Revisionist Western

Last updated

The revisionist Western, also called the anti-Western, is a sub-genre of the Western film. [1] [2] [3] Called a post-classical variation of the traditional Western, the revisionist subverts the myth and romance of the traditional by means of character development and realism to present a less simplistic view of life in the "Old West". While the traditional Western always embodies a clear boundary between good and evil, the revisionist Western does not.

Contents

Revisionist themes have existed since the early 20th century but it was not until 1968, when the Hays Code restrictions were relaxed, that revisionism finally supplanted the traditional. Although many earlier Westerns are labelled as revisionist, the distinction between them is often blurred by variable themes and plot devices. Some are labelled psychological Westerns, which is closely related to and sometimes overlaps with the psychological drama and psychological thriller genres because of their focus on character, at the expense of the action and thrills that predominate in the traditional. Other revisionist films, in which action and adventure remain prominent, are labelled Indian Westerns or outlaw/gunfighter Westerns because, instead of the traditional hero, the protagonist is a Native American, an outlaw, or a gunfighter. The spaghetti Westerns of the 1960s, not bound by the Hays Code, were strongly revisionist by presenting morally ambiguous stories featuring an anti-hero or a sympathetic villain. From 1969, revisionism has prevailed in Western film production.

Concept

The traditional Western typically features a strong male lead character, often a lawman or cavalry officer, who takes direct action on behalf of supposedly civilized people against those deemed to be uncivilized (see also: Civilizing mission). The former are portrayed as honest townsfolk or travelers, and the latter as outlaws or hostile Native Americans. [4] [5]

In the revisionist Western, the traditional format and themes are subverted by such devices as the Native American protagonist; strong female characters; the outlaw protagonist; plots that are pre-eminently concerned with survival in a wild environment; or the presentation of a morally ambiguous storyline without definite heroes, these often featuring the so-called anti-hero or a sympathetic villain. The object is to blur the traditionally clear boundaries between "right" and "wrong" (the "good guy" against the "bad guy") by emphasizing the need for survival amidst ambiguity. [6] [7]

The traditional Western treats characters in simplistic terms as good or bad with minimal character development. The psychological Western, which began in the 1940s and was hugely popular through the 1950s and 1960s, prioritizes character development ahead of action whilst retaining most of the traditional aspects. For the most part, the psychological Western morphed into the revisionist Western as censorship restrictions were relaxed and removed in the 1960s. [8]

Shane (1953), directed by George Stevens, is a psychological Western. [9] [10] The title character (Alan Ladd) seems at first to be a traditional Western drifter riding across a traditional Western landscape but it is soon apparent that he has entered a complex setting which is populated by, as Kim Newman puts it, "believable characters with mixed motives". [11] Even though rancher Riker (Emile Meyer) is ostensibly the villain of the piece, he makes the point that he has striven for thirty years to develop the cattle range which is now being taken over by fence-building "sodbusters", many of whom have the mixed motives noted by Newman. [12] Despite the complexity of its characters, Shane is nevertheless filmed in a conventional setting and ends with the hero outshooting and killing the three main villains. There is, however, an element of revisionism in the ending when the disillusioned Shane admits to Riker that he knows his day as a gunfighter is over. Shane rides away to an uncertain future, possibly to die (he is wounded), and it is farmer Starrett (Van Heflin) and his family who endure. [13]

Fifteen years after Stevens's Shane, Sergio Leone directed Once Upon a Time in the West , a revisionist Western [14] [15] which completely subverts the traditional with complex characters and multiple plot devices, the key one being revenge – the motive of enigmatic gunfighter Harmonica (Charles Bronson). As in Shane, it is not the gunfighters who "inherit the West" but in this case the compassionate town-building ex-prostitute Jill (Claudia Cardinale). By the end of the film, all of the antagonists except Harmonica are dead and, like Shane, he rides away to an uncertain future. [16]

