I create a dialogue between films credited with reviving the Western film genre in the early 1990’s. I examine spatial representations in a group of films I label “the revival westerns”: Kevin Costner’s Dances with Wolves (1990), Clint Eastwood’s Unforgiven (1992), and George P. Cosmatos’ Tombstone (1993). Through the use of extreme long shots, characters demonstrating a confined sense of place, and continuity editing, the revival westerns erect a concentrically scaled conception of space and place and maintain a linear temporality. However, I offer Jim Jarmusch’s Dead Man (1995) as an intervention that reassembles these spatial and temporal notions. Dead Man’s abstinence from the extreme long shot, elliptical editing, and multiple, simultaneous, and rearrangeable narratives, envisions space as a uniting presence that precedes and always exists in place, as well as beyond it, realizing place as part of a trans-scalar assemblage and time as non-linear. These spatiotemporal alternatives unmoor the stasis and fixity associated with the revival westerns’ notion of space, place, and time. This spatial and temporal dialogue is then contextualized within the social anxieties and economic violences employed during the neoliberal boom of the 1980’s and early 1990’s. I analyze Dead Man’s trans-scalar assemblage and non-linearity through the ecocritical lenses of Jane Bennett’s “thing power” and Rob Nixon’s “slow violence” to comprehend how Dead Man promotes a structure to enable greater social and ecological care.
| Identifer | oai:union.ndltd.org:USF/oai:scholarcommons.usf.edu:etd-8392 |
| Date | 22 March 2018 |
| Creators | McKenna, Kevin Thomas |
| Publisher | Scholar Commons |
| Source Sets | University of South Flordia |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | Graduate Theses and Dissertations |
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