Reframing Cult Westerns: From The Magnificent Seven to The Hateful Eight

Title Page
Copyright Page
Contents
Acknowledgments
Introduction:Cult Westerns and Cult Films
	The Western Today: A Cult Genre
	What Is a Cult Film?
	Cult Westerns
	Bibliography
Part 1: Classic Cult Westerns
	Chapter 1: “It Seemed Like a Good Idea at the Time”: Hollywood, Homology, and Hired Guns—the Making of The Magnificent Seven
		Introduction
		Authors and Auteurism
		Capturing the Zeitgeist?
		Contexts of Production
		Studios, Production Companies, and House Styles
		Conclusion
		Bibliography
	Chapter 2: The Historical Accuracy of Sergio Leone’s The Good, the Bad and the Ugly
		Introduction
		Historical Setting
		Sibley’s 1862 New Mexico Campaign
		Scenes and Set Designs Inspired by Historical Books and Photos
		Conclusion
		Bibliography
	Chapter 3: Where White Men Dream Out Loud: Robert Altman’s West
		Introduction
		Buffalo Bill and the Indians, or Sitting Bull’s History Lesson
		McCabe and Mrs. Miller
		The Man Who Shot Liberty Valance
		The Western as History, Myth, or Zeitgeist?
		Conclusion
		Bibliography
	Chapter 4: The Gold Rush: The New Right and the Westerns of 1980
		Introduction: This Town Isn’t Big Enough
		It’s Getting Dangerous to Be Poor
		I Said I’d Earn My Keep
		Take Everything He Has
		Conclusion: How the West Was Lost
		Bibliography
Part 2: Charting New Frontiers and Mapping Identity and Politics in International Cult Westerns
	Chapter 5: Landscape, Imagery, and Symbolism in Alejandro Jodorowsky’s El Topo
		Introduction
		Cultural Landscapes: (Dis)Placing El Topo
		Alejandro Jodorowsky, Samuel Beckett, and El Topo
		Conclusion
		Bibliography
	Chapter 6: Dancing with Death: Whity, a Singular Western
		Introduction
		Framing Genre and Form
		Western Elements
		Theatrical Race
		Identity Inside Out
		Conclusion: A Dance of Death
		Bibliography
	Chapter 7: Man of the West: Dean Reed’s (Cinematic) Frontier Personas in Blood Brothers and Sing, Cowboy, Sing!
		Introduction
		Setting the Stage: The Origins of Dean Reed’s Transnational Celebrity Persona
		Performing the American West in East Germany
		Indianerfilms: Performing German Cowboys and Indians
		An American Cowboy in an Indianerfilm
		Sing, Cowboy, Sing, an Explosion of Generic References
		The Singing Cowboy and the Circus: Dean Reed’s Frontier Masquerades
		An Ironic East German Frontier Imaginary
		Conclusion
		Bibliography
	Chapter 8: An(Other) West: The Limits of National Identity in The Proposition
		Introduction
		Antipodal Cinema and the Bushranger Genre
		The Proposition: The Dirty Business of Creating a Nation
		Conclusion
		Bibliography
Part 3: Contemporary Cult Westerns and Contemporary Concerns
	Chapter 9: The Return of the Repressed: Locating the Supernatural in US Civil War
		Introduction
		The American Civil War on Film
		American Films, the Civil War, and Horror
		The US Civil War on Film: The Italian Context
		American-Made US Civil War–Related Horror Films
		Conclusion
		Bibliography
	Chapter 10: Stranger and Friend: Non-American Westerns and the Immigrant in the Twenty-First Century
		Introduction: The American Dream
		Stranger and Friend
		Roots and Routes
		The Immigrant Redeemer
		The Salvation
		Slow West
		Jauja
		Conclusion
		Bibliography
	Chapter 11: The Intrusion of Climate in The Revenant
		Introduction
		The Possibility of Authenticity in the Western Genre and Landscape
		Making The Revenant: Difficulty and Authenticity
		Moments of Immersion
		CGI Animals Haunting the Frontier
		The Value of Making Westerns in the Anthropocene
		Conclusion
		Bibliography
	Chapter 12: “Hand in Hand We’ll Get There”: —the Racial Politics of The Hateful Eight
		Introduction
		Reconstruction in the West
		Restaging the Civil War
		Ironic Post-Racial Harmony
		Conclusion: A More Perfect Union
		Bibliography
Filmography
About the Editor and the Contributors
Index