The Euro-Western reframing gender, race and the 'other' in film
Focuses on previously unstudied Italian, German and British films
| Autor principal: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
London ; New York, NY :
I.B. Tauris & Co. Ltd
2016.
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| Colección: | EBSCO Academic eBook Collection Complete.
Cinema and Society. |
| Acceso en línea: | Conectar con la versión electrónica |
| Ver en Universidad de Navarra: | https://innopac.unav.es/record=b40547450*spi |
Tabla de Contenidos:
- Cover; Half-title; endorsement; Title page; Copyright information; Table of contents; Acknowledgements; General Editor's Introduction; Introduction; Discussing the Western: the critical landscape; The Hollywood Western's representation of the 'Other' in brief and the structure of my study; Part I Indians in Europe: Indianthusiasm and the Representation of American Indians in West German Westerns; 1 West German Westerns: International Reception and Local Influences; Early affiliations and Nazi propaganda; The post war years and ethnic drag; Anthropology, Romanticism and German popular cinema.
- 2 The Representation of Indians in American Westerns'Bad' Indians outnumber 'good' Indians: The Big Trail (1930); Routed by the US Army: savage Indians and the 'Cavalry Trilogy' (1948-1950); Race relations and the pro-Indian Westerns: Broken Arrow (1950); Indians and Hollywood in the 1960s; 3 The Representation of Indians in West German Westerns; A new kind of cinematic Indian: Winnetou and The Treasure of Silver Lake (1962); Winnetou's central and commanding presence; Allegorical references to the recent past 1: the aesthetic of war.
- Allegorical references to the recent past 2: fascist figureheads, genocide and war crimes trialsThe significance of the landscape; Romanticism, Mountain films, inter-generational conflict and notions of Heimat; Groundbreaking representations of interracial romances: Winnetou the Warrior (1963) and Last of the Renegades (1964); Positive representations of 'mixed-blood' characters: The half-breed (1966); Part II Emancipation all'Italiana: The Representation of African Americans in Italian Westerns; 4 Italian Westerns: International Reception and Local Influences; Political stirrings.
- Leone, Morricone and examples of the more obviously 'local'The Southern Italians as 'Others'; Italy, Africa and images of black ethnicity in Italian cinema; The racial palimpsest in Italian Westerns; The circus and the street fair; 5 The Representation of Blacks in American Westerns; Early representations; A new black archetype: Vera Cruz (1954); The 'civil rights' Westerns of the 1960s; Reassessing black presence in 1960s US Westerns: Duel at Diablo (1966); The representation of black females in American Westerns; The Blaxploitation Westerns of the 1970s.
- 6 The Representation of Blacks in Italian WesternsRethinking the Black Venus: Lola Colt (1967) and The Great Silence (1968); Empowering the restricted black gaze; Freeing the fixed black female body; 'Sticking it to the Man' and interracial relationships; The black female action heroine; Reimagining the black male Westerner: Ace High (1968) and Boot Hill (1969); Finding the carnivalesque in Colizzi's films; Connecting the carnivalesque to Colizzi's black characters; Black anti-heroes; Part III Funny Men and Strong Women: The Representation of Frontier Femmes in British Westerns.
