Jesus Angel Gonzalez Lopez (Universidad de Cantabria, Santander), "Transnational Post-Westerns in French Cinema: Adieu Gary and Les Cowboys"

Conférence de Chantal Verdeil, « Les facultés de médecine de Beyrouth à la fin de la période ottomane, entre modernisation et impérialismes », mardi 2 mars 2021.

Amit V. Masurkar’s 2017 film, Newton is simultaneously a satire and reconfirmation of the myths of democratic nationhood, exploring a postcolonial narrative of internal colonisation in the creation

Reflecting on the Western’s development after WWII, André Bazin noted, “Its roots continue to spread under the Hollywood humus and…robust suckers spring up in the midst of the seductive but sterile

Roundtable on Contemporary Western Film Studies Chair: Hervé Mayer, Université Paul Valéry Montpellier 3 With, from left to right, Matthew Carter (Manchester Metropolitan University), Andrew Patrick

Filmed in 1962, Lawrence of Arabia offers a critical look on British imperialism. Yet this British and American co-production draws on the Empire films of the 1930’s: it focuses on one of the

Chinese filmmaker Chloé Zhao has established herself as a foremost chronicler of the experience of Native American youth. Her Westerns—"Songs My Brother Taught Me" (2015) and "The Rider" (2017)

Claude Bernard-Aubert est un ancien combattant d'Indochine

The Covered Wagon (1923) has long been regarded as a landmark in the development of both the western genre and the historical film. Paramount’s epic, along with the cycle of large-form westerns

Until Jauja (2014), Argentine director Lisandro had filmed only contemporary stories of isolated men in a long-take, observational style with non-professional actors, said to centre on ‘men who

Loosely based on James Warner Bellah’s stories published on Saturday Evening Post, Fort Apache (1948), She Wore a Yellow Ribbon (1949), and Rio Grande (1950) are pervaded with a jingoism totally

The Austrian film The Dark Valley (dir. Andreas Prochaska, 2014) provides a unique attestation to the applicability of the convention of the Western for problematizing context-specific social and

When Nobody, the native American character in Dead Man (Jim Jarmusch, 1995), recounts his travels as “an exhibit” in Europe, he explains that, to avoid attracting the attention he started to imitate