The Hurt Locker (2008) as a film that "unsettles divisions between savagery and civilization" and questions the ability of the cowboy hero to effectively rescue victims (157). Western generic conventions appear with greater frequency in the post-9/11 cinematic landscape, Kollin tells us, as does the Western itself. True Grit, remade by the Coen brothers in 2010 and adapted from the 1968 Charles Portis novel of the same name, "intervenes in discussions of post-9/11 America" in provocative ways (164). Captivating Westerns goes both ways: it documents the history of Middle East influence on the Western in the United States, and it describes how Middle Eastern texts use the Western's conventions in surprising ways. In her penultimate chapter, "East of the Spaghetti Western: Global Travels of the Genre," Kollin makes a case for the Western's global transformations. From Iran, to Egypt, to Libya, and beyond, the Western has been adjusted to address local political affairs, especially those concerned with the possibilities for protest, the struggle for democracy, and the faulty nature of colonial logic. In characteristically clear and precise prose, Kollin closes her important study by suggesting that the Western itself engenders possibilities for "understanding how populations might interact and
Western American Literature – The Western Literature Association
Published: Jul 12, 2017
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