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In this period, post-Western precursors to the modern neo-Western films began to appear. This includes films such as Nicholas Ray's The Lusty Men (1952) and John Sturges's Bad Day at Black Rock (1955). [8]: 56 Examples of the modern "first phase" of neo-Westerns include films such as Lonely Are the Brave (1962) and Hud (1963).
The Australian Western genre or meat pie Western is set in Australia, especially the Australian Outback or the Australian Bush. [4] The genre borrows from US traditions. The Tracker is an archetype in this form of Australian Western, with signature scenes of harsh desert environments, and exploration of the themes of rough justice, exploitation of the Aboriginals, and the thirst for justice at ...
The music encompasses storytelling and the cultural diversity of instrumentation associated with the American frontier. [10] The spaghetti Western sound of Ennio Morricone is influential to the genre. [11] Tom Waits, Johnny Cash, Steve Earle, The Handsome Family and Richard Marx have written Gothic Western songs. [12]
Space Western Tex and the Lord of the Deep: Duccio Tessari: Giuliano Gemma, William Berger, Carlo Mucari, Isabel Russinova, Peter Berling, Flavio Bucci, Aldo Sambrell, Jose Luis de Vilallonga, Ricardo Petrazzi, Pietro Torrisi, Frank Brana, Ricardo Palacios: Italy: Spaghetti Western/fantasy based on the Tex Willer comics Wild Horses: Dick Lowry
Weird West, also known as Weird Western, is a term used for the hybrid genres of fantasy Western, horror Western and science fiction Western. [1] The term originated with DC's Weird Western Tales in 1972, but the idea is older as the genres have been blended since the 1930s, possibly earlier, in B-movie Westerns, comic books, movie serials and pulp magazines. [1]
Postmodern Jukebox is known for reworking popular modern music into different vintage genres, especially early 20th century forms such as swing and jazz. They have toured North America, Europe, and Australia; often simultaneously due to the extensive discography and the numerous artists and performers involved in the project.
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Tyler Bates was brought in to compose the score for 2008 remake of The Day the Earth Stood Still after Derrickson heard his work on The Devil's Rejects and Slither.Bates decided that instead of imitating the original score by Bernard Herrmann he would try and convey the message of the new film, which was different, and assumed that most people would not even realize it was a remake.
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