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Journal articles on the topic 'Western films'
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Siebert, Monika. "East Asian Westerns at/as the Limits of the Western Genre Criticism." Studia Filmoznawcze 38 (June 21, 2017): 17–30. http://dx.doi.org/10.19195/0860-116x.38.2.
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The East Asian Westerns of the twenty-first century have been studied extensively by scholars of East Asian cinema, yet have been largely missing from the conversations animating the Western genre studies, despite the field’s recent transnational turn. This absence might be linked to their unique formal feature: their de-coupling of the genre’s most recognizable tropes and props from their presumed location in the American West. By indigenizing the Western, films such as Miike Takashi’s Sukiyaki Western Django 2007 or Kim Jee-woon’s The Good, the Bad, the Weird 2008 have served to consolidate national cinemas in East Asia and refashioned our understanding of globalization by highlighting regional, intra-Asian trajectories of influence. Despite their hasty dismissal by some Western film critics, they may still reinvigorate the theoretical conversations at the heart of Western studies as well as pose productive questions about their influence on the practice and reception of the U.S. iterations of the genre. In their deft citations drawing on the global Western vernacular, East Asian Westerns expose the centrality of the American West as the unsurpassable limit of the Western genre studies, while simultaneously revealing the appreciatively transnational tenor of the contemporary practice of the genre in the United States.WSCHODNIOAZJATYCKIE WESTERNY NA GRANICY/JAKO GRANICE KRYTYKI GATUNKU WESTERNUWschodnioazjatyckie westerny są szczegółowo badane przez badaczy azjatyckiego kina, jednak wyraźnie pomijane w dyskusjach ożywiających studia nad gatunkiem westernu mimo niedawnego pojawienia się transnarodowej perspektywy badawczej. Ta nieobecność może mieć związek z ich wyjątkową formalną cechą: odłączenie najbardziej rozpoznawalnych tropów i rekwizytów gatunkowych od ich macierzystej lokalizacji na amerykańskim Zachodzie. Przez akulturację westernu filmy takie, jak Sukiyaki Western Django 2007 Miike Takashiego czy Dobry, zły i zakręcony 2008 Kima Jee-woona, służą konsolidacji kina narodowego we wschodniej Azji oraz przeformułowują nasze rozumienie globalizacji, podkreślając regionalne wewnątrzazjatyckie trajektorie wpływu. Mimo pochopnego lekceważenia przez niektórych zachodnich krytyków filmy te wciąż mają szansę ożywić teoretyczne dyskusje w sercu westernowych badań, jak również stawiać pożyteczne pytania o ich wpływ na praktykę iodbiór amerykańskich reprodukcji gatunku. W swoich wprawnych cytowaniach obrazowania opartych na globalnym westernowym żargonie wschodnioazjatyckie westerny odsłaniają główne znaczenie amerykańskiego Zachodu jako nieprzekraczalną granicę badań gatunkowych westernu, jednocześnie ujawniając akceptująco ponadnarodową tonację współczesnej praktyki w obszarze tego gatunku w USA. Przeł. Kordian Bobowski
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Roberts, Justin J. "The Western through a Monocle: Fritz Lang's Examination of Western Mythology." JCMS: Journal of Cinema and Media Studies 63, no. 1 (September 2023): 80–99. http://dx.doi.org/10.1353/cj.2023.a910939.
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abstract: In his Westerns The Return of Frank James (1940), Western Union (1941), and Rancho Notorious (1952), director Fritz Lang interrogated Western genre tropes. By examining the theatricality of Westerns, the presentation of Native Americans in Westerns, and the frames used by Western storytellers, Lang questioned the nature of Hollywood Westerns. Later filmmakers, particularly Sergio Leone and Clint Eastwood, have shown their debt to Lang's films by alluding to them in their own films.
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Paryż, Marek. "Contemporary Transnational Westerns: Trajectories and Constellations." Studia Filmoznawcze 38 (June 21, 2017): 5–14. http://dx.doi.org/10.19195/0860-116x.38.1.
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This introductory article maps out the main directions to be observed in contemporary transnational Westerns. It looks specifically at three areas beyond the United States where the films in the Western genre have assumed the most symptomatic forms: Europe, Australia and Japan. European Westerns seem to comprise awider scope of artistic possibilities offered by the genre than elsewhere, as they subscribe to one of the following models: apopular action/sensational formula, an artistic engagement with the convention, or aparody. The Australian Western is related to the American genre primarily through historical analogies, while the Japanese Western has developed thanks to the similarity of the archetypal plots of U.S. Westerns and Japanese samurai films. WSPÓŁCZESNE WESTERNY TRANSNARODOWE: TRAJEKTORIE I KONSTELACJEArtykuł omawia pokrótce główne tendencje we współczesnych westernach transnarodowych. Szczególną uwagę zwrócono na trzy obszary geograficzne, gdzie gatunek przybrał w ostatnich kilkunastu latach najbardziej symptomatyczne formy: Europę, Australię i Japonię. Westerny europejskie dają najszerszy przegląd możliwości kreacyjnych i oscylują między trzema modelami: film akcji, parodia i artystyczny dialog z konwencją. Westerny australijskie korespondują z amerykańskimi przede wszystkim z uwagi na analogie historyczne, a produkcje japońskie — z racji podobieństw archetypów obecnych w westernach i filmach samurajskich. przeł. Kordian Bobowski
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Hamilton, Emma. "Such Is Western: An Overview of the Australian Western via Ned Kelly Films." Studia Filmoznawcze 38 (June 21, 2017): 31–43. http://dx.doi.org/10.19195/0860-116x.38.3.
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The very existence of such athing as the “Australian Western” has been the subject of scholarly debate. This article utilizes the lens of Ned Kelly filmic representations to explore the development of the Western genre in Australia, and especially the ways in which historical consonances and dissonances, and processes of transatlantic cultural exchange have led to the development of films that can be reasonably recognized as both distinctly Western and distinctly Australian. Thus, this article gives consideration to the history, production and themes of Ned Kelly filmic representation in order to illuminate the development of the Western in Australia. Such consideration highlights the ways in which the Western genre functions as alanguage through which to explore the meaning of settlement in occupied spaces, but whose dialectic differences reflect particular national contexts and relationships to Hollywood soft power.„TAKI JEST WESTERN” — PRZEGLĄD AUSTRALIJSKIEGO WESTERNU NA PODSTAWIE FILMÓW O NEDZIE KELLYMSamo istnienie czegoś takiego jak „australijski western” jest tematem akademickiej dyskusji. Niniejszy artykuł wykorzystuje pryzmat filmowych reprezentacji słynnego australijskiego bandyty Neda Kelly w celu zbadania rozwoju gatunku westernu w Australii, a w szczególności sposobów, w jakich historyczne harmonie i dysharmonie oraz procesy transatlantyckiej wymiany kulturowej doprowadziły do rozwoju filmy mogące być słusznie postrzegane zarówno jako wyraźnie westernowe, jak i wyraźnie australijskie. Tak więc esej ten poddaje pod rozwagę historię, produkcję i tematykę filmowych interpretacji postaci Neda Kelly'ego, żeby rzucić światło na rozwój gatunku westernu w Australii. Taki wzgląd uwydatnia sposoby, w jakich gatunek westernu funkcjonuje jako język, przez który można badać znaczenie osadnictwa na kolonizowanych terenach, ale którego dialektalne różnice odzwierciedlają konkretne narodowe konteksty i powiązania z „miękką siłą” soft power Hollywoodu. Przeł. Kordian Bobowski]]>
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Mintz, Steven. "Western Films: A Bibliography." Film & History: An Interdisciplinary Journal of Film and Television Studies 26, no. 1-4 (1996): 78–80. http://dx.doi.org/10.1353/flm.1996.a395960.
