Acknowledgments Introduction: Why the Western? 1. Transnational Adaptation, Transculturation and Indigenization: Dashiell Hammett's Red Harvest, Carlo Goldoni's The Servant of Two Masters, Akira Kurosawa's Yojimbo and Sergio Leone's A Fistful of Dollars Prologue 13 The National 16 The Origins: Local and Translocal 22 The Transnational 26 Conclusion 42 2. Celluloid Indians, 1950s Westerns and the Termination Act: Broken Arrow, White Feather, The Battle of Apache Pass, Devil's Doorway, The Last Wagon and The Last Hunt Prologue 45 Broken Arrow (1950) 52 White Feather (1955) and The Battle of Apache Pass (1952) 57 Devil's Doorway (1950) 59 The Last Wagon (1956) 67 The Last Hunt (1956) 74 Conclusion 79 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) 89 Heteroglossia: The Transgressive Woman and High Noon (1952) 93 X-glossia: Transformational Women and Westward the Women (1951) 100 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) 111 Johnny Guitar: Paratext 121 Johnny Guitar: Peritext and the Novel (1953) 123 Johnny Guitar: The Filmic Text (1954) 127 Duel in the Sun (1946): Paratext 136 Duel in the Sun: The Novel (1944) 139 Duel in the Sun: The Filmic Text (1946) 141 Patriarchy and Failed Masculinities 143 Patriarchy and Failed Femininities 146 Capitalism and Patriotism 149 5. New Paths of the Western in the Third Millennium: The Lone Ranger, Yesterday and Today The Western Genre Today 152 Enter The Lone Ranger: Prologue 155 The Lone Ranger Yesterday or How the West Was Conquered 156 The Lone Ranger (2013): Paratext 161 The Lone Ranger Today or How the West Was Lost 164 Chapter Notes Bibliography Index