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Journal articles on the topic 'Western'

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Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

Reagler, Robin. "Western." Iowa Journal of Literary Studies 7, no. 1 (1986): 126–27. http://dx.doi.org/10.17077/0743-2747.1201.

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8

Kwahulé, Koffi. "Western." Africultures 56, no. 3 (2003): 166. http://dx.doi.org/10.3917/afcul.056.0166.

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9

Brummels, J. V. "Western." Iowa Review 36, no. 2 (October 2006): 154–56. http://dx.doi.org/10.17077/0021-065x.6152.

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10

Hviding, Edvard. "Western Movements in Non-Western Worlds." Suomen Antropologi: Journal of the Finnish Anthropological Society 44, no. 3-4 (April 9, 2020): 101–22. http://dx.doi.org/10.30676/jfas.v44i3-4.91429.

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11

Cheng, Louis Yang-Ching. "Western psychotherapy and non-Western populations." British Journal of Psychiatry 160, no. 6 (June 1992): 864–65. http://dx.doi.org/10.1192/bjp.160.6.864b.

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12

Walworth, James. "Western U.S.: Zinc management for western pecans." Crops & Soils 46, no. 2 (March 2013): 22–24. http://dx.doi.org/10.2134/cs2013-46-2-9.

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13

Stern, Caitlin A. "Western Bluebird Captures a Western Fence Lizard." Wilson Journal of Ornithology 119, no. 1 (March 2007): 128–29. http://dx.doi.org/10.1676/06-002.1.

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14

Chatterjee, Shibashis. "Western Theories and the non-Western World." South Asian Survey 21, no. 1-2 (March 2014): 1–19. http://dx.doi.org/10.1177/0971523115592470.

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15

Miller, Jon R. "What is western about western regional science?" Annals of Regional Science 30, no. 4 (December 1996): 343–50. http://dx.doi.org/10.1007/bf01581947.

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16

Miller, Jon R. "What is western about western regional science?" Annals of Regional Science 30, no. 4 (December 1, 1996): 343–50. http://dx.doi.org/10.1007/s001680050030.

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17

Garbowski, Christopher. "„High Noon” at the Solidarity Corral: Wajda’s „Wałęsa” and the Classic Western." Studia Filmoznawcze 38 (June 21, 2017): 91–104. http://dx.doi.org/10.19195/0860-116x.38.7.

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In 1989 the iconic figure of Marshall Will Kane from the classic Western High Noon was effectively used by the Solidarity opposition for aposter during the campaign for the historic June 4 elections of that year. Almost aquarter of acentury later, Andrzej Wajda released his Wałęsa: Man of Hope 2013, which more or less concludes at that historic turning point. One thing that relates Wajda’s film to Fred Zinnemann’s is that both can be considered foundation myths. In this article foundation myths from classic Westerns in general and Wajda’s film in particular are analyzed on the basis of their relationship to Isaiah Berlin’s distinction of negative and positive freedom. Typically the classic Western deals with the problem of positive freedom, especially in the town-tamer subgenre to which High Noon belongs. Conversely, Wajda’s Wałęsa is concerned with the problem of negative freedom. Both positive and negative freedom myths within the examined film narratives cope with the problem of the hero in relation to political psychology and shed light on the issue of political realism.W SAMO POŁUDNIE W CORRALU SOLIDARNOŚCI — WAŁĘSA WAJDY A KLASYCZNY WESTERNW 1989 roku ikoniczna postać szeryfa Willa Kane’a z klasycznego westernu W samo południe była skutecznie używana przez solidarnościową opozycję na plakatach podczas kampanii poprzedzającej historyczne wybory 4 czerwca tego roku. Prawie ćwierć wieku później Andrzej Wajda zrealizował film Wałęsa: człowiek z nadziei 2013, który mniej więcej reasumuje ten historyczny zwrot. Jedna rzecz, która nawiązuje w filmie Wajdy do utworu Zinnemanna, to iż oba filmy mogą być postrzegane jako fundamenty mitów. W niniejszym szkicu fundamenty mitów z klasycznych westernów w ogóle i w filmie Wajdy w szczególności są analizowane na podstawie ich powiązań z rozróżnieniem pozytywnej i negatywnej wolności przez Isaiaha Berlina. Typowy klasyczny western podejmuje wątek pozytywnej wolności, szczególnie w odmianie town-tamer, do której należy W samo południe. Film Wajdy o Wałęsie — odwrotnie — podejmuje problem wolności negatywnej. Zarówno mit pozytywnej, jak i negatywnej wolności w ramach badanych opowieści obejmują problematykę bohatera w relacji do politycznej psychologii i rzucają światło na zagadnienie politycznego realizmu. Przeł. Kordian Bobowski
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18