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서은미. "Understanding Western Culture Through Films." English & American Cultural Studies 7, no. 1 (April 2007): 123–42. http://dx.doi.org/10.15839/eacs.7.1.200704.123.
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González, Jesús Ángel. "National identity in Italian westerns and post-westerns." Journal of Italian Cinema & Media Studies 12, no. 3 (July 1, 2024): 361–77. http://dx.doi.org/10.1386/jicms_00265_1.
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Since Schatz defined the western genre as America’s foundation ritual, several film critics have emphasized the role of the western as a foundational fiction. Interestingly enough, just like American westerns deal with American identity and its foundational myth, one can find westerns and post-westerns made in other countries that are also concerned with these countries’ national identities. This article analyses how spaghetti westerns set in the United States deal metaphorically with Italian identity and foundational myths, and how post-western films set in Italy approach similar topics more directly. The article considers several films, by directors like Pietro Germi, Sergio Sollima, Florestano Vancini or Pasquale Squitieri, from the perspective of transnational post-westerns in order to scrutinize the way they deal with the difficulties of integration of the North and the South of Italy and present different perspectives on the Italian foundational myth of Risorgimento.
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NICHOLS, ROGER L. "Western Attractions." Pacific Historical Review 74, no. 1 (February 1, 2005): 1–18. http://dx.doi.org/10.1525/phr.2005.74.1.1.
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North America,and in particular the United States, has fascinated Europeans as the place of the "exotic other " for at least the last two centuries. This article surveys American and European art, novels,radio programs, Western films, and television Westerns from the 1820s to the present. It posits that the presence of Indians, fictional Western heroes,gunmen,and a perceived general level of violence made frontier and Western America more colorful and exciting than similar circumstances and native people in other parts of the world. This resulted in a continuing interest in the fictional aspect of the American frontier and Western historical experiences.
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Wallin, Zoë, and Nicholas Godfrey. "‘The Boys Can Kill’." Film Studies 20, no. 1 (May 2019): 1–20. http://dx.doi.org/10.7227/fs.20.0001.
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In the late 1960s, Hollywood had the youth demographic in its sights. In 1969 Butch Cassidy and the Sundance Kid proved that Westerns could appeal to this market, and sparked a cycle of youth Westerns. The cycle framework provides a new lens to refocus this group of Westerns. When the films are situated alongside the other production trends and cycles of the period, as they were in the contemporary trade discourses, they emerge as part of a short-lived strategy for financing Western films that targeted the youth market. An industrial and discursive analysis of the marketing and reception of the youth Western cycle contributes to a more nuanced understanding of the New Hollywood period.
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Kim, Daekeun. "Discourse Analysis of Manchurian Western Films." Journal of Humanities and Social sciences 21 12, no. 6 (December 30, 2021): 2139–54. http://dx.doi.org/10.22143/hss21.12.6.151.
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Sheridan, Brendan. "The Western and the New Zealand Wars." Back Story Journal of New Zealand Art, Media & Design History, no. 10 (June 24, 2022): 29–47. http://dx.doi.org/10.24135/backstory.vi10.69.
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There are multiple parallels between the 19th Century migrations into indigenous lands in the American West and Aotearoa. These include conflicts over land between incoming Europeans and indigenous nations, the complicated loyalties that arose during these conflicts, and later romanticisation of the time period. This paper examines two films set during the New Zealand Wars and compares these films to the American Western genre, in particular through the lenses of historical fiction and historiographic metafiction. These approaches provide insight into how the films depict events and why the way they are depicted is dependent upon historical context. These films, The Te Kooti Trail (1927) and Utu (1983), engage with similar subject matter and depict the same time period but portray history in radically different tones.
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Smudja, Gordana. "Western Myth." AVANCA | CINEMA, no. 14 (January 5, 2024): 330–34. http://dx.doi.org/10.37390/avancacinema.2023.a512.
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Necessary feedback in understanding the phenomenon of westerns is certainly the social background that is closely related to the myth of westerns from its beginnings until the decline of westerns in the seventies. America, as we see it in westerns, is a picture of a mass exodus of people who wanted more, often those for whom the old homeland had become cramped and insufficient. It is in this environment that we see the heroes of the Western empowered in the desire for individualization. In the USA, the western used to be a large part of the entire production, and its popularity was transferred to other continents (Europe, Australia and Asia). An interesting fact is that the western myth does not have its beginnings in western films, although they are not only his strongest and most persistent accomplices but also the strongest populist weapon for telling folk legends such as the ones about Wild Bill Hickock, Calamity Jane, Wyatt Earp, Doc Holliday or Billy the Kid who become the heroes of these legends. Even before the invention of cinema and Porter’s The Great Train Robbery (1903), considered by many to be the first western film, Western literature was represented, but in the form of cheap books glorifying groups of conquerors of distant wilderness. However, what the heroes of the western persistently carry with them from the old homeland are the laws. They try to turn their new environment into a socially organized one, to turn the “desert into a flower”.
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Reynolds, Clay. "Peckinpah: The Western Films by Paul Seydor." Western American Literature 32, no. 3 (1997): 299–300. http://dx.doi.org/10.1353/wal.1997.0033.
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Palmer, R. Barton. "A Masculinist Reading of Two Western Films." Journal of Popular Film and Television 12, no. 4 (January 1985): 156–62. http://dx.doi.org/10.1080/01956051.1985.10661982.
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Doroholschi, Claudia Ioana. "Masculinity, Parody and Propaganda in the “Transylvanians” Trilogy." Gender Studies 19, no. 1 (December 1, 2020): 90–108. http://dx.doi.org/10.2478/genst-2021-0006.
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Abstract The article focuses on the successful series of Red Westerns/Easterns produced in Romania in the late 1970s and early 1980s, known as the “Transylvanians” trilogy. The article will look at the films in the specific context of the period, one characterized by the increasingly idiosyncratic evolution of the Romanian communist regime and by growing economic difficulties, and will examine the way in which the films construct models of masculinity at the intersection between three different types of masculine models: those of the American Western (whether adopted or parodied), those of traditional Romania (such as the idealized, wise peasant), and masculine typologies derived from communist propaganda. I will argue that the films skillfully balance the tension between a critique of American models, in the face of which Romanian models emerge as superior, and legitimizing themselves as well as relying heavily in their entertainment value on the very models of the American Western they are supposed to subvert.
