Post-westerns : cinema, region, West
著者
書誌事項
Post-westerns : cinema, region, West
(Postwestern horizons)
University of Nebraska Press, c2013
- : hbk
大学図書館所蔵 全1件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. [359]-406) and index
内容説明・目次
内容説明
During the post-World War II period, the Western, like America's other great film genres, appeared to collapse as a result of revisionism and the emergence of new forms. Perhaps, however, as theorists like Gilles Deleuze suggest, it remains, simply "maintaining its empty frame." Yet this frame is far from empty, as Post-Westerns shows us: rather than collapse, the Western instead found a new form through which to scrutinize and question the very assumptions on which the genre was based. Employing the ideas of critics such as Deleuze, Jacques Derrida, and Jacques Ranciere, Neil Campbell examines the haunted inheritance of the Western in contemporary U.S. culture. His book reveals how close examination of certain postwar films-including Bad Day at Black Rock, The Misfits, Lone Star, Easy Rider, Gas Food Lodging, Down in the Valley, and No Country for Old Men-reconfigures our notions of region and nation, the Western, and indeed the West itself.
Campbell suggests that post-Westerns are in fact "ghost-Westerns," haunted by the earlier form's devices and styles in ways that at once acknowledge and call into question the West, both as such and in its persistent ideological framing of the national identity and values.
目次
Acknowledgments
Introduction: Big Hats, Horses, and Dust: The Visible and Invisible West
1. Dead Westerns: The Posthumous and the Post-Western
2. Mourning in America: The Lusty Men (1952) and Bad Day at Black Rock (1954)
3. "You and Your God's Country": The Misfits (1961)
4. "We Keep Heading West": Dennis Hopper and the Post-Western
5. Exile and Dislocation in the Urban Post-Western: The Exiles (1961) and Fat City (1972)
6. Post-Western Genealogies: John Sayles's Lone Star (1996) and Silver City (2004)
7. "Opened from the Inside Out": Wim Wenders's Don't Come Knocking (2005)
8. The Idioms of Living: Donna Deitch and Allison Anders
9. The Schizo-West: Down in the Valley (2005)
10. Spook Country: The Pensive West of No Country for Old Men (2007)
Conclusion: Is There a Politics of the Post-Western?
Notes
Index
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