Development

Opinion is divided on the origin of the revisionist or psychological Western but it is generally agreed that there were hints of a darker perspective in some films of the 1930s such as Westward Ho (1935), directed by Robert N. Bradbury and starring John Wayne, in which the hero leads a band of vigilantes on a quest for revenge. Westward Ho is the earliest film in AllMovie's list of revisionist Westerns. [17] The earliest films classified by AllMovie as psychological Westerns are The Ox-Bow Incident and The Outlaw (both 1943). [18]

The Outlaw/Gunfighter sub-genre focused on outlaws and gunfighters as human beings rather than using them as stock characters, often dressed in black, as in traditional Westerns. The aim was to examine the impact of gunfights on the participants by revealing their neuroses and redeeming characteristics. AllMovie's earliest films of this type are two silents: The Road Agent (1926), directed by J. P. McGowan and starring Al Hoxie; and Jesse James (1927), directed by Lloyd Ingraham and starring Fred Thomson. [19]

In a similar vein, the Indian Western seeks to reverse negative stereotypes by sympathetic portrayal of Native Americans who, in the traditional Western, are nearly always the enemy of the "heroic" white settlers and cavalry. In the Indian Western, roles can be reversed with peaceful Native Americans driven to fight against white aggression. Usually, however, the Native American hero or heroine is played by brownface whites such as Burt Lancaster and Jean Peters in Apache (1954). In Dances with Wolves , the female lead was Mary McDonnell playing a white who had been raised by the Lakota. [20] There had been earlier films which portrayed Native Americans sympathetically, but the breakthrough for this sub-genre was Broken Arrow (1950), directed by Delmer Daves and starring James Stewart, with Jeff Chandler as Cochise. Kim Newman wrote that Chandler's performance established Cochise as "the 1950s model of an Indian hero" and the film inspired goodwill to other Native American chiefs such as Sitting Bull, Crazy Horse and Geronimo – as a result, "it became fashionable for Westerns to be pro-Indian". [21]

Many of the films were produced in the 1950s during the milieu of McCarthyism and attempted to strike back against blacklisting of the film industry at that time, notably High Noon (1952) starring Gary Cooper. [22] By the time of the loosening, and later abandonment, of the restrictive Hays Code in the 1960s, many directors of the New Hollywood generation such as Sam Peckinpah, George Roy Hill, and Robert Altman focused on the Western and each produced their own classics in the genre, including Peckinpah's The Wild Bunch (1969), Hill's Butch Cassidy and the Sundance Kid (1969), and Altman's McCabe & Mrs. Miller (1971). [8]

Meanwhile, European directors such as Sergio Leone and Sergio Corbucci had been making Western films unencumbered by American expectations nor Hays Code inspired censorship, and these spaghetti Westerns also provided a new perspective on the Western genre. Early examples of this sub-genre are Leone's A Fistful of Dollars , starring Clint Eastwood, and Corbucci's Minnesota Clay , starring Cameron Mitchell, both made in 1964. [23]

The revisionist and psychological Westerns have been carried forward from their own standard settings into the neo-Western, a notable of which is the Coen brothers' No Country for Old Men (2007), based on the work of Cormac McCarthy, an author known for writing revisionist Western literature, such as the novel Blood Meridian . [24]

Spaghetti Westerns

European countries, which had imported Western productions since their silent film inception, began creating their own versions and, in the 1964, Sergio Leone's A Fistful of Dollars became an international hit initiating the spaghetti Western filone. [25] Although they were mostly shot in Spanish locations, featured U.S. actors, and were co-produced by European and U.S. producers, many of the most successful directors were Italian, resulting in these films being known by the misnomer Spaghetti Western. Leone is often credited with initiating the growth of these co-produced European Westerns as he played a seminal role due to the financial success of A Fistful of Dollars. Scholars such as Austin Fisher have begun to pay attention to how in this popular genre Italian directors such as Damiano Damiani, Sergio Sollima and Sergio Corbucci, in responding to international and national events, chose the Western as a way to represent Leftist doctrine in the second half of the 1960s, interpreting the conflict between Mexico and the U.S. through the lens of Italian politics. [26] Leone popularized the morally ambivalent gunfighter through his representation of "The Man with No Name," Clint Eastwood's gritty anti-hero who was copied again and again in Spaghetti Westerns in characters such as Django and Ringo and which came to be one of its universal attributes. [27]

