Analysis of information sources in references of the Wikipedia article "Western revizionist" in Romanian language version.
He called his film an "'anti-Western' because the film turns a number of Western conventions on their sides"
Western's standard plot structure, focused on the epic moment of confrontation between the forces of civilization and wilderness on the american frontier
The typical Western plot is set on a frontier caught between the anarchy of lawlessness on the open range and the impending approach of settlement and civilization, so plots typically used the male vision of national and gender identity
A simple definition of the western world would be a film set on the American frontier and dealing with the archetypal problem of law and order through a series of dichotomies such as virtue versus evil, man versus nature, settlers versus Native Americans (often portrayed as savages), civilization versus wilderness/lawlessness, lawman/sheriff versus gunslinger, law and order versus anarchy, rugged individualism versus community, settler versus nomad
Westerns are stories about the clash between good and evil.
responses to Unforgiven tend to ”divide into those that align it with traditional Western and those that group it with ... the revisionist Western”—the former being those Westerns that “clearly demarcate the forces of good and evil and endorse expert gunfighting in the cause of justice,” the latter those that „are viewed as questioning or attacking the structure and norms of the genre.”
While “from the 1950s the line between good and evil becomes increasingly unclear” with the revisionist western, the classic western maintains a clear sense of binary.
Films like The Wild Bunch (Peckinpah, 1969) and McCabe & Mrs. Miller (Altman, 1970) are revisionist westerns in which the lines between hero and villain, good and evil, are not clear.
At that time the westerns of the fifties were labelled 'psychological'. Shane, 3.10 to Yuma, The Left-handed Gun, and others, pushed psychological interplay to the fore.
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