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Riding East—Western Myths, Nostalgia, and the Crossing of Generic Boundaries in Hidalgo (2004)

Riding East—Western Myths, Nostalgia, and the Crossing of Generic Boundaries in Hidalgo (2004) Riding East—Western Myths, Nostalgia, and the Crossing of Generic Boundaries in Hidalgo (2004) sylvie magerstädt Introduction dimension to current debates about the W - est ern, asHida lgo’s nostalgic-ironic reframing of in recent ye ars, se ver al schol arly traditional Western tropes together with ele - work s (e.g., Broughton; Johnson et al.; Mit - ch ments of the epic and the adventure film offers ell) have revisited one of the oldest genres a contemporary mash-up of myths that reflects in film history—the Western—to examine its the global audiences at which it is aimed. As lasting appeal and its ability to reinvent itself Johnson et al. note, “one of the distinctive through hybridization with other genres. Ho - w features of the western” is perhaps that it can ever, when genre hybridization is considered, “form unexpected combinations with other research often focuses on so-called weird- hy genres,” creating odd resonances between brids (see Green; Johnson et al.) or “darker” those genres (2). Through its playful eng - age varieties such as noir and crime fiction cro - ss ment with the Western, Hidalgo not only offers overs (e.g., Mitchell or Monticone). Joe Jo - hn a novel hybrid http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Riding East—Western Myths, Nostalgia, and the Crossing of Generic Boundaries in Hidalgo (2004)

Journal of Film and Video , Volume 74 (1) – Apr 6, 2022

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Publisher
University of Illinois Press
Copyright
Copyright © The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

Riding East—Western Myths, Nostalgia, and the Crossing of Generic Boundaries in Hidalgo (2004) sylvie magerstädt Introduction dimension to current debates about the W - est ern, asHida lgo’s nostalgic-ironic reframing of in recent ye ars, se ver al schol arly traditional Western tropes together with ele - work s (e.g., Broughton; Johnson et al.; Mit - ch ments of the epic and the adventure film offers ell) have revisited one of the oldest genres a contemporary mash-up of myths that reflects in film history—the Western—to examine its the global audiences at which it is aimed. As lasting appeal and its ability to reinvent itself Johnson et al. note, “one of the distinctive through hybridization with other genres. Ho - w features of the western” is perhaps that it can ever, when genre hybridization is considered, “form unexpected combinations with other research often focuses on so-called weird- hy genres,” creating odd resonances between brids (see Green; Johnson et al.) or “darker” those genres (2). Through its playful eng - age varieties such as noir and crime fiction cro - ss ment with the Western, Hidalgo not only offers overs (e.g., Mitchell or Monticone). Joe Jo - hn a novel hybrid

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Apr 6, 2022

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