The Revision and Diversification of Westerns after the 1970s
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From the 1970s, Westerns declined as a popular genre. Inside the genre of Western, the decline was revealed through the revision or deconstruction of the norms established in the era of the Classical Hollywood cinema. However, the revision progressed in the various levels: theme, representation of race, reinterpretation of the history, and allegorical comments on current situations. The main revision was the treatment of the binary code of Civilization and Wilderness. In the revisionist era, Wilderness was represented as a spiritual, a nostalgic, a consoling, and a Paradise Lost type utopia while Civilization was treated as a cruel, a violent, an inhuman and an indifferent dystopia. This paper examines more concretely the revision in the works of Clint Eastwood's postwar reconciliation and multicultural utopia in The Outlaw Josey Wales, Walter Hill's Native American's position in Geronimo: An American Legend, Maggie Greenwald's demasculinization of Western in The Ballad of Little Jo, and Jim Jarmusch's psychedelic ecologism in Dead Man.
Abstract
From the 1970s, Westerns declined as a popular genre. Inside the genre of Western, the decline was revealed through the revision or deconstruction of the norms established in the era of the Classical Hollywood cinema. However, the revision progressed in the various levels: theme, representation of race, reinterpretation of the history, and allegorical comments on current situations. The main revision was the treatment of the binary code of Civilization and Wilderness. In the revisionist era, Wilderness was represented as a spiritual, a nostalgic, a consoling, and a Paradise Lost type utopia while Civilization was treated as a cruel, a violent, an inhuman and an indifferent dystopia. This paper examines more concretely the revision in the works of Clint Eastwood's postwar reconciliation and multicultural utopia in The Outlaw Josey Wales, Walter Hill's Native American's position in Geronimo: An American Legend, Maggie Greenwald's demasculinization of Western in The Ballad of Little Jo, and Jim Jarmusch's psychedelic ecologism in Dead Man.
참고문헌 (14)
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