SMITH, LAURA E. "A Western Legacy: The National Cowboy and Western Heritage Museum:A Western Legacy: The National Cowboy and Western Heritage Museum." Museum Anthropology 29, no. 1 (April 2006): 88–89. http://dx.doi.org/10.1525/mua.2006.29.1.88.1.

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19

Morari, Codruţa. "European Auteurs Revisit the Western: Thomas Bidegain’s Les Cowboys and Valeska Grisebach’s Western." New German Critique 46, no. 3 (November 1, 2019): 11–34. http://dx.doi.org/10.1215/0094033x-7727385.

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Abstract The classical film western enacts the myth of American manifest destiny, codifying and promulgating stories of the conquest of the West. Subsequent so-called revisionist westerns, of which John Ford’s The Searchers (1956) is the preeminent example, call this triumphal master narrative into question and probe the darker sides of American expansionism. Recent returns to the western by European auteurs both revisit the classic western and revise its revisionist extensions, foregrounding experiences of sociopolitical crisis, displacement, and disintegration of values such as community and home in an age of transnationalism and globalism. Focusing on two productions that self-consciously redeploy the western’s legacy, Thomas Bidegain’s Les Cowboys (2015) and Valeska Grisebach’s Western (2017), as well as some related examples, this article scrutinizes the myths of the genre and their enduring contemporary relevance.
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20

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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21

Nagase, T., M. Akizuki, M. Onoda, and M. Sato. "Chrysoprase from Warrawanda, Western Australia." Neues Jahrbuch für Mineralogie - Monatshefte 1997, no. 7 (September 12, 1997): 289–300. http://dx.doi.org/10.1127/njmm/1997/1997/289.

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22

Peaco, Ed, and Dan Zancanella. "Western Electric." Antioch Review 55, no. 3 (1997): 378. http://dx.doi.org/10.2307/4613556.

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23

Davis-Rice, Peter. "North western." Nursing Standard 3, no. 40 (July 1989): 42–43. http://dx.doi.org/10.7748/ns.3.40.42.s43.

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24

Kovrig, Bennett. "Western Approaches." International Journal 43, no. 1 (1987): 35. http://dx.doi.org/10.2307/40202508.

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25

Martin, Juan carlos gimeno. "Western Sahara." Tensões Mundiais 13, no. 25 (September 24, 2018): 37–52. http://dx.doi.org/10.33956/tensoesmundiais.v13i25.350.

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This article aims to reveal the complicity of the international community with Moroccan colonialism in Western Sahara. Since 1987, the Moroccan wall separates the Saharawi people into two groups: one group lives under Moroccan occupation, the other lives in exile camps in Southern Algeria. It is a Bedouin village, nomadic, colonized by Spain, but has maintained a persistent anti-colonial resistance and struggle for self-determination.
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26

Swingewood, Alan, J. G. Merquior, Erica Sherover-Marcuse, and Steven Lukes. "Western Marxism." British Journal of Sociology 39, no. 1 (March 1988): 134. http://dx.doi.org/10.2307/591006.

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27

N/A. "Western Abstracts." Journal Of Investigative Medicine 52, no. 01-S1 (2004): S079. http://dx.doi.org/10.2310/6650.2004.12849.

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28

Harmon, Maurice, John F. Deane, and Tim Robinson. "Western Magic." Books Ireland, no. 254 (2002): 311. http://dx.doi.org/10.2307/20632507.

