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The jogging lifeless won nationwide consciousness as AMC’s newest severely acclaimed drama, shattering the network’s prior prime scores highs and incomes a moment season renewal after its first actual episode. yet ahead of its tv debut, Robert Kirkman’s The jogging useless used to be a comic book phenomenon.
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This chapter examines the reimagination of the American frontier in the television shows Falling Skies (TNT 2011–2015) and Jericho (CBS 2006–2008). In these post-apocalyptic stories, a cowboy brand of masculinity provides the hope (and shape) of the future, echoing, reproducing, and validating the mytho-history of nineteenth-century manifest destiny doctrine. These narratives thus open the frontier once again for white, heterosexual, able-bodied men to carve out the future of the human race in a political, social, and 32 ● Barbara Gurr military reiteration of nineteenth-century desire.
This right is asserted against the rights of others to be here. Both television shows rely on a narrative of settler colonialism which works to disappear the indigenous peoples who originally inhabited what is now the United States and replaces them with the settler’s most powerful oppositional persona: the cowboy. )Imagined American Frontier ● 43 America in these future histories and the use of the post-apocalypse to afﬁrm dominant-culture gender expectations at the same time, revealing a metanarrative which relies on and justiﬁes settler colonialist ideologies.
3 (2002): 101–115. 35. S. Arabs and Muslims: A Brief Review,” Comparative Studies of South Asia, Africa, and the Middle East 24, no. 1 (2004): 245–248. 36. Edward Said, Orientalism (New York: Vintage, 1978). )Imagined American Frontier Barbara Gurr T he Old West provides a much-beloved and often-used framework for American popular culture. Consider the TV classic Gunsmoke (1955– 1975) or one of the many Westerns that deﬁned Hollywood cinema for so long, probably something by John Ford, preferably starring John Wayne (you could substitute Clint Eastwood).