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Critical Perspectives on the Western: From A Fistful of Dollars to Django Unchained (Lanham: Rowman and Littlefield). Edited by Lee Broughton.

Out now:

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For decades, the Western film has been considered to be a dying cinematic form, yet filmmakers from Quentin Tarantino to Ethan and Joel Coen have found new ways to reinvigorate the genre. As Westerns continue to be produced for contemporary audiences, scholars have taken a renewed interest in the relevance of this enduring genre. In Critical Perspectives on the Western, Lee Broughton has compiled a wide-ranging collection of essays by international scholars that look at various forms of the genre, on both the large and small screen. The contributors to this volume consider overlooked subgenres, Western stars, celebrities and authors, recent idiosyncratic engagements with the genre, and Westerns produced outside of the USA. These essays also explore issues relating to culture, politics, transnationalism, postcolonialism, race and gender that are found within the films under discussion.

Contents:

‘Zapata-Spaghetti: reflections on the Italian Western and the Mexican Revolution’ by Christopher Frayling

‘The Fantastic Frontier: Sixguns and Spectacle in the Hybrid Western’ by Cynthia J. Miller and A. Bowdoin Van Riper

‘Gunfight at the Transvaal Highveld: Locating the Boerewors Western in Southern Africa’ by Ivo Ritzer

‘Rethinking the Representation of Race and Gender in American Exploitation Westerns from the 1960s’ by Lee Broughton

‘Contemporary obsession with the inexplicable nature of evil as expressed in The Assassination of Jesse James by the Coward, Robert Ford‘ by John White

‘A Cop in a Cowboy Hat: Timothy Olyphant, a Postmodern Eastwood in Justified‘ by Jenny Barrett

‘“Going Blood-simple”: Red Harvest in Film’ by Jesús Ángel González

‘A solitary theme song from a 21st Century Western’ (Appaloosa) by Pete Falconer

‘“The Unheightened Moment”: Work, Duration, and Women’s Point-of-View in Meek’s Cutoff‘ by Timothy Hughes

‘Glorious Basterds in Tarantino’s Django Unchained: When the West Crosses the South’ by Anne-Marie Paquet-Deyris

‘Cross-cultural hybridity and the Western: Tears of the Black Tiger‘ by Thomas Klein