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29

Good, Emily, and Henry Brant. "Western Springs." American Music 5, no. 2 (1987): 228. http://dx.doi.org/10.2307/3052174.

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30

Zunes, Stephen. "Western Sahara." Current History 95, no. 601 (May 1, 1996): 228–33. http://dx.doi.org/10.1525/curh.1996.95.601.228.

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31

Collins, Richard B. "Western Justice." Yale Law Journal 112, no. 5 (March 2003): 975. http://dx.doi.org/10.2307/3657510.

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32

Luoma, Bill. "western love." Vacarme 21, no. 4 (2002): 93. http://dx.doi.org/10.3917/vaca.021.0093.

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33

Osipova, E. V. "Western Marxism." Sociological Research 31, no. 3 (May 1992): 66–85. http://dx.doi.org/10.2753/sor1061-0154310366.

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34

Shields, Hugh. "Western Europe." Ethnomusicology 29, no. 1 (1985): 141. http://dx.doi.org/10.2307/852342.

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35

Carrell, Toni L. "Western Hemisphere." International Journal of Nautical Archaeology 23, no. 1 (February 1994): 57–61. http://dx.doi.org/10.1111/j.1095-9270.1994.tb00444.x.

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Carrell, Toni L. "Western Hemisphere." International Journal of Nautical Archaeology 26, no. 2 (May 1997): 159–68. http://dx.doi.org/10.1111/j.1095-9270.1997.tb01327.x.

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Osipova, E. V. "Western Marxism." Russian Social Science Review 33, no. 4 (July 1992): 38–57. http://dx.doi.org/10.2753/rss1061-1428330438.

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38

Human Rights Law in Africa, Editors. "WESTERN SAHARA." Human Rights Law in Africa Online 2, no. 1 (2004): 1678. http://dx.doi.org/10.1163/221160604x01575.

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39

Knutsen, Torbjørn L. "Western Approaches." Millennium: Journal of International Studies 42, no. 2 (January 2014): 448–55. http://dx.doi.org/10.1177/0305829814521548.

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40

&NA;. "WESTERN HEMISPHERE." Journal of Pediatric Gastroenterology and Nutrition 18, no. 4 (May 1994): 507–10. http://dx.doi.org/10.1097/00005176-199405000-00025.

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Heyman, Melvin B. "Western Transitions." Journal of Pediatric Gastroenterology and Nutrition 52, no. 2 (February 2011): 128. http://dx.doi.org/10.1097/mpg.0b013e31820ac29b.

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42

Nicholson, Alastair. "Western methods." International Journal of Operations & Production Management 19, no. 5/6 (May 1999): 538–51. http://dx.doi.org/10.1108/01443579910260865.

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43

Limage, Leslie J. "Western Europe." Comparative Education Review 33, no. 2 (May 1989): 278–80. http://dx.doi.org/10.1086/446850.

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Debeauvais, Michel. "Western Europe." Comparative Education Review 34, no. 2 (May 1990): 281–83. http://dx.doi.org/10.1086/446938.

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Tarrow, Norma. "Western Europe." Comparative Education Review 35, no. 2 (May 1991): 397–99. http://dx.doi.org/10.1086/447043.

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García-Garrido, José Luis. "Western Europe." Comparative Education Review 36, no. 2 (May 1992): 268–70. http://dx.doi.org/10.1086/447122.

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47

Phillips, Harry C. J., and Liz Kerr. "Western Australia." Australian Journal of Politics & History 50, no. 2 (June 2004): 278–87. http://dx.doi.org/10.1111/j.1467-8497.2004.247_5.x.

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48

Miragliotta, Narelle, and Campbell Sharman. "Western Australia." Australian Cultural History 28, no. 1 (April 2010): 87–93. http://dx.doi.org/10.1080/07288430903164868.

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Kroetsch, Robert. "Western Mindscape." American Review of Canadian Studies 31, no. 4 (December 2001): 561. http://dx.doi.org/10.1080/02722010109481069.

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50

Hodos, Tamar. "Western Greeks." Classical Review 55, no. 1 (March 2005): 202–4. http://dx.doi.org/10.1093/clrevj/bni112.

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