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Eijaz, Abida. "Trends and Patterns of Muslims’ Depictions in Western Films." MEDIACIONES 14, no. 21 (October 29, 2018): 17–38. http://dx.doi.org/10.26620/uniminuto.mediaciones.14.21.2018.17-38.
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Films have the potential to play an active role in determining when and how to evoke certain realities depending on which issues are selected, what discourses are highlighted, how observations are framed, what associations (positive and negative) are established, which symbols are selected for representation, and in what ways thecontent is treated. Many studies conclude that Muslims and Islam have been receiving a negative treatment in films. This study evaluates major propositions and findings of recent research on trends and patterns of Muslims’ depictions in fiction films. The literature is evaluated for six themes, namely clash of civilization or arbitration,stereotyping as deficient or efficient information processing, framing as the “other,” marginalization and/or prominence, representative and referential, and market driven and/or popular taste.
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Lu, Zeqian, and Jingyi Zhang. "The Comparative Research on the Color Application of Chinese and Western Film Directors." BCP Education & Psychology 8 (February 27, 2023): 323–34. http://dx.doi.org/10.54691/bcpep.v8i.4347.
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As one of the common elements of films, color has always played its unique value. It not only decorates the pictures of the films but also assists in expressing the emotions and states of the characters. The extensive use of color in films reflects the self-innovation and technological breakthroughs of modern film and television art. From early black and white films to modern color films, the aesthetic trend of human beings is also evolving with the times. Chinese and Western directors have also made certain differences in the use of color due to subjective and objective factors. This paper takes the different color use styles of Chinese and Western film directors as the research object and adopts the comparative analysis method. Firstly, it briefly describes the development of color films, color functions, and several characteristics in films, and then introduces the different concepts of color used by Chinese and Western directors through specific examples and analyzes the reasons in detail. Finally, the differences in color consciousness and use style between the two are obtained. Chinese directors pay more attention to the symbolic expressiveness of color and are experts in using the freehand style of color, while Western directors attach significance to the structure of color in films, and the color use style is more realistic.
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Baumgärtel, Tilman. "Asian Ghost Film vs. Western Horror Movie: Feng Shui." Plaridel 12, no. 2 (August 30, 2015): 1–13. http://dx.doi.org/10.52518/2015.12.2-01tbmgtl.
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In this essay I will examine the question to what extent the Philippine production Feng Shui (Roño, 2004) is a horror film according to the well-established (Western) definitions of the genre. This seems to be a pertinent question as many Filipino horror films are based on ghost stories and folklore from the archipelago, that are often a lived reality and believed in by many people in the Philippines. The fact that Feng Shui as well as other horror films from Southeast Asia are produced for an audience that actually believes in ghosts seems to me to be very relevant for the analysis of these films. I will argue that Feng Shui shares a good number of traits with other Asian ghost films, but that it also features “the return of the repressed” that according to the late film critic Robin Wood is one of the defining features of Western horror movies.
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Endong, Floribert Patrick C. "The Westernization of the African zombie in Nollywood Films." International Journal of Modern Anthropology 2, no. 17 (June 5, 2022): 720–50. http://dx.doi.org/10.4314/ijma.v2i17.2.
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The Nigerian film industry (nicknamed Nollywood) has, over the years, embraced foreign influences as a form of newness and singularity. Many films produced in the industry have displayed the capacity to re-contextualize and indigenize specific forms and styles associated with the global mass culture, including Hollywood horror films and the zombie genre. Thus, there have been at least two ways of representing zombies in the Nollywood films. While most films have depicted zombies according to local African or Nigerian myths, a certain number of recently produced films have displayed representations of these undead creatures (zombies) which are visibly inspired by the Western imagination or fantasies. This thesis could well be illustrated through a critical study of two Nollywood films namely A.C. Enonchong‘s Witchdoctor of the Living Dead and Sam Perry‘s Outbreak 2020. Using the two above mentioned films as case studies, this paper specifically seeks answers to three research questions: how are Western myths about zombies different from those prevailing in the Nigerian socio-cultural space? How has the zombie filmic genre evolved in the Nigerian film industry and how are Western myths about zombies informing or reflected in selected Nollywood films?
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Kinsella, Andrew. "‘What did we prove?’: William Wyler’s The Big Country (1958) and the revisionism of Westerns." European Journal of American Culture 42, no. 2 (September 1, 2023): 137–47. http://dx.doi.org/10.1386/ejac_00101_1.
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The Western is widely seen as a cinematic means of embodying the American culture in which it was produced. The canonical dividing line between ‘classic’ and ‘revisionist’ Westerns coincides with the end of the Hays Code, when the Western genre, and American culture as a whole, underwent their most significant tonal shift. This article is primarily an analysis of a 1958 allegorical, classic and pacifist Western, The Big Country. This film promotes a revised attitude towards previously accepted moral conventions of violence within the genre and should thereby be understood as a revisionist work. Furthermore, The Big Country’s pacifistic revisionism creates a stark contrast with canonical revisionist Westerns and thereby calls into question the criteria for classifying films as ‘classic’ or ‘revisionist’. Ultimately, I argue that the drastic shift in tone and theme in New Hollywood Westerns has obscured the revisionism inherent to the genre and perpetuated a reductive view of the variations, shifts and nuances of the thematic arguments of Westerns from Classical Hollywood.
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Luo, Qing. "The Research on the Representation of LGBTQ in Eastern and Western Films." Communications in Humanities Research 3, no. 1 (May 17, 2023): 1116–26. http://dx.doi.org/10.54254/2753-7064/3/2022936.
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In recent years, increased public awareness and understanding of the LGBTQ community have led some film and television productions to venture into LGBTQ themes. However, there is still some under-representation in these films. These films often come from the independent sector of film, and there is a lack of such films in the major Hollywood studios. Stereotypes about this group still exist despite the lack of diversity and representation of this group in media. Through visual analysis, discourse analysis and other analysis methods, the author examines the representation of LGBTQ people in both Eastern and Western films and uses these three films: Farewell My Concubine, Portrait of a Lady on Fire, and Call Me By Your Name as examples. Through this study, the author found that the expressions of this group in Eastern and Western films and TV series differed greatly, with the expressions in Eastern countries being more subtle and the expressions in Western countries being more intuitive and diverse. This code was relaxed in the 1960s-1970s, which also signalled the dawn of the feminist and homosexual movements.
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孙, 恺. "Ideological Differences between Chinese and Western Plague Films." Art Research Letters 11, no. 02 (2022): 32–37. http://dx.doi.org/10.12677/arl.2022.112007.
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González, Jesús Ángel. "A genre auteur?: Enrique Urbizu’s post-Western films." Hispanic Research Journal 18, no. 1 (January 2, 2017): 60–73. http://dx.doi.org/10.1080/14682737.2016.1254885.
