Just in Time

Erwin Wagenhofer’s Appropriation of the Classical Western Genre in Black Brown White (2011)

Dados Bibliográficos

ID22345321
AutoresNikhil Sathe (0009-0008-5768-9554, autor correspondente)
Ano2014
Volume47
Fascículo4
Páginas39-64
Data de publicação2014-12-01
Peer ReviewedSim
Open AccessNão
TipoARTICLE
PeriódicoJournal of Austrian Studies (JOURNAL)
Identificadores do periódicoISSN: 2165-669X • E-ISSN: 2327-1809
EditoraProject MUSE (PUBLISHER • US)
DOI10.1353/oas.2014.0072
OpenAlexW1985876246
IdiomaEN
Referências citadas9

Erwin Wagenhofer’s film Black Brown White (2011) features a trafficking truck driver protagonist whose views are challenged by a family he delivers into the eu , enabling the film’s reflection on the legal, social, and economic dimensions of contemporary migration and international border control. This article argues that the film’s critique is engaged through its productive appropriation of the genre of the classical western on a formal and narrative level. After locating Black Brown White within the contexts of European and Austrian cinema, the article examines the film’s transformation of the classical western’s depiction of the landscape as well as the genre’s recurring thematic conflicts regarding the establishment of justice and the law. Constructing an eu as a contested, unfi nished frontier- like space and having the protagonist, like his western forbearers, deliver justice beyond the law enables the film to question inequities and contradictions in the erection of the so- called Fortress Europe

Aesthetics · Appropriation · Art · Depiction · Economic Justice · Epistemology · Frontier · Legitimacy · Literature · Movie theater · Narrative · Political science · Politics · Sociology · Cinema and Media Studies · European history and politics · German History and Society · Law · Philosophy