Counterculture

Beginning in the late 1960s, independent filmmakers produced revisionist and hallucinogenic films, later retroactively identified as the separate but related subgenre of "acid Westerns,” that radically turn the usual trappings of the Western genre inside out to critique both capitalism and the counterculture. [28] Monte Hellman's The Shooting and Ride in the Whirlwind (1966), Alejandro Jodorowsky's El Topo (1970), Roland Klick's Deadlock (1970), [29] [30] Robert Downey Sr.'s Greaser's Palace (1972), Alex Cox's Walker (1987), and Jim Jarmusch's Dead Man (1995) fall into this category. [31] Films made during the early 1970s are particularly noted for their hyper-realistic photography and production design. [32] Other films, such as those directed by Clint Eastwood, were made by professionals familiar with the Western as a criticism and expansion against and beyond the genre. Eastwood's The Outlaw Josey Wales (1976) and Unforgiven (1992) made use of strong supporting roles for women and Native Americans. [33]

List of revisionist Western films

This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by adding missing items with reliable sources.

This list is not exhaustive. It includes major films labelled revisionist Western, anti-Western, psychological Western, Indian Western, outlaw Western, gunfighter Western, or spaghetti Western. By 1970, revisionism had supplanted the traditional as the predominant Western sub-genre and so the list highlights the films released until then to illustrate the development of the concept.

1901–1950

1951–1955

1956–1960

1961–1970

Later films

Subsequently, revisionist themes have prevailed in Western film production. Major releases from 1971 to the present include:

See also

Related Research Articles

<span class="mw-page-title-main">Spaghetti Western</span> Film genre

The spaghetti Western is a broad subgenre of Western films produced in Europe. It emerged in the mid-1960s in the wake of Sergio Leone's filmmaking style and international box-office success. The term was used by foreign critics because most of these Westerns were produced and directed by Italians.

<i>The Good, the Bad and the Ugly</i> 1966 film directed by Sergio Leone

The Good, the Bad and the Ugly is a 1966 Italian epic spaghetti Western film directed by Sergio Leone and starring Clint Eastwood as "the Good", Lee Van Cleef as "the Bad", and Eli Wallach as "the Ugly". Its screenplay was written by Age & Scarpelli, Luciano Vincenzoni, and Leone, based on a story by Vincenzoni and Leone. Director of photography Tonino Delli Colli was responsible for the film's sweeping widescreen cinematography, and Ennio Morricone composed the film's score, including its main theme. It was an Italian-led production with co-producers in Spain, West Germany, and the United States. Most of the filming took place in Spain.

<span class="mw-page-title-main">Sergio Leone</span> Italian filmmaker (1929–1989)

Sergio Leone was an Italian filmmaker, credited as the pioneer of the spaghetti Western genre. He is widely regarded as one of the most influential directors in the history of cinema.

<span class="mw-page-title-main">Western (genre)</span> Multimedia genre

The Western is a genre of fiction typically set in the American frontier between the California Gold Rush of 1849 and the closing of the frontier in 1890, and commonly associated with folk tales of the Western United States, particularly the Southwestern United States, as well as Northern Mexico and Western Canada.

<i>Shane</i> (film) 1953 film by George Stevens

Shane is a 1953 American Technicolor Western film starring Alan Ladd, Jean Arthur, and Van Heflin. Released by Paramount Pictures, the film is noted for its landscape cinematography, editing, performances, and contributions to the genre. The picture was produced and directed by George Stevens from a screenplay by A. B. Guthrie Jr., based on the 1949 novel of the same name by Jack Schaefer. Its Oscar-winning cinematography was by Loyal Griggs.

