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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Autor principal:	Adam Wadenius
Formato:	article
Lenguaje:	EN
Publicado:	University of Edinburgh 2009
Materias:	Fine Arts N Language and Literature P
Acceso en línea:	https://doaj.org/article/7abcdc5156c44c949d51af4b3466dc80
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id	oai:doaj.org-article:7abcdc5156c44c949d51af4b3466dc80
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spelling	oai:doaj.org-article:7abcdc5156c44c949d51af4b3466dc802021-11-23T09:46:00ZORAL HISTORY AS POLITICAL RESISTANCE: Posse and Once Upon a Time in Mexico1749-9771https://doaj.org/article/7abcdc5156c44c949d51af4b3466dc802009-12-01T00:00:00Zhttp://www.forumjournal.org/article/view/631https://doaj.org/toc/1749-9771In 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.Adam WadeniusUniversity of EdinburgharticleFine ArtsNLanguage and LiteraturePENForum, Iss 09 (2009)
institution	DOAJ
collection	DOAJ
language	EN
topic	Fine Arts N Language and Literature P
spellingShingle	Fine Arts N Language and Literature P Adam Wadenius ORAL HISTORY AS POLITICAL RESISTANCE: Posse and Once Upon a Time in Mexico
description	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.
format	article
author	Adam Wadenius
author_facet	Adam Wadenius
author_sort	Adam Wadenius
title	ORAL HISTORY AS POLITICAL RESISTANCE: Posse and Once Upon a Time in Mexico
title_short	ORAL HISTORY AS POLITICAL RESISTANCE: Posse and Once Upon a Time in Mexico
title_full	ORAL HISTORY AS POLITICAL RESISTANCE: Posse and Once Upon a Time in Mexico
title_fullStr	ORAL HISTORY AS POLITICAL RESISTANCE: Posse and Once Upon a Time in Mexico
title_full_unstemmed	ORAL HISTORY AS POLITICAL RESISTANCE: Posse and Once Upon a Time in Mexico
title_sort	oral history as political resistance: posse and once upon a time in mexico
publisher	University of Edinburgh
publishDate	2009
url	https://doaj.org/article/7abcdc5156c44c949d51af4b3466dc80
work_keys_str_mv	AT adamwadenius oralhistoryaspoliticalresistanceposseandonceuponatimeinmexico
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ORAL HISTORY AS POLITICAL RESISTANCE: Posse and Once Upon a Time in Mexico

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