‘Thawing Out The Frozen Limits‘ by Geoff Mann

‘“Spaghetti Savages”: the cinematic perversions of Django Kill‘ by Mark Goodall

Key films and television shows that are discussed in this volume include the Warwick Trading Company’s Burlesque Attack on a Settler’s Cabin (1900), Edwin S. Porter’s The Great Train Robbery (1903), Colin Campbell’s The Spoilers (1914), Cecil B. DeMille’s The Squaw Man (1914), Fred Paul’s The Adventures of Deadwood Dick (1915), D. W. Griffith’s The Birth of a Nation (1915), William S. Hart’s Blue Blazes Rawden (1918), Clifford Smith’s The Cyclone (1920), Lambert Hillyer’s O’Malley of the Mounted (1921), Charles Hutchinson’s Hurricane Hutch in Many Adventures (1924), Charles Chaplin’s The Gold Rush (1925), John Ford’s The Iron Horse (1926), James Cruze’s The Covered Wagon (1927), Lucien Hubbard’s Rose Marie (1928), Mack V. Wright’s Haunted Gold (1932), Jack Conway’s Viva Villa! (1934), Otto Brower and B. Reeves Eason’s The Phantom Empire (1935), Joseph Kane’s Ghost-Town Gold (1936), Sam Newfield’s Ghost Patrol (1936), Raoul Walsh’s Klondike Annie (1936), W. S. Van Dyke’s Rose Marie (1936), Joseph Kane’s Boots and Saddles (1937), John Ford’s Stagecoach (1939), Marcel Varnel’s The Frozen Limits (1939), William Dieterle’s Juarez (1939), Raul de Anda’s La Vuelta del Charro Negro (1941), John Ford’s My Darling Clementine (1946), John English’s Ghost Riders in the Sky (1949), Elia Kazan’s Viva Zapata! (1952), Otto Preminger’s River of No Return (1954), Fred Zinnemann’s High Noon (1952), George Stevens’ Shane (1953), David Butler’s Calamity Jane (1953), Nicholas Ray’s Johnny Guitar (1954), Henry King’s Untamed (1955), Fritz Lang’s Rancho Notorious (1955), John Ford’s The Searchers (1956), John Baxter’s Ramsbottom Rides Again (1956), Delmer Daves’ 3:10 to Yuma (1957), John Sturges’ Gunfight at the O.K. Corral (1957), Raoul Walsh’s The Sheriff of Fractured Jaw (1958), Edward Dein’s Curse of the Undead (1959), Charles Marquis Warren and CBS’s Rawhide (1959-1965), Ken Annakin’s The Hellions (1961), Peter Perry Jr.’s The Revenge of the Virgins (1959), John Sturges’ The Magnificent Seven (1960), Akira Kurosawa’s Yojimbo (1961), Russ Meyer’s Wild Gals of the Naked West (1962), Francis Ford Coppola’s Tonight for Sure (1962), Emil Nofal’s Voor Sononder (1963), Sergio Leone’s A Fistful of Dollars (1964), Sam Peckinpah’s Major Dundee (1965), Sergio Leone’s For a Few Dollars More (1965), Richard Brooks’ The Professionals (1966), Giulio Petroni’s Death Rides a Horse (1966), Gerald Thomas’ Carry On Cowboy (1966), Sergio Leone’s The Good, the Bad and the Ugly (1966), William Beaudine’s Billy the Kid vs. Dracula (1966), Sergio Corbucci’s Django (1966), Elmo de Witt’s Die Kavaliers (1966), Sergio Sollima’s The Big Gundown (1966), William Beaudine’s Jesse James Meets Frankenstein’s Daughter (1966), Sergio Corbucci’s Navajo Joe (1966), Damiano Damiani’s A Bullet for the General (1966), Leopoldo Savona’s Killer Kid (1967), Ivan Hall’s Kruger Miljoene (1967), Giulio Questi’s Django Kill (1967), Robert D. Webb’s The Jackals (1967), Sergio Corbucci’s The Big Silence / The Great Silence (1968), Lee Frost’s Hot Spur (1968), Mario Caiano’s A Train for Durango (1968), B. Ron Elliott’s Brand of Shame (1968), Sergio Leone’s Once Upon a Time in the West (1968), Sergio Corbucci’s A Professional Gun / The Mercenary (1968), Giulio Petroni’s Tepepa (1969), Van Guylder’s The Ramrodder (1969), Abraham Polonsky’s Tell Them Willie Boy is Here (1969), Jim O’Connolly’s The Valley of Gwangi (1969), Herschell Gordon Lewis’ Linda and Abilene (1969), Sergio Corbucci’s Drop Them or I’ll Shoot (1969), Sam Peckinpah’s The Wild Bunch (1969), Percival Rubens’ Strangers at Sunrise (1969), Lee Frost’s The Scavengers (1969), Glauber Rocha’s Antonio das Mortes (1969), Henry Hathaway’s True Grit (1969), Rene Cardona’s Santo vs. the Riders of Terror (1970), Arthur Penn’s Little Big Man (1970), Sergio Corbucci’s Companeros (1970), Ralph Nelson’s Soldier Blue (1970), Alejandro Jodorowsky’s El Topo (1970), Jean-Luc Godard’s Wind from the East (1970), Enzo Barboni’s They Call Me Trinity (1970), Arthur Penn’s Little Big Man (1970), Sergio Leone’s Duck You Sucker / A Fistful of Dynamite (1971), Duccio Tessari’s Don’t Turn the Other Cheek (1971), Giuseppe Maria Scotese’s El Bandido Malpelo (1971), Gualtiero Jacopetti and Franco Prosperi’s Goodbye Uncle Tom (1971), Robert Altman’s McCabe and Mrs. Miller (1971), Sergio Corbucci’s What Am I Doing in the Middle of the Revolution? (1972), Michael Winner’s Chato’s Land (1972), Giulio Petroni’s Sometimes Life is Hard, Right, Providence? (1972), Peter Henkel’s Three Bullets for a Long Gun (1973), Peter Henkel’s They Call Me Lucky (1973), Mel Brooks’ Blazing Saddles (1974), Ramesh Sippy’s Sholay (1974), Lucio Fulci’s The Four of the Apocalypse (1975), Clint Eastwood’s The Outlaw Josey Wales (1976), Enzo G. Castellari’s Keoma (1976), Don Siegel’s The Shootist (1976), Juan Bosch’s La ciudad maldita (1978), William Dear’s Timerider: The Adventures of Lyle Swann (1982), Clint Eastwood’s Pale Rider (1985), Coenie Dippenaar’s Revenge (1986), Alex Cox’s Straight to Hell (1986), Tonie van der Merwe’s Umbango (1987), Kathryn Bigelow’s Near Dark (1987), Gordon Hessler’s Out on Bail (1989), Robert Zemeckis’ Back to the Future, Part III (1990), Mario DiLeo’s The Final Alliance (1990), Maggie Greenwald’s The Ballad of Little Jo (1993), Jeffrey Boam and Carlton Cuse’s The Adventures of Brisco County Jr. (1993-1994), David Lister’s Trigger Fast (1994), Jonathan Kaplan’s Bad Girls (1994), Peter Edwards’ Guns of Honor (1994), Sam Raimi’s The Quick and the Dead (1995), Robert Rodriguez’s From Dusk Till Dawn (1996), Barry Sonnenfeld’s The Wild Wild West (1999), Wisit Sasanatieng’s Tears of the Black Tiger (2000), Paul Matthews’ Hooded Angels (2002), Jimmy Hayward’s Jonah Hex (2004), David Milch and HBO’s Deadwood (2004-2006), Gerald Knott’s The Quick and the Undead (2006), Glasgow Phillips’ Undead or Alive (2007), Andrew Dominik’s The Assassination of Jesse James by the Coward Robert Ford (2007), Takashi Miike’s Sukiyaki Western Django (2007), Andrew Wiest’s Dead Noon (2007), Kim Jee-woon’s The Good, the Bad, the Weird (2008), Ed Harris’ Appaloosa (2008), J. T. Petty’s The Burrowers (2008), Spencer Estabrooks’ Dead Walkers (2009), Shashanka Gosh’s Quick Gun Murugun: Misadventures of an Indian Cowboy (2009), James Ryan Gary’s Devil’s Crossing (2010), Jimmy Hayward’s Jonah Hex (2010), Graham Yost and FX’s Justified (2010-2015), Jon Favreau’s Cowboys and Aliens (2011), Gore Verbinski’s Rango (2011), Kelly Reichardt’s Meek’s Cutoff (2011), Andrew Goth’s Gallowwalkers (2012), Quentin Tarantino’s Django Unchained (2012), Jeremy Wooding’s Blood Moon (2014), Alejandro Inarritu’s The Revenant (2015), Quentin Tarantino’s The Hateful Eight (2015).

