Undead in the West

Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier

Edited by Cynthia J. Miller, A. Bowdoin Van Riper

Hardback - £75.00

Publication date:

17 August 2012

Length of book:

344 pages

Publisher

Scarecrow Press

ISBN-13: 9780810885448

In Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller and A. Bowdoin Van Riper have assembled a collection of essays that explore the many tropes and themes through which undead Westerns make the genre’s inner plagues and demons visible, and lay siege to a frontier tied to myths of strength, ingenuity, freedom, and independence. The volume is divided into three sections: “Reanimating Classic Western Tropes” examines traditional Western characters, symbolism, and plot devices and how they are given new life in undead Westerns; “The Moral Order Under Siege” explores the ways in which the undead confront classic values and morality tales embodied in Western films; and “And Hell Followed with Him” looks at justice, retribution, and retaliation at the hands of undead angels and avenger.

The subjects explored here run the gamut from such B films as
Curse of the Undead and Billy the Kid vs. Dracula to A-list features like From Dusk ‘til Dawn and Jonah Hex, as well as animated films (Rango) and television programs (The Walking Dead and Supernatural). Other films discussed include Sam Raimi’s Bubba Ho-Tep, John Carpenter’s Vampires, George Romero’s Land of the Dead, and Sergio Leone’s Once Upon a Time in the West. Featuring several illustrations and a filmography, Undead in the West will appeal to film scholars, especially those interested in hybrid genres, as well as fans of the Western and the supernatural in cinema.
No other such treatment of the topic [undead Western] exists. . . .The contributions provide valuable insights and arguments into the cultural value of this hybrid film genre. . . .The group of essays will interest scholars of horror and Westerns alike. As the strict protocols of genre fiction become less defined and more fluid among juxtaposed subgenres, collections such as this one from Miller and Van Riper will become more valuable to teachers and students of film and cultural studies. This collection is particularly valuable in its redefining of the revisionist Western, its attention to lesser known horror works, and its . . . subtle explorations of adapted narratives and text clusters.