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Hold It Real Still - Clint Eastwood, Race, and the Cinema of the American West (Hardcover)
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Hold It Real Still - Clint Eastwood, Race, and the Cinema of the American West (Hardcover)
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How did the American western feature film genre rebrand itself in
the late seventies and respond to the fury of global and domestic
political affairs? In Hold It Real Still, Lawrence Jackson examines
Clint Eastwood's influence on the western film while also exploring
how that genre continues to operate into the twenty-first century
as an ideological channel for ideas about race and imperialism.
Jackson argues that the western genre pivoted from an initial
doctrine of racial liberalism, albeit a clumsy one, during the John
Wayne years to a motile agenda of substitution, exclusion, and
false equivalency during the Clint Eastwood period. The book traces
how Eastwood, an actor first associated with the avant-garde,
anti-colonialist discourse of "spaghetti" western cinema, reversed
himself in the second half of the 1970s with The Outlaw Josey
Wales-a film that had at its heart the fantasy of Black erasure
from American life. Jackson situates Eastwood's work as a response
to massive social and political upheavals in America: defeat in
Vietnam, riots in northern cities, the civil rights movement and
associated legislation, and the Great Migration, which made
possible a degree of mixed-race public interaction that was
impossible even as late as the 1960s. Hinged by a close reading of
four blockbuster films which continue to shape discourses in
cinematic arts, American liberalism, the westerns, and race
relations today-The Good, the Bad and the Ugly, Josey Wales, Ride
with the Devil, and Django Unchained-Jackson's unique critique
flashes on the contradictory symbolic structures at work in these
masterpieces. Juxtaposing the films' motifs, tropes, and hidden
Black figures with historicist readings lays bare the containment
strategies of the 1970s and beyond used to stymie civil rights
progress and racial equity in the United States. Tackling the rise
of neoracism and the domestic apparatus of surveillance, control,
and erasure, Hold It Real Still offers an astonishing revision of
what audiences and critics thought they understood about a uniquely
American genre of film.
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