While Western films can be seen as a mode of American exceptionalism, they have also become a global genre. Around the world, Westerns exemplify colonial cinema, driven by the exploration of racial and gender hierarchies and the progress and violence shaped by imperialism.

Transnationalism and Imperialism: Endurance of the Global Western Film traces the Western from the silent era to present day as the genre has circulated the world. Contributors examine the reception and production of American Westerns outside the US alongside the transnational aspects of American productions, and they consider the work of minority directors who use the genre to interrogate a visual history of oppression. By viewing Western films through a transnational lens and focusing on the reinterpretations, appropriations, and parallel developments of the genre outside the US, editors Hervé Mayer and David Roche contribute to a growing body of literature that debunks the pervasive correlation between the genre and American identity.

Perfect for media studies and political science,Transnationalism and Imperialism reveals that Western films are more than cowboys; they are a critical intersection where issues of power and coloniality are negotiated.

Hervé Mayer is Assistant Professor of American studies and cinema in Montpellier, France. He is author ofGuerre sauvage& empire de la liberté (Savage war and empire of liberty) andLa Construction de l'Ouest américain dans le cinéma hollywoodien(The construction of the American West in Hollywood cinema) and has published several articles about the Western and the politics of US cinema.

David Roche is Professor of film studies in Montpellier, France. He is author ofQuentin Tarantino: Poetics and Politics of Cinematic Metafiction andMaking and Remaking Horror in the 1970s and 2000s: Why Don't They Do It Like They Used To?. He is editor (with Cristelle Maury) ofWomen Who Kill: Gender and Sexuality in Film and Series of the Post-Feminist Era.

AcknowledgmentsIntroduction, by Hervé Mayer and David RochePart I: US-American Westerns from a Transnational Perspective1. Transnationalism on the Transcontinental Railroad: John Ford'sThe Iron Horse (1924), by Patrick Adamson2. John Ford'sCavalry Trilogy (1948-1950): Caught Between US-American Imperialism and Irish Republicanism, by Costanza Salvi3. Decentering the National in Hollywood: Transnational Storytelling in the Mexico WesternVera Cruz (Robert Aldrich, 1954), by Hervé Mayer4. TransnationalIdentity on the Contemporary Texan-Mexican Border in Tejano (David Blue Garcia, 2018), by Marine SoubeillePart II: European Westerns and the Critique of Imperialism5. A Yugoslav "Lemon Tree in Siberia": The Partisan WesternKapetan Le¨i(´ivorad Mitrovi, 1960), by Dragan Batanev6.Lawrence of Arabia (David Lean, 1962) and the Western: Reframing the Imperialist Hero, by Hadrien Fontanaud7. Unwanted Salvation: The Use of the Savior Formula inThe Dark Valley (Andreas Prochaska, 2014), by Marek Pary8. Transnational Post-Westerns in French Cinema:Adieu Gary (Nassim Amaouche, 2009) andLes Cowboys (Thomas Bidegain, 2015), by Jesús Ángel GonzálezSpotlight on the Italian Western9. Silent Westerns Made in Italy: The Dawn of a Transnational Genre between US Imperial Narratives and Nationalistic Appropriations, by Alessandra Magrin Haas10. Where the Classical, the Transnational and the Acid Western Meet:Matalo! (Cesare Canevari, 1970), Violence and Cultural Resistance on the Spaghetti Western Frontier, by Lee BroughtonPart III: Westerns in a Post-Colonial or Post-Empire Context11. West by Northeast: The Western in Brazil, by Mike Phillips12. (Not) John Wayne& (Not) the US-American West:Jauja (Lisandro Alonso, 2014), by Jenny Barrett13. Remaking the Western in Japanese Cinema:East Meets West (Kihachi Okamoto, 1995),Sukiyaki Western Django (Takashi Miike, 2007), andUnforgiven (San-il Lee, 2013), by Vivian P. Y. Lee14. The South African Frontier inFive Fingers for Marseilles(Michael Matthews, 2017), by Claire Dutriaux and Annael Le PoullennecSpotlight on the Australian Western15. "They like all pictures which remind them of their own": The 'Entangled' Development of Australian Westerns, by Emma Hamilton16. Westerns from an Aboriginal Point of View or Why the Australian Western (Still) Matters:The Tracker (Rolf de Heer, 2002) andSweet Country (Warwick Thornton, 2017), by David RocheCoda: We Will Not Ride Off into the Sunset, by Hervé Mayer and David RocheIndex