<i>Unforgiven</i> 1992 film by Clint Eastwood

Unforgiven is a 1992 American Western film produced and directed by Clint Eastwood. It stars Eastwood himself, as William Munny, an aging outlaw and killer who takes on one more job, years after he had turned to farming. The film co-stars Gene Hackman, Morgan Freeman, and Richard Harris and was written by David Webb Peoples.

<i>A Fistful of Dollars</i> 1964 film directed by Sergio Leone

A Fistful of Dollars is a 1964 spaghetti Western film directed by Sergio Leone and starring Clint Eastwood in his first leading role, alongside Gian Maria Volonté, Marianne Koch, Wolfgang Lukschy, Sieghardt Rupp, José Calvo, Antonio Prieto and Joseph Egger. The film, an international co-production between Italy, West Germany and Spain, was filmed on a low budget, and Eastwood was paid $15,000 for his role.

<span class="mw-page-title-main">Gunfighter</span> Gun wielders in the American Old West

Gunfighters, also called gunslingers or in the late 19th and early 20th century gunmen, were individuals in the American Old West who gained a reputation of being dangerous with a gun and participated in shootouts. Today, the term "gunslinger" is more or less used to denote someone who is quick on the draw with a handgun, but this can also refer to those armed with rifles and shotguns. The gunfighter is also one of the most popular characters in the Western genre and has appeared in associated films, television shows, video games, and literature.

<i>Duck, You Sucker!</i> 1971 Zapata Western film directed by Sergio Leone

Duck, You Sucker!, also known as A Fistful of Dynamite and Once Upon a Time ... the Revolution, is a 1971 epic Zapata Western film directed and co-written by Sergio Leone and starring Rod Steiger, James Coburn, and Romolo Valli.

<i>The Great Silence</i> 1968 film directed by Sergio Corbucci

The Great Silence is a 1968 revisionist spaghetti Western film directed and co-written by Sergio Corbucci. An Italian-French co-production, the film stars Jean-Louis Trintignant, Klaus Kinski, Vonetta McGee and Frank Wolff, with Luigi Pistilli, Mario Brega, Marisa Merlini and Carlo D'Angelo in supporting roles.

<i>Dollars Trilogy</i> 1964–1966 Western films directed by Sergio Leone

The Dollars Trilogy, also known as the Man with No Name Trilogy, is an Italian film series consisting of three Spaghetti Western films directed by Sergio Leone. The films are titled A Fistful of Dollars (1964), For a Few Dollars More (1965) and The Good, the Bad and the Ugly (1966). Their English versions were distributed by United Artists, while the Italian ones were distributed by Unidis and PEA.

<span class="mw-page-title-main">Weird West</span> Term applied to three hybrid genres of the Western

Weird West is a term used for the hybrid genres of fantasy Western, horror Western and science fiction Western. The term originated with DC's Weird Western Tales in 1972, but the idea is older as the genres have been blended since the 1930s, possibly earlier, in B-movie Westerns, comic books, movie serials and pulp magazines. Individually, the hybrid genres combine elements of the Western genre with those of fantasy, horror and science fiction respectively.

<span class="mw-page-title-main">Acid Western</span> Western subgenre

Acid Western is a subgenre of the Western film that emerged in the 1960s and 1970s that combines the metaphorical ambitions of critically acclaimed Westerns, such as Shane and The Searchers, with the excesses of the Spaghetti Westerns and the outlook of the counterculture of the 1960s, as well as the increase in illicit drug taking of, for example, cannabis and LSD. Acid Westerns subvert many of the conventions of earlier Westerns to "conjure up a crazed version of autodestructive white America at its most solipsistic, hankering after its own lost origins".

<i>The Three Mesquiteers</i> American film series

The Three Mesquiteers is the umbrella title for a Republic Pictures series of 51 American Western B-movies released between 1936 and 1943. The films, featuring a trio of Old West adventurers, was based on a series of Western novels by William Colt MacDonald. The eponymous trio, with occasional variations, were called Stony Brooke, Tucson Smith and Lullaby Joslin. John Wayne, who played Stony Brooke in eight of the films in 1938 and 1939, was the best-known actor in the series. Other leads included Bob Livingston, Ray "Crash" Corrigan, Max Terhune, Bob Steele, Rufe Davis and Tom Tyler.

