In this book, John White explores how films such as Open Range, True Grit and Jane Got a Gun reinforce a conservative myth of America exceptionalism; endorsing the use of extreme force in dealing with enemies and highlighting the importance of defending the homeland.
In this book, John White explores how films such as Open Range, True Grit and Jane Got a Gun reinforce a conservative myth of America exceptionalism; endorsing the use of extreme force in dealing with enemies and highlighting the importance of defending the homeland.
John White teaches film studies at Anglia Ruskin University in Cambridge. He is co-editor of Fifty Key British Films (Routledge, 2008), Fifty Key American Films (Routledge, 2009) and The Routledge Encyclopedia of Films (Routledge, 2014). He recently contributed chapters to books on Budd Boetticher and Delmer Daves in the Edinburgh University Press ReFocus series, and is the author of Westerns (Routledge, 2011) and European Art Cinema (Routledge, 2017).
Inhaltsangabe
List of Figures; Acknowledgements; 1: Introduction; Part I: The Cinema of Heroes and Heroic Action; 2: Reclaiming the heroes and heroic attitudes of classic Westerns: Open Range (Kevin Costner, 2003); 3: Restoring the Western hero and reclaiming the classic Hollywood experience: True Grit (Joel Coen and Ethan Coen, 2010); 4: Defending home, defending homeland: Jane Got a Gun (Gavin O'Connor, 2016); Part II: The Cinematic Big Screen, Surround Sound, Ride; 5: Updating the escapism of the Western: The Lone Ranger (Gore Verbinski, 2013); 6: Affect and the immersive experience of bodily excess: The Revenant (Alejandro González Iñárritu, 2016); 7: The anchorless postmodern experience within an ahistorical filmic space: Django Unchained (Quentin Tarantino, 2012); Part III: The Cinema of Contemplative Reflection; 8: Employing religious concepts to address the political situation post-9/11: The Three Burials of Melquiades Estrada (Tommy Lee Jones, 2005); 9: Living in a world of fear and inexplicable evil: The Assassination of Jesse James by the Coward, Robert Ford (Dominik, 2007); 10: Conclusion
List of Figures; Acknowledgements; 1: Introduction; Part I: The Cinema of Heroes and Heroic Action; 2: Reclaiming the heroes and heroic attitudes of classic Westerns: Open Range (Kevin Costner, 2003); 3: Restoring the Western hero and reclaiming the classic Hollywood experience: True Grit (Joel Coen and Ethan Coen, 2010); 4: Defending home, defending homeland: Jane Got a Gun (Gavin O'Connor, 2016); Part II: The Cinematic Big Screen, Surround Sound, Ride; 5: Updating the escapism of the Western: The Lone Ranger (Gore Verbinski, 2013); 6: Affect and the immersive experience of bodily excess: The Revenant (Alejandro González Iñárritu, 2016); 7: The anchorless postmodern experience within an ahistorical filmic space: Django Unchained (Quentin Tarantino, 2012); Part III: The Cinema of Contemplative Reflection; 8: Employing religious concepts to address the political situation post-9/11: The Three Burials of Melquiades Estrada (Tommy Lee Jones, 2005); 9: Living in a world of fear and inexplicable evil: The Assassination of Jesse James by the Coward, Robert Ford (Dominik, 2007); 10: Conclusion
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