ABSTRACT
Rhythm is an index of an enunciative process which subverts conventional language patternings and literary forms to reveal a subjectivity founded on an alterity; be it that of a ‘collective sublime’, as in Jane Marcus’ case, or a psychoanalytically defined sublimity of the drives and unconscious processes. Julia Kristeva’s renegotiation of the psycho-politics of rhythm has an important precedent in British psychoanalysis. In A Man Called Horse, based on a Dorothy Johnson short story from 1950, the title character is a British Lord who is captured while on an endless hunting tour of the American West. A Man Called Horse and Little Big Man look the most innovative when considered in the context of the Western film genre as a whole. A Man Called Horse, directed by Elliot Silverstein, tells the story of Lord John Morgan, who, he reveals in the opening exposition, has been on a five-year hunting expedition on the American frontier accompanied only by a few servants.