<i>Savage Guns</i> (1961 film) 1961 film

The Savage Guns is a 1961 Eurowestern film, an international co-production by British and Spanish producers. Based on a specially commissioned screenplay, The San Siado Killings, written by Peter R. Newman and directed by Michael Carreras, the film is credited as the first traditional Spaghetti Western.

<i>A Pistol for Ringo</i> 1965 film

A Pistol for Ringo is a 1965 Spaghetti Western, a joint Italian and Spanish production. Originally written and directed by Duccio Tessari, the film's success led to a follow-up, The Return of Ringo, later that year, which, in spite of sharing the same name for the titular character, is not a sequel to this film and deals with an entirely new character and storyline.

<span class="mw-page-title-main">Western comics</span> Comic genre

Western comics is a comics genre usually depicting the American Old West frontier and typically set during the late nineteenth century. The term is generally associated with an American comic books genre published from the late 1940s through the 1950s. Western comics of the period typically featured dramatic scripts about cowboys, gunfighters, lawmen, bounty hunters, outlaws, and Native Americans. Accompanying artwork depicted a rural America populated with such iconic images as guns, cowboy hats, vests, horses, saloons, ranches, and deserts, contemporaneous with the setting.

<span class="mw-page-title-main">Contemporary Western</span> Genre of fiction

Contemporary Western is a sub-genre of the Western genre that includes contemporary settings and uses Old West themes, archetypes, and motifs, such as a rebellious antihero, open plains and desert landscapes, or gunfights. This sub-genre includes the post-Western, neo-Western, and urban Western genres that include "the cowboy cult" in a modern setting that involves the audience's feelings and understanding of Western movies. A neo-Western can be said to use Western themes set in the present day. According to Stephen Teo in Eastern Westerns: Film and Genre Outside and Inside Hollywood, there is little difference between the neo-Western and post-Western, and the terms may often be used interchangeably.

<span class="mw-page-title-main">Western film</span> Film genre

The Western is a film genre defined by the American Film Institute as films which are "set in the American West that [embody] the spirit, the struggle, and the demise of the new frontier." Generally set in the American frontier between the California Gold Rush of 1849 and the closing of the frontier in 1890, the genre also includes many examples of stories set in locations outside the frontier – including Northern Mexico, the Northwestern United States, Alaska, and Western Canada – as well as stories that take place before 1849 and after 1890. Western films comprise part of the larger Western genre, which encompasses literature, music, television, and plastic arts.

