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Foundational Myths and National Identity in European Transnational Post-Westerns

Foundational Myths and National Identity in European Transnational Post-Westerns Foundational Myths and National Identity in European Transnational Post- Westerns Jesús Ángel González Th e concept of transnational post- Westerns stems from Neil Campbell’s defi nition of post- Westerns as fi lms “coming after and going beyond the traditional Western [genre] while engaging with and commenting on its deeply haunting assumptions and values” (Post- Westerns 31). Campbell relates his use of the prefi x post to words such as postcolonialism or postmodernism, in the sense that they come after but also oppose, deconstruct, and try to go beyond their antecedents; but he also references posthumous since Westerns have often been proclaimed dead, but they refuse to lie quietly in their graves. Th us, post- Western fi lms use the features of the genre to interact with them in complex dialogical ways, and they take the audience “into a space of refl ection, a critical dialogue with the form and content, its assumptions and histories” (31). In this way, “post- Westerns constantly and deliberately remind us of the persistent presence of the Western genre, its traces and traditions within the unraveling of new, challenging forms and settings” (309). Th e ex- amples that Campbell provides range from Bad Day at http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Western American Literature University of Nebraska Press

Foundational Myths and National Identity in European Transnational Post-Westerns

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Publisher
University of Nebraska Press
Copyright
Copyright © Western Literature Association
ISSN
0043-3462

Abstract

Foundational Myths and National Identity in European Transnational Post- Westerns Jesús Ángel González Th e concept of transnational post- Westerns stems from Neil Campbell’s defi nition of post- Westerns as fi lms “coming after and going beyond the traditional Western [genre] while engaging with and commenting on its deeply haunting assumptions and values” (Post- Westerns 31). Campbell relates his use of the prefi x post to words such as postcolonialism or postmodernism, in the sense that they come after but also oppose, deconstruct, and try to go beyond their antecedents; but he also references posthumous since Westerns have often been proclaimed dead, but they refuse to lie quietly in their graves. Th us, post- Western fi lms use the features of the genre to interact with them in complex dialogical ways, and they take the audience “into a space of refl ection, a critical dialogue with the form and content, its assumptions and histories” (31). In this way, “post- Westerns constantly and deliberately remind us of the persistent presence of the Western genre, its traces and traditions within the unraveling of new, challenging forms and settings” (309). Th e ex- amples that Campbell provides range from Bad Day at

Journal

Western American Literature – University of Nebraska Press

Published: Nov 5, 2019

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