From the 1980s sitcom, Love, American Style to the 2010 rom-com (and it is a rom-com), these pranks and upsets are both bright and scabrous and also an effective rallying cry for the empowerment of the people in our ever-changing society.
In the 1910s and 1920s, Westerns were the new franchise for the film-makers, and movie-goers were drawn into a wild west fantasy, with galloping horsemen, driftwood shots, and eye-catching color films in the Disney tradition. From the start, the western genre delved into its immortal curse of genre allegiance and academism, resorting to stock characters and elements of the genre to create a bizarre world within a western world. In this way, the western genre often becomes another way to explore an artist's own fantasy and interpretation of reality, with the accumulated image of genre layers being a grand fantasy to which the true storyteller hope to de-mystify reality. With this artifice of story-telling, westerns often turn into a puzzlement of idealism and subversion to push toward social change and the merging of individuals and society.
In this case, we have a western film-maker who crafts a vision of social change and difference between the land and city worlds. In both the novel and movie trilogy, the land and city worlds are
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