References

  1. ↑ Such as by director Robert Altman about his 1971 film McCabe & Mrs. Miller , as cited in Shapiro, Michael J. (2008). "Robert Altman: The West as Countermemory". In Phillips, James (ed.). Cinematic Thinking: Philosophical Approaches to the New Cinema. Stanford University Press. p. 55. ISBN   978-0-8047-5800-0. He called his film an "'anti-Western' because the film turns a number of Western conventions on their sides"
  2. ↑ Ben Sachs, "The Sisters Brothers", Chicago Reader , September 27, 2018: "Neither a nostalgic throwback to traditional westerns nor a revisionist antiwestern, [...]"
  3. ↑ Brent McKnight, "On Robert Altman's Subversive Anti-western, 'McCabe & Mrs. Miller'", PopMatters , November 21, 2016: "[...] Robert Altman's revisionist anti-western, McCabe & Mrs. Miller, [...]"
  4. ↑ Indick, William (2014). The Psychology of the Western: How the American Psyche Plays Out on Screen. McFarland & Company. p. 17. ISBN   978-0-7864-9211-4. The Western hero himself epitomizes the animus archetype. He is a character that is completely and utterly masculine... In turn, the Native American is often portrayed as the shadow archetype, the representative of savage, wild emotions, and the dark adversary for the hero in their oedipal rivalry over the maternal landscape.
  5. ↑ Lenihan, John H. (1980). Showdown: Confronting Modern America in the Western Film. University of Illinois Press. p. 22. ISBN   978-0-252-01254-9. [Robert] Warshow defines the Western in terms of its hero, a lone man of honor, whose six-gun, tempered with his sense of justice and rectitude, wins the West on behalf of society. Although the hero acts in the interests of society, he acts alone and by his own code of honor. Secondary characters... merely provide background for the exploits and character of the hero.
  6. ↑ Nelson, Andrew Patrick (2015). Still in the Saddle: The Hollywood Western, 1969–1980. University of Oklahoma Press. ISBN   978-0-8061-5302-5.
  7. ↑ Picariello, Damien K. (2023). The Western and Political Thought: A Fistful of Politics. Springer Nature. p. 29. ISBN   978-3-031-27284-4.
  8. 1 2 Mask, Mia (February 28, 2023). Black Rodeo: A History of the African American Western. University of Illinois Press. ISBN   978-0-252-05402-0.
  9. ↑ Schaefer, Jack; Green, Frank (1994). Shane. Heinemann. p. 2. ISBN   978-0-435-97520-3.
  10. ↑ Indick, William (November 21, 2014). The Psychology of the Western: How the American Psyche Plays Out on Screen. McFarland. pp. 27–28. ISBN   978-0-7864-9211-4.
  11. 1 2 Newman 1990, p. 44.
  12. ↑ Newman 1990, p. 86.
  13. ↑ Newman 1990, p. 93.
  14. ↑ Matheson, S. (2012). Love in Western Film and Television: Lonely Hearts and Happy Trails. Springer Nature. p. 58. ISBN   978-1-137-27294-2.
  15. ↑ Johnson, Michael K. (2014). Hoo-Doo Cowboys and Bronze Buckaroos: Conceptions of the African American West. University Press of Mississippi. ISBN   978-1-62846-907-3.
  16. ↑ Newman 1990, pp. 39–40.
  17. 1 2 3 4 "Revisionist Western". AllMovie. p. 12. Retrieved January 23, 2022.
  18. 1 2 3 4 5 6 7 8 9 "Psychological Western". AllMovie. p. 7. Retrieved January 23, 2022.
  19. ↑ "Outlaw/Gunfighter Western". AllMovie. p. 12. Retrieved March 31, 2022.
  20. ↑ "Indian Western". AllMovie. p. 5. Retrieved March 31, 2022.
  21. ↑ Newman 1990, pp. 70–71.
