Transnationalisme

«Mobilités des savoirs et des pratiques magico-thérapeutiques à Ste-Lucie, Stratégies et discours de légitimation des guérisseurs». Marie MEUDEC, Doctorante en anthropologie, Université Laval, Québec.

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

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

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

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

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

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

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

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

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

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