ORAL HISTORY AS POLITICAL RESISTANCE: Posse and Once Upon a Time in Mexico
In the introduction to his The Western Reader Jim Kitses observes that the Western film, a genre long-heralded as the “cornerstone of American identity,” (16) is itself not exempt from an undertaking of racial and cultural revisionism. He points to a resurgence of films from the 1990’s that, in an e...
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| Formato: | article |
| Lenguaje: | EN |
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University of Edinburgh
2009
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| Acceso en línea: | https://doaj.org/article/7abcdc5156c44c949d51af4b3466dc80 |
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| Sumario: | In the introduction to his The Western Reader Jim Kitses observes that the Western film, a genre long-heralded as the “cornerstone of American identity,” (16) is itself not exempt from an undertaking of racial and cultural revisionism. He points to a resurgence of films from the 1990’s that, in an era of multi-culturalism, hybridity, and counter-strategies, have functioned to redefine the codes of the traditional Western, bringing to life the postmodern Western. The subversive politics of Jim Jarmusch’s Dead Man (1995), and Maggie Greenwald’s The Ballad of Little Jo (1993), are two such examples. |
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