  22. ↑ Frankel, Glenn (February 6, 2018). High Noon: The Hollywood Blacklist and the Making of an American Classic. Bloomsbury Publishing USA. pp. xvii. ISBN   978-1-62040-949-7.
  23. ↑ "Spaghetti Western". AllMovie. p. 15. Retrieved March 31, 2022.
  24. ↑ McMahon, Jennifer L.; Csaki, B. Steve (May 28, 2010). The Philosophy of the Western. University Press of Kentucky. pp. 222–223. ISBN   978-0-8131-2591-6.
  25. ↑ "Introduction to the history of Italian Cinema (part 2)" . Retrieved December 23, 2022.
  26. ↑ Fisher, Austin (2014). Radical Frontiers in the Spaghetti Western: Politics and Violence in Italian Cinema. Bloomsbury. pp. 1–2. ISBN   978-1-84885-578-6.
  27. ↑ Hughes, Howard (2001). Spaghetti Westerns. Pocket Essentials. pp. 7–8. ISBN   1-903047-42-0.
  28. ↑ Matheson, Sue (July 13, 2017). A Fistful of Icons: Essays on Frontier Fixtures of the American Western. McFarland. pp. 231–241. ISBN   978-0-7864-9804-8.
  29. 1 2 "Deadlock".
  30. 1 2 "Roland Klick: Celebration". September 2, 2019.
  31. ↑ Rosenbaum, Jonathan (Spring 1996). "A Gun Up Your Ass: An Interview with Jim Jarmusch". Cineaste . Vol. 22, no. 2. Retrieved September 1, 2014.
  32. ↑ Brophy, Philip (1987). "Rewritten Westerns: Rewired Westerns". Stuffing. No. 1. Melbourne . Retrieved September 1, 2014.
  33. ↑ Buscombe, Edward (July 25, 2019). Unforgiven. Bloomsbury Publishing. ISBN   978-1-83902-104-6.
  34. 1 2 3 4 5 6 7 "Outlaw (Gunfighter) Film". AllMovie. p. 8. Retrieved February 3, 2022.
  35. 1 2 3 4 5 6 7 8 9 10 11 12 "Outlaw (Gunfighter) Film". AllMovie. p. 7. Retrieved February 3, 2022.
  36. 1 2 3 4 5 6 7 8 9 10 11 12 "Outlaw (Gunfighter) Film". AllMovie. p. 6. Retrieved February 3, 2022.
  37. 1 2 3 4 5 6 7 8 9 10 11 12 "Psychological Western". AllMovie. p. 6. Retrieved January 25, 2022.
  38. ↑ Erickson, Hal. "Broken Arrow (1950)". AllMovie. Retrieved March 31, 2022.
  39. 1 2 3 4 5 6 7 8 9 10 11 12 "Revisionist Western". AllMovie. p. 11. Retrieved January 25, 2022.
  40. 1 2 3 4 5 6 7 8 9 10 11 12 "Psychological Western". AllMovie. p. 5. Retrieved January 25, 2022.
  41. 1 2 3 4 5 6 7 8 9 10 "Outlaw (Gunfighter) Film". AllMovie. p. 5. Retrieved February 3, 2022.
  42. 1 2 3 4 5 6 7 8 9 10 11 12 "Psychological Western". AllMovie. p. 4. Retrieved January 27, 2022.
  43. 1 2 3 4 5 6 7 "Psychological Western". AllMovie. p. 3. Retrieved January 27, 2022.
  44. ↑ Newman 1990, pp. 92, 156.
  45. ↑ The Magnificent Seven at AllMovie
  46. ↑ Sergeant Rutledge at AllMovie
  47. 1 2 3 4 5 6 7 8 9 10 11 12 "Revisionist Western". AllMovie. p. 10. Retrieved January 28, 2022.
  48. ↑ "Indian Western". AllMovie. p. 3. Retrieved February 8, 2022.
  49. 1 2 3 4 5 6 7 8 9 10 "Outlaw (Gunfighter) Film". AllMovie. p. 4. Retrieved February 6, 2022.
  50. 1 2 3 4 5 6 7 8 9 10 11 "Revisionist Western". AllMovie. p. 9. Retrieved February 6, 2022.
  51. 1 2 3 4 5 6 7 8 9 10 "Revisionist Western". AllMovie. p. 8. Retrieved February 6, 2022.
  52. ↑ "Indian Western". AllMovie. p. 2. Retrieved February 8, 2022.
  53. 1 2 3 4 "Revisionist Western". AllMovie. p. 7. Retrieved February 6, 2022.
  54. ↑ Brenner, Paul. "Lawman (1971)". AllMovie. Retrieved March 31, 2022.
  55. ↑ Erickson, Hal. "McCabe & Mrs. Miller (1971)". AllMovie. Retrieved September 13, 2019.
