The Cinematic Cowboy in Africa: Identities and the Western Genre by Maingard, Jacqueline

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“The Old Wild West in the New Middle East”: American Sniper (2014) and the Global Frontiers of the Western Genre by Lennart Soberon

“…Such a mythical conception of the Western genre operates as a political frame through which a jingoist discourse on the Iraq war is reaffirmed and within which audiences can interpret the conflict—and the undertaken military measures—as necessary and just.…”
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Quand Lucky Luke et les (Amér)Indiens parlent francoprovençal bressan. Traduction et transposition, entre inaudibilité linguistique et visibilité culturelle by Manuel Meune

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Desperados: Crypto-Mexicans and Firefly's Mutation of the Western by Curry, Agnes B., Velazquez, Josef

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The Master Film is a Western : The Mythology of the American West in the Cities of the Red Night Trilogy by Michael J. Prince

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Pocahontas no more: Indigenous women standing up for each other in twenty-first century cinema by Sophie Mayer

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Introduction: You Can't Take Firefly from Me: Twenty Years Later and Still Missed by Ginn, Sherry, Porter, Heather M.

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The Urban Shift of The Western: Inscriptions of Violence in Cormac McCarthy’s 'No Country for Old Men' by Gianina Roman

“…The paper will also briefly tackle issues connected to the conventions of the western genre so as to delineate a context for the centrality of stark violence in the modern western. …”
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KONVENSI DAN INVENSI DALAM CERITA-CERITA KOBOI MUTAKHIR: KAJIAN FORMULA TERHADAP FILM WESTERN PERIODE 1995-2012 by , ANDRIADI, , Dr. Ida Rochani Adi, S.U.

“…The first step of using this theory is to see narrative structure of Western genre as total system during the periode of 1995-2012. …”

The Literary Roots of Southern Westerns by Lauric Guillaud

“…The moving geography of the United States, which expanded West with the gradual settlement of the Frontier, turned such border states as Kentucky the West and the South into places of encounter for the Western and the Southern. The Western genre often borrowed from Southern codes and tropes – for instance violence, individualism, and honor. …”
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The Iconic American Western in Film and Literature by Ali Shehzad Zaidi

“… This essay examines representative stories of the American Western genre in both film and literature in light of various literary influences, including The Bible and classical epics such as Gilgamesh, The Iliad, and The Odyssey. …”
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The West and the Western as grounds for reconciliation in the American Civil War by Juliette Bourdin

“…It also aims to show how and to what extent the Western genre proved to be a convenient means to sustain the tale of national reconciliation in the American Civil War. …”
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True Grit et son héroïne, Mattie Ross : une voix pour les femmes ? by Lucile Reynal de Saint Michel

“…The author, Charles Portis, freed himself from the traditional codes of the western genre: his heroine, Mattie, is a teenage girl. …”
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Passée la porte, il n’y a rien que du vent : Southern et Western, du désenchantement au crépuscule by Christian Viviani

“…Southern melodrama can be understood as a generic enclave rooted in traditional melodrama which borrows from the Western genre not only its interrelated historical framework, particular rites, but its recognizable characters, decors, costumes and coded situations. …”
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Radical Frontiers in the Spaghetti Western: Politics, Violence and Popular Italian Cinema, by Austin Fisher by Mike Phillips

“…The Western genre film has undergone innumerable variations over the history of global cinematic production. …”
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Racial Violence at the Crossroads of West and South in Rosewood (John Singleton, 1997) by Claire Dutriaux

“…This article explores the interplay between South and West and examines how Rosewood borrows from the Western genre to explore and rewrite racial history in the American South. …”
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Krambambuli ou l’adaptation d’un classique de la littérature et du cinéma by Aurélie Le Née

“…The Mitterer/Schwarzenberger film renews this tradition, opting for a clear reference to the Western genre, while going beyond it by giving an important place to the female characters, who are generally in the background in this type of film and very secondary in Ebner-Eschenbach’s story.…”
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“L’unico indiano buono è un indiano muto.” Un’analisi contrastiva inglese/italiano del discorso filmico western by Lorena Carbonara

“…This paper focuses on the contrastive analysis (English/Italian) of the trailers of two important films in the history of the western genre: Stagecoach/Ombre rosse (1939) and Dances With Wolves/Balla coi lupi (1990).  …”
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Neo Frontier Cinema: Rewriting the Frontier Narrative from the Margins in Meek’s Cutoff (Kelly Reichardt, 2010), Songs My Brother Taught Me (Chloe Zhao, 2015) and The Rider (Chloe... by Hervé Mayer

“…This article discusses Kelly Reichardt’s Meek’s Cutoff (2010) and Chloe Zhao’s Songs My Brother Taught Me (2015) and The Rider (2017) as contemporary rewritings of the Western genre and frontier mythology. I argue that the three films play the mythologies of the American West against the realities and consequences of settler colonialism, provide alternative perspectives on the politics of empire, construct the Western frontier as a contact zone, and challenge the original epic story of linear conquest by redefining what it means to travel or live in the Great American desert. …”
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D’un genre cinématographique à l’autre : trois adaptations en westerns dans le cinéma américain d’après 1945 by Mathieu Lacoue-Labarthe

“…Some other aspects are altered to fit the Western genre’s codes and conventions (importance of action, praise of the hero and family). …”
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