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Young, Alex Trimble. "Settler Colonial Studies and/as the Transnational Western." History of the Present 11, no. 1 (April 1, 2021): 80–105. http://dx.doi.org/10.1215/21599785-8772463.
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Abstract The article explores contemporary debates regarding the representation of Indigenous resistance in the field of settler colonial studies by putting the work of Australian theorist Patrick Wolfe into conversation with the political allegories articulated in two contemporary Western films. Its first section, tracing what Wolfe called his “pharmacological indebtedness” to Gayatri Spivak, considers the methodological problems for settler colonial studies that have emerged from Wolfe’s critique of the settler intellectual’s representation of Indigenous resistance. The second section suggests an alternative direction for transnational settler colonial studies by undertaking a comparative reading of two films—Hell or High Water (2016) written by US settler filmmaker Taylor Sheridan, and Goldstone (2016) written and directed by Indigenous Australian (Gamilaroi) director Ivan Sen. Both films collapse the detective genre with settler colonialism’s most recognizable representational genre: the Western. In so doing, they articulate narratives about the ongoing crimes of settler colonialism that offer novel perspectives on the question of what is knowable—and by whom—under settler colonialism’s structure of violence.
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Anderson, Mark C. "White Zombie as Captivity Narrative and the Death of Certainty." VISUAL REVIEW. International Visual Culture Review 7, no. 1 (July 29, 2020): 77–84. http://dx.doi.org/10.37467/gka-revvisual.v7.2604.
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Horror films such as White Zombie (1932) reveal viewers to themselves by narrating in the currency of audience anxiety. Such movies evoke fright because they recapitulate fear and trauma that audiences have already internalized or continue to experience, even if they are not aware of it. White Zombie’s particular tack conjures up an updated captivity narrative wherein a virginal white damsel is abducted by a savage other.
The shell of the captivity story is as old as America and relates closely to the Western and to the frontier myth, from which the Western emerged. What inexorably links the Western and all zombie films is the notion of containment. Whereas the Western sought to contain the American Other, all zombie films ask, instead, what happens if the other breaks through the proverbial gates. In other words, what if containment fails?
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Kerner, Aaron Michael. "The Circulation of Post-Millennial Extreme Cinema." Asian Diasporic Visual Cultures and the Americas 2, no. 3 (September 27, 2016): 200–220. http://dx.doi.org/10.1163/23523085-00203002.
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Extreme cinema is an international trend which encompasses a wide range of cinematic genres: thrillers, dramatic narratives, so-called “art films,” and horror films. In the context of Asian extreme films, we find an especially highly-dynamic crisscrossing of influences. There is an assumption in the Western imagination that the Asian diaspora is unidirectional insofar as Asian populations gravitate toward the beacons of Western civilization. Trends in post-millennial extreme cinema however disrupt this particular diasporic narrative. This article argues that post-millennial extreme films are not simply a bidirectional flow, but rather a complex circulation of themes, aesthetic motifs, and filmmakers.
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Huttunen, Miia. "Five Kurosawas and a (de)construction of the Orient." Politics 40, no. 3 (October 22, 2019): 281–94. http://dx.doi.org/10.1177/0263395719883759.
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In 1959, UNESCO published a catalogue of Eastern films suitable for Western audiences, titled ‘Orient. A Survey of Films Produced in Countries of Arab and Asian Culture’. The aim of the catalogue was to familiarise Western audiences with Eastern cultures through cinema. The catalogue lists seven general characteristics of Eastern cinema to distinguish it from its Western counterpart and to provide ready-made interpretations of the essential characteristics of the Eastern world. Of the 139 feature films listed in the catalogue, five were directed by Kurosawa Akira – the biggest number of films by a single director. This article provides an analysis of the five Kurosawa films within the frame provided by the characterisations in the catalogue in the political framework of World War II and its aftermath. Reading the cultural differences listed in the catalogue as a means of constructing the East in Western eyes, the article suggests UNESCO’s world was defined neither in terms of the contemporaneous geopolitical polarisation of the Cold War nor the ongoing decolonisation process. Instead, the catalogue served the purpose of proposing a cultural intervention in geopolitics, providing a reimagining of political realities constructed on a cultural basis and given a concrete form through cinema.
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Wu, Tongtong. "The Male Gaze Like in Chinese and Western Movies." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 287–91. http://dx.doi.org/10.54097/w2xrn742.
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In the history of the development of the film industry, different cultures and countries have had classic films. But in a patriarchal society, many classic movies are filled with the male gaze. Even though the status of women has undergone significant changes in the evolving society, implicit discourses and concepts of sexism still exist. This article chooses the Chinese movie "In the Mood for Love" and the Hollywood movie "The Tourist" to analyze the male gaze in Chinese and Western films. The research significance of this article is to explore the different manifestations of the male gaze and the symbolization of female characters through the analysis of the male gaze in films from different cultures. This article uses the method of comparative analysis to study the female role under the male gaze. The expressions of the male gaze are different in different cultures, but the gaze under the patriarchal system is essentially the same.
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Bochniarz, Marek S., and Przemysław Sztafiej. "Japońskie filmy o Ajnach w perspektywie amerykańskiego westernu." Przestrzenie Teorii, no. 31 (December 6, 2019): 357–72. http://dx.doi.org/10.14746/pt.2019.31.19.
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Recently the topic of transnationalism in the arts has become a popular strand of academic research. Nevertheless, this phenomenon is not an entirely new concept. In cinema it has been a constant element since its inception. One of the most important inspirations for world cinema has been the traditional cinematography of the USA, especially from the period of the great film studios, with the western being one of the most popular and imitated genres. Although it seems to be inextricably connected with the American myth of the frontier, the Wild West, the theme of expansion, and the conflict of ‘civilization’ and ‘wildness/savagery’ has reverberated outside the USA. In Japan westerns resonated on both the consumer-commercial and artistic levels. Japanese filmmakers utilized elements of the genre while weaving in some native contexts. The history of colonization of the northern island of Hokkaidō and its native inhabitants – the Ainu people – have been a point of reference for Japan-based western films. In this article, the authors analyze the western-specific genre elements in Japanese films about the Ainu people, while concentrating on the portrayal of individuals, groups and human relations on the frontier.
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Hiramoto, Mie. "Wax on, wax off: mediatized Asian masculinity through Hollywood martial arts films." Text & Talk 35, no. 1 (January 1, 2015): 1–23. http://dx.doi.org/10.1515/text-2014-0028.
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AbstractThis paper examines the mediatization of Asian masculinity in representative Hollywood martial arts films to expose the essentialism on which such films rely. Asian martial arts films are able to tap into viewers’ familiarity with idealized images of Asian masculinity; such familiarity is an essential part of the pleasure provided by these films and hence of their economic success. This study focuses on non-Asian (that is, western) protagonists’ appropriation of Asian masculinity because it succinctly encapsulates precisely how western hegemonies co-opt and commodify Asian-ness for their own purposes. Such appropriation is a use of intertextuality that not only allows western viewers to easily access a simplified model of Asian masculinity, but also allows them to reference earlier works to further facilitate the mediation and mediatization of Asian masculinity. This is a process which continues to Other and exoticizes Asian identities, even as it ostensibly carves out a niche for Asian bodies and identities in the institution of the film industry.