  56. ↑ Bozzola, Lucia. "Jeremiah Johnson (1972)". AllMovie. Retrieved July 7, 2022.
  57. ↑ Brenner, Paul. "Chato's Land". AllMovie. Retrieved September 13, 2019.
  58. ↑ Deming, Mark. "The Culpepper Cattle Co. (1972)". AllMovie. Retrieved March 31, 2022.
  59. ↑ Erickson, Hal. "The Great Northfield, Minnesota Raid (1972)". AllMovie. Retrieved September 13, 2019.
  60. ↑ Brenner, Paul. "Joe Kidd (1972)". AllMovie. Retrieved March 31, 2022.
  61. ↑ Brenner, Paul. "The Life and Times of Judge Roy Bean (1972)". AllMovie. Retrieved September 13, 2019.
  62. ↑ Rasmussen, Linda. "Ulzana's Raid (1972)". AllMovie. Retrieved March 31, 2022.
  63. ↑ Bozzola, Lucia. "High Plains Drifter (1973)". AllMovie. Retrieved September 13, 2019.
  64. ↑ Bozzola, Lucia. "Pat Garrett and Billy the Kid (1973)". AllMovie. Retrieved September 13, 2019.
  65. ↑ Bozzola, Lucia. "Buffalo Bill and the Indians, or Sitting Bull's History Lesson (1976)". AllMovie. Retrieved January 11, 2024.
  66. ↑ Bozzola, Lucia. "The Outlaw Josey Wales (1976)". AllMovie. Retrieved September 13, 2019.
  67. ↑ Brenner, Paul. "The Long Riders (1980)". AllMovie. Retrieved March 31, 2022.
  68. ↑ Deming, Mark. "Pale Rider (1985)". AllMovie. Retrieved March 31, 2022.
  69. ↑ Blaise, Judd. "Butch Cassidy and the Sundance Kid (1969)". AllMovie. Retrieved September 13, 2019.
  70. ↑ Bozzola, Lucia. "Unforgiven (1992)". AllMovie. Retrieved September 13, 2019.
  71. ↑ Erickson, Hal. "The Ballad of Little Jo (1993)". AllMovie. Retrieved September 17, 2023.
  72. ↑ Brenner, Paul. "Geronimo: An American Legend (1993)". AllMovie. Retrieved September 13, 2019.
  73. ↑ Ramsey, Lucinda. "Tombstone (1993)". AllMovie. Retrieved September 13, 2019.
  74. ↑ Williams, Karl. "The Quick and the Dead (1995)". AllMovie. Retrieved August 19, 2023.
  75. ↑ Buchanan, Jason. "3:10 to Yuma (2007)". AllMovie. Retrieved March 31, 2022.
  76. ↑ Dominik, Andrew. "The Assassination of Jesse James by the Coward Robert Ford (2007)". AllMovie. Retrieved March 31, 2022.
  77. ↑ Buchanan, Jason. "Bury My Heart at Wounded Knee (2007)". AllMovie. Retrieved March 31, 2022.
  78. ↑ Manning, Joseph. "True Grit (2010)". AllMovie. Retrieved May 6, 2023.
  79. ↑ Buchanan, Jason. "Django Unchained (2012)". AllMovie. Retrieved March 31, 2022.
  80. ↑ Lyne, Charlie. "A Girl Walks Home Alone At Night: 'the first Iranian vampire western'". TheGuardian. Retrieved June 2, 2024.
  81. ↑ Gelb, Daniel. "The Hateful Eight (2015)". AllMovie. Retrieved March 31, 2022.
  82. ↑ Ciampoli, Tom. "Brimstone (2016)". AllMovie. Retrieved March 31, 2022.
  83. ↑ Collura, Scott. "Logan Was Influenced by the Classic Western Shane". IGN. Retrieved June 2, 2024.
  84. ↑ "Hostiles movie review & film summary (2017) | Roger Ebert". RogerEbert.com. Retrieved February 1, 2024.
  85. ↑ Kenny, Kenny (March 15, 2019). "Never Grow Old". RogerEbert.com. Retrieved May 17, 2023.
  86. ↑ Russell, Callum (February 5, 2022). "Listen Up...'The Power of the Dog' is a western revisionist masterpiece". Far Out Magazine . Retrieved February 5, 2022.

Bibliography

  1. ↑ Wild Hearts Roam Free: An American tale set in the new Wild West: 1: Amazon.co.uk: Morey, J S: 9798815216136: Books. Independently published. May 2022. ISBN   979-8-8152-1613-6.{{cite book}}: |website= ignored (help)
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.