Unlike such romanticized renegades as Robin Hood and Jesse James, there is another kind of outlaw hero, one who lives between the law and his own personal code. In times of crisis, when the law proves inadequate, the liminal outlaw negotiates between the social imperatives of the community and his innate sense of right and wrong. While society requires his services, he necessarily remains apart from it in self-preservation. The modern outlaw hero of film and television is rooted in the knight errant, whose violent exploits are tempered by his solitude and devotion to a higher ideal. In Hollywood classics such as Casablanca (1942) and Shane (1953), and in early series like The Lone Ranger (1949-1957) and Have Gun--Will Travel (1957-1963), the outlaw hero reconciles for audiences the conflicting impulses of individual freedom versus serving a larger cause. Urban westerns like the Dirty Harry and Death Wish franchises, as well as iconic action figures like Rambo and Batman, testify to his enduring popularity. This book examines the liminal hero's origins in medieval romance, his survival in the mythology of the Hollywood western and his incarnations in the urban western and modern action film.

This collection convenes diverse analyses of David Lynch's newly conceived, dreamlike neo-noir representations of the American West, a first in studies of regionalism and indigeneity in his films. Twelve essays and three interviews address Lynch's image of the American West and its impact on the genre. Fans and scholars of David Lynch's work will find a study of his interpretations of the West as place and myth, spanning from his first feature film, Eraserhead (1977), through the third season of Twin Peaks in 2017. Symbols of the West in Lynch's work can be as obvious as an Odessa, Texas street sign or as subtle as the visual themes rooted in indigenous artistry. Explorations of cowboy masculinity, violence, modern frontier narratives and representations of indigeneity are all included in this collection.

From his first appearance as Mork from Ork on the 1970s sitcom Happy Days, Robin Williams was heralded as a singular talent. In the pre-cable television era, he was one of the few performers to successfully transition from TV to film. An Oscar-winning actor and preternaturally quick-witted comedian, Williams became a cultural icon, leaving behind a large and varied body of work when he unexpectedly took his own life in 2014. This collection of new essays brings together a range of perspectives on Williams and his oeuvre, including beloved hits like Mrs. Doubtfire, Good Morning, Vietnam, Good Will Hunting, The Fisher King, Dead Poets Society and Aladdin. Contributors explore his earlier work (Mork and Mindy, The World According to Garp) and his political and satirical films (Moscow on the Hudson, Toys). Williams's darker, less well-known fare, such as Being Human, One Hour Photo, Final Cut and Boulevard, is also covered. Williams's artistry has become woven into the fabric of our global media culture.

Unlike such romanticized renegades as Robin Hood and Jesse James, there is another kind of outlaw hero, one who lives between the law and his own personal code. In times of crisis, when the law proves inadequate, the liminal outlaw negotiates between the social imperatives of the community and his innate sense of right and wrong. While society requires his services, he necessarily remains apart from it in self-preservation. The modern outlaw hero of film and television is rooted in the knight errant, whose violent exploits are tempered by his solitude and devotion to a higher ideal. In Hollywood classics such as Casablanca (1942) and Shane (1953), and in early series like The Lone Ranger (1949-1957) and Have Gun--Will Travel (1957-1963), the outlaw hero reconciles for audiences the conflicting impulses of individual freedom versus serving a larger cause. Urban westerns like the Dirty Harry and Death Wish franchises, as well as iconic action figures like Rambo and Batman, testify to his enduring popularity. This book examines the liminal hero's origins in medieval romance, his survival in the mythology of the Hollywood western and his incarnations in the urban western and modern action film.

This book is an overview and analysis of the global tradition of the outlaw hero. The mythology and history of the outlaw hero is traced from the Roman Empire to the present, showing how both real and mythic figures have influenced social, political, economic and cultural outcomes in many times and places. The book also looks at the contemporary continuations of the outlaw hero mythology, not only in popular culture and everyday life, but also in the current outbreak of global terrorism.

This book examines the pervading influence of medieval culture, through an exploration of the intersections between tourism, heritage, and imaginaries of the medieval in the media. Drawing on examples from tourist destinations, heritage sites, fictional literature, television and cinema, the book illustrates how the medieval period has consistently captured the imagination of audiences and has been reinvented for contemporary tastes. Chapters present a range of international examples, from nineteenth century Victorian notions of chivalry, knights in shining armour exemplified by King Arthur, and damsels in distress, to the imagining of the Japanese samurai as medieval knights. Other topics explored include the changing representations of medieval women, the Crusades and the Vikings, and the challenges faced by medieval cathedrals to survive economically and socially. This book offers multidisciplinary perspectives and will appeal to scholars and students across a variety of disciplines such as cultural studies, history, tourism, heritage studies, historical geography and sociology.

