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Nombre de programmes trouvés : 285
Conférences

le (24m19s)

Costanza Salvi (Bologna University), “John Ford’s Cavalry Trilogy: American Imperialism or Irish Republicanism?”

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 associated with military life and community as well as the idea of expansion and taming of the frontier. But if we look at the opera isolating the numerous references to Irish history and traditions, its problematical nature appears. The adherence to stage-Irish conventions and ethnic humor, although read differently by many scholars defending its ambiguity and deconstructive power, might be considered ...
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le (24m32s)

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

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 ride lonesome’ (Quandt, 2008). Jauja, set in 1880s Argentina, follows the story of Danish Captain Dinesen, a man who ‘rides lonesome’ when his daughter elopes into the wilderness. It features the star Viggo Mortensen, half-Danish and partly raised in Argentina, who contributed to the film’s narrative and music, and is filmed by Finnish cinematographer, Timo Salminen. Mortensen’s and Salminen’s input led to narrative and ...
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Conférences

le (21m0s)

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

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 cultural issues. The film features an American man named Greider who arrives at a godforsaken Austrian village located in the mountains. As it turns out later, he comes there to avenge the father who had been killed before his birth. The village community is terrorized by the Brenner family, the descendants of the village’s founders. The Brenner patriarch and his sons follow very special rules ...
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Conférences

le (1h22m50s)

Table ronde "Contemporary Western FIlm Studies"

Roundtable on Contemporary Western Film StudiesChair: Hervé Mayer, Université Paul Valéry Montpellier 3With, from left to right, Matthew Carter (Manchester Metropolitan University), Andrew Patrick Nelson (Montana State University), Marek Paryz (University of Warsaw), Jesús Ángel González (Universidad de Cantabria) and Fareed Ben-Youssef (New York University Shanghai)  Areas of inquiry include: (1) The Western as transnational genre:What does the concept of transnationalism bring to the study of the Western genre? Which areas of Western Film Studies have been approached through this concept and can it be applied to new avenues of research?What is the specificity of American Westerns compared with ...
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Conférences

le (25m40s)

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

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)—center upon teenagers on the Pine Ridge Indian Reservation in South Dakota. In “Songs,” Zhao speaks to the burden of mythic portrayals upon these often-invisible populations. A white outsider—a proxy for the filmmaker—asks if she can take a photo of the film's hero on horseback. He replies, "Just make me look good." Commenting on this scene, Zhao stresses that the people of Pine ...
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Conférences

le (18m56s)

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”

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'Indochine en 1957 (film censuré, car en pleine guerre d'Algérie il était impossible de montrer la réalité du sort des troupes françaises dans un conflit de décolonisation, j'ai moi-même supervisé sa restauration en version Director's cut en 2012) ; son 2e film Les Tripes au soleil (1959) est une fable anticolonialiste que Claude Bernard-Aubert a pensé comme un western africain : dans une ville imaginaire, ...
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Conférences

le (24m55s)

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

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 battlefronts of the British Empire in Egypt as well as in the Middle East, and shows parallel with American westerns by emphasizing the confrontation between Whites Europeans and Natives. Many others elements reminds us of the western such as trains attacks, epic rides and more importantly the lonely hero and the wide-open spaces. This presentation aims to show how the ...
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Conférences

le (24m59s)

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

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 commenting on its deeply haunting assumptions and values” (Campbell 2013: 31). Although Westerns started out as a national genre, they soon became a transnational phenomenon, which was received and interpreted differently in a variety of national contexts. Once Westerns nearly disappeared from mainstream cinema, post-Westerns exploiting their heritage have appeared throughout the world, applying their assumptions and values to specific national environments. These films have ...
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Conférences

le (28m47s)

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

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 of national hegemony and law-making. The plot follows a young government clerk, Newton Kumar (Rajkummar Rao), whose attempts to honestly run a voting booth in the jungles of Chhattisgarh is hindered by the Indian army’s morally-ambiguous protocols, the constant threat of attack by Naxals (the soldiers of India’s Maoist-revolution), as well as his own rigid preconceptions of the democratic process and its best ...
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Conférences

le (27m42s)

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

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 hybrids” (“The Evolution of the Western”). This comment may feel puzzling to those familiar with his qualms over postwar Westerns that relied on extrinsic elements such as moral struggle, stylization, and eroticism to justify their existence. However, it becomes a powerful metaphor for the Western’s global dissemination. Its persistent germinations in far-flung lands confirm that unlike its decrepit trunk ...
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