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CONTENTS

© 2025, Edinburgh University Press, Edinburgh

© 2025, Edinburgh University Press, Edinburgh

Chapters in this book

  1. Frontmatter i
  2. CONTENTS v
  3. Figures viii
  4. Acknowledgments x
  5. Notes on Contributors xi
  6. Introduction: Rethinking the American Frontier—Frederick Jackson Turner, Neurasthenia, and the Contemporary Western 1
  7. 1. “Free to be not important:” Variety and Versatility in The Ballad of Buster Scruggs (2018) 16
  8. PART ONE. RECONSTITUTED— CONTEMPORARY COWBOYS
  9. 2. “I’ve grown old:” Star Embodiment and Aging Masculinity in the Twenty-First Century Westerns of Jeff Bridges and Kevin Costner 37
  10. 3. Jesse James: Melancholy Aesthetics at the End of Cowboy Politics 64
  11. 4. “Next one’s comin’ faster:” The Vigilante Lawman in FX’s Justified (FX, 2010–15) 76
  12. 5. “I aim to show that he’s a man like any other:” Demythologizing Frontier Masculinity in The Proposition (2005) 92
  13. 6. Lords of the Plains: The Contemporary Western and Discourse in Hell or High Water (2016) 106
  14. 7. Baking Soda Buddies: Frontier Friendship/Capitalist Critique in Kelly Reichardt’s First Cow (2019) 121
  15. PART TWO. RE-FASHIONED—TWENTY-FIRST CENTURY FRONTIERSWOMEN
  16. 8. Deviations from Type: The Female Gaze in a Frontier Setting in Ron Howard’s The Missing (2003) 141
  17. 9. Sexual Violence, Gender, and Race in The Keeping Room (2014): Revisioning the Revenge Western 152
  18. 10. Subverting Classic Western Codes and Women’s Empowerment in Meek’s Cutoff (2010) 168
  19. 11. Doing What Westerns Do: Nia DaCosta’s Little Woods (2018) and the Representation of the “New West” 180
  20. 12. Screening Women Through the Prism of Women’s History in Deadwood (HBO, 2004–6) 197
  21. PART three Re-formed—The TWENTY-FIRST Century Frontier
  22. 13. The (Un)Making of Civilization in the post-2000 Western 213
  23. 14. The Land and its Relationship to Justice in Longmire (A&E, 2012–14; Netflix, 2015–17) 236
  24. 15. A “Safe Place:” The Western “Home” and Its Mutation in Logan (2017, dir. James Mangold) 250
  25. 16. “We have always been posthuman:” Towards a Post- Anthropocentric Reading of Westworld (HBO, 2016–22) 266
  26. 17. Revelations in the Old West 280
  27. 18. Postcolonial Discourses of “Hobbyism,” Cultural Appropriation, and Historical Memory in Global Transnational Westerns 293
  28. 19. Westerns in Turkey and the Contemporary Turco- Western: Genre, Gender, and Transnationality in YAHŞİ BATI (2010) 308
  29. 20. The Western Rides into the Twenty-First Century: A Bibliography 329
  30. Index 341
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Return of the Western
This chapter is in the book Return of the Western
https://doi.org/10.1515/9781399524742-toc

Chapters in this book

  1. Frontmatter i
  2. CONTENTS v
  3. Figures viii
  4. Acknowledgments x
  5. Notes on Contributors xi
  6. Introduction: Rethinking the American Frontier—Frederick Jackson Turner, Neurasthenia, and the Contemporary Western 1
  7. 1. “Free to be not important:” Variety and Versatility in The Ballad of Buster Scruggs (2018) 16
  8. PART ONE. RECONSTITUTED— CONTEMPORARY COWBOYS
  9. 2. “I’ve grown old:” Star Embodiment and Aging Masculinity in the Twenty-First Century Westerns of Jeff Bridges and Kevin Costner 37
  10. 3. Jesse James: Melancholy Aesthetics at the End of Cowboy Politics 64
  11. 4. “Next one’s comin’ faster:” The Vigilante Lawman in FX’s Justified (FX, 2010–15) 76
  12. 5. “I aim to show that he’s a man like any other:” Demythologizing Frontier Masculinity in The Proposition (2005) 92
  13. 6. Lords of the Plains: The Contemporary Western and Discourse in Hell or High Water (2016) 106
  14. 7. Baking Soda Buddies: Frontier Friendship/Capitalist Critique in Kelly Reichardt’s First Cow (2019) 121
  15. PART TWO. RE-FASHIONED—TWENTY-FIRST CENTURY FRONTIERSWOMEN
  16. 8. Deviations from Type: The Female Gaze in a Frontier Setting in Ron Howard’s The Missing (2003) 141
  17. 9. Sexual Violence, Gender, and Race in The Keeping Room (2014): Revisioning the Revenge Western 152
  18. 10. Subverting Classic Western Codes and Women’s Empowerment in Meek’s Cutoff (2010) 168
  19. 11. Doing What Westerns Do: Nia DaCosta’s Little Woods (2018) and the Representation of the “New West” 180
  20. 12. Screening Women Through the Prism of Women’s History in Deadwood (HBO, 2004–6) 197
  21. PART three Re-formed—The TWENTY-FIRST Century Frontier
  22. 13. The (Un)Making of Civilization in the post-2000 Western 213
  23. 14. The Land and its Relationship to Justice in Longmire (A&E, 2012–14; Netflix, 2015–17) 236
  24. 15. A “Safe Place:” The Western “Home” and Its Mutation in Logan (2017, dir. James Mangold) 250
  25. 16. “We have always been posthuman:” Towards a Post- Anthropocentric Reading of Westworld (HBO, 2016–22) 266
  26. 17. Revelations in the Old West 280
  27. 18. Postcolonial Discourses of “Hobbyism,” Cultural Appropriation, and Historical Memory in Global Transnational Westerns 293
  28. 19. Westerns in Turkey and the Contemporary Turco- Western: Genre, Gender, and Transnationality in YAHŞİ BATI (2010) 308
  29. 20. The Western Rides into the Twenty-First Century: A Bibliography 329
  30. Index 341
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