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Sahoo, Shwetasaibal Samanta, and Sarat Kumar Lenka. "Destination Marketing Through Film Tourism: A Study on Western Orissa." Atna - Journal of Tourism Studies 5, no. 1 (December 1, 2010): 25–39. http://dx.doi.org/10.12727/ajts.5.3.
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Film tourism is a growing phenomenon worldwide, fueled by both the growth of the entertainment industry and the increase in international travel model for exploiting film tourism marketing opportunities. Tourism destination marketing is now widely recognized as an essential component in the management of destinations. In harmony with the general marketing literature, which understands marketing as a management tool, some researchers understand destination marketing as a form of 'market-oriented strategic planning' and hence as a strategic approach to place development rather than a promotional tool.Tourists today are more experienced and looking for new destinations and new experience. In the tourism industry, there has been a growing phenomenon that tourists visit destinations featured through films which are not directly related to DMOs' tourism promotion. This is a new form of cultural tourism called film-induced tourism which still receives little attention from both academic and practitioners due to the lack ofknowledge and understanding on the benefits of film on tourism. Recent research suggests that films can have strong influence on tourist decision-making and films do not only provide short-term tourism revenue but long-term prosperify to the destination. The primary focus of this article is to provide a theoretical insight into the relationship between films induced tourism and destination imagery, which in turn can be used to market Western Orissa.
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Holtz, Martin. "The Western and the War Film: Clint Eastwood’s „American Sniper” as Genre Hybrid." Studia Filmoznawcze 38 (June 21, 2017): 105–19. http://dx.doi.org/10.19195/0860-116x.38.8.
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The article explores the similarities of Westerns and war films and the ways in which the two genres have cross-fertilized each other since World War II. Central to their similarities are their efforts to render violence as a “regenerative” Slotkin means to establish or defend American civilization. Since the Vietnam War, however, the Western has taken a revisionist turn, and its subsequent evocations in war films expose the frontier ideology of justified violence in the name of the advancement of American civilization as a failed ideological project and highlight the imperialist aggression that connects America’s westward expansion with its military efforts. Using the example of Clint Eastwood’s film American Sniper 2014, the article argues that the use of Western elements in contemporary films about the Iraq War adds a sense of moral ambiguity to the portrayal of the hero, who exhibits a pathological obsession with a Western image of the righteous protector of civilization that is ultimately destructive to himself and the society he wants to protect.WESTERN A FILM WOJENNY — SNAJPER CLINTA EASTWOODA JAKO GATUNKOWA HYBRYDAArtykuł jest eksploracją podobieństw między westernem a filmem wojennym i sposobów, w jakie obydwa gatunki wzajemnie się przenikały od czasu II wojny światowej. Głównym ich podobieństwem jest próba prezentowania przemocy jako „odradzającego się” Slotkin środka służącego ustanowieniu bądź obronie amerykańskiej cywilizacji. Jednakże od wojny wietnamskiej western przeszedł rewizjonistyczny zwrot, a jego kolejne ewokacje w filmach wojennych eksponują ideologię Pogranicza będącą usprawiedliwieniem przemocy w imię zaawansowania amerykańskiej cywilizacji jako projektu ideologicznego upadłego i ukazują imperialistyczną agresję, która łączy amerykańską ekspansję na zachód z jej militarnymi wysiłkami. Na przykładzie Snajpera Clinta Eastwooda 2014 niniejszy esej przekonuje, że zastosowanie westernowych elementów we współczesnych filmach o irackiej wojnie przydaje moralnej dwuznaczności portretowi bohatera, przejawiającego patologiczną obsesję westernowym image’em prawego obrońcy cywilizacji, skrajnie destrukcyjnego wobec siebie oraz społeczeństwa, które chce osłaniać. Przeł. Kordian Bobowski
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Tarancón, Juan A. "“Se habla español: A Certain Tendency in the Western Film”." Miscelánea: A Journal of English and American Studies 36 (December 31, 2007): 101–17. http://dx.doi.org/10.26754/ojs_misc/mj.20079766.
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If, at any moment, the traditional Turnerian West thesis wavered in its assertion of the significance of the epic frontier narrative in U.S. history, the texts that followed, Hollywood’s films among them, helped solidify and perpetuate a set of values and certainties about gender, race, and land that became a synonym for United States national identity and purpose. Drawing upon these general widespread assumptions, this article examines the role and the impact of frontier narratives in the Hollywood western film. Hollywood films have not always endorsed the official version of history and they often retaliate by challenging in multiple ways the homogeneous mythical view of the frontier experience regarded as dominant and genuine. The writer argues that a number of 1950s films such as The Ride Back! (Allen H. Miner, 1957), The Bravados (Henry King, 1958) or Man from Del Rio (Harry Horner, 1956), focus on the alienation of the traditional hero and on the social tensions in the borderlands of South Texas and portray the West both as the site where the genuine U.S.-ness is to be found and, at the same time, as an empty signifier where the struggle for meaning is played out in the encounter with the other. In addition, this article explores a contemporary border narrative such as Lone Star (John Sayles, 1996) to illustrate how genre films find the mechanisms to call into question the channels that validate and sanction some discourses to the detriment of others.
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Melbye, David. "Sisyphus on horseback: Landscape allegory in the postwar Western." European Journal of American Culture 42, no. 2 (September 1, 2023): 123–36. http://dx.doi.org/10.1386/ejac_00100_1.
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This article locates a psychological mobilization of natural settings in the post-war Westerns Duel in the Sun, Lonely Are the Brave, and Man in the Wilderness, which I refer to as ‘Sisyphean’ landscape allegory. This narrative of inner conflict is not only expressed through an inhospitable terrain per se, but also through the protagonist’s physical attempts to navigate and/or overcome it as a primary obstacle. I argue that the existential sense of futility these films invoke through their Sisyphean sequences serves to corroborate audience angst rather than to assuage it. At the same time, the larger therapeutic agenda of these films for American audiences varied according to their cultural milieu.
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Lee, Myeong-Jun, and Jeong-Hann Pae. "Representation of Wilderness in Western Films: An Aesthetic Interpretation." Journal of the Korean Institute of Landscape Architecture 41, no. 2 (April 30, 2013): 1–10. http://dx.doi.org/10.9715/kila.2013.41.2.001.
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Gupta, Annie. "ANCIENT INDIAN CONCEPTS AS PORTRAYED IN CONTEMPORARY WESTERN FILMS." International Journal of Advanced Research 11, no. 09 (September 30, 2023): 275–85. http://dx.doi.org/10.21474/ijar01/17528.
