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The director Martin Scorsese narrates a sequence from his film, featuring Leonardo DiCaprio.

This comprehensive study of the Western covers its history from the early silent era to recent spins on the genre in films such as No Country for Old Men, There Will Be Blood, True Grit, and Cowboys & Aliens. While providing fresh perspectives on landmarks such as Stagecoach, Red River, The Searchers, The Man Who Shot Liberty Valance, and The Wild Bunch, the authors also pay tribute to many under-appreciated Westerns. Ride, Boldly Ride explores major phases of the Western’s development, including silent era oaters, A-production classics of the 1930s and early 1940s, and the more psychologically complex portrayals of the Westerner that emerged after World War II. The authors also examine various forms of genre-revival and genre-revisionism that have recurred over the past half-century, culminating especially in the masterworks of Clint Eastwood. They consider themes such as the inner life of the Western hero, the importance of the natural landscape, the roles played by women, the tension between myth and history, the depiction of the Native American, and the juxtaposing of comedy and tragedy. Written in clear, engaging prose, this is the only survey that encompasses the entire history of this long-lived and much-loved genre.

Chang relates her experiences rewatching the Badlands now that she is older. She relates that when she found Badlands, what she liked most was Sissy Spacek shrugging by the river after losing her virginity to Martin Sheen. She relates that what's strange about revisiting a film one watched as a kid is that one is not just watching the film: he or she is studying the kid he/she once were.

According to Suh, unfortunately this involved a racialization of Buddhism that continues to inform a general misunderstanding of it. [...]her objection is that the representation of Bridges' character \"the Dude\" as a Zen master characterizes that designation by frivolousness rather than attainment. In so doing, it provides valuable supplementary reading alongside the film, giving important context that is not otherwise discernible through it alone but only hinted at in the title. Because of the title of the chapter, I would have liked to have read more about film as sutra in terms of textuality, for example, the importance of seeing a sutra (like seeing a movie) as it is recited, medium as message, etc., which would have fit the theme of the book well. According to Suh's analysis, the film \"opens up the possibility of an alternative view of Buddhism in which enlightenment can coexist in the ordinary world where lay women are not just snares of samsara, but mothers, wives, and lovers, whose everyday lives are viewed as potent sources for spiritual awakening\" (161).

A poem is presented.

[...]a cocky, self-secure Bob Ford shoots Jesse in his living room while flashing a brave smile. [...]Purgatory is the rational culmination of cultural redescriptions of Jesse James mythology which began with the late 19th century Dime Novels and carried on in fiction books, comics, and most importantly, film, up to the present. [...]methodologically-it has been my intent to demonstrate the importance of anthropological approaches to the study of 20th and 21st century films, especially because of the inseparability of religion and ethics to visual and aural mythmaking, filmic storytelling, visual memory construction, and negotiation or re-description of national legends via cinema. According to Loy, \"Westerns after 1955 began to underscore that predicament and searching, as they included more controversial themes such as racial prejudice, marital infidelity, rape, cowardly citizens, emotionally deranged characters and graphic violence.

Erwin Wagenhofer's film Black Brown White (2011) features a trafficking truck driver protagonist whose views are challenged by a family he delivers into the EU, enabling the film's reflection on the legal, social, and economic dimensions of contemporary migration and international border control. This article argues that the film's critique is engaged through its productive appropriation of the genre of the classical western on a formal and narrative level. After locating Black Brown White within the contexts of European and Austrian cinema, the article examines the film's transformation of the classical western's depiction of the landscape as well as the genre's recurring thematic conflicts regarding the establishment of justice and the law. Constructing an EU as a contested, unfinished frontier-like space and having the protagonist, like his western forbearers, deliver justice beyond the law enables the film to question inequities and contradictions in the erection of the so-called Fortress Europe.

Acclaimed publisher and editor Neil Astley, founder of Bloodaxe Books, guest-edits this special transatlantic all-poetry issue, featuring poets from North America, Great Britain, and Ireland. The issue contains a stirring diversity of work, with writers who have roots everywhere from Guyana to Pakistan to Zambia, and also features poetry in Welsh, Irish, and Scottish Gaelic. Much of the work is from accomplished British poets who are still little-known in the States. As Astley writes in his introduction, the issue aims to break down \"the illogical divide between readerships on either side of the Atlantic,\" and spark a conversation that will enliven and invigorate both poetic traditions.