ABSTRACT
The global Western Part Two of this book concentrates on Westerns produced in the more traditional spheres of Hollywood and Western European territories, hence shifting away from our focus on Asian Westerns exclusively. However, we will maintain the Eastern locus of this book by examining the films in Part Two from the Eastern perspective. This is motivated by the fact that the Western is no longer just a Hollywood-based genre or one primarily associated with European societies. In this context, Hollywood Westerns are influenced as much by global movements in the genre as by domestic developments. Quentin Tarantino’s Django Unchained (2012), our focus in this chapter, is taken as a model of the globalised Hollywood Western. It is globalised to the extent that the film can be placed within the movement of Asian Westerns such as those discussed in the first part of this bookand this is quite unique to Tarantino’s first Western. We can see Tarantino’s film inheriting the eccentric and irreverent tone and timbre of Asian Westerns such as Sukiyaki Western Django (2007) and The Good, The Bad, The Weird (2008).
