| A genre in which description and dialogue are | | | | Revisionist Westerns |
| lean, and the landscape spectacular, is well | | | | |
| suited to film. Early Westerns were mostly | | | | 'Revisionist' is a term used in genre studies |
| filmed in the studio like other early | | | | to describe films that change traditional |
| Hollywood movies, but when location shooting | | | | elements of a genre. |
| became more common, producers of Westerns | | | | |
| used desolate corners of New Mexico, | | | | After the early 1960s, many American |
| California, Arizona, Utah, Nevada, Kansas, | | | | film-makers began to question and change many |
| Texas, Colorado or Wyoming, often making the | | | | traditional elements of westerns. One major |
| landscape not just a vivid backdrop, but a | | | | change was in the increasingly positive |
| character in the movie. Productions were also | | | | representation of Native Americans who had |
| filmed on location at movie ranches. | | | | been treated as "savages" in earlier films. |
| | | | Audiences began to question the simple |
| The Western genre itself has sub-genres, such | | | | hero-versus-villain dualism and the morality |
| as the epic Western, the shoot 'em up, | | | | of using violence to test one's character or |
| singing cowboy Westerns, and a few comedy | | | | to prove oneself right. Some recent Westerns |
| westerns. The Western re-invented itself in | | | | give women more powerful roles. |
| the revisionist Western. | | | | |
| | | | Contemporary Westerns |
| Cowboys and gunslingers play prominent roles | | | | |
| in Western movies. Often fights with Native | | | | Contemporary Westerns, as the name implies, |
| Americans are depicted. In early Westerns, | | | | are films that have contemporary American |
| the "Injuns" are frequently portrayed as | | | | settings but nevertheless utilise Old West |
| dishonorable villains; however, many | | | | themes and motifs (a rebellious antihero, |
| "revisionist" Westerns give the natives more | | | | open plains and landscapes, climactic |
| sympathetic treatment. Other recurring themes | | | | gunfights, etc.). For the most part, they |
| of westerns include western treks and groups | | | | still take place in the American West and |
| of bandits terrorising small towns such as in | | | | reveal the progression of the Old West |
| The Magnificent Seven. | | | | mentality into the late twentieth century. |
| | | | Examples include Sam Peckinpah's Bring Me the |
| The Classical Western film | | | | Head of Alfredo Garcia (1974), John Sayles' |
| | | | Lone Star (1996), Jim Jarmusch's Dead Man |
| The western film traces its roots back to | | | | (1996), Michael Winterbottom's The Claim |
| 1903's The Great Train Robbery, a silent film | | | | (2000), Robert RodrÃguez's Once Upon a |
| directed by Edwin S. Porter and starring | | | | Time in Mexico (2003), Tommy Lee Jones' The |
| Broncho Billy Anderson. The film's popularity | | | | Three Burials of Melquiades Estrada (2005), |
| opened the door for Anderson to become the | | | | Ang Lee's Brokeback Mountain (2005) and Wim |
| screen's first cowboy star, making several | | | | Wenders' Don't Come Knocking (2005). |
| hundred Western movie shorts. So popular was | | | | |
| the genre that he soon had competition in the | | | | Genre studies and Westerns |
| form of William S. Hart. | | | | |
| | | | In the 1960s academic and critical attention |
| In the United States, the western has had an | | | | to cinema as a legitimate art form emerged. |
| extremely rich history that spans many genres | | | | With the increased attention, film theory was |
| (comedy, drama, tragedy, parody, musical, | | | | developed to attempt to understand the |
| science fiction, etc.). The golden age of the | | | | significance of film. From this environment |
| western film is epitomised by the work of two | | | | emerged (in conjunction with the literary |
| directors: John Ford (who often used John | | | | movement) an enclave of critical studies |
| Wayne for lead roles) and Howard Hawks. | | | | called genre studies. This was primarily a |
| | | | semantic and structuralist approach to |
| Spaghetti Westerns | | | | understanding how similar films convey |
| | | | meaning. Long derided for its simplistic |
| During the 1960s and 1970s, a revival of the | | | | morality, the western film genre came to be |
| Western emerged in Italy with the "Spaghetti | | | | seen instead as a series of conventions and |