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Historically, in the European imagination, India was a place that existed outside of history. The German philosopher G.W.F.Hegel wrote that India-with its psychology, religion, caste-system, and holy men - existed in a dream-like state. However, India, like every other place in the world, has never existed outside of history as an exotic dreamland. It has had itsown complex economic, social and political things going on regardless of whether the West was aware of it. India is a dream of the West. Being a maelstrom of human, social, and spiritual contradictions, India has always attracted many western filmmakers. In order to give a glimpse of its ancient concepts, complex reality and dynamism the contemporary global view of filmmakers on the lifestyle and the diversity of this country has been proposed. Many westernfilmmakers, including those from France, have had a desire to express themselves often with talent.The aim of this research paper is to bring forth their insight into life and culture of India. An analysis of how Westerners have stereotyped Indian concepts or accounted for the profound changes inIndian societyin their films has been done.
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Coll-Planas, Gerard. "Assimilation, hybridity and encountering. The cinematic representation of queer migrants from Muslim backgrounds living in Europe." Communications 45, no. 1 (March 26, 2020): 74–97. http://dx.doi.org/10.1515/commun-2019-2050.
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AbstractMuslim migrants are the counter-figures through whom the modern Western identity is shaped. In Islamophobic discourses, they are constructed as inherently sexist and homophobic. In this ideological context, queer migrants coming from Muslim countries occupy an intersectional social location between Islamophobia and homophobia. In this paper we analyze the cinematic representation of queer migrants living in Europe coming from Muslim backgrounds. The aim of the paper is to analyze whether the films reproduce or subvert the Western “gay narrative”. The corpus of analysis is made up of 19 films which were studied through a process of categorization of the relevant fragments in a matrix. The films are classified in three categories according to their approach. The first gathers those films that hold an assimilationist discourse, according to which queer migrants should embrace the Western “gay narrative” and abandon the values of the communities of origin. In the second category, the films propose a hybrid perspective in which characters merge elements from both the country of residence and the cultural background of origin in the exploration of their sexuality and gender. The films in the third category revolve around a metaphorical relationship between a queer migrant and a native person, promoting a reflection on the possibilities of transformative encounters that break the boundaries between supposedly opposed social groups.
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O, Michaela. "Dividual Film Aesthetics." Philosophy International Journal 6, no. 2 (April 14, 2023): 1–6. http://dx.doi.org/10.23880/phij-16000294.
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The term “dividual” aims to present a critical view of the Western conception of persons and artworks as individuals. It is used in Euro-American anthropology in order to analyze the practical and ethical interferences between single persons and communities mainly in non-Western cultures. It is also used by Gilles Deleuze in Cinema 1. The Movement-Image in order to describe the aesthetic and self-affective character of films: since the filmic images cannot be temporarily fixed and individualized, he calls them “dividual”, much like contemporary plurivocal musical compositions. He reads their articulations as transitions between temporarily varying semiotic combinations; thus, they are not “‘divisible or indivisible’, but ‘dividual.’”(14) Referring to this Deleuzian concept, I want to delve into different films under this aesthetic perspective, exposing their character of mutual allusions and formal adaptations: from a docufiction by Jean Rouch to feature films by Jean-Luc Godard, Med Hondo and Jean-Pierre Bekolo. These films dividuate themselves due to their aesthetic interferences and the curious observation that certain European film styles were “invented” in an African context.
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Vidojković, Dario. "Early Representations of Wartime Violence in Films, 1914–1930." Cultural History 6, no. 1 (April 2017): 37–56. http://dx.doi.org/10.3366/cult.2017.0134.
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This article deals with the cinematic representations of warfare violence and with its aestheticization in early films. It argues, in particular, that the patterns and narrative structures of (anti-)war movies were laid out during the First World War. Among the first films establishing those patterns and rules were D.W. Griffith's The Birth of a Nation, a film on the American Civil War, and Hearts of the World, showing the war on the western front, produced in 1918. Films such as these offered the main elements that would mark, henceforth, how anti-war movies would portray violence. With the up-coming of sound, moviegoers would be able not only to see, but also to hear what a war sounded like. Lewis Milestone's All Quiet on the Western Front (1930), one of the first sound films, exposed the audiences to a series of (calculated) audio/visual distortions, including explosions, screams, and the monotone sound of machinegun fire.
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Chaudhary, Dr Muhammad Umair, Dr Abdul Ghani, and Hassan Naseer. "Islamophobia In Western Media: A Study Of American Movies After 9/11." Journal of Peace, Development & Communication Volume 5, no. 1 (March 30, 2021): 143–50. http://dx.doi.org/10.36968/jpdc-v05-i01-13.
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The present study discussed the feelings and sentiments that unquestionably exist in Western media particularly in U.S films against Islam and Muslims after Sep 11, 2001, terrorist attacks in the United States, and the reaction to them increased the hater against Muslims. Specifically, the assumption that Islam is characteristically fierce or that Muslims have a reopensity for psychological warfare. Since 9/11, explicit people have transformed Islamophobia into an industry. In this study, content analysis of some commercially successful U.S films is being provided that has perpetuated popularized Islamophobia. Specifically, Hollywood films i.e. American Sniper, The Hurt Locker, and The Dictator have been examined. Although the researcher’s analysis fundamentally talks about these movies inside the setting of twenty-first century Islamophobia, Additionally, it will also elaborate how relentless negative stereotypes are being drawn from decades against Muslims by the West with the help of media.
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Baglay, Valentina. "The horror genre in the world art. Iberian and Western folklore motifs." Latinskaia Amerika, no. 1 (2023): 96. http://dx.doi.org/10.31857/s0044748x0023819-9.
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Modern cinema, including horror films, in search of artistic and commercial success, is persistently looking for successful projects, where the right path is certainly the right choice of characters and plots. The article deals with horror in game cinema, based on the motives of folklore and post-folklore. As an example, the use of images of monsters from the Iberian ethno-folklore, as well as other similar characters in other cultures, is analyzed. The advantage of such scenarios is their originality. Films based on them are guided by traditions, the artistic images of which develop organically in the collective memory of ethnic groups. In addition, invariants are formed that differ in a greater variety than those generated by the imagination of individual cinematographers. Such a direction of horror development is a possible way to overcome cliches in horror films as an essential direction of modern Western cinema.
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Brown, Shane. "Sissies and lost pardners: Issues of masculinity and male queerness in the early Western." European Journal of American Culture 42, no. 2 (September 1, 2023): 149–65. http://dx.doi.org/10.1386/ejac_00102_1.
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During the silent and early sound era, the Western became one of the most popular genres, making stars of actors like William S. Hart and Tom Mix. The genre ranged from epic Westerns such as The Covered Wagon (1923) and The Iron Horse (1924) through to quickly made B-movies, and even on to short parodies. The Western emerged from the silent era with a maturity not present in other genres, and its appeal only grew during the pre-code talkie era. At the same time, American film was exploring male sexuality and gender norms in a way that it would not be able to do again for several decades. This article traces the relationship between images of male queerness and intimacy within the Western during the first four decades of American filmmaking, from the early short films of 1894 through to the introduction of the Production Code in 1934.
