While Western films can be seen as a mode of American exceptionalism, they have also become a global genre. Around the world, Westerns exemplify colonial cinema, driven by the exploration of racial and gender hierarchies and the progress and violence shaped by imperialism.

AcknowledgmentsIntroduction, by Hervé Mayer and David RochePart I: US-American Westerns from a Transnational Perspective1. Transnationalism on the Transcontinental Railroad: John Ford's The Iron Horse (1924), by Patrick Adamson2. John Ford's Cavalry Trilogy (1948-1950): Caught Between US-American Imperialism and Irish Republicanism, by Costanza Salvi3. Decentering the National in Hollywood: Transnational Storytelling in the Mexico Western Vera Cruz (Robert Aldrich, 1954), by Hervé Mayer4. Transnational Identity on the Contemporary Texan-Mexican Border in Tejano (David Blue Garcia, 2018), by Marine SoubeillePart II: European Westerns and the Critique of Imperialism5. A Yugoslav "Lemon Tree in Siberia": The Partisan Western Kapetan LeSi (Zivorad Mitrovic, 1960), by Dragan Batancev6. Lawrence of Arabia (David Lean, 1962) and the Western: Reframing the Imperialist Hero, by Hadrien Fontanaud7. Unwanted Salvation: The Use of the Savior Formula in The Dark Valley (Andreas Prochaska, 2014), by Marek Paryz8. Transnational Post-Westerns in French Cinema: Adieu Gary (Nassim Amaouche, 2009) and Les Cowboys (Thomas Bidegain, 2015), by Jesús Ángel GonzálezSpotlight on the Italian Western9. Silent Westerns Made in Italy: The Dawn of a Transnational Genre between US Imperial Narratives and Nationalistic Appropriations, by Alessandra Magrin Haas10. Where the Classical, the Transnational and the Acid Western Meet: Matalo! (Cesare Canevari, 1970), Violence and Cultural Resistance on the Spaghetti Western Frontier, by Lee BroughtonPart III: Westerns in a Post-Colonial or Post-Empire Context11. West by Northeast: The Western in Brazil, by Mike Phillips12. (Not) John Wayne & (Not) the US-American West: Jauja (Lisandro Alonso, 2014), by Jenny Barrett13. Remaking the Western in Japanese Cinema: East Meets West (Kihachi Okamoto, 1995), Sukiyaki Western Django (Takashi Miike, 2007), and Unforgiven (San-il Lee, 2013), by Vivian P. Y. Lee14. The South African Frontier in Five Fingers for Marseilles (Michael Matthews, 2017), by Claire Dutriaux and Annael Le PoullennecSpotlight on the Australian Western15. "They like all pictures which remind them of their own": The 'Entangled' Development of Australian Westerns, by Emma Hamilton16. Westerns from an Aboriginal Point of View or Why the Australian Western (Still) Matters: The Tracker (Rolf de Heer, 2002) and Sweet Country (Warwick Thornton, 2017), by David RocheCoda: We Will Not Ride Off into the Sunset, by Hervé Mayer and David RocheIndex