Transnationalism and Imperialism: New Perspectives on the Western

Mise en ligne : 16 novembre 2018
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Seung-Hwan Shin (University of Pittsburgh), "North by West: The Manchurian Western and Minoritarian Cinema"

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Seung-Hwan Shin (University of Pittsburgh), "North by West: The Manchurian Western and Minoritarian Cinema"
Conférence
00:27:41
Seung-Hwan Shin (University of Pittsburgh), "North by West: The Manchurian Western and Minoritarian…

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

Samira Nadkarni (Independent Scholar), "Chhattisgarh as India’s Frontier: Reading Masurkar’s Newton (2017) as Postcolonial Western"
Conférence
00:28:46
Samira Nadkarni (Independent Scholar), "Chhattisgarh as India’s Frontier: Reading Masurkar’s Newton…

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

Jesus Angel Gonzalez Lopez (Universidad de Cantabria, Santander), "Transnational Post-Westerns in French Cinema: Adieu Gary and Les Cowboys"
Conférence
00:24:58
Jesus Angel Gonzalez Lopez (Universidad de Cantabria, Santander), "Transnational Post-Westerns in F…

The concept of transnational post-Westerns stems from Neil Campbell’s definition of post-Westerns as films “coming after and going beyond the traditional Western [genre] while engaging with and

Hadrien Fontanaud (Université Paul-Valéry Montpellier 3), •	“Lawrence of Arabia (Lean, 1962): Reframing Imperialism and the Poetics of the Desert”
Conférence
00:24:54
Hadrien Fontanaud (Université Paul-Valéry Montpellier 3), • “Lawrence of Arabia (Lean, 1962): Refra…

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

Delphine Robic-Diaz (Université Paul-Valéry Montpellier 3), “Claude Bernard-Aubert's Les Tripes au soleil (1959) : Exoticism and Decadence at the Twilight of Colonialism”
Conférence
00:18:55
Delphine Robic-Diaz (Université Paul-Valéry Montpellier 3), “Claude Bernard-Aubert's Les Tripes au …

Claude Bernard-Aubert est un ancien combattant d'Indochine (comme Pierre Schoendoerffer qu'il a d'ailleurs côtoyé à cette époque), auteur de Patrouille de choc, 1er film sur la guerre d

Fareed Ben-Youssef (NYU Shanghai), “'Just Make Me Look Good’: The Duel Against Mythic Representation in the Transnational Western Films of Chloé Zhao”
Conférence
00:25:39
Fareed Ben-Youssef (NYU Shanghai), “'Just Make Me Look Good’: The Duel Against Mythic Representatio…

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)

Table ronde "Contemporary Western FIlm Studies"
Conférence
01:22:49
Table ronde "Contemporary Western FIlm Studies"

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

Marek Paryz (University of Warsaw), “Unwanted Salvation: The Use of the Savior Formula in Andreas Prochaska’s The Dark Valley (2014)”
Conférence
00:20:59
Marek Paryz (University of Warsaw), “Unwanted Salvation: The Use of the Savior Formula in Andreas P…

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

Jenny Barrett (Edge Hill University), “(Not) John Wayne & (Not) the American West in Jauja (2014): Lisandro Alonso’s Slow Western"
Conférence
00:24:31
Jenny Barrett (Edge Hill University), “(Not) John Wayne & (Not) the American West in Jauja (2014): …

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

Céline Murillo (Université Sorbonne Paris Cité), “The Mimic Indians in Westerns : a Transnational Concept”
Conférence
00:25:07
Céline Murillo (Université Sorbonne Paris Cité), “The Mimic Indians in Westerns : a Transnational C…

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

Costanza Salvi (Bologna University), “John Ford’s Cavalry Trilogy: American Imperialism or Irish Republicanism?”
Conférence
00:24:18
Costanza Salvi (Bologna University), “John Ford’s Cavalry Trilogy: American Imperialism or Irish Re…

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

Patrick Adamson (University of St Andrews), "Transnationalism and the Transcontinental Railroad: Exporting the Silent Epic Western”
Conférence
00:20:55
Patrick Adamson (University of St Andrews), "Transnationalism and the Transcontinental Railroad: Ex…

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