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Lewis, Zachary. "Constructing Western Civilisation and Eastern Otherness." Advances in Humanities Research 1, no. 1 (December 21, 2021): 19–23. http://dx.doi.org/10.54254/ahr.2021005.
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Edward Saids Orientalism reveals the functionality of the oriental in Western culture that the idea of European identity as a superior one in comparison with all the non-European peoples and cultures. There is in addition the hegemony of European ideas about the Orient, themselves reiterating European superiority over Oriental backwardness This idea can largely apply to the Hollywood films made in the Middle East. The representations on the orientals are extremely similar and biased. This paper aims to use The Hurt Locker (Kathryn Bigelow, 2008) and American Sniper (Clint Eastwood, 2014) to demonstrate that the East is artificially instructed by the West through unfolding the processes of othering.
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Wang, Jiayi. "War Narratives of All Quiet on the Western Front." Communications in Humanities Research 20, no. 1 (December 7, 2023): 94–99. http://dx.doi.org/10.54254/2753-7064/20/20231298.
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This article commences by exploring the renowned novel All Quiet on the Western Front by Remarque, offering a concise introduction to three film adaptations derived from it. It emphasizes the achievements of these adaptations and their societal impact during their respective eras. The subsequent section conducts an in-depth evaluation of a new cinematic adaptation, dissecting its strengths and weaknesses. The authors perspectives primarily revolve around three key aspects: firstly, the article delves into the distinctive narrative perspectives and the desired emotional impacts conveyed through the use of third-person viewpoints in the films. Secondly, it scrutinizes the various artistic techniques employed, such as the immersive qualities of panoramic cinematography, the unconventional use of colors that distinguish it from typical war-themed films, and the occasionally unique, and at times eccentric, musical scores. Lastly, the article undertakes an analysis from the viewpoint of German filmmakers, seeking to comprehend the reasons behind significant alterations made to the original source material.
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Carter, Matthew. "Personalizing the Apocalypse: Frontier Mythology and Genre Hybridity in „Maggie”." Studia Filmoznawcze 38 (June 21, 2017): 121–35. http://dx.doi.org/10.19195/0860-116x.38.9.
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An independent U.S.-Swiss co-production released by Lionsgate Films and Roadside Attractions, Maggie 2015 is marketed as apost-apocalyptic Horror drama and appears most obviously as azombie-apocalypse film. It soon becomes apparent, however, that Maggie differs markedly from other, more traditional zombie-apocalypse films. It blends recognizable elements from several mainstream genres and, though largely conforming to the well-known conventions of so-called classical realism, echoes some of the alternative narrative strategies traditionally associated with independent American and European cinemas. Although Maggie is rich with interpretive possibilities, this article shall touch on a less overt, some might even say fringe aspect of its narrative; namely, its engagement with a number of aspects of America’s frontier mythology. This might seem astrange connection to make at first since the frontier myth as apopular cultural referent is most often associated with the Hollywood Western, and the Western is clearly not Maggie’s most recognizable narrative schema. However, the myth’s association with the Western, while historically dominant, is far from exclusive and it would also be amistake to deny the myth’s links to other film genres through the related connections that exist between categories of films that, on the surface, seem to have little to do with one another. This is especially so in afilm as “genre confused” as Maggie.To be clear, this article does not claim Maggie to be a Western, at least not in any traditional sense that we might understand it. Rather, it interprets Maggie as apart of amore general trend in contemporary cinema typified by the hybridization of the codes and conventions of numerous genres and subgenres; especially, but not exclusively, those that bring an international perspective to bear on traditional genre categories. In the case of Maggie, this works to undermine audience expectations through aprocess of inversion and deconstruction that reconfigures the erstwhile familiarity of the zombie-apocalypse’s popular-cultural terrain. For, in referencing the Western and its related frontier mythology in the way that it does, Maggie demonstrates the adaptability and continued relevance of both in relation to the complex dynamics of contemporary global film genres. It is within this context that Maggie references the Western and, in so doing, highlights the continuing influence of frontier mythology in contemporary popular culture. PERSONALIZACJA APOKALIPSY — MITOLOGIA POGRANICZA I GATUNKOWA HYBRYDOWOŚĆ W FILMIE MAGGIE HENRY’EGO HOBSONANiezależna amerykańsko-szwajcarska produkcja zrealizowana przez Lionsgate Films i Roadside Attractions — Maggie 2015 — jest reklamowana jako postapokaliptyczny horror, a jawi się w sposób najoczywistszy jako zombie-apokaliptyczny film. Wkrótce stanie się jednak oczywiste, że obraz ten różni się znacząco od innych, bardziej tradycyjnych zombie-apokaliptycznych obrazów. Łączy w sobie rozpoznawalne elementy z wielu gatunków głównego nurtu kina i mimo że przeważnie opiera się na znanych konwencjach tak zwanego klasycznego realizmu, przywołuje pewne alternatywne strategie narracyjne, tradycyjnie identyfikowane z niezależnym amerykańskim i europejskim kinem. Maggie obfituje w liczne możliwości interpretacyjne, jednak niniejszy artykuł koncentruje się na mniej widocznym, można by nawet rzec marginalnym, aspekcie jego struktury. Mianowicie na obecności w nim kilku aspektów mitologii amerykańskiego Pogranicza. Na pierwszy rzut oka może się to wydać dziwnym odniesieniem, ponieważ mit pograniczny jako odwołanie w kulturze popularnej jest najczęściej kojarzony z hollywoodzkim westernem, a sam western nie jest też najbardziej rozpoznawalnym narracyjnym schematem filmu Hobsona. Jednakże skojarzenie mitu z westernem, historycznie dominujące, nie jest przecież wyłączne i byłoby również błędem odmawianie związków zmitem innym filmowym gatunkom przez ich pokrewieństwa, istniejące między kategoriami filmów, które na pozór wydają się mieć niewiele wspólnego. Jest tak szczególnie w przypadku utworu tak „gatunkowo mieszanego” jak Maggie. Dla jasności — w artykule film ten nie jest definiowany jako western, przynajmniej nie w tradycyjny sposób rozumienia gatunku. Jest raczej interpretowany jako część bardziej ogólnego trendu we współczesnym kinie, naznaczonego hybrydyzacją kodów i konwencji wielu gatunków i podgatunków; zwłaszcza, choć nie wyłącznie, tych, które przynoszą międzynarodową perspektywę na podstawie tradycyjnych gatunkowych parametrów. W przypadku Maggie działa to tak, aby podważyć oczekiwania publiczności przez proces inwersji i dekonstrukcji, który przeformułowuje dotychczasową swojskość popkulturowego zombie-apokaliptycznego obszaru. Dlatego że odwołując się do westernu i ideologii Pogranicza w sposób, w jaki czyni to Maggie, film ten demonstruje zdolność adaptowania się i trwającą ważność obu tych fenomenów w relacji do złożonej dynamiki współczesnych globalnych gatunków filmowych. To właśnie w tym kontekście Maggie przywołuje western i — czyniąc to — rzuca światło na trwający wpływ ideologii Pogranicza na współczesną popularną kulturę. Przeł. Kordian Bobowski
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Helm, Katharina. "Women’s Pleasure Online? A Contrasting Analysis of One Japanese Mainstream and One Women’s Pornographic Film from the Internet." Vienna Journal of East Asian Studies 8, no. 1 (December 20, 2017): 33–64. http://dx.doi.org/10.2478/vjeas-2016-0002.