Further information can be found here.

Also available:

The Euro-Western: Reframing Gender, Race and the ‘Other’ in Film (London: I.B. Tauris) by Lee Broughton.

The Euro-Western

The Western has always been inextricably linked to the USA, and studies have continually sought to connect its historical development to changes in American society and Hollywood innovations. Focusing new critical attention on films produced in Germany, Italy and Britain, this timely book offers a radical rereading of the evolutionary history of the Western and brings a vital international dimension to its study. Lee Broughton argues not only that European films possess a special significance in terms of the genre’s global development, but also that many offered groundbreaking and progressive representations of traditional Wild West ‘Others’: Native Americans, African Americans and so-called ‘strong women’. The Euro-Western investigates how the histories of Germany, Italy and Britain – and the idiosyncrasies of their respective national film industries – influenced representations of the self and ‘Other’, shedding light on the broader cultural, historical and political contexts that shaped European engagement with the genre.

Key films that are discussed in this volume include:

German Westerns: Arthur Wellin’s The Deerslayer and Chingachgook (1920), Arthur Wellin’s Last of the Mohicans (1920), Phil Jutzi’s Red Bull, the Last Apache (1920), Luis Trenker’s The Emperor of California (1936), Harald Reinl’s The Treasure of Silver Lake (1962), Harald Reinl’s Winnetou the Warrior (1963), Alfred Vohrer’s Among Vultures (1964), Harald Reinl’s Last of the Renegades (1964), Harald Reinl’s Desperado Trail (1965), Harald Philipps’ The Half-Breed (1966), Michael Herbig’s Manitou’s Shoe (2001), Frank Zimmermann’s Winnetou and the Treasure of Maikopas (2006) and Gert Ludewigs’ Winnetoons: The Legend of the Treasure of Silver Lake (2009).

Italian Westerns: Sergio Leone’s A Fistful of Dollars (1964), Sergio Corbucci’s Minnesota Clay (1964), Sergio Sollima’s The Big Gundown (1966), Alfonso Brescia’s Days of Violence (1967), Giulio Petroni’s Death Rides a Horse (1967), Siro Marcellini’s Lola Colt (1967), Ferdinando Baldi’s Rita of the West (1967), Sergio Leone’s Once Upon a Time in the West (1968), Sergio Corbucci’s The Great Silence (1968), Sergio Sollima’s Run, Man, Run (1968), Sergio Corbucci’s A Professional Gun (1968), Giuseppe Colizzi’s Ace High (1968), Giuseppe Colizzi’s Boot Hill (1969), Sergio Leone’s A Fistful of Dynamite AKA Duck You Sucker (1971), Nello Rossati’s Django Strikes Again (1987), Enzo G. Castellari’s Jonathan of the Bears (1994) and Giovanni Veronesi’s My West (1998).