| Westerns" or "Italo-Westerns". Many of these | | | | codes that acted as a short-hand |
| films are low-budget affairs, shot in | | | | communication methods with the audience. For |
| locations (for example, the Spanish desert | | | | example, a white hat represents the good guy, |
| region of AlmerÃa) chosen for their | | | | a black hat represents the bad guy; two |
| inexpensive crew and production costs as well | | | | people facing each other on a deserted street |
| as their similarity to landscapes of the | | | | leads to the expectation of a showdown; |
| Southwestern United States. Spaghetti | | | | cattlemen are loners, townsfolk are family |
| Westerns were characterised by the presence | | | | and community minded, etc. All western films |
| of more action and violence than the | | | | can be read as a series of codes and the |
| Hollywood westerns. | | | | variations on those codes. |
| | | | |
| But the best of the genre, notably the films | | | | Since the 1970s, the western genre has been |
| directed by Sergio Leone, have a parodic | | | | unraveled through a series of films that used |
| dimension (the strange opening scene of Once | | | | the codes but primarily as a way of |
| Upon a Time in the West being a reversal of | | | | undermining them (Little Big Man and Maverick |
| Fred Zinnemann's High Noon opening scene) | | | | did this through comedy). Kevin Costner's |
| which gave them a different tone to the | | | | Dances with Wolves actually resurrects all |
| Hollywood westerns. Charles Bronson, Lee van | | | | the original codes and conventions but |
| Cleef and Clint Eastwood became famous by | | | | "reverses the polarities" (the Native |
| starring in Spaghetti Westerns, although they | | | | Americans are good, the U.S. Cavalry is bad). |
| were also to provide a showcase for other | | | | Clint Eastwood's Unforgiven uses every one of |
| noted actors such as Jason Robards, James | | | | the original conventions, only reverses the |
| Coburn, Klaus Kinski and Henry Fonda. | | | | outcomes (instead of dying bravely or |
| | | | stoically, characters whine, cry, and beg; |
| Ostern | | | | instead of a good guy saving the day, |
| | | | irredeemable characters execute revenge; |
| Westerns from the United States were popular | | | | etc.). |
| in Communist countries, and were a particular | | | | |
| favorite of Joseph Stalin. An entire genre of | | | | One of the results of genre studies is that |
| "Red Western" or "Ostern" films developed in | | | | some have argued that "Westerns" need not |
| Eastern Europe. These films usually portrayed | | | | take place in the American West or even in |
| the American Indians sympathetically, as | | | | the 19th Century, as the codes can be found |
| oppressed people fighting for their rights, | | | | in other types of movies. For example, a very |
| in contrast to American westerns of the time, | | | | typical Western plot is that an eastern |
| which frequently portrayed the Indians as | | | | lawman heads west, where he matches wits and |
| villains. They frequently featured | | | | trades bullets with a gang of outlaws and |
| Yugoslavians or Turkic people in the role of | | | | thugs, and is aided by a local lawman who is |
| the Indians, due to the shortage of authentic | | | | well-meaning but largely ineffective until a |
| Indians in Eastern Europe. | | | | critical moment when he redeems himself by |
| | | | saving the hero's life. This description can |
| Gojko Mitić is famous for his portrayals | | | | be used to describe any number of Westerns, |
| of righteous, kindhearted and charming Indian | | | | as well as the action film Die Hard. Hud, |
| chiefs ("Die Söhne der großen Bärin" | | | | starring Paul Newman, and Akira Kurosawa's |
| directed by Josef Mach). He became honorary | | | | Seven Samurai, are other frequently cited |
| chief of the tribe of Sioux when he visited | | | | examples of movies that don't take place in |
| the United States of America in the 90s and | | | | the American West but have many themes and |
| the television crew accompanying him showed | | | | characteristics common to Westerns. Likewise, |
| the tribe one his movies. American actor and | | | | it has been pointed out that films set in the |
| singer Dean Reed, an expatriate who lived in | | | | old American West may not necessarily be |
| East Germany, also starred in several films. | | | | considered "Westerns." |
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