Western in the Global South

MaryEllen Higgins is Associate Professor of English at The Pennsylvania State University, Greater Allegheny Campus, USARita Keresztesi is Associate Professor of English at the University of Oklahoma, USADayna Oscherwitz is Associate Professor of French and Francophone Studies at Southern Methodist University, USA

• Preface Neil Campbell Introduction MaryEllen Higgins, Rita Keresztesi, and Dayna Oscherwitz Part 1: Colonial Circulations of the Western in the Global South 1. The Western in Colonial Southern Africa James Burns 2. Cassava Westerns: Theorizing the Pleasures of Playing the Outlaw in Africa Tsitsi Jaji 3. The Italian (Southern) Western: From Colonial Cinema to Spaghetti Western Giovanna Trento 4. From Django to Django Unchained – Love Narratives in the Global South Clifford T. Manlove Part 2: The Western in Sub-Saharan Africa and the Caribbean 5. In the Crossfire: Africa, Cinema, and Violence in Abderrahmane Sissako’s Bamako (2006) Dayna Oscherwitz 6. Trashing the Western’s Revenge Narrative in Mahamat-Saleh Haroun’s Daratt MaryEllen Higgins 7. Cowboys and West Indians: Decolonizing the Western and Perry Henzell’s The Harder They Come Rita Keresztesi Part 3: The Western in Australia and Asia 8. Aboriginal Cowboys? On the Possibilities of the Western in Australia’s Far West Andrew W. Hurley 9. Tears of the Black Tiger: The Western and Thai Cinema Jesus Jimenez-Varea and Milagros Expósito-Barea 10. Tamil B Movie Westerns: The Global South and Genre Subversion Swarnavel Eswaran Pillai Part 4: South American, Mexican and Borderlands Westerns 11. An ‘Imperfect' Genre: Rethinking Politics in Latin American Westerns Chelsea Wessels 12. Landscaping the Western: Ciro Guerra’s The Wind Journeys (2009) Carlos G. Torres-Rodríguez 13. Carlos Bolado’s Bajo California: Crossing Borders and Dislocating the Western Tradition Carolina Rueda 14. Disinterring the Western in Three Burials of Melquiades Estrada and No Country for Old Men Brent Strang

"With its illuminating focus on the Western as a malleable space of cultural blending that has traversed national and political boundaries, The Western in the Global South offers scholars of this genre and of transnational cinemas more broadly valuable material for historical research. By decentring the Western’s well-worn tropes from their supposed roots in US culture, and positioning multifarious strands of the Western within a polycentric cultural landscape, it offers a collection of fascinating case-studies by analysing specific cultural-political moments on their own terms." - Austin Fisher, University of Bedfordshire, UK