Matthew Carter, Myth of the Western: New Perspectives on Hollywood’s Frontier Narrative Neil Campbell, Post-Westerns: Cinema, Region, West
It is often said that the Western film is dead. This might mean a plethora of things, depending on who is making the morbid pronouncement. For producers, it means that the superhero-loving-audience is not interested anymore; for culture critics, it means that the colonial myth of the West has lost...
محفوظ في:
| الحاوية / القاعدة: | URI:https://journals.openedition.org/ejas, |
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| المؤلف الرئيسي: | |
| التنسيق: | Article ou chapitre numérique |
| منشور في: |
European journal of American studies
2022
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| الوصول للمادة أونلاين: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| الملخص: | It is often said that the Western film is dead. This might mean a plethora of things, depending on who is making the morbid pronouncement. For producers, it means that the superhero-loving-audience is not interested anymore; for culture critics, it means that the colonial myth of the West has lost its allure; and for film scholars it means that the genre is going through the downward slope of its evolutionary cycle. But, surprisingly enough, this state of fatality is not new; apparently the ... |
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