle of Apache Pass (1952) Devil's Doorway (1950) The Last Wagon (1956) The Last Hunt (1956) Conclusion 3. Heroines in Western Films? Mikhail Bakhtin's "Dialogic Imagination" in Shane, High Noon and Westward the Women Monoglossia: The Submissive Woman and Shane (1953) Heteroglossia: The Transgressive Woman and High Noon (1952) X-glossia: Transformational Women and Westward the Women (1951) 4. Hybridity and (De)Construction of Femininity and Masculinity in Rancho Notorious, Johnny Guitar and Duel in the Sun Rancho Notorious: The Filmic Text (1952) Johnny Guitar: Paratext Johnny Guitar: Peritext and the Novel (1953) Johnny Guitar: The Filmic Text (1954) Duel in the Sun (1946): Paratext Duel in the Sun: The Novel (1944) Duel in the Sun: The Filmic Text (1946) Patriarchy and Failed Masculinities Patriarchy and Failed Femininities Capitalism and Patriotism 5. New Paths of the Western in the Third Millennium: The Lone Ranger, Yesterday and Today The Western Genre Today Enter The Lone Ranger: Prologue The Lone Ranger Yesterday or How the West Was Conquered The Lone Ranger (2013): Paratext The Lone Ranger Today or How the West Was Lost Chapter Notes Bibliography Index
Table of Contents Acknowledgments Introduction: Why the Western? 1. Transnational Adaptation, Transculturation and Indigenization: Dashiell Hammett's Red Harvest, Carlo Goldoni's The Servant of Two Masters, Akira Kurosawa's Yojimbo and Sergio Leone's A Fistful of Dollars Prologue The National The Origins: Local and Translocal The Transnational Conclusion 2. Celluloid Indians, 1950s Westerns and the Termination Act: Broken Arrow, White Feather, The Battle of Apache Pass, Devil's Doorway, The Last Wagon and The Last Hunt Prologue Broken Arrow (1950) White Feather (1955) and The Battle of Apache Pass (1952) Devil's Doorway (1950) The Last Wagon (1956) The Last Hunt (1956) Conclusion 3. Heroines in Western Films? Mikhail Bakhtin's "Dialogic Imagination" in Shane, High Noon and Westward the Women Monoglossia: The Submissive Woman and Shane (1953) Heteroglossia: The Transgressive Woman and High Noon (1952) X-glossia: Transformational Women and Westward the Women (1951) 4. Hybridity and (De)Construction of Femininity and Masculinity in Rancho Notorious, Johnny Guitar and Duel in the Sun Rancho Notorious: The Filmic Text (1952) Johnny Guitar: Paratext Johnny Guitar: Peritext and the Novel (1953) Johnny Guitar: The Filmic Text (1954) Duel in the Sun (1946): Paratext Duel in the Sun: The Novel (1944) Duel in the Sun: The Filmic Text (1946) Patriarchy and Failed Masculinities Patriarchy and Failed Femininities Capitalism and Patriotism 5. New Paths of the Western in the Third Millennium: The Lone Ranger, Yesterday and Today The Western Genre Today Enter The Lone Ranger: Prologue The Lone Ranger Yesterday or How the West Was Conquered The Lone Ranger (2013): Paratext The Lone Ranger Today or How the West Was Lost Chapter Notes Bibliography Index
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