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Abstract This paper introduces the results of a two-stage analysis of one Japanese mainstream and one women’s pornographic film from the Internet, asking whether any differences between the gender representations of both sexes can be observed, and whether these differences correspond to the films’ Western counterparts. In the first stage, the films are being analysed regarding their correspondence to characteristics of mainstream pornography and, respectively, criteria of women’s pornography, which were developed through Western feminists’ debates. The detailed case studies of the two films that were selected as examples deal with their general and sexual contents, aesthetic elements, dialogues, and the appearance of the characters. In the second stage, the gender roles are being examined. The analysis firstly confirms that both films correspond to their Western counterparts and that they contain substantial differences concerning contents, aesthetic elements, dialogues, and the quality of the displayed relationship of the characters. Secondly, the paper shows that the gender representations in the mainstream pornographic film stick to conventional gender roles related to this genre, with an emphasis on male-centered sexual practices, which are linked to the female body’s objectification. By contrast, the women’s pornographic film features-besides female-friendly sexual practices-non-sexual aspects of the relationship between the characters and introduces an alternative male role model.
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Hussain, Tanveer, Ashraf Iqbal, and Muhammad Asif Yaseen. "Influence of Westernized Culture on Women Via Television Drama and Films: A Survey of Lahore District." Global Regional Review V, no. IV (December 30, 2020): 43–58. http://dx.doi.org/10.31703/grr.2020(v-iv).05.
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The study is conducted to investigate the "Influence of westernized culture on eastern women via tv drama and films." Tv drama and films play an important role in women and youth life as it influences their lifestyle, dressing sense and language as well. In this research, the researcher wants to know the influence of western culture on eastern women. The data was collected from a sample of 130 women in Lahore via an online questionnaire survey. Five research questions were developed in this research which focuses on the influence of western culture on eastern women, their lifestyle, dressing sense, their speaking style and for how long the influence remains on them. The researcher analyzed that there are choices to women whether to influenced or not but the western culture replacing eastern culture and playing an important role in people's life through drama and film content. It's also the fact that only a small number of women are in favor to ban the western content.
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Jaskulski, Józef. "A Contaminated Landscape: Andreas Prochaska’s „The Dark Valley” as a „Nestbeschmutzer” Western." Studia Filmoznawcze 38 (June 21, 2017): 59–73. http://dx.doi.org/10.19195/0860-116x.38.5.
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Associated by audiences worldwide with the 1960s Winnetou westerns featuring Pierre Brice as the heroic Apache chief originally introduced by Karl May’s adventure novels, the Western in the German-speaking countries has showed renewed signs of life early into the twenty first century. Several productions have been released, including Uwe Boll’s computer game-based Bloodrayne 2006, Kilian Manning’s post-apocalyptic Snowblind 2010 and Thomas Arslan’s naturalistic Gold 2013. While these films constitute notable examples of the global trend to redefine the Western as a transnational genre, they tend to be largely derivative, amounting to inter-generic pulp infused with references to the classics. One intriguing exception to this tendency can be found in Andreas Prochaska’s The Dark Valley 2015. Set in late nineteenth-century Tyrol, the film follows in the footsteps of Michael Haneke’s The White Ribbon and Stefan Rusowitzky’s The Counterfeiters as another Austrian Academy Award candidate tackling the country’s Nazi past. The paper offers an interpretation of Prochaska’s picture as arevisionist allegory of Austrian collective memory, and an exemplar of the transnational Western today: aglocal genre whose universally recognizable formula enables directors to comment on locally specific issues. The author examines The Dark Valley in the context of the Austrian Nestbeschmutzer literature in particular Thomas Bernhard’s Extinction and Martin Pollack’s non-fiction books, on the one hand, and as an inventive combination of the Heimatfilm with the dark vein of the spaghetti Western represented by Sergio Corbucci, on the other.SKAŻONY KRAJOBRAZ — MROCZNA DOLINA ANDREASA PROCHASKI JAKO NESTBESCHMUTZER WESTERNKojarzony przez światową publiczność z westernami o Winnetou z lat 60. z Pierre’em Brice’em w roli głównej jako bohaterskim wodzem Apaczów, pierwotnie wprowadzonym w powieściach przygodowych Karola Maya, western ten w krajach niemieckojęzycznych dał nowe oznaki życia na początku XXI wieku. Ukazało się do tej pory kilka produkcji, m.in. oparty na grze komputerowej Bloodrayne Uwe Bolla 2006, postapokaliptyczny Snowblind 2010 Kiliana Manninga oraz naturalistyczny Gold 2013 Thomasa Arslana. Choć filmy te są istotnymi przykładami światowego trendu nadającego westernowi nowy ponadnarodowy wymiar, przejawiają tendencję głównie derywacyjną, równając się z międzygatunkową pulpą, aromatyzowaną nawiązaniem do gatunkowej klasyki. Jeden intrygujący wyjątek od tej tendencji można odnaleźć w filmie Mroczna dolina 2014 Andreasa Prochaski. Osadzony w dziewiętnastowiecznym Tyrolu, film ten naśladuje Białą wstążkę Michaela Hanekego oraz Fałszerzy Stefana Rusowitzkiego jako kolejny kandydat do nagrody Austriackiej Akademii dotykający kwestii nazistowskiej przeszłości kraju. Artykuł prezentuje interpretację obrazu Prochaski jako rewizjonistycznej alegorii zbiorowej pamięci Austriaków oraz jako wzorcowego współczesnego ponadnarodowego westernu — globalnego gatunku, którego powszechnie rozpoznawalna formuła umożliwia reżyserom komentowanie typowo lokalnych problemów. Z jednej strony autor analizuje Mroczną dolinę w kontekście austriackiej literatury Nestbeschmutzer w szczególności książki Wymazywanie. Rozpad Thomasa Bernharda oraz książek literatury faktu Martina Pollacka, zdrugiej zaś strony ujmuje ją jako pomysłową kombinację Heimatfilmu z ciemną nutą spaghetti westernu reprezentowanego przez Sergia Corbucciego. Przeł. Kordian Bobowski
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Lindvall, Terry. "God in the Saddle: Silent Western Films as Protestant Sermons." Journal for the Academic Study of Religion 21, no. 3 (May 17, 2008): 318–44. http://dx.doi.org/10.1558/jasr.v21i3.318.
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Hall, Kenneth E. "The James Bond Films, the Orphan Myth and the Western." Film International 19, no. 2 (June 1, 2021): 85–94. http://dx.doi.org/10.1386/fint_00090_1.
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