THE WESTERN WONDERLAND

By BARBARA MARTINEZ

1 TRANSNATIONAL ADAPTATION, TRANSCULTURATION AND INDIGENIZATION: A FISTFUL OF DOLLARS PROLOGUE THE NATIONAL THE ORIGINS: LOCAL AND TRANSLOCAL THE TRANSNATIONAL CONCLUSION 2 CELLULOID INDIANS, 1950S WESTERNS AND THE TERMINATION ACT BROKEN ARROW (1950) WHITE FEATHER (1955) AND THE BATTLE OF APACHE PASS (1952) DEVIL’S DOORWAY (1950) THE LAST WAGON (1956) THE LAST HUNT (1956) 3 HEROINES IN WESTERN FILMS? MIKHAIL BAKHTIN’S “DIALOGIC IMAGINATION” IN SHANE, HIGH NOON AND WESTWARD THE WOMEN MONOGLOSSIA: THE SUBMISSIVE WOMAN AND SHANE (1953) HETEROGLOSSIA: THE TRANSGRESSIVE WOMAN AND HIGH NOON (1952) ­X-GLOSSIA: TRANSFORMATIONAL WOMEN AND WESTWARD THE WOMEN (1951) 4 HYBRIDITY AND (DE)CONSTRUCTION OF FEMININITY AND MASCULINITY IN RANCHO NOTORIOUS, JOHNNY GUITAR AND DUEL IN THE SUN RANCHO NOTORIOUS: THE FILMIC TEXT (1952) JOHNNY GUITAR: PARATEXT JOHNNY GUITAR: PERITEXT AND THE NOVEL (1953) JOHNNY GUITAR: THE FILMIC TEXT (1954) DUEL IN THE SUN (1946): PARATEXT DUEL IN THE SUN: THE NOVEL (1944) DUEL IN THE SUN: THE FILMIC TEXT (1946) PATRIARCHY AND FAILED MASCULINITIES PATRIARCHY AND FAILED FEMININITIES CAPITALISM AND PATRIOTISM 5 NEW PATHS OF THE WESTERN IN THE THIRD MILLENNIUM: THE LONE RANGER, YESTERDAY AND TODAY THE WESTERN GENRE TODAY ENTER THE LONE RANGER: PROLOGUE THE LONE RANGER YESTERDAY OR HOW THE WEST WAS CONQUERED THE LONE RANGER (2013): PARATEXT THE LONE RANGER TODAY OR HOW THE WEST WAS LOST