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New European Cinema: Redrawing the Map (review)

New European Cinema: Redrawing the Map (review) Heaven's Gate. Sergio Leone's Dollars films, with their absence of heroes and the implication that "anything good can only come from a willingness to risk the possibility of doing something evil" (168), are put in their proper place as heirs to Shane in the revisionist years. The chapters can be taken together for an indepth look at class and capital in the Western or individually to augment the study of a particular film or set of elements within the genre. The scholarship is extremely thorough with references from Lacan to Marx and Arendt to Freud. Historical context is a large and welcome presence in all the film analyses. Although the language can sometimes be dense, the reader will be rewarded with a new perspective on the genre and its take on class resentment as well as the paradoxical nature of American society. So where does Kill Bill enter into all of this? What does a female protagonist in a martial arts epic with the stylish, contemporary flash of Quentin Tarantino have to do with the Western? Rife with allusions to many classic Westerns, as well as numerous other genres, and the obligatory pop culture references, Kill Bill: Vols. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

New European Cinema: Redrawing the Map (review)

Journal of Film and Video , Volume 61 (3) – Sep 23, 2009

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Publisher
University of Illinois Press
Copyright
Copyright © University of Illinois Press
ISSN
1934-6018
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Abstract

Heaven's Gate. Sergio Leone's Dollars films, with their absence of heroes and the implication that "anything good can only come from a willingness to risk the possibility of doing something evil" (168), are put in their proper place as heirs to Shane in the revisionist years. The chapters can be taken together for an indepth look at class and capital in the Western or individually to augment the study of a particular film or set of elements within the genre. The scholarship is extremely thorough with references from Lacan to Marx and Arendt to Freud. Historical context is a large and welcome presence in all the film analyses. Although the language can sometimes be dense, the reader will be rewarded with a new perspective on the genre and its take on class resentment as well as the paradoxical nature of American society. So where does Kill Bill enter into all of this? What does a female protagonist in a martial arts epic with the stylish, contemporary flash of Quentin Tarantino have to do with the Western? Rife with allusions to many classic Westerns, as well as numerous other genres, and the obligatory pop culture references, Kill Bill: Vols.

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Sep 23, 2009

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