The Byronic Hero in Film, Fiction, and Television bridges nineteenth- and twentieth-century studies in pursuit of an ambitious, antisocial, arrogant, and aggressively individualistic mode of hero from his inception in Byron’s Manfred, Childe Harold, and Cain, through his incarnations as the protagonists of Westerns, action films, space odysseys, vampire novels, neo-Gothic comics, and sci-fi television. Such a hero exhibits supernatural abilities, adherence to a personal moral code, ineptitude at human interaction (muddled even further by self-absorbed egotism), and an ingrained defiance of oppressive authority. He is typically an outlaw, most certainly an outcast or outsider, and more often than not, he is a he. Given his superhuman status, this hero offers no potential for sympathetic identification from his audience. At best, he provides an outlet for vicarious expressions of power and independence. While audiences may not seek to emulate the Byronic hero, Stein notes that he desires to emulate them; recent texts plot to “rehumanize” the hero or to voice through him approbation and admiration of ordinary human values and experiences. Tracing the influence of Lord Byron’s Manfred as outcast hero on a pantheon of his contemporary progenies—including characters from Pale Rider, Unforgiven, The Terminator, Alien, The Crow, Sandman, Star Trek: The Next Generation,and Angel—Atara Stein tempers her academic acumen with the insights of a devoted aficionado in this first comprehensive study of the Romantic hero type and his modern kindred. Atara Stein was a professor of English at California State University, Fullerton. Her articles on the development of the Byronic hero have appeared in Popular Culture Review, Romantic Circles Praxis Series, Genders, and Philological Quarterly.

The Punitive Turn explores the historical, political, economic, and sociocultural roots of mass incarceration, as well as its collateral costs and consequences. Giving significant attention to the exacting toll that incarceration takes on inmates, their families, their communities, and society at large, the volume’s contributors investigate the causes of the unbridled expansion of incarceration in the United States. Experts from multiple scholarly disciplines offer fresh research on race and inequality in the criminal justice system and the effects of mass incarceration on minority groups' economic situation and political inclusion. In addition, practitioners and activists from the Sentencing Project, the Virginia Organizing Project, and the Restorative Community Foundation, among others, discuss race and imprisonment from the perspective of those working directly in the field. Employing a multidisciplinary approach, the essays included in the volume provide an unprecedented range of perspectives on the growth and racial dimensions of incarceration in the United States and generate critical questions not simply about the penal system but also about the inner workings, failings, and future of American democracy. Contributors: Ethan Blue (University of Western Australia) * Mary Ellen Curtin (American University) * Harold Folley (Virginia Organizing Project) * Eddie Harris (Children Youth and Family Services) * Anna R. Haskins (University of Wisconsin–Madison) * Cheryl D. Hicks (University of North Carolina at Charlotte) * Charles E. Lewis Jr. (Congressional Research Institute for Social Work and Policy) * Marc Mauer (The Sentencing Project) * Anoop Mirpuri (Portland State University) * Christopher Muller (Harvard University) * Marlon B. Ross (University of Virginia) * Jim Shea (Community Organizer) * Jonathan Simon (University of California–Berkeley) * Heather Ann Thompson (Temple University) * Debbie Walker (The Female Perspective) * Christopher Wildeman (Yale University) * Interviews by Jared Brown (University of Virginia) & Tshepo Morongwa Chéry (University of Texas–Austin)

The legends of Robin Hood are very familiar, but scholarship and criticism dealing with the long and varied tradition of the famous outlaw is as elusive as the identity of Robin himself, and is scattered in a wide range of sources, many difficult of access. This book is the first to bring together major studies of aspects of the tradition. The thirty-one studies take a variety of approaches, from archival exploration in quest of a real Robin Hood, to a political angle seeking the social meaning of the texts across time, to literary scholars concerned with origin, structures and generic variation, or moral and social significance; also included are considerations of theatre and film studies, and folklore and children's literature. Overall, the collection provides a valuable basis for further study. STEPHEN KNIGHT is Professor of English Literature at the University of Wales, Cardiff; he is well-known as an authority on the Robin Hood tradition, and has edited the recently-discovered Robin Hood Forresters Manuscript.

Pirates captivate the Western cultural imagination at the beginning of the 21st century. Queer Buccaneers addresses this phenomenon through an analysis of the Disney film series Pirates of the Caribbean. Reading the films from a variety of post-structuralist perspectives, this study demonstrates the contradictory discourses and power relations that characterize the series. It argues that 'piracy' constitutes a sliding signifier that facilitates the (de)construction of discursive boundaries of gender, sexuality, race, ethnicity, class, and nationality. (Series: Transnational and Transatlantic American Studies - Vol. 10)