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Introduction:Thus in the beginning all the World was America
Part I: Foundings, Law, Lawlessness, and John Ford
Chapter 1. Virtue, Tyranny, and Political Rule in David Milch's Deadwood
Chapter 2. Print the Legend: Violence, Virtue, and the Social Contract in Hang 'Em High and The Man Who Shot Liberty Valance
Chapter 3. John Ford's Legendary Western Ambiguity and White Settler Colonialism
Chapter 4. This is Our Town': Political Community in High Noon and The Man Who Shot Liberty Valance
Part II: The Western as Mirror and Teacher
Chapter 5. Simmering Madness: Mob Justice and The Ox-Bow Incident
Chapter 6. The Loner on the 'Frontier of Unfilled Hopes and Unfilled Threats': Serling's Old West in Kennedy's New Frontier
Chapter 7. No Man's Land: Film Cycles, Femininity, and Female Empowerment in the Modern Western
Chapter 8. Horse Operas Talk Back: History, Memory, and the Black Cowboy Performing
Chapter 9. Aristophanes in Spurs: Blazing Saddles, Attic Comedy, HBO, and the Politics of Democratic Laughter
Part III: The Adaptable, International West
Chapter 10. Towards Assimilationist Politics on the Filmic Frontier: Mid-Twentieth Century Westerns in Australia
Chapter 11.Ideological Uses of the Western in Film Depictions of Post-War Polish Borderlands
Chapter 12.Magnificent Strangers: Violence and Difference.

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