British Westerns: Marcel Varnel’s The Frozen Limits (1939), John Baxter’s Ramsbottom Rides Again (1956), Raoul Walsh’s The Sheriff of Fractured Jaw (1958), Gerald Thomas’ Carry On Cowboy (1966), Richard Quine’s A Talent for Loving (1969), Robert Parrish’s A Town Called Bastard (1971), Alexander Singer’s Captain Apache (1971), Eugenio Martin’s Bad Man’s River (1971), Burt Kennedy’s Hannie Caulder (1971), Don Medford’s The Hunting Party (1971), Eugenio Martin’s Pancho Villa (1972), Peter Collinson’s The Man Called Noon (1973), Edgar Wright’s A Fistful of Fingers (1995), David Lister’s The Meeksville Ghost (2001) and Paul Matthews’ Hooded Angels (2002).

American Westerns: Raoul Walsh’s The Big Trail (1930), Raoul Walsh’s Klondike Annie (1936), Richard C. Kahn’s Two-Gun Man from Harlem (1938), Richard C. Kahn’s The Bronze Buckaroo (1939), Richard C. Kahn’s Harlem Rides the Range (1939), John Ford’s Drums Along the Mohawk (1939), John Ford’s Stagecoach (1939), George Marshall’s Destry Rides Again (1939), Victor Fleming’s Gone With the Wind (1939), Edward F. Cline’s My Little Chickadee (1940), John Ford’s Fort Apache (1948), King Vidor’s Duel in the Sun (1946), Bud Pollard’s Look Out Sister (1947), John Ford’s She Wore a Yellow Ribbon (1949), Delmer Daves’ Broken Arrow (1950), George Sidney’s Annie Get Your Gun (1950), Richard Sale’s A Ticket to Tomahawk (1950), John Ford’s Rio Grande (1950), Felix E. Feist’s Battles of Chief Pontiac (1952), David Butler’s Calamity Jane (1953), Nicholas Ray’s Johnny Guitar (1954), Robert Aldrich’s Vera Cruz (1954), John Ford’s The Searchers (1956), Samuel Fuller’s Forty Guns (1957), Robert Parrish’s The Wonderful Country (1959), Peter Perry Jr’s Revenge of the Virgins (1959), Don Siegel’s Flaming Star (1960), John Ford’s Sergeant Rutledge (1960), John Ford’s The Man Who Shot Liberty Valance (1962), John Sturges’ Sergeants 3 (1962), John Ford’s Cheyenne Autumn (1964), Gordon Douglas’ Rio Conchos (1964), Stanley Kramer’s Invitation to a Gunfighter (1964), Henry Hathaway’s Nevada Smith (1965), Sam Peckinpah’s Major Dundee (1965), Elliot Silverstein’s Cat Ballou (1965), Ralph Nelson’s Duel at Diablo (1966), Richard Brooks’ The Professionals (1966), William Witney’s 40 Guns to Apache Pass (1967), Burt Kennedy’s Welcome to Hard Times (1967), Robert Mulligan’s The Stalking Moon (1968), Sydney Pollack’s The Scalphunters (1968), Tom Gries’ 100 Rifles (1969), Arnold Laven’s Sam Whiskey (1969), Lee Frost’s The Scavengers (1969), Henry Hathaway’s True Grit (1969), Alan Smithee’s Death of a Gunfighter (1969), Herschell Gordon Lewis’ Linda and Abilene (1969), Burt Kennedy’s Support Your Local Sheriff (1969), Elliot Silverstein’s A Man Called Horse (1970), Arthur Penn’s Little Big Man (1970), Ralph Nelson’s Soldier Blue (1970), Alf Kjellin’s The McMasters (1970), Robert Altman’s McCabe and Mrs Miller (1971), Peter Fonda’s The Hired Hand (1971), E. W. Swackhamer’s Man and Boy (1971), Sidney Poitier’s Buck and the Preacher (1972), Martin Goldman’s The Legend of Nigger Charley (1972), Sydney Pollack’s Jeremiah Johnson (1972), Larry G. Spangler’s The Soul of Nigger Charley (1973), Burt Kennedy’s The Train Robbers (1973), Gordon Parks Jr’s Thomasine and Bushrod (1974), Larry G. Spangler’s Joshua (1976), J. Lee Thompson’s The White Buffalo (1977), Kevin Costner’s Dances With Wolves (1990), Sam Raimi’s The Quick and the Dead (1995), Mike Gabriel & Eric Goldberg’s Pocahontas (1995), Quentin Tarantino’s Django Unchained (2012), Gore Verbinski’s The Lone Ranger (2013) and Logan & Noah Miller’s Sweetwater AKA Sweet Vengeance (2013).

“Broughton’s book is an impressive piece of scholarship, exemplary in the breadth of material covered in the course of examining the genre as a whole and avoiding the temptation to cover solely a few case studies of only the most critically acclaimed examples. In the process, he does a real service to readers seeking an understanding of the post-war European genre system, including a truly vast range of often very unfamiliar films in this sensitive and enlightening account.” Louis Bayman, Viewfinder no. 106, March 2017.

Further information can be found here.

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